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Journal articles on the topic 'Censorship'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 June 2025

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1

Gheo, Radu Pavel. "An instance of ante imprimatur censorship: self-censorship." Analele Universității de Vest. Seria Științe Filologice 62, no. 62 (December 16, 2024): 147–59. https://doi.org/10.35923/autfil.62.12.

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The institution of censorship in the communist regime is still an insufficiently explored field of study. The present study proposes at first a simple, yet functional classification of the acts of censorship imposed at that time on printed texts in general, and on literary texts in particular; it is what I have called here “ante imprimatur censorshipˮ and “post imprimatur censorshipˮ. The first refers to the censorship of texts written during the communist period and subjected to censorship before reaching print. The second illustrates the more complex – and more common – status of texts published before 1948 and reissued during the communist period after being mutilated by censorship through cuts and omissions. Subsequently, the study focuses on a particular case of ante imprimatur censorship: self-censorship, which is the preventive censorship of a literary text by its own author before submitting it for publication. Self-censorship is the most volatile and difficult type of censorship to analyze, especially due to the rarity of examples of self-censored texts. Nevertheless, there are a few volumes published during the communist period with so-called ˮdeliberate deletionsˮ made by the author, volumes that have been reprinted after 1989 by the same author in their complete, uncensored version, with the previously (self-)censored passages marked in the text. The present analysis of this specific type of censorship – self-censorship during the communist regime – is based on such a volume, an occasional journal written by Petre Stoica, published in 1988 and then reissued in 1998, in its uncensored version.

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2

Owen, Ursula, Marie Korpe, and Ole Reitov. "Censorship? What censorship?" Index on Censorship 27, no. 6 (November 1998): 5. http://dx.doi.org/10.1080/03064229808536444.

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3

Kis, Danilo. "Censorship/Self Censorship." Index on Censorship 15, no. 1 (January 1986): 43–45. http://dx.doi.org/10.1080/03064228608534021.

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4

Mehta, Monika. "Censorship." BioScope: South Asian Screen Studies 12, no. 1-2 (June 2021): 49–52. http://dx.doi.org/10.1177/09749276211026105.

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5

Oster, John. "Censorship." English Journal 86, no. 4 (April 1997): 11. http://dx.doi.org/10.2307/820978.

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6

Jackson, Edward M. "Censorship." Journal of Toxicology: Cutaneous and Ocular Toxicology 12, no. 3 (January 1993): 203–4. http://dx.doi.org/10.3109/15569529309053632.

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7

Jackson, Edward M. "Censorship." Journal of Toxicology: Cutaneous and Ocular Toxicology 15, no. 1 (January 1996): 97–98. http://dx.doi.org/10.3109/15569529609044477.

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8

Meyer, Richard. "Censorship." American Art 23, no. 1 (March 2009): 22–24. http://dx.doi.org/10.1086/599057.

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9

정근식. "Colonial Censorship and 'Standard of Censorship'." DAEDONG MUNHWA YEON'GU ll, no. 79 (September 2012): 7–43. http://dx.doi.org/10.18219/ddmh..79.201209.7.

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10

Goodman, Giora. "Censorship of Arab Cinema in the State of Israel, 1948-1967." Iyunim Multidisciplinary Studies in Israeli and Modern Jewish Society 39 (December 31, 2023): 199–224. http://dx.doi.org/10.51854/bguy-39a158.

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This article examines government censorship of Arab films in the first two decades of the State of Israel, through extensive archival use of documents of the Israeli Film and Theater Censorship Board. The state authorities had wanted to ban altogether the import of films made in Egypt, where the majority of Arab films were produced, but this was impossible due to the entertainment needs of the Arab minority in Israel, and of Jewish immigrants from Arab countries. The article sheds light on the government's efforts to restrict as much as possible the showing of Arab films and censor their content. The censorship's dual purpose was to prevent Arab films from awakening the national and political consciousness of the Arabs living in Israel, and to distance Jewish immigrants from their Arab culture, in order to promote their assimilation into hegemonic Israeli culture. However, the censorship's attempts at political control over Arabs and cultural control over Jews was doomed to failure due to the emergence of a new means of communication and entertainment in the Middle East – television. This ended the cinema theaters' monopoly over the consumption of Arab films, and thus the Film and Theater Censorship Board's ability to censor them.

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11

Sobolev, Alexander L. "Russian modernism and censorship: Notes on the issue." Philological Sciences. Scientific Essays of Higher Education 1, no. 2 (March 2024): 101–12. http://dx.doi.org/10.20339/phs.2.1-24.101.

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The article presents cautious complaints about the tradition of neglecting the issue of censorship’s persecution of modernist publications. An approximate range of printed and handwritten sources for the description of censorship practices is outlined. The preliminary list of poetry collections for which official restrictions were implied and/or imposed is provided. With the help of archival sources, the history of the prohibition and subsequent release of the two issues of the main Symbolist magazines, “Vesy” and “Zolotoye Runo”, is reconstructed. The algorithm of the supervisory mechanism concerning the periodical after the abolition of the preliminary censorship is described in detail — from the first signal about a text with prohibited content through the collection of expert opinions to collegial discussion and directly to repressive measures. A separate paragraph describes the role of a member of the Moscow Censorship Committee, who played a key role in both stories and how the properties of this role changed depending on personal acquaintance with the author of the text, which was being prohibited. Among the unexpected circumstances that unite these cases is the absolute peacefulness of censorship, which in fact profaned both the orders of higher authorities and the obvious violation of current legislation, limiting the punishment to a ridiculously low fine and, in fact, levelling their complaints.

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12

Roberts, Margaret E. "Resilience to Online Censorship." Annual Review of Political Science 23, no. 1 (May 11, 2020): 401–19. http://dx.doi.org/10.1146/annurev-polisci-050718-032837.

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To what extent are Internet users resilient to online censorship? When does censorship influence consumption of information and when does it create backlash? Drawing on a growing literature on Internet users’ reactions to censorship, I posit that awareness of censorship, incentives to seek out information, and resources to circumvent censorship are essential to resilience to censorship. I describe how authoritarian regimes have adapted their strategies of censorship to reduce both awareness of censorship and demand for uncensored information.

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13

Derbel, Emira. "Feminist Graphic Narratives: The Ongoing Game of Eluding Censorship." Mediterranean Journal of Social Sciences 10, no. 1 (January 1, 2019): 49–57. http://dx.doi.org/10.2478/mjss-2019-0005.

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Abstract Censorship today has been acquainted with the action of silencing, suppressing or even making unheard and unseen what is considered as culturally and socially unacceptable. Its omnipresent and widespread aspect made the concept touches upon all literary genres among which graphic narratives by women prove to be censorship’s target. The medium’s multimodality and ability to explore culturally, socially and religiously troubling spaces has categorized feminist graphic narratives as “soft weapons” endowed with a stylistic capacity and a system of grammar to subvert and to resist control. It is in this context that that this paper procures a theoretical definition of censorship by linking it history to that of comics and graphic narratives in order to shed light on the historical ties informing today’s conflictual relation between censorship and feminist graphic narratives. By taking the example of Marjane Satrapi’s Persepolis and Linda Barry’s One! Hundred! Demons!, the study stresses the capacity of graphic narratives to elude the gaze of the censor through the adaptation of different evasive techniques.

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14

Gould, David. "Wittgenstein and censorship." Empedocles: European Journal for the Philosophy of Communication 13, no. 2 (December 1, 2022): 97–115. http://dx.doi.org/10.1386/ejpc_00044_1.

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The current debates around censorship are about more than whether or not censorship is desirable. These debates are also about what counts as censorship. The question of what counts as censorship is a relatively new one since the Liberal conception of censorship was taken as given until the 1980s. Since then, a new approach to understanding censorship has gained momentum. What Matthew Bunn calls ‘New Censorship Theory’ argues that the Liberal conception is far too narrow to properly encompass the vast complexities of censorship. New Censorship Theory does not deny the insights offered by the Liberal conception, but expands upon them. This expansion pushes the notion of censorship out of the censor’s office and into the marketplace, politics and social life. New Censorship Theory also recognizes the way that censorship is both prohibitive and productive. In light of this, some authors have argued that New Censorship Theory overstretches the concept of censorship to such a degree that it risks becoming useless and it risks equating all forms of censorship. Beate Müller borrows the notion of family resemblances from the philosophy of the later Wittgenstein to try to avoid getting stuck in the debates around terminology. She does this by trying to identify the essential elements of censorship, distinguishing between its core and periphery characteristics and by mapping censorial actions and reactions systematically. I argue that Müller uses the philosophy of Wittgenstein to make an anti-Wittgensteinian argument. In order to show why I think that this is the case, I will review the censorship debate before providing my own Wittgensteinian contribution.

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15

Schupak, Esther B. "Redefining Censorship." European Judaism 51, no. 2 (September 1, 2018): 134–42. http://dx.doi.org/10.3167/ej.2018.510219.

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Abstract Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.

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16

Reynolds, Stephanie. "Censorship Dateline." Journal of Intellectual Freedom & Privacy 5, no. 3 (March 12, 2021): 33–35. http://dx.doi.org/10.5860/jifp.v5i3.7514.

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17

Reichman, Hank. "Censorship Dateline." Journal of Intellectual Freedom and Privacy 1, no. 4 (May 12, 2017): 32. http://dx.doi.org/10.5860/jifp.v1i4.6319.

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18

Reichman, Hank. "Censorship Dateline." Journal of Intellectual Freedom and Privacy 2, no. 2 (October 12, 2017): 37. http://dx.doi.org/10.5860/jifp.v2i2.6477.

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19

Stone, David R. "Censorship Dateline." Journal of Intellectual Freedom and Privacy 2, no. 3-4 (April 9, 2018): 48. http://dx.doi.org/10.5860/jifp.v2i3-4.6647.

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20

Stone, David R. "Censorship Dateline." Journal of Intellectual Freedom & Privacy 3, no. 1 (July 6, 2018): 24. http://dx.doi.org/10.5860/jifp.v3i1.6740.

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21

Stone, David R. "Censorship Dateline." Journal of Intellectual Freedom & Privacy 3, no. 2-3 (January 15, 2019): 18. http://dx.doi.org/10.5860/jifp.v3i2-3.6917.

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22

Stone, David R. "Censorship Dateline." Journal of Intellectual Freedom & Privacy 4, no. 1 (June 3, 2019): 50. http://dx.doi.org/10.5860/jifp.v4i1.7010.

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23

Stone, David R. "Censorship Dateline." Journal of Intellectual Freedom & Privacy 4, no. 2 (November 22, 2019): 12. http://dx.doi.org/10.5860/jifp.v4i2.7191.

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24

Stone, David R. "Censorship Dateline." Journal of Intellectual Freedom & Privacy 4, no. 3 (April 10, 2020): 18. http://dx.doi.org/10.5860/jifp.v4i3.7323.

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25

Stone, David R. "Censorship Dateline." Journal of Intellectual Freedom & Privacy 4, no. 4 (July 31, 2020): 49. http://dx.doi.org/10.5860/jifp.v4i4.7393.

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26

Reynolds, Stephanie. "Censorship Dateline." Journal of Intellectual Freedom & Privacy 5, no. 1 (November 12, 2020): 43. http://dx.doi.org/10.5860/jifp.v5i1.7462.

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27

Schupak, Esther B. "Redefining Censorship." European Judaism 51, no. 2 (September 1, 2018): 134–42. http://dx.doi.org/10.3167/ej.2017.510219.

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Abstract:

Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.

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28

Coyne, Kevin. "Resist censorship." Nursing Standard 21, no. 32 (April 18, 2007): 26–27. http://dx.doi.org/10.7748/ns.21.32.26.s31.

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29

Priddle, Clive. "Censorship? Hardly." Index on Censorship 50, no. 1 (April 2021): 78–80. http://dx.doi.org/10.1177/03064220211012311.

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30

Stroshane, Eric. "Censorship Dateline." Journal of Intellectual Freedom & Privacy 6, no. 1 (June 14, 2021): 6–13. http://dx.doi.org/10.5860/jifp.v6i1.7593.

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31

Sweeney, John. "Chaos censorship." Index on Censorship 51, no. 1 (March 23, 2022): 133–34. http://dx.doi.org/10.1177/03064220221085933.

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32

Israel, Elfie. "Censorship Issue." English Journal 86, no. 5 (September 1997): 12. http://dx.doi.org/10.2307/820433.

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33

Hoffman, Barbara, and Robert Storr. "Censorship II." Art Journal 50, no. 4 (1991): 14. http://dx.doi.org/10.2307/777317.

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34

Freedberg, David. "Censorship Revisited." Res: Anthropology and Aesthetics 21 (March 1992): 5–11. http://dx.doi.org/10.1086/resv21n1ms20166838.

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35

McDonald, James R. "Rock Censorship." Popular Culture in Libraries 1, no. 4 (February 15, 1994): 63–70. http://dx.doi.org/10.1300/j117v01n04_03.

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36

Rich, Vera. "Chernobyl censorship." Nature 339, no. 6219 (May 1989): 5. http://dx.doi.org/10.1038/339005e0.

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37

Niziołek, Grzegorz. "Affective Censorship." Teksty Drugie 1 (2017): 111–19. http://dx.doi.org/10.18318/td.2017.en.1.7.

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38

Bambauer, Derek E. "Censorship v3.1." IEEE Internet Computing 17, no. 3 (May 2013): 26–33. http://dx.doi.org/10.1109/mic.2013.23.

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39

Gray, Anthony. "Bloody Censorship." Alternative Law Journal 37, no. 1 (March 2012): 37–40. http://dx.doi.org/10.1177/1037969x1203700109.

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40

Tegmark, Max. "Cosmic censorship." Nature 415, no. 6870 (January 2002): 374–75. http://dx.doi.org/10.1038/415374a.

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41

Friedman, John L., Kristin Schleich, and Donald M. Witt. "Topological censorship." Physical Review Letters 71, no. 10 (September 6, 1993): 1486–89. http://dx.doi.org/10.1103/physrevlett.71.1486.

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42

Richet, Jean-Loup. "Overt censorship." Communications of the ACM 56, no. 8 (August 2013): 37–38. http://dx.doi.org/10.1145/2492007.2492021.

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43

Visser, Matt, B. A. Bassett, and S. Liberati. "Superluminal censorship." Nuclear Physics B - Proceedings Supplements 88, no. 1-3 (June 2000): 267–70. http://dx.doi.org/10.1016/s0920-5632(00)00782-9.

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44

Horton, John. "Self-Censorship." Res Publica 17, no. 1 (January 27, 2011): 91–106. http://dx.doi.org/10.1007/s11158-011-9145-3.

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45

Earman, John. "Cosmic Censorship." PSA: Proceedings of the Biennial Meeting of the Philosophy of Science Association 1992, no. 2 (January 1992): 171–80. http://dx.doi.org/10.1086/psaprocbienmeetp.1992.2.192833.

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46

Faris, Robert, Stephanie Wang, and John Palfrey. "Censorship 2.0." Innovations: Technology, Governance, Globalization 3, no. 2 (April 2008): 165–87. http://dx.doi.org/10.1162/itgg.2008.3.2.165.

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47

EARDLEY, DOUGLAS M. "Cosmic Censorship." Annals of the New York Academy of Sciences 688, no. 1 (June 1993): 408–17. http://dx.doi.org/10.1111/j.1749-6632.1993.tb43913.x.

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48

Shadmehr, Mehdi, and Dan Bernhardt. "State Censorship." American Economic Journal: Microeconomics 7, no. 2 (May 1, 2015): 280–307. http://dx.doi.org/10.1257/mic.20130221.

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We characterize a ruler's decision of whether to censor media reports that convey information to citizens who decide whether to revolt. We find: (i) a ruler gains (his ex ante expected payoff increases) by committing to censoring slightly less than he does in equilibrium: his equilibrium calculations ignore that censoring less causes citizens to update more positively following no news; (ii) a ruler gains from higher censorship costs if and only if censorship costs exceed a critical threshold; (iii) a bad ruler prefers a very strong media to a very weak one, but a good ruler prefers the opposite. (JEL D72, D74, D83)

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49

Sluzki, Carlos E. "Censorship looming." American Journal of Orthopsychiatry 73, no. 2 (2003): 131–32. http://dx.doi.org/10.1037/0002-9432.73.2.131.

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50

Hoffman, Barbara, and Robert Storr. "Censorship II." Art Journal 50, no. 4 (December 1991): 14–15. http://dx.doi.org/10.1080/00043249.1991.10791473.

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