Censorship (History)

This chapter discusses the problematic situation of the Polish canon of children’s literature from a historical and educational perspective. It identifies three important and violent turning points in the history of Polish culture: the regaining of independence in 1918, the proclamation of the People’s Republic of Poland in 1945 and the end of communism in 1989. By comparing three Polish canons – from the interwar period, from the communist time and the present – the first part of the chapter highlights how these canons affected the development of the Polish literary system. The second part emphasizes the changes in Polish school education after 1999 which raised questions about the attitude towards the historical past and the future on the one hand, and the aims of canonical children’s literature on the other.

This thesis aims to examine pre-print censorship in occupied Istanbul by analyzing the signs of censorship and the censored content in the Tasvîr-i Efkâr newspaper throughout the research period (November 1918-1922). Consisting of two main components, the first part approached the mechanism by questioning how was established, its workplace, who is involved, its guidelines, and alterations. The second component is an attempt to understand the censorship regime of the period with the analysis of Tasvîr-i Efkâr. Hence, it endeavors to evaluate the frequently seen censored content by analyzing them day-by-day and transforming its intensity into a systematical data. Thus, it attempted to demonstrate the observed restrictions not a constant policy against the Anatolian Movement, but a multi-component system having motivations, fluctuations in its intensity, alterations in the censored content, and the policies of governments. Therefore, the second chapter attempted to study the mechanism on the Istanbul press through two sub-sections; the censorship of the Ottoman government and the Interallied. The third chapter examines the newspaper in four-parts (1) the transition period, (2) the peak period of censorship, (3) of Congresses, and (4) the term between the Ali Rıza Paşa’s government and de jure occupation of Istanbul. Lastly, it questions why Tevhîd-i Efkâr was able to publish news about Anatolia enthusiastically despite the Interallied censorship and what were the censored contents between April 1921-August 1922. The three sub-chapters formed with the censorship peak points to seek the causes of censorship intensity, and the final writing examined how pre-print censorship was terminated.

Özet

Bu tez Tasvîr-i Efkâr gazetesinde sansürün işaretlerini ve içeriğini araştırma dönemi (Kasım 1918-1922) boyunca irdeleyerek işgal altındaki İstanbul’da kablet-tab (basım öncesi) sansürü incelemeyi amaçlamıştır. Çalışmanın ilk bölümü sansür mekanizmasının nasıl kurulduğunu, çalışma yerini, kimlerin mekanizmada rol aldığını, talimatnameleri ve ondaki değişimleri sorgular. İkinci bileşeni dönemin değişen sansür politikasını Tasvîr-i  Efkâr’ı inceleyerek anlama çabasıdır. Bunun için gazetedeki sansür yoğunluğunu sistemsel bir veriye çevirmiş ve sansürlenen içeriği gün-be-gün inceleyerek sıklıkla görülen içeriği değerlendirmeye çalışmıştır. Böylelikle, görülen kısıtlamaların sadece Anadolu Hareketine yönelen sabit bir politika değil, kendi içinde motivasyona, yoğunluğunda dalgalanmalara, sansürlenen içerikte değişimlere, sansür uygulamasını hayata geçiren hükümetlerin politikalarına şahit olan çok bileşenli bir sistem olduğunu göstermeye çalışmıştır. Bu amaçla tezin ikinci bölümü Istanbul basını üzerindeki mekanizmayı iki alt bölümle araştırmaya çalışmıştır; Osmanlı hükümeti ve Beyne’l-mütelifin (İtilaf devletleri) sansürü. Üçüncü bölümü ise gazeteyi dört bölümde muayene eder: (1) geçiş dönemi, (2) sansürün en yoğun olduğu dönem, (3) Kongreler dönemi, (4) Ali Rıza Paşa hükümeti ve İstanbul’un meşru işgaline kadar olan devre. Son olarak Beyne’l-mütelifin sansürüne rağmen Tevhîd-i Efkâr’ın neden Anadoluyu destekleyici haberler yayımlayabildiğini ve Nisan 1921-Ağustos 1922 arasında nelerin sansürlendiğini sorgular. Üç alt bölüm sansür yoğunluğundaki nedenleri araştırmak için sansürün tepe noktaları ile oluşturulmuş ve son yazı kable’t-tab sansürün nasıl kaldırıldığını sorgulamıştır.

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”.

Um caso inusitado de censura foi relembrado pelo jornalista-escritor Artur Portela. A história conta-se em poucas palavras: o seu livro de estreia, Feira das vaidades, publicado pela Arcádia em 1959, tinha o mesmo título do romance do romântico inglês William Thackeray, reeditado pela Romano Torres nos idos de 1953... Tendo o livro de Portela sido proibido de circular pela censura de Salazar, foi apreendido pela polícia política, já em 1960. Sucede que certos agentes que foram às livrarias se enganaram e começaram a confiscar exemplares do livro publicado pela Romano Torres desde os anos 1940, tendo criado uma irónica confusão.

Texto com livre acesso em: http://fcsh.unl.pt/chc/romanotorres/?p=13909

Nb: na imagem, capa do livro Feira das vaidades, Lisboa, Atlântida, 1959.

Hoje pode parecer estranho mas, em tempos de ditadura, até as histórias infantis eram censuradas. Nem Pinóquio e Sindbad (ou Sinbad, como também era corrente grafar-se em Portugal) se safaram. Neste breve texto revelam-se dois casos guardados no arquivo histórico da Romano Torres e que se passaram com esta editora.

Texto com livre acesso em: http://fcsh.unl.pt/chc/romanotorres/?p=13856

Nb: na imagem, capa do livro Viagens maravilhosas de Sindbad o marinheiro, versão de Leyguarda Ferreira (Lisboa, Romano Torres, 1949).

Pourquoi le silence officiel vis-à-vis du lien entre pollution de l'air et immunodéficience des infectés par le Covid19 ? L’échec des gouvernements d’il y a cent ans face à la grippe espagnole nous montre le danger de se concentrer seulement dans la « guerre contre le coronavirus ». Ne pas voir la pollution comme le véritable « ennemi à combattre » sera une occasion tragiquement manquée.

This paper analyses the genres contained in the first Serbian newspaper "Srbske povsednevne novini", which was founded and printed in Vienna at the beginning of 1791. In the context of the history of media, it is important to show how the complex historical and social changes were reflected in the cultural sphere.
In view of the fact that in the Serbian literature of the I 8th century there were still no clearly defined characteristics of particular genres, and that certain genres, literary and non-literary ones alike, were in the process of coming into being, this text, based on an analysis of all the preserved issues of the first Serbian newspaper, is more of an overview and typology of genres than an attempt at problematising and defining those genres. The dominant genres in "Srbske povsednevne novini" were the news and report, and other types, which provided to the public not only information but didactic lessons as well, included feuilleton about well-known contemporaries and historical figures and events, satirical narratives, addresses, as well as parliamentary debates (those from the British Parliament were published almost on a regular basis).
On the basis of the facts accompanying the launching, publication and the cessation of the first Serbian newspaper, the genre formation of the newspaper texts printed in "Srbske povsednevne novini" is reviewed in the context of the spirit of the epoch. Political, religious, national, economic and cultural circumstances, constituting the thematic imperative of all journalism, shaped in the form of basic journalistic genres, represented the foundation of informativeness, engagement through subtly featured national topics and educational purposes as the main aims of the first Serbian newspaper.The strong censorship policy, informational imperatives and strongly emphasized didac­ticism are the major factors that affected genre development in "Srbske povsednevne novini".

The present article analyzes cardinal Agostino Galamini 's library in relation to his activity as an Inquisitor. Examining the books of the Cardinal, who was bom in Brisighella in 1552 and entered the Congregation of the Holy Office in 1611, is fundamental to understand the inspiring motives of his politica! and religious activity. Galamini's library was an instrument which supported his activity as an ecclesiastical officer. The large number of theological and scientific books in his possession denotes his knowledge of the doctrines and authority, therefore explaining his eminent role within the Holy Office.

In the past ten years, universities and colleges have been tearing down statues of historical villains at an alarming rate: the Confederate soldier at Ole Miss, Silent Sam at University of North Carolina-Chapel Hill, Cecil Rhodes at the University of Cape Town South Africa and a slave-owning founder at Florida State University, to name a few. Most of these statue removals are adjudged by contemporary moral standards as justified in virtue of the racist beliefs held by the historical figures. Also at Florida State, a statue has been erected (perhaps to replace the slave-owning founder) of an unlikely figure — namely, the former university president: Eric A. Barron, current president of Penn State University. He’s an unlikely figure to honor with a life-sized bronze statue because of several black marks in his past.

Este artículo se propone examinar el lugar que ocupó la producción cinematográfica de carácter erótico en la industria cultural de Argentina y Brasil a partir de  1960 y durante las dos décadas siguientes. En ambos países el género tuvo un gran desarrollo representando una porción significativa de la producción local e importantes éxitos de público. La expansión del cine erótico durante la década de 1970 tuvo una dimensión transnacional que se volvió una marca visible en las principales industrias cinematográficas y que se desarrolló centralmente en contextos políticos democráticos, tanto en los Estados Unidos como en Europa.Sin embargo, en los países sudamericanos que aquí se analizan, este fenómeno tuvo lugar en el contexto de gobiernos militares. Por tal motivo, las preguntas iniciales de este trabajo son: ¿por qué durante la vigencia de regímenes políticos autoritarios, fuertemente represivos, con discursos tradicionalistas y moralistas respecto del género y la sexualidad, se realizaron numerosas películas con contenido erótico? y ¿cuál es la relación entre dictaduras, mercancías eróticas y proyecto cultural?Se parte de la idea de que los regímenes militares que tendieron a dominar a ambos países en esta etapa ejercieron un control férreo y permanente sobre las producciones intelectuales, culturales y artísticas. En el ámbito de la cinematografía, particularmente, se practicó la censura por medio de la imposición de cortes de escenas y, en algunos casos, hasta se produjo la prohibición total de las obras. Sin embargo, al mismo tiempo, desde el Estado se contribuyó con el financiamiento de estos proyectos cinematográficos y se favoreció su desarrollo con cuotas de producción y/o exhibición en el mercado local. También se habilitaron mecanismos para eludir o negociar las normativas reguladoras en términos de contenidos, y se adecuaron las clasificaciones por franja etaria, entre otras iniciativas. De modo tal que, no solo se toleró sino que se estimuló la presencia de películas de carácter erótico en el mercado cinematográfico y se utilizó a este entretenimiento popular como una forma de aliviar las tensiones provocadas por las fuertes restricciones a la libertad.

https://www.cambridge.org/core/journals/journal-of-institutional-economics/article/digital-protectionism-and-national-planning-in-the-age-of-the-internet-the-case-of-iran/C740355C5661D17B64A2C1C15123C2BA
Abstract:
What do regulations in the developing world tell us about the internet economy? In this paper, we argue that the ways in which developing nation states adjust to and legislate the internet depends upon whether they possess a national planning strategy for international data traffic. Focusing our attention on the global trade of intangible goods in Iran, we aim to demonstrate that digital protectionism causes, to varying degrees, suppression, censorship, and the violation of freedom of speech and other civil rights on the internet. Our results show that digital protectionism generated an emergence of domestic start-ups, with companies, such as Facenema and Soroush, operating in the Iranian market in the absence of global rivals such as Facebook and WhatsApp. Yet, digital protectionism and sanction-induced barriers have triggered social problems, besides the emergence of parastatals, securing the economy to an inefficient social and economic path towards digital development.

El presente artículo señala el origen y el desarrollo del 'rorikon manga' como un género editorial propio de Japón que, a lo largo de la década de 1980, dio paso a otro tipo de productos editoriales que representaban de manera sexual a niñas y adolescentes de carne y hueso. Además, discute los procesos judiciales que ha enfrentado la industria de historietas japonesas para adultos, así como las decisiones (respecto a la censura) que se han tomado a partir de dichos veredictos. La propuesta central de este trabajo es que mientras se considere al 'rorikon manga' “pornografía infantil”, las estrategias de internacionalización emprendidas por el gobierno japonés terminarán fracasando.

Depuis la diffusion d'un documentaire qui le présente comme un prédateur sexuel, plusieurs radios ont décidé de bannir la musique de Michael Jackson. Plus près de nous, le nom du cinéaste Claude Jutra a été retiré de l'espace public lorsque son passé pédophile a été dévoilé. Plusieurs statues et monuments, rendant hommage à des personnages controversés de notre passé, sont aussi vandalisés partout au pays. Faut-il effacer ces artistes et personnages historiques de notre patrimoine?