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

The first comparative study of censorship in theatre and cinema during the last century, this book examines notable twentieth-century cases involving the Lord Chamberlain's theatre censorship and the British Board of Film Censors (BBFC). Anthony Aldgate and James C. Robertson have written extensively on the subject of stage and screen censorship, and here they utilise previously unpublished Lord Chamberlain's censorship sources as well as hitherto unexplored BBFC files. They show how the two censorship agencies operated, with some interaction between them, over such controversial matters as sex, foreign affairs, juvenile crime, single-sex relationships, the 'swinging' 1960s, horror, religion and other contentious material. This wide-ranging study concludes by explaining why theatre censorship was abolished in 1968 whereas the BBFC has survived until the present day. Censorship in Theatre and Cinema is a valuable contribution to media history with implications for the practice of censorship in Britain today. Features * The first comparative study of censorship in both theatre and cinema * Accessible to both specialist and general readers alike * Covers both American and British stage and screen properties * Includes detailed analysis of various case studies to illustrate censorship procedures in action.

Why colleges and universities live or die by free speech Free speech is under attack at colleges and universities today, as critics on and off campus challenge the value of freewheeling debate. In Speak Freely, Keith Whittington argues that universities must protect and encourage vigorous free speech because it goes to the heart of their mission to foster freedom of thought, ideological diversity, and tolerance. Examining hot-button issues such as trigger warnings, safe spaces, hate speech, disruptive protests, speaker disinvitations, and the use of social media by faculty, Speak Freely describes the dangers of empowering campus censors to limit speech and enforce orthodoxy. It explains why universities must make space for voices from both the Left and Right. And it points out how better understanding why the university lives or dies by free speech can help guide students, faculty, administrators, and alumni when faced with unpopular, hateful, or dangerous speech. Timely and vitally important, Speak Freely shows why universities can succeed only by fostering more free speech, more free thought-and a greater tolerance for both.

In Giving Offense, South African writer J. M. Coetzee presents a coherent, unorthodox analysis of censorship from the perspective of a writer who has lived and worked under its shadow. Widely acclaimed for his many novels, Coetzee is also a brilliant literary critic and essayist. The essays collected here attempt to understand the passion that plays itself out in acts of silencing and censoring. Subscribing neither to the myth of the writer as a moral giant nor to that of the writer as persecuted innocent, Coetzee argues that a destructive dynamic of belligerence and escalation tends to overtake the rivals in any field ruled by censorship. From Osip Mandelstam commanded to compose an ode in praise of Stalin, to Breyten Breytenbach writing poems under and for the eyes of his prison guards, to Aleksandr Solzhenitsyn engaging in a trial of wits with the organs of the Soviet state, Giving Offense focuses on the ways authors have historically responded to censorship. It also analyzes the arguments of Catharine MacKinnon for the suppression of pornography and traces the operations of the old South African censorship system. Finally, Coetzee delves into the early history of apartheid and critizes the blankness of contemporary political science in its efforts to address the deeper motives behind apartheid.

"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."

The recent history of broadcasting on both sides of the Atlantic, characterized by a great increase in the number of services on offer to the public, has been brought about by technological advances and economic pressures. This has inevitably affected traditional forms of content regulation. The book explores the moral basis and history of such regulation as it has until now been applied to major issues of taste and decency. These include the protection of children, obscenity and bad language, offences against religious sensibility, `reality' television, and stereotyping. What Should We Watch? considers the different constraints (in the law, cultural customs, and self-regulation) affecting broadcasters in the two societies and the means by which they have responded to them. The book describes, with examples, the operations of compliance regulations and standard controls. It also looks at the impact of the First Amendment on American broadcasting in this area. It looks at the arguments for the practicality of maintaining appropriate forms of restraint into the future. What Should We Watch? poses the question of how divided and diverse societies decide what is permissible to broadcast and how the issue might continue to evolve in the future.

In 2005, twelve cartoons mocking the prophet Mohammed appeared in the Danish newspaper Jyllands-Posten, igniting a political firestorm over demands by some Muslims that the claims of their religious faith take precedence over freedom of expression. Given the explosive reaction from Middle Eastern governments, Muslim clerics, and some Danish politicians, the stage was set for a backlash against Muslims in Denmark. But no such backlash occurred. Paradoxes of Liberal Democracy shows how the majority of ordinary Danish citizens provided a solid wall of support for the rights of their country's growing Muslim minority, drawing a sharp distinction between Muslim immigrants and Islamic fundamentalists and supporting the civil rights of Muslim immigrants as fully as those of fellow Danes--for example, Christian fundamentalists. Building on randomized experiments conducted as part of large, nationally representative opinion surveys, Paradoxes of Liberal Democracy also demonstrates how the moral covenant underpinning the welfare state simultaneously promotes equal treatment for some Muslim immigrants and opens the door to discrimination against others. Revealing the strength of Denmark's commitment to democratic values, Paradoxes of Liberal Democracy underlines the challenges of inclusion but offers hope to those seeking to reconcile the secular values of liberal democracy and the religious faith of Muslim immigrants in Europe.

Today should be a Golden Age for free speech - with technology providing more ways of communicating ideas and opinions than ever before. Yet we're actually witnessing a growing wave of restrictions on freedom of thought and expression. In Having Your Say a variety of authors - academics, philosophers, comedians and more - stress the fundamental importance of free speech, one of the cornerstones of classical liberalism. And they provide informed and incisive insights on this worrying trend, which threatens to usher in a new, intolerant and censorious era.

The governmental pledge to the American people is found in the First Amendment: "Congress shall make no law...abridging the freedom of speech, or of the press". Written more than two hundred years ago, these words now protect a wide range of expressive activity. Revolutionary Sparks is a broadgauged discussion of freedom of expression in America that begins by studying the period after the Civil War and Reconstruction when new and unsettling ideas appeared with great regularity on the American scene. These ideas were so widespread during this period that the nation's leaders often joined forces to repress aberrant notions. In response to such suppression, individuals seeking to better their lives through the expression of new ideas began to demand their rights to speak, write, and associate together to advance their points of view. With a broad grounding in political and social history, rather than the more prevalent legalistic orientation, Blanchard traces this contest for control through the Watergate scandal of the 1970s and the Reagan and early Bush administrations. Presenting the first comprehensive history of freedom of speech, Blanchard ranges from questions of national security to those of public morality, from loyalty during times of national stress to the right to preach on a public street corner. Including examinations of controversies involving the press, the national government, the Supreme Court, and civil liberties and civil rights concerns, Revolutionary Sparks presents a strong case for the right of Americans to speak their minds and to have access to the knowledge necessary for informed self-government.

Censored Art Today is an accessible, informed analysis of the debates raging around censorship of art and so-called 'cancel culture', focusing on who the censors are and why they are clamping down on forms of artistic expression worldwide. Art censorship is a centuries-old issue which appears to be on the rise in the 21st century - why is this the case? Gareth Harris expertly analyses the different contexts in which artists, museums and curators face restrictions today, investigating political censorship in China, Cuba and the Middle East; the suppression of LGBTQ+ artists in 'illiberal democracies'; the algorithms policing art online; Western museums and 'cancel culture'; and the narratives around 'problematic' monuments. His fascinating study, which draws on extensive research and interviews, reveals why censorship has become the hottest of topics, impacting substantially on artists.

A hard-hitting expose that shines a light on the powerful conservative forces that have waged a multi-decade battle to hijack the meaning of free speech -- and how we can reclaim it. There's a critical debate taking place in this country over one of the most fundamental pillars of our democracy: free speech. But what few realize is that this debate is less a debate than a multi-decade war waged by the rich to redefine free speech, further a conservative agenda, and silence a progressive one. The Case Against Free Speech takes readers into the battleground over this foundational concept, from the backrooms of think-tanks where the very definition of free speech is influenced by billionaires like the Koch Brothers; to "safe spaces" on college campuses; to neo-Nazi rallies protected by the police; and deep into the history of who benefits from free speech. As Moskowitz shows, the rights associated with free speech have always been reserved primarily for those in power. The Case Against Free Speech offers a new politics of speech, one that takes into account power, equality, and all our civil liberties.

Shortly after assuming office in January 2017, President Donald Trump accused the press of being an "enemy of the American people." Attacks on the media had been a hallmark of Trump's presidential campaign, but this charge marked a dramatic turning point: language like this ventured into dangerous territory. Twentieth-century dictators-notably, Stalin, Hitler, and Mao-had all denounced their critics, especially the press, as "enemies of the people." Their goal was to delegitimize the work of the press as "fake news" and create confusion in the public mind about what's real and what isn't; what can be trusted and what can't be. That, it seems, is also Trump's goal. In Enemy of the People, Marvin Kalb, an award-winning American journalist with more than six decades of experience both as a journalist and media observer, writes with passion about why we should fear for the future of American democracy because of the unrelenting attacks by the Trump administration on the press. As his new book shows, the press has been a bulwark in the defense of democracy. Kalb writes about Edward R. Murrow's courageous reporting on Senator Joseph McCarthy's "red scare" theatrics in the early 1950s, which led to McCarthy's demise. He reminds us of Bob Woodward and Carl Bernstein's reporting in the early 1970s that led to President Richard Nixon's resignation. Today, because of revolutionary changes in journalism, no Murrow is ready at the battlements. Journalism has been severely weakened. Yet, without a virile, strong press, democracy is in peril. Kalb's book is a frightening indictment of President Trump's efforts to delegitimize the American press-and put the future of our democracy in question.

In 1950 Ruth W. Brown, librarian at the Bartlesville, Oklahoma, Public Library, was summarily dismissed from her job after thirty years of exemplary service, ostensibly because she had circulated subversive materials. In truth, however, Brown was fired because she had become active in promoting racial equality and had helped form a group affiliated with the Congress of Racial Equality.

Louise S. Robbins tells the story of the political, social, economic, and cultural threads that became interwoven in a particular time and place, creating a strong web of opposition. This combination of forces ensnared Ruth Brown and her colleagues-for the most part women and African Americans-who championed the cause of racial equality.

This episode in a small Oklahoma town almost a half-century ago is more than a disturbing local event. It exemplifies the McCarthy era, foregrounding those who labored for racial justice, sometimes at great cost, before the civil rights movement. In addition, it reveals a masking of concerns that led even Brown's allies to obscure the cause of racial integration for which she fought. Relevant today, Ruth Brown's story helps us understand the matrix of personal, community, state, and national forces that can lead to censorship, intolerance, and the suppression of individual rights.

As Americans we often take our freedom of speech for granted. When we talk about censorship we talk about China, the former Soviet Union. But the recent presidential election has shined a spotlight on profound acts of censorship in our own backyard. Both provocative and timely, "Burn this Book" includes a sterling list of award-winning writers; it is sure to ignite spirited dialogue. In "Witness: The Inward Testimony", Nadine Gordimer discusses the role of the writer as observer, and as someone who sees what is really taking place. She looks to Proust, Oe, Flaubert, Graham Green to see how their philosophy squares with her own, ultimately concluding Literature has been and remains a means of people rediscovering themselves. In "Freedom to Write", Orham Pamuk elegantly describes escorting Arthur Miller and Harold Pinter around Turkey and how that experience changed his life. In "The Value of the Word" Salman Rushdie shares a story from Bugakov's novel "The Master and the Margarita", in which the Devil talks to a frustrated writer called The Master. The writer is so upset with his own work he decides to burn it: How could you do that? The devil asks. Manuscripts do not burn. Indeed, manuscripts do not burn, Rushdie argues, but writers do.

When the Danish newspaper Jyllands-Posten (Viby, Denmark) published the cartoons of the prophet Mohammed nine years ago, Denmark found itself at the center of a global battle about the freedom of speech. The paper's culture editor, Flemming Rose, defended the decision to print the 12 drawings, and he quickly came to play a central part in the debate about the limitations to freedom of speech in the 21st century. Since then, Rose has visited universities and think tanks and participated in conferences and debates around the globe in order to discuss tolerance and freedom. In The Tyranny of Silence, Flemming Rose writes about the people and experiences that have influenced the way he views the world and his understanding of the crisis, including meetings with dissidents from the former Soviet Union and ex-Muslims living in Europe. He provides a personal account of an event that has shaped the debate about what it means to be a citizen in a democracy and how to coexist in a world that is increasingly multicultural, multi-religious, and multi-ethnic.

"A liberal society stands on the proposition that we should all take seriously the idea that we might be wrong. This means we must place no one, including ourselves, beyond the reach of criticism; it means that we must allow people to err, even where the error offends and upsets, as it often will." So writes Jonathan Rauch in "Kindly Inquisitors, " which has challenged readers for more than twenty years with its bracing and provocative exploration of the issues surrounding attempts to limit free speech. In it, Rauch makes a persuasive argument for the value of "liberal science" and the idea that conflicting views produce knowledge within society.
In this expanded edition of "Kindly Inquisitors, " a new foreword by George F. Will strikingly shows the book's continued relevance, while a substantial new afterword by Rauch elaborates upon his original argument and brings it fully up to date. Two decades after the book's initial publication, while some progress has been made, the regulation of hate speech has grown domestically--especially in American universities--and has spread even more internationally, where there is no First Amendment to serve as a meaningful check. But the answer to bias and prejudice, Rauch argues, is pluralism--not purism. Rather than attempting to legislate bias and prejudice out of existence or to drive them underground, we must pit them against one another to foster a more vigorous and fruitful discussion. It is this process that has been responsible for the growing acceptance of the moral acceptability of homosexuality over the last twenty years. And it is this process, Rauch argues, that will enable us as a society to replace hate with knowledge, both ethical and empirical.
"It is a melancholy fact that this elegant book, which is slender and sharp as a stiletto, is needed, now even more than two decades ago. Armed with it, readers can slice through the pernicious ideas that are producing the still-thickening thicket of rules, codes, and regulations restricting freedom of thought and expression."--George F. Will, from the foreword

Who are computer hackers? What is free software? And what does the emergence of a community dedicated to the production of free and open source software--and to hacking as a technical, aesthetic, and moral project--reveal about the values of contemporary liberalism? Exploring the rise and political significance of the free and open source software (F/OSS) movement in the United States and Europe, Coding Freedom details the ethics behind hackers' devotion to F/OSS, the social codes that guide its production, and the political struggles through which hackers question the scope and direction of copyright and patent law. In telling the story of the F/OSS movement, the book unfolds a broader narrative involving computing, the politics of access, and intellectual property.

E. Gabriella Coleman tracks the ways in which hackers collaborate and examines passionate manifestos, hacker humor, free software project governance, and festive hacker conferences. Looking at the ways that hackers sustain their productive freedom, Coleman shows that these activists, driven by a commitment to their work, reformulate key ideals including free speech, transparency, and meritocracy, and refuse restrictive intellectual protections. Coleman demonstrates how hacking, so often marginalized or misunderstood, sheds light on the continuing relevance of liberalism in online collaboration.

Film Censorship is a concise overview of Hollywood censorship and efforts to regulate American films. It provides a lean introductory survey of U.S. cinema censorship from the pre-Code years and classic studio system Golden Age-in which film censorship thrived-to contemporary Hollywood. From the earliest days of cinema, movies faced controversy over screen images and threats of censorship. This volume draws extensively on primary research from motion picture archives to unveil the fascinating behind-the-scenes history of cinema censorship and explore how Hollywood responded to censorial constraints on screen content in a changing American cultural and industrial landscape. This primer on American film censorship considers the historical evolution of motion-picture censorship in the United States spanning the Jazz Age Prohibition era, lobbying by religious groups against Hollywood, industry self-censorship for the Hays Office, federal propaganda efforts during wartime, easing of regulation in the 1950s and 1960s, the MPAA ratings system, and the legacy of censorship in later years. Case studies include The Outlaw, The Postman Always Rings Twice, Scarface, Double Indemnity, Psycho, Bonnie and Clyde, Midnight Cowboy, and The Exorcist, among many others.

Since the mid-2000s, public opinion and debate in China have become increasingly common and consequential, despite the ongoing censorship of speech and regulation of civil society. How did this happen? In The Contentious Public Sphere, Ya-Wen Lei shows how the Chinese state drew on law, the media, and the Internet to further an authoritarian project of modernization, but in so doing, inadvertently created a nationwide public sphere in China-one the state must now endeavor to control. Lei examines the influence this unruly sphere has had on Chinese politics and the ways that the state has responded. Using interviews, newspaper articles, online texts, official documents, and national surveys, Lei shows that the development of the public sphere in China has provided an unprecedented forum for citizens to influence the public agenda, demand accountability from the government, and organize around the concepts of law and rights. She demonstrates how citizens came to understand themselves as legal subjects, how legal and media professionals began to collaborate in unexpected ways, and how existing conditions of political and economic fragmentation created unintended opportunities for political critique, particularly with the rise of the Internet. The emergence of this public sphere-and its uncertain future-is a pressing issue with important implications for the political prospects of the Chinese people. Investigating how individuals learn to use public discourse to influence politics, The Contentious Public Sphere offers new possibilities for thinking about the transformation of state-society relations.

In this pioneering study of contemporary Greek poetry, Karen Van Dyck investigates modernist and postmodernist poetics at the edge of Europe. She traces the influential role of Greek women writers back to the sexual politics of censorship under the dictatorship (1967-1974). Through responses to censorship -- including those of the dictator, the Nobel Laureate poet George Seferis, and the younger generation of poets -- she shows how women poets use strategies which, although initiated in response to the dictator's press law, prove useful in articulating a feminist critique. In poetry by Rhea Galanaki, Jenny Mastoraki, and Maria Laina, among others, she analyzes how the censors' tactics for stabilizing signification are redeployed to disrupt fixed meanings and gender roles.

As much a literary analysis of culture as a cultural analysis of literature, her book explores how censorship, consumerism, and feminism influence contemporary Greek women's poetry and also how the resistance to clarity in this poetry trains readers to rethink cultural practices. Van Dyck's comparative consideration of American beat poetry, Christa Wolf's "Cassandra", Poe's "The Purloined Letter", or Bakhtin's theory of the dialogical underscore the complexities of transnational exchange. Only with greater attention to the cultural and formal specificity of writing, Van Dyck argues, is it possible to "theorize" the lessons of censorship and women's writing.