Censorship

A brief overview of the early trends of Indian media's responses to a pandemic. This is part of a series on how the media worldwide are reporting the coronavirus and published by the English language website of the European Journalism Observatory, an international network of media academics and journalists.

Este artigo analisa o processo de falsificação de uma edição do jornal católico O São Paulo (1982). Enfoca-se na posterior reação midiática desencadeada pelo ocorrido, que gerou 154 documentos de revistas e jornais. Utilizou-se a análise documental, com contribuições da análise de discurso, sob um prisma histórico-processual das matrizes de Karl Mannheim e Norbert Elias. Apreendeu-se a intenção, do grupo responsável pela falsificação, de manipular os leitores do jornal para a vigilância e rejeição aos “comunistas”, a reação midiática evidenciou a tentativa de cercear possibilidades de expressar-se de forma divergente ao cenário social e político da ditadura brasileira.

Manolito Gafotas (1994) es el título que da nombre a una serie de novelas escritas por Elvira Lindo. En ellas se cuenta la historia y se presentan las aventuras de un niño, su familia y amigos en el entorno de un barrio de clase obrera de Madrid (Carabanchel Alto). Estas novelas fueron llevadas a la televisión a través de una serie y al cine a través de una película en 1999 y otra en 2004. En ellas se presentan personajes típicos de nales del siglo XX español. Se trata de una serie leída fundamentalmente por niños, pero muy leída también por adultos, llegando a ser un bestseller y habiéndose traducido a distintos idiomas, entre los que se encuentran el francés y el inglés. El humor, la ironía, el sarcasmo y la complicidad con el lector adulto hacen de esta novela un instrumento de trabajo muy interesante para un análisis comparado y el estudio de su recepción. Partiendo de los conceptos de extranjerización y domesticación de Venuti, se estudiará cómo se ha llevado a cabo la traducción en un nivel macrotextual y si dicho proceso ha sido el resultado de una decisión de la traductora o de los editores. Para ello, el análisis de referencias culturales tales como nombres propios, comidas o hábitos y costumbres y la forma en que se han abordado en la traducción hacia el inglés puede aportar luz sobre cómo se percibe la cultura española a través del ltro de otra lengua y otra cultura.

Manolito Gafotas (1994) is a series of Spanish novels written by Elvira Lindo. They tell the adventures of a kid and his family and friends in Carabanchel (Alto), a working class district in Madrid. These novels inspired two movies in 1999 and 2004 and a TV series. The novels describe typical Spanish characters in late 20th century Spain. It is a children's series mainly read by children, but also widely read by adults, which has been a best seller and is translated into several languages, English and French among others. Humor, irony, sarcasm, smiles and complicity with an adult reader make of this series of books a very interesting piece of literature ideal for a compared analysis and a reception study. Following Venuti's concepts of foreignization and domestication it would be very interesting to nd out how the translation process has been carried out by the translators, and if that process was the translators' or the editor's decision. An analysis of how cultural aspects such as names, nicknames, foods or habits have been dealt with by the translator would yield very important feedback on how
the Spanish culture is filtered by a different language and a different culture.

El propósito de este trabajo es abordar el discurso del odio (más referido al plano racial y étnico que al religioso, sexual o político), en relación a la libertad de expresión en el continente europeo. En este sentido, se sostiene una postura favorable a la limitación de la libertad de expresión en lo referido a las diferentes formas de expresión que alienten el odio, en sus diferentes versiones y con matices según cada caso, como medida para perpetuar un positivo entendimiento del pasado cercano, del presente actual y del futuro incierto.

Published on the British Library's Asian and African Studies Blog, this piece examines the history of illustrated Ottoman Turkish satirical magazines in the British Library's collections. It traces out the origins of the medium, its life in exile, and the powerful return of the art form following the Constitutional Revolution of 1908. Far from a comprehensive look at the periodicals or artists, it acts as an introduction to the publications of this genre in Ottoman Turkish.

We live in a world in which the means of manipulation have gone forth and multiplied, a world of dark ads, psy-ops, hacks, bots, soft facts, fake websites, fake news, fake reports and even manipulated videos. So how do we conduct precision and recall for accurate and factual information?

Un esemplare della “Macaronee” folenghiane impresse nel 1580 (o 1581) da Orazio Gobbi a Venezia porta i segni di un tentativo di riscrittura censurata e mirata soprattutto ai luoghi che potevano offendere il clero. L’operazione rimase tuttavia parziale e non ebbe alcun esito a stampa. Si fornisce l’elenco delle postille censorie e il caso è inserito nella più ampia storia dei rapporti tra la censura e le “Macaronee”, che figurano negli “Indices librorum prohibitorum” fin dall’“Annotatio” di Alessandria (1580) con la formula “donec corrigantur”.

How do political campaigns and literary practice interact? In October 1956, the Sichuanese poet Liu Shahe (1931–2019) wrote a set of short poems entitled “Pieces on Plants” (“Caomupian”). Published in the gazette Stars (Xingxing) in January 1957, Liu’s poetry stirred controversy—first in Sichuan and then, after Mao Zedong himself fingered it as a
“poisonous weed,” at a national level. This paper, by tracing the fates of Liu and of Stars editor Shi Tianhe (1924–), explores the campaigns of 1957 as experienced among the literary circles of Sichuan. It describes the differential power dynamics that existed among the individual, the local, and the central state in the early People’s Republic of China. The
divergent responses of Liu, Shi, and cadres and leaders of the Chinese Communist Party to the unfolding campaigns show that the year 1957 marked a critical transformation in the way Chinese writers perceived the relationship between their own use of language and the social reality of which, and into which, they wrote.

The fourth installment of "Fighting for Peace," by Dr. Dannielle Blumenthal, documenting her research into the events of 2020 in the United States. This is a work in progress. All opinions, as always, are the author's own. The author hereby releases this work into the public domain.

Wanjina and Bradshaw rock paintings were created by highly advanced Pre-Aboriginal races of Rajanes™ and Abrajanes™, long before the ancestors of contemporary Aborigines invaded Australian continent. Aborigines today cannot explain the origin or meaning of these images, as was confirmed by all sincere Aboriginal elders in the past. But the tribes today have the entire taxpayer-funded Aboriginal industry to keep inventing their “sacred traditions” for them.
The last Aboriginal elder who knew the truth about these images was David Banggal Mowaljarlai. David entrusted Vesna with responsibility to properly interpret these Pre-Aboriginal images. She accepted, and is doing so, with help of her group of non-indigenous artists, and in accordance with the information given to her in her communion with the Wanjinas themselves. They are determined to persevere, despite the fact that some violent groups of Aboriginal thugs went into a frenzy, repeatedly vandalising the ModroGorje gallery and its Wanjina and Bradshaw artworks.

What made the Chinese authorities decide to ban hip-hop from the national airwaves in the space of just a few weeks? Before we trace the origins of these events as reported by Chinese and international media, it is first necessary to retrace the history of hip-hop in China, from its birth in the “underground” to its recent commercial breakthrough, in order to better understand the contradictory methods of censorship employed by the Chinese authorities. https://www.cefc.com.hk/issue/china-perspectives-20181-2/

Abstrakt: Štúdia pojednáva o troch rozličných podobách rúhačstva v súčasnej ruskej kultúre, a to v umelecko-občianskom akte (vystúpenie punkového zoskupenia Pussy Riot v Chráme Krista Spasiteľa), v hudobnom divadle (režijná interpretácia opery Richarda Wagnera Tann-häuser) a v divadelnom texte (hry súčasného ruského dramatika Ivana Vyrypajeva). Rozdielne formy blasfémie v konkrétnom umeleckom diele/akte, ako aj následný spoločenský diskurz o nich či spoločensko-politické dopady na hlavných aktérov podávajú obraz o spoločensko-politickej situácii v Rusku, o vzťahu umenia, politiky, moci a cenzúry, aj o etických hodnotách dnešnej spoločnosti. Duchovná kríza spoločnosti a individuálne bohohľadačstvo sú vzájomne prepo-jené fenomény. Umelci ako najcitlivejšia časť spoločnosti reagujú na duchovnú krí-zu a vyprázdnenosť v návrate k starému alebo v hľadaní nového duchovna. Toto hľadanie má rôzne podoby-od tvorivej reinterpretácie náboženskej symboliky vo svojom umeleckom diele (napríklad motívov Starého a Nového zákona) cez osobnú štylizáciu do subjektivizovanej podoby proroka (mesianizmus či štylizácia vo forme duchovného vodcu, guru) až po spochybňovanie a provokáciu formou umeleckých atakov na náboženské, cirkevné a duchovné hodnoty. Pojem blasfémia (bohorúhačstvo, rúhačstvo) 1 a jeho interpretácie sú dnes integ-rálnou a nesmierne aktuálnou témou spoločenskej debaty. Nesúvisí to prirodzene len s liberalizovanou spoločnosťou, ale aj so širším spoločensko-politicko-kultúrnym diskurzom v súvislosti napríklad so stretom kresťanstva a islamu (kauza dánskych karikatúr proroka Mohameda). Rovnako je blasfémia a jej výklad stále živým objek-tom umeleckého skúmania a tvorby. Spochybňovanie vlastných a "cudzích" duchov-ných hodnôt sa prirodzene rodí na prelome tisícročí a na začiatku nového milénia, ktorého prebiehajúce udalosti (terorizmus, migračná kríza), nastavujú európskej ci-vilizácii postavenej na kresťanských hodnotách zrkadlo a nútia ju hľadať spôsoby ich ochrany. V roku 2005 zarezonovala kauza karikatúr proroka Mohameda. Je zaujímavé, že kým české i slovenské slovníky cudzích slov definujú blasfémiu v širšom, nie striktne náboženskom kontexte ako "urážanie, znevažovanie niečoho, čo je hodno veľkej úcty, rúhanie" (porov. napr. Slovník cudzích slov. Bratislava : Slovenské pedagogické nakladateľstvo, 2005), britské a americké slov-níky definujú blasfémiu vždy v súvislosti s náboženskými hodnotami a symbolikou: "the action or offence of speaking sacrilegiously about God or sacred things; profane talk" (Oxford Dictionary); "impious utterance or action concerning God or sacred things" (Random House Dictionary), "the act of insulting or showing contempt or lack of reverence for God; the act of claiming the attributes of deity" (Merriam-Webster Dictionary).

La adúltera penitente, a hagiographic comedia attributed to the collaboration of three noted playwrights active in the mid-seventeenth century (Juan de Matos Fragoso, Jerónimo de Cáncer, and Agustín Moreto), envelopes the motif of the penitent sinner in a series of comic plot twists. This article begins with an examination of the textual cruxes presented by the two extant versions of the comedia, pondering the implications of variants between two textual witnesses—one print and one manuscript—for our understanding of the material history of dramatic compositions at all phases of the creative process, from composition, to staging by professional theater companies, and print publication. In turn, I contemplate the intervention of censors in response to the decidedly profane and sexually charged plot of the comedia. Other points of analysis relate to the information we can glean about the staging of divine intervention in hagiographic dramas and to the conceptions of authorship in the case of dramatic works that took shape as collaborative compositions.