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PODOBY CENZÚRY V SÚČASNEJ RUSKEJ LITERATÚRE

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Kupka V.
World Literature Studies
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2018
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vol. 10
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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.
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KDYŽ CENZURA PRODUKUJE. NA PŘÍKLADU ZAKÁZANÝCH PRÓZ VLADIMÍRA MINÁČE

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Šámal P.
Slovenská literatúra (Slovak Literature)
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2016
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vol. 63
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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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CONVERSATIONS. THE SHARJAH BIENNALE AND INTERNATIONAL ART RELATIONS IN THE UNITED ARAB EMIRATES

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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.
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TRANSFORMÁCIE CENZÚRY V SÚČASNOM LITERÁRNOM DISKURZE (S PRÍKLADMI ZO SLOVENSKÉHO KULTÚRNEHO PROSTREDIA

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Matejovič P.
World Literature Studies
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2018
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vol. 10
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issue 4
9 – 23
EN
Since the 1990s, literary censorship has been a focus of scholars not only in terms of literary history but also as a specific literary-theoretical problem. Czech literary studies entered the new discourse on censorship in 2015 with an extensive two-part monograph on censorship and social regulation of Czech literature published by the Institute for Czech Literature of the Czech Academy of Sciences (1749–2014). This study follows upon the above-mentioned project, in particular the research mapping censorship mechanisms after 1989 in Slovakia. It draws from the theoretical works of Pierre Bourdieu, who sees censorship not exclusively as a legal authority that sanctions and punishes, but as a field that behaves similarly to the market. In this sense we can talk about a socially authorized discourse rather than censorship. The study includes some censorship “cases” from post-1989 Slovakia (concerning the authors Martin Kasarda, Peter Pišťanek and Dušan Taragel) that have been seen as efforts by certain religious groups to regulate cultural and literary processes.
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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?

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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.
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OSZILLATIONEN ZWISCHEN DEM METAPHORISCHEN UND DEM KONKRET-MATERIELLEN: METAPHORIKEN DES BUCHS IM SPIEGEL LITERARISCHER UND BUCHKÜNSTLERISCHER ARBEITEN

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Schmitz-Emans M.
World Literature Studies
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2018
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vol. 10
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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.
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LITERÁRNÍ CENZURA A AUTOCENZURA V ČÍNĚ: DVĚ PŘÍPADOVÉ STUDIE

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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.
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K NIEKTORÝM PROBLÉMOM AKTUÁLNEHO TEORETICKÉHO DISKURZU O CENZÚRE

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Matejovič P.
Slovenská literatúra (Slovak Literature)
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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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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.
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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.
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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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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.
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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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MARGINÁLNE DEJINY „NEVHODNÝCH“ FILMOV NA SLOVENSKU PO ROKU 1989

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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.
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DRAMA THAT WAS NOT PLAYED IN HUNGARY. DRAMATIC WORKS OF PRESSBURG SCHOLAR AND WRITER TOBIAS GOTTFRIED SCHRÖER (1791 – 1850)

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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.
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NEDISCIPLINOVANÍ CENZORI. PRIESTUPKY A KONFLIKTY VYKONÁVATEĽOV DOZORU AKO ZÁKULISIE SYSTÉMU SOCIÁLNEJ DISPLINIZÁCIE

80%
Kollárová I.
Historický časopis (Historical Journal)
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2023
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vol. 71
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issue 2
225 – 247
EN
The study is a continuation of research into human resources for censorship offices after the reform of Joseph II. The author analyses the adaptation of local censors in their positions through censorship cases, offenses and conflicts on the basis of preserved sources. It brings information about previously unnoted censors and offers a nonstereotyped perception of their role. The research shows the problems of complying with the valid regulations and the obedience of the local censors to the superior study director emerges as the most problematic area. Censors were often the authors of texts that can be regarded as pamphlets, so they tended towards the publishing activities. They were supposed to fight against. In the case of Professor at the Law Academy in Košice and censor Ignátz Gotzigh emerges a hitherto almost unknown, very interesting oppositional and peculiar personality with a non-dogmatic way of thinking. Research has shown that those who were sought after, put in their positions and paid to see to the reproduction of social obedience were not obedient themselves. From this point of view, the censorship administrations can be seen as a „hole in the fence“ protecting “the state, religion and morality”, as a weak spot in the protection of the rules and the social status quo.
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'AGAINST SHAMELESS IN TEXT AND ILLUSTRATION'. KRAKOW CENSORSHIP AGAINST DEMORALIZATION (1918-1939) ('Przeciw bezwstydowi w druku i obrazku'. Krakowska cenzura w walce z demoralizacja (1918-1939))

80%
Wrona G.
Klio. Czasopismo poświęcone dziejom Polski i powszechnym
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2011
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issue 2(17)
97-111
EN
The following article examines the issues of legal and social regulation of pornography from the standpoint of the Cracovian press control body between 1918 and 1939. The emphasis is put primarily on the legislative restrictions in the visual and literary presentation of nudeness, as well as sexuality in the text, drawing or reproduction. The author refrains from judging past legislative and juridical solutions in this field. The article focuses on presenting and classifying the research materials, based on their form, content and the communication. The major aim of the article is thus a historic reconstruction of the Cracovian censorship actions. This concerns the regulation of the publishing houses' market which were accused of pornography. Moreover, the author defines the size of this market and indicates the reasons, why the publishing houses were subjected to restrictions. The activity forms of Cracow municipals and Cracovian censorship are also categorised in the article. Apart from the legal forms of restrictions such as: inspections, routine controls, confiscations and seizures of erotic publications, some other non-formal limitation trials could have been registered. These were initiated by the Catholic Church, various unions, associations as well as citizens themselves.
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CENSORSHIP GAMES AMONG THE POLISH EMIGRE COMMUNITY IN HUNGARY IN THE YEARS 1939-1945 (Przygody z cenzura polskiej uchodzczej spolecznosci na Wegrzech (1939-1945))

80%
Wozniakowski K.
Klio. Czasopismo poświęcone dziejom Polski i powszechnym
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2011
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issue 2(17)
125-142
EN
Civilian and military emigres of the wartime period who had come to Hungary when the Polish-Hungarian border had been temporarily open (17-28 Sept. 1939) had a relatively rich artistic and cultural life. Thanks to the Hungarian authorities, the Polish emigres even formed their own institutions. As a result, some kind of press was started and approximately 60 newspapers and magazines were in circulation. What is more, 300 different books and brochures were duplicated in 13 publishing houses. In Budapest, the Polish Institute (Instytut Polski) and Polish Club (Swietlica Polska), among others, organized several dozen public cultural performances. Polish publications and books were controlled by the Press Department of the Hungarian Ministry of Foreign Affairs. This censorship function was held by Istvan Meszaros (1891-1964), who later became a famous translator of the Polish literature. After the Nazis entered Hungary in March 1944 he was substituted by Sandor Vajlok. Meszaros was always pro-Polish: he never questioned or refused any Polish publication, was secretly helping the Polish emigres. However, he was unable to oppose the intervention of the Embassy of the Third Reich in Budapest which temporarily stopped the publication of the leading emigre periodical 'Wiesci Polskie' ('Polish News') from the 12 May to the 3 June 1941. The reason of it was a quotation from Churchill's speech allegedly off ensive to the German nation. Among public performances which had serious problems with the official Hungarian authorities, two of them must be mentioned. The first was a guest performance by an emigre puppet theatre from Ipolyhidveg, presenting Polish Nativity Scene on 23 Feb. 1943 in the Polish Institute: the organizers and performers were denounced to the police authorities because the puppet of Herod resembled Hitler. The second was a performance of the youth group from the Polish secondary school in Balatonboglar, planned in Budapest on 16 May 1943, but cancelled at the last minute (as a result of the suggestion put forward by the Hungarian authorities who feared to irritate Nazis). Apart from the official Hungarian censorship, there was also an internal censorship of all religious publications held by the Polish Catholic Chaplaincy.
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'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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