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Books > Social sciences > Sociology, social studies > Social issues > Ethical issues & debates > Censorship
This is the first volume in a new paperback edition of Steve
Nicholson's well-reviewed four-volume analysis of British theatre
censorship from 1900-1968, based on previously undocumented
material in the Lord Chamberlain's Correspondence archives. It
charts the period before 1932, when theatre was seen as a crucial
medium with the power to shape society, determining what people
believed and how they behaved. It uncovers the differing views and
the disputes which occurred among and between the Lord Chamberlain
and his Readers and Advisers, and discusses the extensive pressures
exerted on him by bodies such as the Public Morality Council, the
Church, the monarch, government departments, foreign embassies,
newspapers, powerful individuals and those claiming to represent
national or international opinion. The book explores the portrayal
of a broad range of topics in relation to censorship, including the
First World War, race and inter-racial relationships, contemporary
and historical international conflicts, horror, sexual freedom and
morality, class, the monarchy, and religion. This new edition
includes a contextualising timeline for those readers who are
unfamiliar with the period, and a new preface. DOI:
https://doi.org/10.47788/LXOK1281
This is the second volume in a new paperback edition of Steve
Nicholson's well-reviewed four-volume analysis of British theatre
censorship from 1900-1968, based on previously undocumented
material in the Lord Chamberlain's Correspondence Archives in the
British Library and the Royal Archives at Windsor. It covers the
period from 1933 to 1952, and focuses on theatre censorship during
the period before the outbreak of the Second World War, during the
war itself, and in the immediate post-war period. The focus is
primarily on political and moral censorship. The book documents and
analyses the control exercised by the Lord Chamberlain. It also
reviews the pressures exerted on him and on the theatre by the
government, the monarch, the Church, foreign embassies and by
influential public figures and organisations. This new edition
includes a contextualising timeline for those readers who are
unfamiliar with the period, and a new preface. DOI:
https://doi.org/10.47788/SGLU9228
Jordan Peterson has attracted a high level of attention.
Controversies may bring people into contact with Peterson's work,
but ideas are arguably what keep them there. Focusing on those
ideas, this book explores Peterson's answers to perennial
questions. What is common to all humans, regardless of their
background? Is complete knowledge ever possible? What would
constitute a meaningful life? Why have humans evolved the capacity
for intelligence? Should one treat others as individuals or as
members of a group? Is a single person powerless in the face of
evil? What is the relation between speech, thought, and action? Why
have religious myths and narratives figured so prominently in human
history? Are the hierarchies we find in society good or bad? After
devoting a chapter to each of these questions, Champagne unites the
different strands of Peterson's thinking in a handy summary.
Champagne then spends the remaining third of the book articulating
his main critical concerns. He argues that while building on
tradition is inevitable and indeed desirable, Peterson's
individualist project is hindered by the non-revisable character
and self-sacrificial content of religious belief. This engaging
multidisciplinary study is ideal for those who know little about
Peterson's views, or for those who are familiar but want to see
more clearly how Peterson's views hang together. The debates
spearheaded by Peterson are in full swing, so Myth, Meaning, and
Antifragile Individualism should become a reference point for any
serious engagement with Peterson's ideas.
From the earliest days of public outrage over ""indecent""
nickelodeon shows, Americans have worried about the power of the
movies. The eleven essays in this book examine nearly a century of
struggle over cinematic representations of sex, crime, violence,
religion, race, and ethnicity, revealing that the effort to
regulate the screen has reflected deep social and cultural schisms.
In addition to the editor, contributors include Daniel Czitrom,
Marybeth Hamilton, Garth Jowett, Charles Lyons, Richard Maltby,
Charles Musser, Alison M. Parker, Charlene Regester, Ruth Vasey,
and Stephen Vaughn. Together, they make it clear that censoring the
movies is more than just a reflex against ""indecency,"" however
defined. Whether censorship protects the vulnerable or suppresses
the creative, it is part of a broader culture war that breaks out
recurrently as Americans try to come to terms with the market, the
state, and the plural society in which they live.
Fight for Democracy is a penetrating and critical scrutiny of the ANC’s treatment of the print media since the inception of democracy in 1994. In this book, Glenda Daniels does not hide behind a veil of detachment, but instead makes a passionate argument for the view that newspapers and journalists play a significant role in the deepening of democratic principles.
Daniels’ study goes to the heart of current debates and asks why the ANC, given its stated commitment to the democratic objectives of the Constitution, is so ambivalent about the freedom of the media. What would be the consequences of a revised media policy on democracy in South Africa, and at what cost to freedom of expression?
Daniels examines the pattern of paranoia that has crept into public discourse about the media and the ANC, and the conflictual relationship between the two. She argues that the ANC’s understanding of democracy, transformation and development entails (amongst other things) the rallying of the nation behind its leadership as the premier liberation movement and democratically elected representative of the majority while morally coercing black journalists and professionals into loyalty. Daniels challenges the dominant ANC view that journalists are against transformation and that they take instruction from the owners of the media houses; in short that they are ‘enemies of the people’.
Fight for Democracy is a timely publication in the context of the impending clampdown on media freedom and the twin threats of the Protection of State Information Bill (Secrecy Bill) and the Media Appeals Tribunal, both of which signify closures in South Africa’s democracy.
Written in a polemical style, this is a work of activism that will be essential reading for the informed public as well as those working in Journalism and Media Studies. It should interest all democrats, members of political organisations as well as academics and Right2Know activists, locally and internationally.
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With his uncanny ability to spark life in the past, Robert Darnton
re-creates three historical worlds in which censorship shaped
literary expression in distinctive ways. In eighteenth-century
France, censors, authors, and booksellers collaborated in making
literature by navigating the intricate culture of royal privilege.
Even as the king's censors outlawed works by Voltaire, Rousseau,
and other celebrated Enlightenment writers, the head censor himself
incubated Diderot's great Encyclopedie by hiding the banned
project's papers in his Paris townhouse. Relationships at court
trumped principle in the Old Regime. Shaken by the Sepoy uprising
in 1857, the British Raj undertook a vast surveillance of every
aspect of Indian life, including its literary output. Years later
the outrage stirred by the British partition of Bengal led the Raj
to put this knowledge to use. Seeking to suppress Indian
publications that it deemed seditious, the British held hearings in
which literary criticism led to prison sentences. Their efforts to
meld imperial power and liberal principle fed a growing Indian
opposition. In Communist East Germany, censorship was a component
of the party program to engineer society. Behind the unmarked
office doors of Ninety Clara-Zetkin Street in East Berlin, censors
developed annual plans for literature in negotiation with high
party officials and prominent writers. A system so pervasive that
it lodged inside the authors' heads as self-censorship, it left
visible scars in the nation's literature. By rooting censorship in
the particulars of history, Darnton's revealing study enables us to
think more clearly about efforts to control expression past and
present.
This concise history of Islamic censorship examines the turbulent
question of freedom of expression in Islamic societies. The book
ranges from the ancient Arabians, to Muhammad's charter offering
freedom of expression to Muslims, to modern history, when control
of communication shifted to the secularists. Trevor Mostyn's
incisive book culminates in an analysis of the current political
direction of censorship, and the control of freedom of
expression.
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