Covering topics ranging from web filters to laws aimed at preventing the flow of information, this book explores freedom-and censorship-of the Internet and considers the advantages and disadvantages of policies at each end of the spectrum. Combining reference entries with perspective essays, this timely book undertakes an impartial exploration of Internet censorship, examining the two sides of the debate in depth. On the one side are those who believe censorship, to a greater or lesser degree, is acceptable; on the other are those who play the critical role of information freedom fighters. In Internet Censorship: A Reference Handbook, experts help readers understand these diverse views on Internet access and content viewing, revealing how both groups do what they do and why. The handbook shares key events associated with the Internet's evolution, starting with its beginnings and culminating in the present. It probes the motivation of newsmakers like Julian Assange, the Anonymous, and WikiLeaks hacker groups, and of risk-takers like Private Bradley Manning. It also looks at ways in which Internet censorship is used as an instrument of governmental control and at the legal and moral grounds cited to defend these policies, addressing, for example, why the governments of China and Iran believe it is their duty to protect citizens by filtering online content believed to be harmful. Introduces key concepts and traces the evolution of Internet censorship from its earliest days Shows how anti-censorship groups-including the American Civil Liberties Union, the OpenNet Initiative, Reporters Without Borders, Anonymous, WikiLeaks, and the Censorware Project-band together to fight for freedom of information Explores the role of American businesses in facilitating Internet censorship abroad Shares opinions on Internet freedom versus Internet censorship from experts in a range of fields, including criminology, political science, philosophy, and psychology Includes an overview of Internet usage and penetration rates by region and an examination of the Freedom on the Net 2012 findings

" Mwakenya: Real or Phantom?," is Jimmy Achira's persecution experience Daniel Arap Moi's Kenya in 1980s. The "Daily Nation" captured best the nebulous phenomenon called "Mwakenya." "

Mwakenya remained a chimera to the Kenyan media. Reporters knew no Mwakenya officials and received no calls, manifestos or press releases from them.

There was no known office location, or telephone or fax numbers. Everything that came to the media house, and appeared as trial evidence, was from the Moi-KANU government.

The seditious documents produced in court were always photo-copies, never originals. It was not only university lecturers, students who were victims of the security dragnet-civil servants and journalists too, were picked up . -"Daily Nation, Sept. 20th 1987.""

In the 1980s, in Moi 's regime, it was anathema to be termed ""Mwakenya"" for that would pronounce arrest, torture and jail. It was one of the saddest chapters in the nation 's history; people talked in hushed voices, looking over their shoulders to see who was listening; when people worried what they were seen reading for it could be seditious .

Jimmy Achira, a journalist who found himself in the "Mwakenya" dragnet, chronicles his experiences in "Mwakenya: Real or Phantom?"

The book is not a history of "Mwakenya" but a personal account of encounter with oppression in Moi 's Kenya. The real story of "Mwakenya" would be told by historians. It is unfortunate that instruments like the Truth, Justice and Reconciliation Commission have yet to unearth the atrocities against Kenyan people; atrocities perpetuated in the name of state security; and law and order.

What others say:

" "It is important that the experiences such as Achira's be told for the sake of history and posterity. The history of those dark days should be taught in schools, alongside tales of heroic struggles such as that of " Mau Mau"

"Many Kenyans who enjoy the fruits of "freedom" under multi-party democracy know little about the suffering many faced and sacrifices made to achieve the current freedom. " - Gershom Otachi Bw'Omanwa

" "The Nyaro era of the 1980s was a time of horror in the history of human rights in Kenya. In early 1986 the crackdown on those Kenyans perceived to have dissenting views about the government had been put in motion. Under the guise of rooting out subversives, particularly referred to as "Mwakenya" (" Muungano wa Wakenya") the police unleashed such a reign of terror that a wide cross-section of people's lives were destroyed. " - Dr Carey Francis Onyango, Lecturer and HUman Rights Activist.

" Political imprisonment was common in the "Nyayo" era in which Moi held Kenya in a vice-like grip. Now, the untold can be told. Stories, as Jimmy Achira's, help us understand those days and the price many Kenyans paid for freedoms enjoyed today. " - Dr Matunda Nyanchama, ICT Professional and Publisher.

About the Author

Achira was born at Bosiango, West Mugirango, Nyamira and went to Bosiango Primary School, Taranganya and Nyansabakwa High Schools. He taught at Mborogo Secondary School before entering journalism.

He has worked for " Target/ Lengo, East African Standard, Nation " and "Kenya Times." Others are "The Weekend Mail" and "The Weekly Revie ." In April 1995, he incorporated " Rural Media Services Limited " under which he published regional rural monthly newspaper, "The Western Monitor." He co-edited, with Tom Amoro, "A Guide to Gusii Politics 1997," published "What Next after 1997 General Elections in Gusii?"Presently, he is media consultant/publisher and working on "The Memoirs of a Veteran Journalist 1979 1999."

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.

In the world of globalized media, provocative images trigger culture wars between traditionalists and cosmopolitans, between censors and defenders of free expression. But are images censored because of what they mean, what they do, or what they might become? And must audiences be protected because of what they understand, what they feel, or what they might imagine? At the intersection of anthropology, media studies, and critical theory, Censorium is a pathbreaking analysis of Indian film censorship. The book encompasses two moments of moral panic: the consolidation of the cinema in the 1910s and 1920s, and the global avalanche of images unleashed by liberalization since the early 1990s. Exploring breaks and continuities in film censorship across colonial and postcolonial moments, William Mazzarella argues that the censors' obsessive focus on the unacceptable content of certain images and the unruly behavior of particular audiences displaces a problem that they constantly confront yet cannot directly acknowledge: the volatile relation between mass affect and collective meaning. Grounded in a close analysis of cinema regulation in the world's largest democracy, Censorium ultimately brings light to the elusive foundations of political and cultural sovereignty in mass-mediated societies.

Having observed that there is no reason whatever for the exemption of Literature, let us now turn to the case of Art. Every picture hung in a gallery, every statue placed on a pedestal, is exposed to the public stare of a mixed company. Why, then, have we no Censorship to protect us from the possibility of encountering works that bring blushes to the cheek of the young person?

Sex, Race, and Politics: Free Speech on Campus provides a highly entertaining and academic look at free speech and association issues on the college campus. The presentation of the legal material mixed in with humorous fact patterns makes analysis of the cutting edge campus speech issues enjoyable. Each section includes in-depth discussion questions to encourage a deeper engagement and understanding of the text. Readers will come away with a command of the free speech rights of students and teachers, as well as understanding the meaning and implications of sexual and racial laws as applied in the school setting.

" Keith Fink is a leading authority on harassment laws and free speech issues. He is an active trial lawyer, international speaker, and Professor at UCLA and Southwestern Law School. Professor Fink was a three-time National College Debate Champion while at UCLA. He is the founder of the law firm Fink & Steinberg which has offices in Los Angeles, San Francisco and Macau. His practice focuses on Employment and Business Litigation. He speaks frequently on a variety of legal topics including the law on sexual harassment and is routinely retained to train on sexual harassment and investigate sexual harassment complaints.

Updated with a new Afterword "The revolution will be Twittered!" declared journalist Andrew Sullivan after protests erupted in Iran. But as journalist and social commentator Evgeny Morozov argues in The Net Delusion , the Internet is a tool that both revolutionaries and authoritarian governments can use. For all of the talk in the West about the power of the Internet to democratize societies, regimes in Iran and China are as stable and repressive as ever. Social media sites have been used there to entrench dictators and threaten dissidents, making it harder- not easier- to promote democracy. Marshalling a compelling set of case studies, The Net Delusion shows why the cyber-utopian stance that the Internet is inherently liberating is wrong, and how ambitious and seemingly noble initiatives like the promotion of"Internet freedom" are misguided and, on occasion, harmful.

Having observed that there is no reason whatever for the exemption of Literature, let us now turn to the case of Art. Every picture hung in a gallery, every statue placed on a pedestal, is exposed to the public stare of a mixed company. Why, then, have we no Censorship to protect us from the possibility of encountering works that bring blushes to the cheek of the young person?

A lively history of the Watch and Ward Society--New England's notorious literary censor for over eighty years.
"Banned in Boston" is the first-ever history of the Watch and Ward Society--once Boston's unofficial moral guardian. An influential watchdog organization, bankrolled by society's upper crust, it actively suppressed vices like gambling and prostitution, and oversaw the mass censorship of books and plays. A spectacular romp through the Puritan City, here Neil Miller relates the scintillating story of how a powerful band of Brahmin moral crusaders helped make Boston the most straitlaced city in America, forever linked with the infamous catchphrase "banned in Boston."

Forbidden Fruit: The Censorship of Literature and Information for Young People was a two day conference held in Southport, UK in June 2008. This collection of papers from the conference will be of interest to teachers, school and public librarians, publishers, and other professionals involved in the provision of literature and information resources for young people, as well as to researchers and students. The proceedings draw together some of the latest research in this area from a number of fields, including librarianship, education, literature, and linguistics. The topics covered include translations and adaptations, pre-censorship by authors, publishers and editors, LGBT (lesbian, gay, bi-sexual and trans) materials, and the views of young people themselves. The papers included in the proceedings deal with a wide range of issues. Research student Lucy Pearson takes a historical perspective, considering the differences in the way in which two titles, Young Mother in the 1960s and Forever in the 1970s, handle the theme of teenage sexuality. John Harer from the United States and Elizabeth Chapman and Caroline Wright from the UK also deal with the controversial issue of teenage sexuality. Both papers are concerned with the censorship of LGBT (lesbian, gay, bi-sexual, and trans) materials for young people, especially referring to issues faced by librarians in dealing with such resources in their respective countries. Another writer to examine the issue from a librarianship perspective is Wendy Stephens, who reports on her action research into students reactions to book banning and censorship in the context of a twelfth-grade English literature research project. Taking one step back fromthe question of access to controversial materials, Cherie Givens reports on her doctoral research examining the often neglected issue of pre-censorship-- that is, restrictions which take place, usually as a result of pressure from editors and publishers, before materials reach the library shelves. Showing a different side of the publishing industry, Christopher Gruppetta writes from the perspective of a publisher keen to promote young adult fiction in Malta. His article demonstrates the huge strides which can take place in a relatively short period of time, even in a religiously conservative country. Talks by young adult authors were also included in the conference programme. Ioanna Kaliakatsou considers how self-censorship is exercised by authors and how attitudes have changed since the early twentieth century. Yet another point at which works might be censored is when they are translated or adapted. Evangelia Moula focuses on censorship in adaptations of classic Greek tragedies, while Helen T. Frank examines Australian childrens fiction translated into French to highlight the process of purification or sanitization that can occur during translations.

'Censorship may have to do with literature', Nadine Gordimer once said, 'but literature has nothing whatever to do with censorship.'
As the history of many repressive regimes shows, this vital borderline has seldom been so clearly demarcated. Just how murky it can sometimes be is compellingly exemplified in the case of apartheid South Africa. For reasons that were neither obvious nor historically inevitable, the apartheid censors were not only the agents of the white minority government's repressive anxieties about the medium of print. They were also officially-certified guardians of the literary. This book is centrally about the often unpredictable cultural consequences of this paradoxical situation.
Peter D. McDonald brings to light a wealth of new evidence - from the once secret archives of the censorship bureaucracy, from the records of resistance publishers and writers' groups both in the country and abroad - and uses extensive oral testimony. He tells the strangely tangled stories of censorship and literature in apartheid South Africa and, in the process, uncovers an extraordinarily complex web of cultural connections linking Europe and Africa, East and West.
The Literature Police affords a unique perspective on one of the most anachronistic, exploitative, and racist modern states of the post-war era, and on some of the many forms of cultural resistance it inspired. It also raises urgent questions about how we understand the category of the literary in today's globalized, intercultural world.

This entertaining and insightful book is the first devoted exclusively to the films that have earned a special place in motion picture history by pushing the 'cinematic envelope' with their treatment of provocative subjects and themes. "Obscene, Indecent, Immoral & Offensive: 100+ Years of Censored, Banned and Controversial Films" chronicles the history of Hollywood censorship and the films that were banned, censored, and condemned by the Production Code Administration and the Legion of Decency. Stephen Tropiano offers readers insightful and accessible analysis of films that were branded 'controversial' at the time of their release due to explicit language, nudity, graphic sex, violence, and their treatment of 'adult' subject matter and themes.The films profiled include "The Birth of a Nation", "Anatomy of a Murder", "Who's Afraid of Virginia Woolf?", "Baby Doll", "Blackboard Jungle", "Bonnie and Clyde", "The Wild Bunch", "A Clockwork Orange", "Natural Born Killers", "Caligula", "Rosemary's Baby", "Life of Brian", "The Last Temptation of Christ", and "The Passion of the Christ".

One of the original, and greatest defenses of free speech, originally published as a written 'speech.' Please visiti www.ArcManor.com for more works by this and other great authors.

Miracles and Sacrilege is the story of the epochal conflict between censorship and freedom in film, recounted through an in-depth analysis of the U.S. Supreme Court's decision striking down a government ban on Roberto Rossellini's film The Miracle (1950). In this extraordinary case, the Court ultimately chose to abandon its own longstanding determination that film comprised a mere 'business' unworthy of free-speech rights, declaring for the first time that the First Amendment barred government from banning any film as 'sacreligious.' Using legal briefs, affidavits, and other court records, as well as letters, memoranda, and other archival materials to elucidate what was at issue in the case, William Bruce Johnson also analyzes the social, cultural, and religious elements that form the background of this complex and hard-fought controversy, focusing particularly on the fundamental role played by the Catholic Church in the history of film censorship. Tracing the development of the Church in the United States, Johnson discusses the reasons it found The Miracle sacrilegious and how it attained the power to persuade civil authorities to ban it. The Court's decision was not only a milestone in the law of church-state relations, but it paved the way for a succession of later decisions which gradually established a firm legal basis for freedom of expression in the arts.

In Dirt for Art's Sake, Elisabeth Ladenson recounts the most visible of modern obscenity trials involving scandalous books and their authors. What, she asks, do these often-colorful legal histories have to tell us about the works themselves and about a changing cultural climate that first treated them as filth and later celebrated them as masterpieces?

Ladenson's narrative starts with Madame Bovary (Flaubert was tried in France in 1857) and finishes with Fanny Hill (written in the eighteenth century, put on trial in the United States in 1966); she considers, along the way, Les Fleurs du Mal, Ulysses, The Well of Loneliness, Lady Chatterley's Lover, Tropic of Cancer, Lolita, and the works of the Marquis de Sade. Over the course of roughly a century, Ladenson finds, two ideas that had been circulating in the form of avant-garde heresy gradually became accepted as truisms, and eventually as grounds for legal defense. The first is captured in the formula "art for art's sake" the notion that a work of art exists in a realm independent of conventional morality. The second is realism, vilified by its critics as "dirt for dirt's sake." In Ladenson's view, the truth of the matter is closer to dirt for art's sake "the idea that the work of art may legitimately include the representation of all aspects of life, including the unpleasant and the sordid.

Ladenson also considers cinematic adaptations of these novels, among them Vincente Minnelli's Madame Bovary, Stanley Kubrick's Lolita and the 1997 remake directed by Adrian Lyne, and various attempts to translate de Sade's works and life into film, which faced similar censorship travails. Written with a keen awareness of ongoing debates about free speech, Dirt for Art's Sake traces the legal and social acceptance of controversial works with critical acumen and delightful wit."

This incisive guide provides a much needed summary of the complex issues surrounding film censorship and controversy. It offers practical suggestions for teaching the determining factors in, and ideological importance of, censorship and classification. Also included are proposed strategies for discussing "problem films," analyzing texts, and debating the nature of effects. Contents include:
* The historical context for censorship and classification
* The discourses and ideologies that inform and produce controversy
* The arguments for and against censorship
* Concepts of audiences and effects
* Textual meanings
* Audience research and analysis of data
* Contemporary academic and official perspectives on censorship and classification

" The new edition of this seminal work takes the story of the Production Code and motion picture censorship into the present, including the creation of the PG-13 and NC-17 ratings in the 1990s.

Who hasn't read Blubber? And yet, published in 1974 and a New York Times ""Outstanding Book,"" it remains one of the ""100 Most Frequently Challenged Books"" and is kept out of many school libraries. As a standard-bearer for intellectual freedom, the school librarian is in an ideal position to collaborate with teachers to not only protect the freedom to read but also ensure that valued books with valuable lessons are not quarantined from the readers for whom they were written. In this classroom and library-ready book of discussion guides, award-winning champion of children's literature Pat Scales shows that there is a way to teach these books while respecting all views. The twelve books chosen for inclusion in Teaching Banned Books, all challenged at one time or another, are jumping off points for rich and engaging discussion among young readers, their librarians and teachers, and their parents. Each guide includes a summary of the novel, a pre-reading activity, tips for introducing the topic, critical-thinking discussion questions, and an annotated bibliography of related fiction and nonfiction. Describing a literature discussion program she set up as a middle school librarian, Scales says: ""The idea was to have parents read the same books that their children were reading and to come together once a month to discuss these books. These parents understood that Blubber by Judy Blume is a harsh reality of the life of many fifth and sixth graders. But what they also learned was how to discuss this with their children. They began calling me and asking me for books about teenage sexuality, death, and dealing with bullies. And we never had a censorship case."" And so in this book, you will find discussion guides for books dealing with such tough subjects as societal outcasts, civil rights, and keeping secrets. Armed with award-winning books that kids love, you will: * Stimulate critical-thinking in reading. * Encourage freedom of thought and expression. * Integrate First Amendment principles into project-based social studies and language arts classes. * Communicate the value of banned books to administrators and challengers. There's a win-win way of teaching banned books, and Pat Scales shares it in this brilliant handbook for educators and school librarians who serve today's young readers.

Those who love and live by art tell us that it is the most exalted expression of civilized life. In this provocative new book Jonathan Dollimore argues that, far from confirming humane values, literature more often than not violates them.

He begins with a polemical and witty attack on the spurious radicalism of some fashionable academic theories about desire and sexual dissidence. Dollimore then examines the ways in which the media, literary critics and the state, as well as these literary theorists, all deny or repress the disturbing and dangerous knowledge conveyed by literature.

His own account of the volatile connections between aesthetics, desire, politics and censorship unfolds through topics such as homosexuality, bisexuality, sexual disgust, and the disturbing relations between art and inhumanity, and through brilliant insights into a wide range of authors including Euripides, Shakespeare, Tennyson and Yeats.

Most persistently, this book is about how the experience of desire in life and art compromises our most cherished ethical beliefs; how it sets dissident desire against not just oppressive social life, but also against what are widely agreed to be the necessary limits of civilization itself. If this helps make art irresistible and of indispensable value, it follows too that there are reasonable grounds for wanting to censor it.

This compelling and accessibly written book will be essential reading for students and scholars of literary, gender and cultural studies, and will have a major impact on debates about art, sexuality, censorship and the role of the intellectual.

During World War II, the civilian Office of Censorship supervised a huge and surprisingly successful program of news management: the voluntary self-censorship of the American press. In January 1942, censorship codebooks were distributed to all American newspapers, magazines, and radio stations with the request that journalists adhere to the guidelines within. Remarkably, over the course of the war no print journalist, and only one radio journalist, ever deliberately violated the censorship code after having been made aware of it and understanding its intent.

"Secrets of Victory" examines the World War II censorship program and analyzes the reasons for its success. Using archival sources, including the Office of Censorship's own records, Michael Sweeney traces the development of news media censorship from a pressing necessity after the attack on Pearl Harbor to the centralized yet efficient bureaucracy that persuaded thousands of journalists to censor themselves for the sake of national security. At the heart of this often dramatic story is the Office of Censorship's director Byron Price. A former reporter himself, Price relied on cooperation with--rather than coercion of--American journalists in his fight to safeguard the nation's secrets.

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.