Censorship

This review essay constitutes an attempt to outline the main conceptual concerns reflected in the cumulative, book-length scholarly output of Steven Salaita to date, with particular emphasis on what the reviewer presumes to be his original contributions to American Indian/Indigenous Studies.

This review essay constitutes an attempt to outline the main conceptual concerns reflected in the cumulative, book-length scholarly output of Steven Salaita to date, with particular emphasis on what the reviewer presumes to be his original contributions to American Indian/Indigenous Studies.

The Freedom of the Press ranking recently published by Freedom House has found Belarus’ media environment to be Europe’s most restrictive. The ranking placed Belarus as 192nd out of 199 countries and territories within the “worst of the worst” category. These results suggest that media freedom in Belarus has neither been influenced by the country’s recent improvements in its relations with the West nor by the rapid spread of digital technologies. Some of the business community’s representatives have been unsatisfied with the ranking’s results, which call for a deeper reflection on the hidden mechanisms of control that afflict Belarusian media.

This paper examines the resistance ofpingtanstorytellers to Communist political domination and economic exploitation on the eve of the Cultural Revolution (1966–1976). In the early and mid-1960s, storytellers rarely mounted resistance through direct confrontations with the political authorities, but often in ‘everyday forms’ such as by libelling cadres, asking for sick-leave, refusing to conform to the dress code during performances, and threatening to withdraw from troupes. In order to vent their disappointment at the economic hardships following the Great Leap Forward (1958–1961), storytellers resorted to the flexible ways of narrating and performing pingtan stories to manipulate the storylines and characterizations in their stage performances. Hence storytellers engaged in counter-propaganda by telling ribald jokes and distorting stories that were originally designed to praise Communist revolutions. This investigation of the resistance of storytellers, both on and off stage, is i...

Текст статьи не публикуется в открытом доступе в соответствии с политикой журнала.The article deals with one of the eternal issues of the theory and practice of literary translation: “What happens to a literary original after it has been translated?” The answer to this question could be probably found through interdisciplinary approach which takes into consideration not only exclusively translation categories and literary translation traditions but also broad literary, cultural and political contexts of the target text. The subject of the present research is the experience and results of foreign fiction translations into Russian (mostly in the 20th century). The research material is predominantly analyzed by the means of comparative and descriptive methods using the concepts of re-writing, manipulation (mostly its conscious type) and censorship. The particular attention is paid to ideological and religious impact on literary translators’ creative activity. Being strongly affected by the ideology, literary translators made numerous alterations to the secondary (translated) texts in comparison with their original versions. Detailed comparative study of source and target texts reveals the most common strategies (omission and substitution) of ideological manipulation in literary translation, used by translators of Soviet Russia to comply with the requirements set b

The play Der 30-jährige ABC-Schütz shall be used as an example both to clarify the questions of “Cultural Translations” within the framework of theatre history and to discuss potential implications for the editing of the sources. First and foremost, this article shows the extent to which a discussion of “Cultural Translation” can be applied to theatre historical research and, to a lesser extent, it contributes to the theoretical discussion of the subject. Of common interest seems to be the new reading of a passage in a court decree enacted in 1752: “[…] wan aber einige gutte doch wären<,> von weiskern sollen selbe ehender noch gelesen werden" on page 128: F. W. Weiskern was intended to be a quasi-censor of the Kärntnerthor-Theater.

This article analyses and maps the links between caricature and animated film, as well as their development during the post-World War II era, in communist Eastern Europe. The article also deals with the specific nature of animation production under the conditions of political censorship and the utilisation of Aesopian language as an Eastern European phenomenon for outmanoeuvring censorship.

A censura, na contemporaneidade, é uma das formas de violência simbólica que ainda afeta cidadãos dos mais variados países e regimes políticos do planeta. Este artigo contempla cinco notícias veiculadas pela internet sobre mulheres vítimas de censura em 2014 e questiona se o silenciamento que lhes é imposto contribui para o apagamento de suas memórias. Para isso, recorremos a teóricos que relacionam História, Cultura e Comunicação como Beatriz Sarlo, Alain Touraine, Tzvetan Todorov, Venício Artur Lima, Walter Benjamin e Cristina Costa. A conclusão a que chegamos é que palavras, narrativas e memórias não desaparecem, apesar dos esforços – menos ou mais violentos – de silenciá-las

Ni sanction financiere, ni exclusion de la communaute, l’aerarium facere et le tribu mouere etaient des mesures complementaires prises par les censeurs dans le cadre du regimen morum servant a classer les citoyens. Le citoyen indigne etait rejete de son rang et relegue avec les humillimi, les affranchis et les citoyens de fraiche date dont la parole etait suspecte, l’avis negligeable et les possibilites de servir la cite moindres. Pour cela, on l’inscrivait dans une tribu urbaine (tribu mouere) et une centurie defavorisee de la cinquieme classe (aerarium facere), mesures humiliantes. Les censeurs lui refusaient de la sorte le droit de participer activement a la vie civique et incitaient ses concitoyens a se mefier de lui. Ils exigeaient neanmoins qu’il continue a s’acquitter des devoirs fiscaux et militaires dus a ses capacites financieres. Jamais les censeurs ne priverent du droit de vote qui etait un element bien trop important de l’identite civique romaine.

O artigo se desenvolve a partir de uma entrevista realizada com o artista transmidia, pesquisador e professor Edgar Franco, mais conhecido como Ciberpaje. De maneira geral, o texto apresenta as bases do processo criativo e poetico do artista, e suas reflexoes sobre a arte. As perguntas que estruturaram a base do artigo tiveram como objetivo discutir a insercao de novas tecnologias nas artes visuais contemporâneas, com destaque para os videogames. As possibilidades que a linguagem dos games oferecem para os artistas, e os motivos de sua rejeicao como produtos artisticos pelo ambiente academico e em galerias de arte contemporânea. O texto tambem apresenta brevemente a recepcao a obra de gamearte Posthuman Ms. Pacman, destacando questoes sobre a insercao da sexualidade em trabalhos artisticos, o ensino de artes visuais e a atual polarizacao politica. E por fim, a censura sofrida por Franco ao se apresentar na UniEvangelica com a sua banda performatica, Posthuman Tantra.

One of the benefits of writing for the Office of Intellectual Freedom, this past year, has been to recognize the amazing work done by a variety of people who continually promote and protect the right of free expression in this country. The work of advocating, facilitating and protecting intellectual freedoms is important activity, and is often carried out by everyday people. I thought it would be useful to speak with those whose work is dependent on intellectual freedom, and how libraries impact who they are and what they do. I was able to interview a teacher, a historian and an artist for this writing project. Any errors in transcription are my own, all three guests to our blog were unfailingly generous with their time. Biography: Karen Fiorito is an artist residing in Los Angeles. Her artwork has been exhibited internationally and featured in many publications such as Art in America, Art Forum and Hyperallergic. Her art works can also be seen in textbooks, such as American Women Artists in Wartime, Paper Politics: Socially Engaged Printmaking Today and The Book of Alternative Photographic Processes. Fiorito has received international media attention for her Trumpocalypse billboard in Phoenix, Arizona. She has received many grants for her public art projects, including a Pollination Project Grant, A Well Fed World Grant and a LUSH Charity Pot Grant. Another current public art project, Got Drought?, toured California from 2015-2017 and will debut in Phoenix in October

One of the benefits of writing for the Office of Intellectual Freedom this past year has been to recognize the amazing work done by a variety of people who continually promote and protect the right of free expression in this country. The work of advocating, facilitating and protecting intellectual freedoms is important activity, and is often carried out by everyday people. I thought it would be useful to speak with those whose work is dependent on intellectual freedom, and how libraries impact who they are and what they do. I was able to interview a teacher, a historian and an artist for this writing project. Any errors in transcription are my own. All three guests to our blog were unfailingly generous with their time. Biography: Ibram X. Kendi is professor of history and international relations and the founding director of the Antiracist Research and Policy Center at American University. His book Stamped from the Beginning: The Definitive History of Racist Ideas in America was published by Nation Books and won the 2016 National Book Award for Nonfiction

T hose that the average person, applying contemporary community standards would find, with respect to minors, is designed to appeal or pander to the prurient interest and depict or represent in a manner patently offensive with respect to minors, an actual or simulated sexual act or ...

The American Library Association's (ALA's) Library Bill of Rights is based on a foundation of ethical presuppositions. In this article, these presuppositions are spelled out and critically examined in light of several ethical theories (for example, utilitarianism, natural rights theory, and social contract theory). We suggest that social contract theory provides the strongest argument for a right to access to information (and to have that information provided by public libraries). We argue, however, that the right to access to information is not unlimited. ...