Abstract：
This paper offers a novel interpretation of the 1890 British Ultimatum, by bringing to the front of the stage its techno-diplomatic dimension, often invisible in the canonical diplomatic and military narratives. Furthermore, we use an unconventional historical source to grasp the British-Portuguese imperial conflict over the African hinterland via the building of railways: the cartoons of the politically committed and polyvalent Portuguese artist and journalist Rafael Bordalo Pinheiro (1846-1905), published in his journal Ponto nos iis, from the end of 1889 and throughout 1890. We argue that the Ponto nos iis cartoons played a so far overlooked role in the unfolding of British-Portuguese affairs, as they shaped at a distance a diplomatic exchange with the British satirical journal Punch. Attacking and counterattacking his fellow cartoonists in Britain, Pinheiro surged into the role of informal diplomat. This cartoon visual and public diplomacy unfolded in the pages of both journals and was tied to the two countries\' colonial conquests in Africa, where the Portuguese and British empires were competing to dominate the African hinterland through large technological systems. Hence the cartoons made visible to wider audiences the otherwise hidden role that technologies played in the two countries\' affairs. In turn, the cartoons aimed at persuading the Portuguese public and ruling classes alike that only regime change, from monarchic to republican, would restore the wounded Portuguese national pride.
摘要：
本文提供了对1890年英国最后通牒的新颖解释，通过将其技术外交层面带到舞台的前沿，通常在规范的外交和军事叙述中看不见。此外，我们使用非常规的历史渊源，通过铁路建设来掌握英葡帝国在非洲腹地的冲突：政治承诺和多价葡萄牙艺术家和记者RafaelBordaloPinheiro（1846-1905）的漫画，发表在他的杂志Pontonosiis上，从1889年底到整个1890年。我们认为，Pontonosiis漫画在英国-葡萄牙事务的发展中起了迄今为止被忽视的作用，因为他们在远处塑造了与英国讽刺杂志Punch的外交交流。攻击和反击他在英国的漫画家伙伴，皮涅罗加入了非正式外交官的角色。这种卡通视觉和公共外交在两本期刊的页面上展开，并与两个国家在非洲的殖民征服有关，葡萄牙和英国帝国正在通过大型技术系统争夺非洲腹地。因此，这些漫画使更广泛的观众看到了技术在两国事务中扮演的隐藏角色。反过来,这些漫画旨在说服葡萄牙公众和统治阶级，只有政权更迭，从君主到共和党,将恢复受伤的葡萄牙民族自豪感。
