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Pictorial journalism in the latter nineteenth century faced a temporal conundrum: whereas words could travel by telegraph and hence at the speed of electricity, the accompanying illustrations had to travel as material objects and were chronically belated. This article analyzes the strategies with which two prominent Victorian weekly papers—Illustrated London News and Punch—sought to deal with the slowness of illustration and reconcile the speed differentials between textual and visual news with their printing deadlines and production cycles. The most striking of these strategies was to deploy an 'oracular pencil' to work up an illustration before an event had taken place. These pre-produced illustrations relied on specific visual codes that shaped the illustrations' 'truth.' The article shows that, contrary to the self-positioning of pictorial journalists as reporting truthfully and speedily on the world 'out there,' the pictorial press had its own temporal and epistemological laws. [ABSTRACT FROM AUTHOR]

The title of this paper refers to both the personality and work of two Spaniards, who, at the beginning of the nineteenth century, had to abandon their homeland fleeing from the absolutism of King Ferdinand VII (1784–1833). The exile of the Spanish liberal writers started in 1814 and was characterized by two major milestones: the first between 1814 and 1820, where Great Britain was the main destination; and a second wave which began in 1823 and ended in 1833, wherein France gained prominence as a reception centre. Although the journalistic activities that were both undertaken in Paris were less relevant than those carried out by other writers in London, the truth is that with their reading, we can better understand the study of this exile journalism and the subsequent liberal journalism that was developed in Spain when the conditions allowed it. [ABSTRACT FROM AUTHOR]