The theatre and drama of the late Georgian period have been the focus of a number of recent studies, but such work has tended to ignore its social and political contexts. Theatric Revolution redresses the balance by considering the role of stage censorship during the Romantic period, an era otherwise associated with the freedom of expression. Looking beyond the Royal theatres at Covent Garden and Drury Lane which have dominated most recent accounts of the period, this book examines the day-to-day workings of the Lord Chamberlain's Examiner of Plays and shows that radicalized groups of individuals continuously sought ways to evade the suppression of both playhouses and dramatic texts.
Incorporating a wealth of new research, David Worrall reveals the centrality of theatre within busy networks of print culture, politics of all casts, elite and popular cultures, and metropolitan and provincial audiences. Ranging from the drawing room of Queen Caroline's private theatrical to the song-and-supper dens of Soho and radical free and easies, Theatric Revolution deals with the complex vitality of Romantic theatrical culture, and its intense politicization at all levels. This fascinating new study will be of great value to cultural historians, as well as to literary and theatre scholars.

Censorship and Cultural Sensibility The Regulation of Language in Tudor-Stuart England Debora Shuger "May be the year's most erudite book. . . . A major scholarly achievement, since it bears on the work so many now do."--"Studies in English Literature" "Scrupulously researched, carefully written, argued, and developed, this is one of those books for which it is hard to imagine a mortal author."--Patrick Cheney, "Studies in English Literature" "This is a major work. Shuger deals with the rules of appropriate language use in early modern Europe, making an argument about censorship in sixteenth- and early seventeenth-century England that is original, surprising, and, in her thorough presentation, entirely plausible."--Katharine Eisaman Maus, University of Virginia "This magisterial work should be considered a basic text of analysts for Tudor-Stuart linguists, historians, and legal scholars."--"History: Review of New Books" "An extremely impressive book, brimming with ideas and erudition, and putting forward an innovative and challenging interpretation which should be of great interest to lawyers as well as literary and social historians."--"Journal of Law and Society" In this study of the reciprocities binding religion, politics, law, and literature, Debora Shuger offers a profoundly new history of early modern English censorship, one that bears centrally on issues still current: the rhetoric of ideological extremism, the use of defamation to ruin political opponents, the grounding of law in theological ethics, and the terrible fragility of public spheres. Starting from the question of why no one prior to the mid-1640s argued for free speech or a free press per se, "Censorship and Cultural Sensibility" surveys the texts against which Tudor-Stuart censorship aimed its biggest guns, which turned out not to be principled dissent but libels, conspiracy fantasies, and hate speech. The book explores the laws that attempted to suppress such material, the cultural values that underwrote this regulation, and, finally, the very different framework of assumptions whose gradual adoption rendered censorship illegitimate. Virtually all substantive law on language concerned defamation, regulating what one could say about other people. Hence Tudor-Stuart laws extended protection only to the person hurt by another's words, never to their speaker. In treating transgressive language as akin to battery, English law differed fundamentally from papal censorship, which construed its target as heresy. There were thus two models of censorship operative in the early modern period, both premised on religious norms, but one concerned primarily with false accusation and libel, the other with false belief and immorality. Shuger investigates the first of these models--the dominant English one--tracing its complex origins in the Roman law of "iniuria" through medieval theological ethics and Continental jurisprudence to its continuities and discontinuities with current U.S. law. In so doing, she enables her reader to grasp how in certain contexts censorship could be understood as safeguarding both charitable community and personal dignitary rights. Debora Shuger is Professor of English at the University of California, Los Angeles. She is the author of "Political Theologies in Shakespeare's England" and other books. 2006 360 pages 6 x 9 ISBN 978-0-8122-3917-1 Cloth $59.95s 39.00 ISBN 978-0-8122-0334-9 Ebook $59.95s 39.00 World Rights History Short copy: "This is a major work. Shuger deals with the rules of appropriate language use in early modern Europe, making an argument about censorship in sixteenth- and early seventeenth-century England that is original, surprising, and, in her thorough presentation, entirely plausible."--Katharine Eisaman Maus, University of Virginia

If you're an actress or a coed just trying to do a man-size job, a yes-man who turns a deaf ear to some sob sister, an heiress aboard her yacht, or a bookworm enjoying a boy's night out, Diane Ravitch's internationally acclaimed The Language Police has bad news for you: Erase those words from your vocabulary!
Textbook publishers and state education agencies have sought to root out racist, sexist, and elitist language in classroom and library materials. But according to Diane Ravitch, a leading historian of education, what began with the best of intentions has veered toward bizarre extremes. At a time when we celebrate and encourage diversity, young readers are fed bowdlerized texts, devoid of the references that give these works their meaning and vitality. With forceful arguments and sensible solutions for rescuing American education from the pressure groups that have made classrooms bland and uninspiring, The Language Police" offers a powerful corrective to a cultural scandal.

Since August 2020, the intimidation of witnesses and journalists has surged in Sri Lanka. Twelve Cries from Home navigates the memories and stories of twelve war survivors, mostly women and relatives of the disappeared, who wished to have their stories retold so that a permanent record might be made, and so that those outside the country might understand their experiences. The outcome of a journey across the island in late 2018 by writer and Professor of Literature Minoli Salgado, who was revisiting her ancestral home, Twelve Cries from Home is deeply-layered and localised work of travelling witness. It returns to the concept of home as a place of belonging and security, which is a lost ideal for most, and uses a Sri Lankan measure of distance - the call, or hoowa - to ask how we might attend to stories that are difficult to tell and to hear. Exploring the bitter complexity of war by presenting stories from four regions of Sri Lanka, it reveals the complex network of relationships between the agents of conflict and their victims, as well as the blurred boundary between victims and perpetrators, the role of informers and the process of ethical repair after traumatic experience. Twelve Cries from Home offers a rare glimpse into a country subject to enforced self-censorship, allowing us to take stock of social and political developments in Sri Lanka and what has and has not been achieved in light of the transitional justice mechanisms promised to the UN.

"Defacement" asks what happens when something precious is despoiled. It begins with the notion that such activity is attractive in its very repulsion, and that it creates something sacred even in the most secular of societies and circumstances. In specifying the human face as the ideal type for thinking through such violation, this book raises the issue of secrecy as the depth that seems to surface with the tearing of surface. This surfacing is made all the more subtle and ingenious, not to mention everyday, by the deliberately partial exposures involved in "the public secret"--defined as what is generally known but, for one reason or another, cannot easily be articulated.
Arguing that this sort of knowledge ("knowing what not to know") is the most powerful form of social knowledge, Taussig works with ideas and motifs from Nietzsche, William Burroughs, Elias Canetti, Georges Bataille, and the ethnography of unmasking in so-called primitive societies in order to extend his earlier work on mimesis and transgression. Underlying his concern with defacement and the public secret is the search for a mode of truth telling that unmasks, but only to reenchant, thereby underlining Walter Benjamin's notion that "truth is not a matter of exposure of the secret, but a revelation that does justice to it."

Traditionally, our society has broadly agreed that the "good university" should teach the intellectual skills students need to become citizens who are intelligently critical of their own beliefs and of the narratives presented politicians, society, the media, and, indeed, universities themselves. The freedom to debate is essential to the development of critical thought, but on university campuses today free speech is increasingly restricted for fear of causing "offense." In this daring and intrepid book, which was originally withdrawn from publication by another publisher but is now proudly presented by Academica Press, the famous intelligence researcher James R. Flynn presents the underlying factors that have circumscribed the range of ideas now tolerated in our institutions of learning. Flynn studiously examines how universities effectively censor teaching, how social and political activism effectively censors its opponents, and how academics censor themselves and each other. A Book Too Risky To Publish concludes that few universities are now living up to their original mission to promote free inquiry and unfettered critical thought. In an age marred by fake news and ever increasing social and political polarization, this book makes an impassioned argument for a return to critical thought in our institutions of higher education.

Two defense experts explore the collision of war, politics, and social media, where the most important battles are now only a click away. Through the weaponization of social media, the internet is changing war and politics, just as war and politics are changing the internet. Terrorists livestream their attacks, "Twitter wars" produce real-world casualties, and viral misinformation alters not just the result of battles, but the very fate of nations. The result is that war, tech, and politics have blurred into a new kind of battlespace that plays out on our smartphones. P. W. Singer and Emerson Brooking tackle the mind-bending questions that arise when war goes online and the online world goes to war. They explore how ISIS copies the Instagram tactics of Taylor Swift, a former World of Warcraft addict foils war crimes thousands of miles away, internet trolls shape elections, and China uses a smartphone app to police the thoughts of 1.4 billion citizens. What can be kept secret in a world of networks? Does social media expose the truth or bury it? And what role do ordinary people now play in international conflicts? Delving into the web's darkest corners, we meet the unexpected warriors of social media, such as the rapper turned jihadist PR czar and the Russian hipsters who wage unceasing infowars against the West. Finally, looking to the crucial years ahead, LikeWar outlines a radical new paradigm for understanding and defending against the unprecedented threats of our networked world.

Free speech has been a historically volatile issue in higher education. In recent years, however, there has been a surge of progressive censorship on campus. This wave of censorship has been characterized by the explosive growth of such policies as "trigger warnings" for course materials; "safe spaces" where students are protected from speech they consider harmful or distressing; "micro-aggression" policies that often strongly discourage the use of words that might offend sensitive individuals; new "bias-reporting" programs that consist of different degrees of campus surveillance; the "dis-invitation" of a growing list of speakers, including many in the mainstream of American politics and values; and the prominent "shouting down" or disruption of speakers deemed inconsistent with progressive ideology. Not to be outdone, external forces on the right are now engaging in social media bullying of speakers and teachers whose views upset them. The essays in this collection, written by prominent philosophers, political scientists, sociologists, and legal scholars, examine the issues at the forefront of the crisis of free speech in higher education. The contributors address the broader historical, cultural, legal, and normative contexts of the current crisis, and take care to analyze the role of "due process" in protecting academic freedom and individuals accused of misconduct. Additionally, the volume is unique in that it advances practical remedies to campus censorship, as the editors and many of the contributors have participated in movements to remedy limitations on free speech and open inquiry. The Value and Limits of Academic Speech will educate academic professionals and informed citizens about the phenomenon of progressive censorship and its implications for higher education and the republic.

Professor Fiss examines contemporary free-speech issues in the context of the collision of liberal ideas of equality and freedom with modern social structures and speculates on what role the state might play in furthering robust public debate.

Free Speech on America's K-12 and College Campuses: Legal Cases from Barnette to Blaine covers the history of legal cases involving free speech issues on K-12 and college campuses, mostly during the fifty-year period from 1965 through 2015. While this book deals mostly with high school and college newspapers, it also covers religious issues (school prayer, distribution of religious materials, and use of school facilities for voluntary Bible study), speech codes, free speech zones, self-censorship due to political correctness, hate speech, threats of disruption and violence, and off-campus speech, including social media. Randall W. Bobbitt provides a representative sampling of cases spread across the five decades and across the subject areas listed above. Recommended for scholars of communication, education, political science, and legal studies.

How digital media are transforming Arab culture, literature, and politics In recent years, Arab activists have confronted authoritarian regimes both on the street and online, leaking videos and exposing atrocities, and demanding political rights. Tarek El-Ariss situates these critiques of power within a pervasive culture of scandal and leaks and shows how cultural production and political change in the contemporary Arab world are enabled by digital technology yet emerge from traditional cultural models. Focusing on a new generation of activists and authors from Egypt and the Arabian Peninsula, El-Ariss connects WikiLeaks to The Arabian Nights, Twitter to mystical revelation, cyberattacks to pre-Islamic tribal raids, and digital activism to the affective scene-making of Arab popular culture. He shifts the epistemological and historical frameworks from the postcolonial condition to the digital condition and shows how new media challenge the novel as the traditional vehicle for political consciousness and intellectual debate. Theorizing the rise of "the leaking subject" who reveals, contests, and writes through chaotic yet highly political means, El-Ariss investigates the digital consciousness, virality, and affective forms of knowledge that jolt and inform the public and that draw readers in to the unfolding fiction of scandal. Leaks, Hacks, and Scandals maps the changing landscape of Arab modernity, or Nahda, in the digital age and traces how concepts such as the nation, community, power, the intellectual, the author, and the novel are hacked and recoded through new modes of confrontation, circulation, and dissent.

Crimes against History takes a global approach to the extreme forms of censorship to which history and historians have been subjected through the ages. The book opens by considering the varieties of censorship, from suppression, dismissal, and defamation to persecution and murder. Part I, "Kill switch," tells the tragic story of how the censorship of history has sometimes turned into deadly crimes against history, with chapters looking at topics such as historians and archivists being killed for political reasons, attacks by political leaders on historians, iconoclastic breaks with the past, and fake news. Part II, "Fragile freedom," reverses the perspective and examines how the censorship of history has backfired. Chapters consider the subversive power of historical analogies and resistance to the censorship of history. The book also contains a "Provisional memorial for history producers killed for political reasons (from ancient times until 2017)". It is a double tribute: to the history producers who were killed and to those who mustered the courage to resist the blows of censorship.

In Triggered, Donald Trump, Jr. will expose all the tricks that the left uses to smear conservatives and push them out of the public square, from online "shadow banning" to fake accusations of "hate speech." No topic is spared from political correctness. This is the book that the leftist elites don't want you to read! Trump, Jr. will write about the importance of fighting back and standing up for what you believe in. From his childhood summers in Communist Czechoslovakia that began his political thought process, to working on construction sites with his father, to the major achievements of President Trump's administration, Donald Trump, Jr. spares no details and delivers a book that focuses on success and perseverance, and proves offense is the best defense.

The urge to censor is as old as the urge to speak. From the first Chinese emperor's wholesale elimination of books to the Vatican's suppression of pornography from its own collection, and on to the attack on Charlie Hebdo and the advent of Internet troll armies, words, images and ideas have always been hunted down by those trying to suppress them. In this compelling account, Eric Berkowitz reveals why and how humanity has, from the beginning, sought to silence itself. Ranging from the absurd - such as Henry VIII's decree of death for anyone who 'imagined' his demise - to claims by American slave owners that abolitionist literature should be supressed because it hurt their feelings, Berkowitz takes the reader on an unruly ride through history, highlighting the use of censorship to reinforce class, race and gender privilege and guard against offence. Elucidating phrases like 'fake news' and 'hate speech', Dangerous Ideas exposes the dangers of erasing history, how censorship has shaped our modern society and what forms it is taking today - and to what disturbing effects.

In this first full-length study on the topic, Matthew Hunt-with access to rare and controversial films-provides a history of film censorship in Thailand. Hunt outlines its beginnings in the country, when films were censored by the police for political and ideological reasons, rather than on the basis of taste and decency, to the present when issues such as politics, religion, and sex are the main reasons films are banned. He also examines how Thai filmmakers approach culturally sensitive subjects and how their films have been censored as a result. Hunt presents interviews with ten leading directors, including conversations with Thai New Wave veterans Apichatpong Weerasethakul and Pen-ek Ratanaruang. In these interviews, the directors discuss their most controversial films, which range from mainstream studio movies to independent arthouse releases, and explain their responses to censorship.

Focusing on the attempted and successful banning of young adult fiction from media centers and classrooms, this book treats the legal and experiential history of censorship in libraries and public schools. It also looks closely at young adult novels from the early 1970s until today that have been the subject of book challenges. The authors discussed include Judy Blume, S.E. Hinton, Chris Crutcher, Jean Craighead George, M.E. Kerr, Mildred Taylor, and Sherman Alexie. This book offers parents, teachers and librarians arguments against censorship based on literary merit and societal benefit.

An intimate portrayal of the stumbling giant that is Facebook by two New York Times journalists.

In November 2018, the New York Times published a bombshell in-depth investigation that exposed, with disturbing insider detail, how leadership decisions at Facebook enabled, and then tried to cover up, massive privacy breaches and Russian meddling in the 2016 election. The story quickly shot to the top of the paper's most emailed list. It would earn the team of Times reporters a prestigious Loeb award, the George Polk award, and a spot on the Pulitzer short list. But it only skimmed the surface.

The investigation's lead reporters, Sheera Frenkel and Cecilia Kang, spent eighteen months piecing together the story of how one of the most powerful companies in the world tried to bury a damning truth-that Facebook has become a conduit for disinformation, hate speech, and political propaganda. The unrivalled sources of these two veteran journalists led them to perhaps the most recognizable names in the tech industry: Mark Zuckerberg and Sheryl Sandberg. Both have long existed as archetypes of uniquely 21st century executives-he, the tech "boy genius" turned billionaire, she, the ultimate woman in business, an inspiration to millions through her books and speeches.

An Ugly Truth is the definitive story of Facebook's fall from grace, following the embattled company from 2011, when its power and positive influence was undisputed, to 2020, when it will face its biggest test yet-the US presidential election. What are the ultimate ramifications when a few individuals are in charge of the technology used by half the world's population? Can they control the technology they've unleashed into the world? And if not, can we, as individuals and as a society, control them?

Theatre has always been subject to a wide range of social, political, moral, and doctrinal controls, with authorities and social groups imposing constraints on scripts, venues, staging, acting, and reception. Focusing on a range of countries and political regimes, this book examines the many forms that theatre censorship has taken in the 20th century and continues to take in the 21st, arguing that it remains a live issue in the contemporary world. The book re-examines assumptions about prohibition and state control, and offers a more complex reading of theatre censorship as a continuum ranging from the unconscious self-censorship built into social structures and discursive practices, through bureaucratic regulation or unofficial influence, up to detention and physical violence. An international team of contributors offers an illuminating set of case studies informed by both new archival research and the first-hand experience of playwrights and directors, covering theatre censorship in areas such as Spain, Portugal, Brazil, Poland, East Germany, Nepal, Zimbabwe, the USA, Ireland, and Britain. Focusing on right-wing dictatorships, post-colonial regimes, communist systems and Western democracies, the essays analyze methods and discourses of censorship, identify the multiple agents involved, examine the responses of theatremakers, and show how each example reveals important features of its political and cultural contexts. Expanding understanding of the nature and effects of censorship, this volume affirms the power of theatre to challenge authorized discourses and makes a timely contribution to debates about freedom of expression through performance.

Censorship in Japan has seen many changes over the last 150 years and each successive system of rule has possessed its own censorship laws, regulations, and methods of enforcement. Yet what has remained constant through these many upheavals has been the process of negotiation between censor and artist that can be seen across the cultural media of modern society. By exploring censorship in a number of different Japanese art forms - from popular music and kabuki performance through to fiction, poetry and film - across a range of historical periods, this book provides a striking picture of the pervasiveness and strength of Japanese censorship across a range of media; the similar tactics used by artists of different media to negotiate censorship boundaries; and how censors from different systems and time periods face many of the same problems and questions in their work. The essays in this collection highlight the complexities of the censorship process by investigating the responsibilities and choices of all four groups - artists, censors, audience and ideologues - in a wide range of case studies. The contributors shift the focus away from top-down suppression, towards the more complex negotiations involved in the many stages of an artistic work, all of which involve movement within boundaries, as well as testing of those boundaries, on the part of both artist and censor. Taken together, the essays in this book demonstrate that censorship at every stage involves an act of human judgment, in a context determined by political, economic and ideological factors. This book and its case studies provide a fascinating insight into the dynamics of censorship and how these operate on both people and texts. As such, it will be of great interest to students and scholars interested in Japanese studies, Japanese culture, society and history, and media studies more generally.

Kobus van Rooyen was the Chairman of the Publications Appeal Board from 1980-90. Under his leadership phenomenal steps were taken towards freeing South Africa from the clutches of apartheid censorship of books, films and public entertainment.Earlier banned books such as "Magersfontein o Magersfontein " (Leroux), "Looking on Darkness" (Andre Brink), "Lady Chatterley s Lover" (DH Lawrence), "Portnoy s Complaint" (Roth) were all unbanned. The absolutist approach of cutting films to pieces was replaced by age-restricted films where adults were trusted to see the original product therefore, films such as "A Clockwork Orange" and "Jesus Christ Superstar" were passed. The book also addresses why "The Last Temptation of Christ" did not pass in 1989 and was indeed permitted to be broadcast in 2008 both under his chairmanship - and what ultimately happened to Salman Rushdie s "Satanic Verses."Ultimately the paradigm was shifted completely in films and publications regulation in the eighties: from no to yes, from distrust to trust, from fundamentalism to realism, from despotism to democracy. This book is autobiographical, sketching the delights of freedom of expression in the 1980s in an informal and often humoristic style; of course, also with the pains which it brought to the personal life of the author, when he and his family personally suffered at the hand of rightwing elements for the passing of the Attenborough film, "Cry Freedom.""

What goes into the ideological sustenance of an illiberal capitalist democracy? While much of the critical discussion of the media in authoritarian contexts focus on state power, the emphasis on strong states tend to perpetuate misnomers about the media as mere tools of the state and sustain myths about their absolute power. Turning to the lived everyday of media producers in Singapore, I pose a series of questions that explore what it takes to perpetuate authoritarian resilience in the mass media. How, in what terms and through what means, does a politically stable illiberal Asian state like Singapore formulate its dominant imaginary of social order? What are the television production practices that perform and instantiate the social imaginary, and who are the audiences that are conjured and performed in the process? What are the roles played by imagined audiences in sustaining authoritarian resilience in the media? If, as I will argue in the book, audiences function as the central problematic that engenders anxieties and self-policing amongst producers, can the audience become a surrogate for the authoritarian state?

First published in 1988. This book shows how censorship as a set of institutions, practices and discourses was involved in the struggle over the nature of cinema in the early twentieth century. It also reveals the part played in this struggle by other institutions, practices and discourses - for example 'new' knowledge about sexuality and organisations devoted to the promotion of public morality. Instead of censorship simply being an act of prohibition by a special institution, this work reveals the issues at work were far more complex and contradictory - opening up critical scrutiny and challenging assumptions. This title will be of interest to students of media and film studies.

Censorship has been a universal phenomenon through history. However, its rationale and implementation has varied, and public reaction to it has differed across societies and times. This book recovers, narrates, and interrogates the history of censorship of publications in India over three crucial decades - encompassing the Gandhian anti-colonial movement, the Second World War, Partition, and the early years of Independent India. In doing so, it examines state policy and practice, and also its subversion, in a tumultuous period of transition from colonial to self-rule in India. Populated with an array of powerful and powerless individuals, the story of Indians grappling with free speech and (in)tolerance is a fascinating one, and deserves to be widely known. It will help readers make sense of global present-day debates over free speech and hate speech, illustrate historical trends that change - and those that don't - and help them appreciate how the past inevitably informs the present.