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The influence of censorship on the intellectual and political life in the Habsburg Monarchy during the period under scrutiny can hardly be overstated. This study examines the institutional foundations, operating principles, and results of the censorial activity through analysis of the prohibition lists and examination of the censors themselves. The effects of censorship on the authors, publishers, and booksellers of the time are illustrated with the help of contemporary documents. Numerous case studies focus on individual works forbidden by the censors: Romanticists like Ludwig Tieck and E. T. A. Hoffmann and even authors of classic German literature like Wieland, Goethe, and Schiller saw their works slashed, as did writers of popular French and English novels and plays. An annex documents the most important regulations along with a selection of censorial reports.

Censorship.

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Long description: Working with the concept of censorship in Translation Studies is working with a (political) term that does not bring order to our field of study. Translation inseparable from various constraints offers the theoretical possibility of being equated with censorship. How can translation, as a process and a product that essentially functions as a complex network of exclusions and inclusions, be studied distinctively in relation to censorship – i. e. in relation to a similar complex network? What is the added value of ascribing different names to these two complex networks of exclusion and inclusion? Beyond external regulations and text-bound clues, agony and irritation are to be sought. These combined with a state of forlornness make the violence of censorship differentiable as such. Biographical note: Zahra Samareh studied Translation and Interpreting in Iran and carried out her dissertation in the field of Translation Studies at Johannes Gutenberg University of Mainz in Germany. In addition to censorship, her main research subjects include taboos and violence in relation to interlingual and intercultural communication. She has worked as a lecturer at Johannes Gutenberg University of Mainz/Germersheim and is a translator for German, English and Persian.

Censorship.

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Soviet society has always been characterised by a marked institutional censorship which, in the face of the power of the written word, has set in motion a series of highly repressive institutions. However, censorship does not necessarily exert its power through forms of coercion; there are also approaches that are implemented through a complex network of cultural institutions that can "produce" society, expunging concepts and attitudes that are a threat to the system and at the same time masterminding a series of organisms designed to forge orthodox behaviour and mindframes, to the extent that the role of the external censor often becomes almost superfluous, being replaced by the "censor of the soul". This book seeks to bring to the fore this second type of censorship, albeit without neglecting the complex repressive machinery set in motion by Soviet power. Press Review: Il Giornale, L'INTERVISTA - MARIA ZALAMBANI: «Così Breznev censurò persino Sartre» a cura di Giuseppe Ghini, 19/04/2010.

Censorship.

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"Art is continuously subjected to insidious forms of censorship. This may be by the Church to guard against moral degeneration, by the State to promote a specific political agenda or by the art market, to elevate one artist above another. Now, and in the last century, artwork that touches on ethnic, religious, sexual, national or institutional sensitivities is liable to be destroyed or hidden away, ignored or side-lined. Drawing from new research into historical and contemporary case-studies, Censoring Art: Silencing the Artwork provides diverse ways of understanding the purpose and mechanisms of art censorship across distinct geopolitical and cultural contexts from Iran, Japan, and Uzbekistan to Britain, Ireland, Canada, Macedonia, Soviet Russia, and Cyprus. Its contributions uncover the impact of this silent control of the production and exhibition of art and consider how censorship has affected art practice and public perceptions of artworks."--

Art --- Censorship.

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The first edition of Purity in Print documented book censorship in America from the 1870s to the 1930s, embedding it within the larger social and cultural history of the time. In this second edition, Boyer adds two new chapters carrying his history forward to the beginning of the twenty-first century. Praise for the first edition of Purity in Print: "Paul Boyer is one of America's most distinguished cultural historians. . . . Taking the censors of an earlier day seriously and getting beyond the caricature of Anthony Comstock, Purity in Print remains one of the most important books on censorship in the United States."-Carl Kaestle, Brown University, co-editor of The History of the Book in America, Volume IV"Clear, informative, and very readable. . . . An excellent and much-needed book."-Publishers Weekly"Thoroughly documented and richly illustrated. . . . Boyer has traced the confusions, the ironies, and the sometimes humorous and sometimes tragic effects of American efforts to cope with the question of what is permissible and what is taboo in the public morality and in the printed word."-George K. Smart, American Quarterly"Boyer has carefully read the sources, interviewed surviving participants in the censorship battles, and has produced an eminently readable and judicious account."-Stow Persons, American Historical Review"Highly readable."-Baltimore Sun.

Obscenity (Law) --- Censorship --- History.