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1

KDYŽ CENZURA PRODUKUJE. NA PŘÍKLADU ZAKÁZANÝCH PRÓZ VLADIMÍRA MINÁČE

100%
Šámal P.
Slovenská literatúra (Slovak Literature)
|
2016
|
vol. 63
|
issue 6
479 – 484
EN
The article uses a collection of stories by Vladimír Mináč titled Z nedávnych čias /Of the Recent Times/ banned in 1957 by Head Office of Print Media Supervision as an example so as to show productive effects of censorship. The author develops the ideas of the methodological movement New Censorship (Richard R. Burt) and shows different kinds of meaning that the censorship case produced. The author claims that the censorship interventions made in 1957 are associated with various forms of fetishism, which followed the recent publishing of the book by Vladimír Mináč Zakázané prózy (Banned proses, Ed. Pavel Matejovič, Bratislava : Slovenské informačné centrum 2015) and engaged the work of art that would be otherwise left forgotten in literary communication. Special attention is paid to the legitimizing and canonizing effects that were prompted by the censorship.
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PODOBY CENZÚRY V SÚČASNEJ RUSKEJ LITERATÚRE

100%
Kupka V.
World Literature Studies
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2018
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vol. 10
|
issue 4
38 – 57
EN
After centuries of first tsarist and then communist censorship in Russia, censorship was finally prohibited by the Constitution in 1993. The censorship-free 1990s (with all the pros and cons) were followed by a search for new mechanisms of censorship and new forms of prohibition by the authorities to determine a certain control of the state over the mass media and various forms of art, including literature. New legislation (the 2013 law banning propaganda of non-traditional sexual relationships and denial of traditional family values among minors, the 2014 law banning foul language in the arts, the 2016 amendments of anti-extremism law) has become one such mechanism. On the one hand, the laws result in authors’ self-censor-ship; on the other, they provide not only the authorities but also individuals, activist groups or various citizen or religious associations with the opportunity to sue the author or the publisher of a literary work in court.
3
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[recenzja:] Bartłomiej Paszylk, Książki zakazane, Warszawa − Bielsko-Biała 2009

80%
Ciszewska W. A.
Toruńskie Studia Bibliologiczne
|
2010
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vol. 3
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issue 2(5)
186-186
EN
A review of a book on 'prohibited books'. The various reasons for censorship (social, moral, religious and political reasons) as well as their results were described. A question whether a book can potentially pose a threat was raised.
4

'LITERARY POLICY' OF RUSSIAN FOREIGN CENSORSHIP IN 1865-1904 ('Polityka literacka' rosyjskiej cenzury zagranicznej w latach 1865-1904)

80%
Kostecki J.
Klio. Czasopismo poświęcone dziejom Polski i powszechnym
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2011
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issue 2(17)
55-69
EN
Almost 4500 new literary publications in Polish (counting by titles) had been tried to bring in to Empire in 1865-1904. The foreign censorship banned from circulation almost 1400 of these books - in a whole or in a part. These books were treated more lenient than others - because in 1872-1904 the censors prohibited only 29,7% of them, when nonfictional publications - 40,5%. The literary works were more rarely than others banned in a whole. The censorship policy towards imported belles-lettres became slowly less repressive, in spite that it had been changing: during 70. had occurred to be moderate, using various bans conditional upon subject; late 80. and the beginning of 90. it was a period of the strongest repressions, but the second half of 90. and the beginning of XX century it was quite successful time for belle- lettre import. The censorship hit books of Polish authors in the most severe way (which consisted of 3/4 of all banned imported works), particularly directed to the people or to the general public or imported for the first time since they were published and didn't belong to any book series. The most banned author was Slowacki and next: Lenartowicz, Krasinski, Urbanski, Poeche, Sienkiewicz (mainly versions adapted for children), Milkowski (T.T. Jez), Wilkonska, Przybyszewski, Abgarowicz, Rogosz, Zacharjasiewicz, Kasprowicz, Chociszewski, Tetmajer, Tuczynski, Mickiewicz, Asnyk, Wyspianski, W.Belza, Przyborowski i Konopnicka.
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SPRISAHANECKÉ MYSLENIE V „CENZUROVANOM“ DIELE RICHARDA MILLETA

80%
Drengubiak J.
World Literature Studies
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2018
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vol. 10
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issue 4
24 – 37
EN
The paper analyses the works of French author Richard Millet and the way he thematises censorship from his early works up to the controversial eulogy of Anders Breivik in 2012. The author’s claim of being a victim of censorship is approached as a symptom of a larger problem that is conspiratorial thinking. The study shows that Millet’s conspiratorial ideation evolves progressively and becomes ever more pronounced and radicalized in his writings. Though censorship, in his mind, takes up different forms – from political correctness to indirect means of silencing – it underlies the author’s conspiratorial mind-set on every stage and is a part of his self-image.
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Mutilated Mellors: The Strange Story of Lady Chatterley's Lover in Portugal

80%
Duarte J. F.
Między Oryginałem a Przekładem
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2010
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vol. 16
179-190
EN
The period between 1968 and 1970 came to be known as “Primavera marcellista”; so, Lady Chatterley’s Lover , like many other previously unpublishable books, came out, signalling an “opportunist” strategy. However, no traces in this translation are left of any of the taboo words that Lawrence went so far to defend and which constitute a key element in the intended meaning of the novel. The next episode takes place in 1975, when a translation of the novel came out bearing the name of a different translator. Meanwhile the political and social context had changed dramatically owing to the 1974 revolution which restored democracy to the country and, at least as regards the book as cultural medium, put an end overnight to the categories of subversion and pornography. In such circumstances one should expect the “phallic” language to be restored to the portuguese retranslation of Lady Chatterley’s Lover. However, much to author’s surprise nothing of the sort happened; furthermore, when he compares the 1975 target text with the first translation, he’s struck by the high degree of textual similarity of the both. According to Toury (1996), the conservatism in translation implies using target-system repertoires that have ceased to be innovative and became ossified on the margins of canonical culture. In the light of Lefevere’s (1985) conception, nevertheless, it seems that there is no theoretical need to restrict conservatism in translation to the repertoire. It is perfectly sensible to posit that secondary ideological models – or residual cultural practices may also be at work, moulding target texts into a peripheral position. The story of Lady Chatterley’s Lover in Portugal may very well offer empirical evidence of this.
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DRAMA THAT WAS NOT PLAYED IN HUNGARY. DRAMATIC WORKS OF PRESSBURG SCHOLAR AND WRITER TOBIAS GOTTFRIED SCHRÖER (1791 – 1850)

80%
Kopčáková S., Zubal P.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 3
322 – 336
EN
The study deals with the dramatic works of a writer, professor of the Evangelical Lyceum of the Augsburg Confession in Pressburg, Tobias Gottfried Schröer. As a citizen of German descent striving to avoid the harsh censorship of the time, between 1820 and 1849, he published his works under various pseudonyms. Under his real name, he published only textbooks and three compendia intended for the Lyceum students. In Germany (Leipzig, Hamburg, etc.), he was quite a well-known writer; his short stories, poems and plays were published in various almanacs and collections. His drama work is almost unknown, and the number of his plays (existing as primary sources, including those that are only referred to), we estimate at fifteen so far. They were written approximately between the years 1806 and 1846, which testifies to their author’s lifelong interest in theatre and story dramatizations. A historical drama Leben und Thaten Emerich Tokoly’s und seiner Streitgenossen [The Life and Deeds of Emerich Tököly and His Comrades-in-arms by A. Z.] (1839), published in Leipzig under the pseudonym of A. Z., and a comedy Der Bär [The Bear] (1830) can be considered the most important.
8

CENSORSHIP AGAINST AN ACCOUNT OF 'SLOWO' ON STANISLAW CAT MACKIEWICZ EXILE TO BEREZA KARTUSKA IN 1939 (Cenzura wobec relacji 'Slowa' o zeslaniu Stanislawa Cata Mackiewicza do Berezy Kartuskiej w 1939 roku)

80%
Gzella J.
Klio. Czasopismo poświęcone dziejom Polski i powszechnym
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2011
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issue 2(17)
113-123
EN
'Slowo' - a conservative Vilnius newspaper issued in the years 1922-1939 started its transformation into an oppositional newspaper after the death of Joseph Pilsudski. For this reason, the local authorities more and more frequently intervened into its content, confiscating either single articles or the whole issues. In 1939 the authorities decided to send 'Slowo' chief editor Stanislaw Cat Mackiewicz into exile to Bereza Kartuska. The articles reporting this event, describing Stanislaw Mackiewicz's activities during the reconstruction of the country, his merits for the Polish journalism as well as articles expressing the protests of journalistic environment were taken over by the governor authorities. It led to an actual suspension of the paper, its financial losses and consequently caused abandonment of the protests by 'Slowo' editors.
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Ingerencje cenzorskie jako narzędzie reglamentowania treści prasowych (na przykładzie prasy kieleckiej)

80%
Siuda M.
Rocznik Bibliologiczno-Prasoznawczy
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2009
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vol. 12
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issue 1
69-99
EN
The subject of the article is the analysis of censorship intervention in the Kielce press between 1945 and 1989. The censors' teachings involved instructions, briefings, referred to as "Register of censorship notes in addition to special bulletins, among others, the intervention reviews", "Signals of GUKPPiW", "Briefing materials". Cases of government, military, economic and other forms of intervention were described. Especially intensive censorship activity was observed in the 1950s. Examples of the omission of fragments or full articles indicate the manipulation of the contents prepared by journalists, becoming, in this way, the co-originators of information.
10

CENSORSHIP WITHOUT CENSORSHIP. PARTICULARITIES OF THE LITERARY LIFE OF THE RUSSIAN PARIS (Cenzura bez cenzury. Osobitosti literarneho zivota ruskeho Pariza)

80%
Azarov J. A.
Slovak Review. A Review of World Literature Research
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2008
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vol. 17
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issue 1
93-102
EN
The political control of the literary activities in the former Soviet Union was a sad reality but not even the literary work of the emigrants could avoid the censorship. The author was allowed to create - but the necessity of publishing in emigrant press and earning his living by literature, similarly to the situation in the USSR, brought to him some creative restrictions, including those ideological. As a pars pro toto the author of the study deals with the case of the Parisian emigrant magazine 'Sovremennye zapiski' published by the SR members, in which among others appeared such personalities as Bunin, Gippius, Nabokov, Tsvetaeva, Merezhkovsky, Shmelov. Not even these great names, however, were able to avoid the restrictions, which the advisory board could afford because of political reasons. The autor on the basis of several literary documents, diaries and memories reconstructs the image of the contemporary functioning of the magazine 'Sovremennye zapiski'
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SLOVAK “INAPPROPRIATE” FILMS AFTER 1989: CENSORSHIP OR BAN?

80%
Palúch M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 3
297 – 309
EN
This study focuses on forms of censorship that appeared in Slovak authorial documentary film after 1989, with investigative documentary being the most afflicted genre. In the introduction, the author describes institutional forms and mechanisms of state censorship, which was used as an effective ideological tool to supress “inappropriate” information in Slovak film production during the existence of the first Slovak State (1939 – 1945) and in the former Czechoslovakia (1948 – 1989). Residues of such institutional censorship later appeared also in democracy (1989 – 2015), namely in the form of politically or religiously motivated pressure exerted on audio-visual production and its authors by representatives of the ruling (government) parties and their nominees.
12

AMBROZY GRABOWSKI AND HIS PROBLEMS WITH CENSORSHIP (Ambrozego Grabowskiego klopoty z cenzura)

80%
Pietrzkiewicz I., Rogoz M.
Klio. Czasopismo poświęcone dziejom Polski i powszechnym
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2011
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issue 2(17)
3-25
EN
Censorship activities on the 19th century book publishing market in Cracow have been and are of interests to many historians and library scientists. It is sufficient to mention the names of T. Gutkowski, J. Bieniarzowna, B. Szyndler or A. Aleksiewicz. These studies show both dependency of the book and press publishers on censorship injunctions and problems with distribution of texts coming from official and clandestine book trade. In Cracow, restrictions forced by censorship were evolving reflecting changes in policy of invaders. An important event was the establishment in 1831 of the Committee of Censorship with its activities based upon their Austrian origins. When analyzing contemporary problems of publishers and booksellers or depicting censorship in the context of social life of the city, one can not ignore Ambrozy Grabowski - historian and art collector, lover of national memorabilia, but also writer and publisher, bookseller and antiquarian, astute observer of life. His relationship with censors concerned both his writing, publishing and bookselling. Preserved sources show his relation to the contemporary system of censorship on all these levels. This article analyzes censorship interference in author's writings by Grabowski as well as interference in his bookselling work associated with illegal distribution of emigration prints, among others by: A. Mickiewicz, J. Lelewel, M. Mochnacki or H. F. de Lamennais. Grabowski's work was interrupted by search of his bookstore conducted in 1836 resulting in his trial. In his notes, he frequently referenced to the problem of censorship in Cracow - describing people and events associated with those practices. All of this makes it worthwhile to learn more about relationship of this figure with local censorship over many years and on several levels mentioned here.
13

CONVERSATIONS. THE SHARJAH BIENNALE AND INTERNATIONAL ART RELATIONS IN THE UNITED ARAB EMIRATES

80%
Rattray M.
ARS
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2008
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vol. 41
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issue 2
307-316
EN
This essay seeks to examine questions relating to the Biennale of Sharjah and occurrences of censorship at the 2003 Biennale. Through an analysis of Okwui Enwezor's article 'The Black Box' from the Documenta XI catalogue, coupled with an examination of three works of art from the 2003 Sharjah Biennale (Philippe Terrier-Hermann's 'The Romans', Wolfgang Staehle's 'Untitled 2001', Zhu Ming's 'July 26, 2002'), the essay will examine how censorship affects the exhibition of International Art in the conservative setting of Sharjah.
14

Les traducteurs assermentés polonais vus par eux-mêmes

80%
Collani T.
Romanica Wratislaviensia
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2012
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vol. 59
259-268
EN
Beginning from the 1940s, Aldo Camerino (1901–1966), a Venetian writer and literary critic, translated into Italian many literary works from French, English and Spanish. In a strongly liberticidal period (due to Mussolini’s regime, racial laws and WWII), the emerging “industry of translation” had to struggle to publish certain literary works, and authors/translators were often disguised under aliases in order to escape the censorship’s watchful eye. Although at the time often invisible behind his different masks, Aldo Camerino comes across today as a figure of a courageous and discreet translator and scholar.
15
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Cenzura a kulturní regulace

80%
Müllerová B.
Česká literatura (Czech Literature)
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2009
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vol. 57
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issue 4
503-531
EN
The revival of censorship studies over the last two decades is due not only to the implosion of the Soviet bloc and the ensuing release of official records from East European states for research purposes, but also to conceptual changes in our understanding of censorship. Proponents of the so-called 'new censorship' have advocated a view of censorship much broader than the traditional one by insisting that apart from institutionalized, interventionist ('regulatory') censorship, social interaction and communication is affected by 'constitutive', or 'structural' censorship: forms of discourse regulation which influence what can be said by whom, to whom, how, and in which context. However, widening the concept 'censorship' in this way carries the risk of equating censorship with any kind of social control, thus endangering its heuristic potential. The analysis of censorship should adopt Wittgenstein's concept of family resemblance to distinguish between central and peripheral characteristics of censorship, in addition to using the communication model as a systematic basis for censorial practices and effects.
16
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LITERÁRNÍ CENZURA A AUTOCENZURA V ČÍNĚ: DVĚ PŘÍPADOVÉ STUDIE

80%
Hladíková K.
World Literature Studies
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2018
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vol. 10
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issue 4
58 – 71
EN
Starting with Mao Zedong’s “Talks at the Yan’an Forum” delivered in May 1942, literature in China was seen as the key tool of propaganda. Censorship has been a natural part of the Chinese literary system established after the founding of the PRC. The centralized, state-controlled literary establishment was gradually abolished during the post-Mao era, but the basic principles in the official Party discourse remain. Two case studies focused on one of the most sensitive topics, minority nationalities, provide a deeper insight into the ideological back-grounds and aims of Chinese censorship, which can be summed up by notions of social harmony and stability.
17
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MARGINÁLNE DEJINY „NEVHODNÝCH“ FILMOV NA SLOVENSKU PO ROKU 1989

80%
Palúch M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 4
412 – 421
EN
This study does research into practices aimed at blocking “unsuitable” films from exhibition in contemporary cinematography. There are several examples of authors who have been subjected to pressure whose aim was to prevent particular films from being screened. The post-1989 period has seen the emergence of a new phenomenon in authorial documentary film in Slovakia – personality protection. As a result of its alleged infringement, an author, distributor, or broadcaster can face a lawsuit. This can happen if they do not obtain permission for the material to be released from protagonists, a public institution which has produced it (especially a public television), or an interest group, which can be depicted critically in the film. As a result, censorship did not end in 1989. Based on the subjective wishes of modern censors, imaginary “fig leaves” still cover unsuitable passages, themes, or whole films. The only defence authors can resort to is an intervention into the work as an act of self-censorship or a defence of their authorial intent before court.
18

A NONCONFORMIST APPROACH TO THE PROBLEMS OF CENSORSHIP AND FREEDOM OF SPEECH (RUSSIAN AND POLISH) IN COMPARATIVE STUDIES BY ALEKSANDER SWIETOCHOWSKI (Polish title below)

80%
Balabuch H.
Klio. Czasopismo poświęcone dziejom Polski i powszechnym
|
2011
|
issue 2(17)
71-95
EN
(Polish title: Nonkonformistyczne ujecie problematyki cenzury i wolnosci slowa (zaborczej i polskiej) w komparatystyce Aleksandra Swietochowskiego). In 1926, in 'Mysl Narodowa', Aleksander Swietochowski wrote among others: 'For almost fifty years my spirit has endured the torture of Russian censorship, suffering torments, and yet I felt less terror then than I do now.' Such a comparison of the Russian censorship (foreign) to the Polish one (native), favourable to the former, was seen by many as highly controversial. Was it a valid comparison? Can foreign censorship be judged according to different criteria than the native one? Which criteria can one apply to the very phenomenon of censorship in general? The problem of freedom of speech and censorship took up a special place in Swietochowski's literary production: as a writer, publicist, editor and publisher he had to face numerous instances of the restrictions imposed on the freedom of speech. He used to draw attention, not only to the institutional censorship but also to the informal pressure exerted by the clerical and conservative circles. Following the concepts of Jurgen Habermas and Pierre Bourdieu this article aims to conceptualise the sphere of the freedom of speech presented in the writings of Aleksander Swietochowski.
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OSZILLATIONEN ZWISCHEN DEM METAPHORISCHEN UND DEM KONKRET-MATERIELLEN: METAPHORIKEN DES BUCHS IM SPIEGEL LITERARISCHER UND BUCHKÜNSTLERISCHER ARBEITEN

80%
Schmitz-Emans M.
World Literature Studies
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2018
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vol. 10
|
issue 3
114 – 128
EN
Books, their materiality and their structure can have a metaphorical dimension; they may even appear as “materialized metaphors”. Artists’ books and literary works of unconventional and striking book shapes reflect the metaphorical potential of the book and make it vivid. Sometimes, however, such works of book art allow for different, even controversial interpretations, which can be exemplified by examples in which the metaphors of the “palimpsest”, the “blackening”, and the “labyrinth” appear concretized.
20

K NIEKTORÝM PROBLÉMOM AKTUÁLNEHO TEORETICKÉHO DISKURZU O CENZÚRE

80%
Matejovič P.
Slovenská literatúra (Slovak Literature)
|
2017
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vol. 64
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issue 3
228 – 235
EN
The author of the paper deals with an overview of reflection on censorship in the current literary theoretical discourse focusing on the Czech cultural context. He pays special attention to the two-volume monograph titled v Obecném záujmu / In Public Interest/ and the anthology of theoretical studies which were pubished under the title Nebezpečná literatura? /Dangerous Literature?/. He draws attention to the theoretical works by P. Bourdieu, J Butler and L. Losev. He puts individual theoretical findings into relation with contemporary poetics as it was formed by the canon of Socialist Realism (cryptic forms of Esopian language in the contemporary satire). He also pays attention to dispersed forms of censorship which formed the poetics of the 1970s and the 1980s during the period of so-called Normalization (the formation of parallel circulation).
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