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Discusses the development of St. Petersburg University, Russia, from its inception in 1819 when it was composed of dedicated, eager scholars to the purges in 1821. Concludes that Tsar Alexander I was instrumental in these purges because of his fear that the ideals of European enlightenment in education and politics fostered by the university would result in revolution. (KC)

A vivid illustration of the successes of U.S.–Soviet diplomacy during the period of allied relations was the magazine Amerika, published in the United States in Russian and distributed in the USSR. The magazine was intended to inform Soviet citizens about real American life, familiarize them with the achievements of the United States in science and culture. It was important to present American literature on the pages of the magazine: authors new to Soviet readers and stories by well-known writers translated into Russian for the first time. The article concludes that, along with the rest of the magazine's content, its literary section sought to demonstrate American prosperity and emphasize the closeness of American and Russian cultures. After the war, however, relations between the two countries went into decline again. The USSR continued to translate, censor, and distribute Amerika, but at the same time launched a campaign against the magazine in the Soviet press. In 1952, the symbol of US — Soviet alliance of 1941–1945 ceased to exist. The canceled project was restarted however four years later. The history of the magazine is reconstructed on the basis of Soviet press and archival materials, including transcripts of conversations, Agitprop reports, correspondence between the U.S. Ambassador to the USSR W.A. Harriman and V.M. Molotov, the First Deputy Minister of Foreign Affairs of the USSR A.A. Gromyko and the U.S. Charge d'Affaires in the USSR W. Barbour.

A library of Ukrainian literature (BUL) was established in Moscow as early as 1918 and remained open until the end of the 1930s. With perestroika, enthusiasts of Ukrainian nationality reinvented this idea. With the support of librarians and the Moscow city administration, a vibrant special library for Ukrainian literature developed. It was initially able to develop well depending on good official relations between the governments of both countries. As intergovernmental relations deteriorated, the BUL became a pawn in big politics. The article sheds light on this development and illustrates the influence of political and legal decisions on the work of public libraries in Russia. [ABSTRACT FROM AUTHOR]

In the summer of 1974, the University Library of LMU Munich was under serious suspicion of censorship: It was accused of having deliberately withdrawn works of the sociologist and Communist Party member Horst Holzer from use. The incident triggered a huge press echo in West Germany, as it seemed to confirm all the clichés of a repressive CSU state in Bavaria. A working group set up by the Association of German Librarians on „Obstruction of Freedom of Information or Access to Information" also dealt with the incriminated accusations. The essay reconstructs the affair based on archival source material and contextualises it with the Student Rebellion at the LMU. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Slawistik is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The subject matter of this paper concerns the early phase of Vasily Grossman’s literary career in the mid1930s. Prior to this period, the author proved his ability to evaluate the mechanisms of censorship and developed his understanding of what was publishable and what could be sanctioned through the publication process of his first novel (Bit Yunan, Fel’dman 2019). The research material selected for this paper is the lesserknown short story Zhizn’ Il’i Stepanovicha [The life of Il’ya Stepanovich], published in 1935, and the aim is to provide a close reading and an interpretation key to this text. In order to expose the hidden ambiguity of the short story, the chosen research perspective includes a focus on the function of the protagonist as an entity that does not legitimise the socialist myth; a narratological approach on the use of proper names, on “perspective” and the role of the narrator with regard to the axiological structure of the text.

Jan Skácel is a Czech poet whose literary production marked the second half of the 20th century, a particularly difficult historical period. In 1948 the Communist Party had implemented a coup d’état thus conquering the totalitarian management of power and had begun to accentuate the ideological control of cultural life. After a short period of easing of the censorship, in 1968 the harsh period of the so called “normalization” began: in 1970 Skácel was banned from publishing. In the decade of ban on official publishing he never left his country and never stopped writing verses, declaring his suffering, and tirelessly denouncing, often using refined figures of speech, the difficult condition of the poet reduced to silence. This article proposes an analysis of these texts following some thematic nuclei: first the poems which contain metaphors drawn from the animal world used to represent the figure of the banned poet will be analyzed, to then examine the compositions in which Skácel more explicitly and directly denounces the censorship.

Unconscious perception can only take place between two unconscious minds, as already described by Freud. This gains in significance in the context of a technique that orients itself on the structural model and that emphasizes the analyst’s unconscious. A maternalistic »receiving-received«, potentially creative unconscious can augment a paternalistic unconscious that is associated with censorship and prohibition. Corresponding conceptualizations have been provided by authors such as Bollas, Winnicott, and Bion. A case study is used to illustrate the deepening development of the analyst’s unconscious perception in the course of a long-term analysis. [ABSTRACT FROM AUTHOR]

The article focuses on the transmission of a linocut postcard in 1971, revealing the covert message of solidarity amidst East German censorship. It delves into the story of Alfred Eberlein, the director of the University Library in Rostock, who faced imprisonment for circumventing currency restrictions to procure books, shedding light on the complexities of intellectual freedom under authoritarian regimes.

Ege Denizi’ndeki en stratejik adalardan biri olan Rodos’un hikâyesini anlatan Ziver Bey, bir tarihçiden çok edebiyat yazarıydı. Ziver Bey eserini Rodos’ta maarif müdürü olarak görev yaptığı sırada kaleme almıştı. Büyük ölçüde Batılı kaynaklardan istifade etse de iktibaslarını kişisel gözlemlerinden beslenerek desteklemişti. Eserini Rodoslular için kaleme aldığını söyleyen Ziver Bey’in kendisi de adalıydı. Bir başka ifadeyle Osmanlı adalarındaki toplumsal yapıya aşina olduğu gibi bizzat o yapının bir ürünüydü. Tarihini II. Abdulhamid Dönemi’nde yazan Ziver Bey, sürgün politikasının tesiriyle Rodos’ta yaşamaya zorlanan Osmanlı aydınlarının zenginleştirdiği fikrî bir ortamdan beslenmişti. Rodos Tarihi’ni henüz kariyer basamaklarını tırmanmakta olan bir memurken yazmıştı. Öte yandan entelektüel üretiminin kariyer yolculuğunda kendisine fayda sağlamasını ummuştu. Bu çalışma bir Tanzimat Dönemi entelektüelinin yazdığı tarihi merkeze alarak onun düşünsel mirasına, içinde bulunduğu entelektüel çevreye ve XIX. yüzyıl tarih yazım geleneğindeki yerine odaklanmaktadır. Son dönem Osmanlı tarihçilerinin eser üretme motivasyonunu taşradaki bir memurun hikâyesi üzerinden ele almaktadır. Bunların da ötesinde bir tarihçiden çok edebiyatçı olarak temayüz etmiş bir yazarın Osmanlı tarihçiliğine ne ölçüde metodolojik katkıda bulunduğu araştırılmaktadır.

The anthology "Of Pioneers and Pirates" explores the DEFA children's film in its cultural-historical, film-aesthetic, and ideological dimensions. The anthology originated from a conference at the University of Halle in February 2019. The contributions discuss various DEFA children's films based on popular fairy tales or children's books by authors from the German Democratic Republic (GDR). The authors analyze the films and discuss topics such as propaganda, censorship, and societal norms. The book is primarily aimed at dramaturges, directors, and film scholars. [Extracted from the article]

Austrian media history in the 20th century is marked by several turning points. Censorship in connection with deep cuts in social life, but there are also turning points in connection with media innovations, such as the introduction of radio 100 years ago or the introduction of dual broadcasting around 25 years ago. Some turning points occurred at lightning speed, such as the annexation of Austria to the German Reich in March 1938, while others took place only in stages, such as the re-establishment of freedom of the press in 1945 after the end of the Second World War. [ABSTRACT FROM AUTHOR]

Correspondence as a source for the study of literary, cultural, and political circumstances and events in Bosnia has not received an appropriate place in the humanities and social sciences because the letters are treated exclusively in the field of privacy. However, letters are sometimes a first-class source for presenting an image of a particular period or event, especially if it is interesting to determine how a particular person or group understands events or processes in society and culture. Studying the letters would open a different perspective on some events since it is often about an "informal" form of communication. In the framework of Bosnian studies, the so-called "letters from the border/krajišnička pisma" (Muhamed Nezirović and Lejla Nakaš) have been the most comprehensively studied, with slightly fewer letters in oriental languages (Sabaheta Gačanin), while letters from the 20th century (Hamid Dizdar, Munir Šahinović, Alija Nametak, for example), unfortunately, did not receive proper valorization. In this paper, the correspondence of Alija Nametak between the two world wars will be presented. Considering the dispersed thematic content of the letters, they are grouped into several thematic units. Letters about Safvet-beg Bašagić, letters about political censorship of articles and literary and artistic works, and correspondence with Slavists throughout Europe especially stand out. The letters were linked to other texts (co-text) that were in the broadest sense related to the topics of the letters. We tried to present as much as possible the events to which the letters referred. We also pay attention to the need to renew the study of Bosnian archival and documentary material, especially in the study of the history of literature.

Kitap kapakları, okuru yönlendirmek ve belirli bir yönde düşünmelerini sağlamak için önemli bir araçtır. Kitabın içeriğine dair bilgi veren, ana temasını yansıtan ve okur ile metin arasındaki ilk iletişimi kuran kitap kapaklarında iletilmek istenen mesaj, görsel öğeler ve metin düzenlemeleri yoluyla aktarılır. Bu seçimlerde kitabın bilinirliğinin ve satışının artırılmasının yanı sıra ideolojik amaçlar da etkendir ve çeviri eylemi içerisinde yer alan pek çok eyleyici bilinçli/bilinçsiz tercihleriyle bu süreci şekillendirir. Bu çalışmanın amacı, çeviride bir yanmetin biçimi olarak kabul edilen ön kapakların uğradığı değişimleri, “sansür” kavramı temelinde tartışmaya açmaktır. Çalışma kapsamında, Mustafa Kemal Atatürk’ün hayatını ve askeri başarılarını konu alan ve yayımlandığı ilk yıl dönemin hükümet yetkilileri tarafından sansüre uğrayan Grey Wolf adlı kitabın yurtiçinde ve yurtdışında yayımlanan toplam 11 baskısının ön kapağı incelenecektir. Kavram, Michael Foucault ve Pierre Bourdieu’nün sansür anlayışını yeni bir boyuta taşıyan fikirleri doğrultusunda, geleneksel merkeziyetçi yaklaşım dışlanmadan, aracıların iş birliğine dayalı yeni sansür yaklaşımı temelinde ele alınacaktır. “İktidar”, “söylem” ve “oto-sansür” gibi kavramlar çalışmanın uğrak noktaları olacaktır.

This article examines how Italian scholars of Modern Greek played the role of cultural and linguistic mediators of Greek writers during the first years of the dictatorship in Greece, 1967–1971, a period in which the country was under strict censorship. From the very beginning, the work of scholars of Modern Greek, along with the Italian press and the student movement, tended to endorse the antidictatorial struggle, acting as a channel of communication between Italian society and Greek writers.

The author aims to discuss three topics using the memory research method. The first part discusses construction of the imagined community and collective memory of 19th century Lithuanian intellectuals in a country where education in the national language, and the printing of books and papers, were banned. The second part of the article presents the impact of the Great War and the struggle for independence on collective memory as revealed in memoirs written in the 1914–1940 period by fighters on the front lines, refugees, intellectuals, and people in the occupied country. The third part discusses the extinction of the Great War and the battle for independence from collective memory as a natural and specially constructed phenomenon, caused by the Soviet regime.

The imagery in Emperor Joseph H's codes of law has not been a subject of research, which is understandable to a certain degree. Tine copperplate engravings from the Josephine codes of law are probably not that interesting for art historians, but they are exceptionally attractive for historians and legal historians. These copperplate engravings visualize, often very critically, some of the published codes of law. The method of study is the „language of imagery“ and the „language of text“. The language of imagery is understood as an expression of the ruling power, while the language of texts in the codes of law (as well as an expression of power) is held up here as a mirror in the form of the language of contemporary authors - i.e. a juxtaposition between the official meaning and the satirical texts written at the time. The title images of the codes of law of Joseph II and Leopold II might also be interpreted as a result of the „thawing“ of censorship, as the subsequent codes of law of Francis I/II do not contain allegoric engravings. [ABSTRACT FROM AUTHOR]

Theodore Dreiser published over fifty items of literary criticism between 1900 and 1945 on a wide variety of subjects, while additional discussion of literary matters is scattered through his correspondence, memoirs, unpublished speeches, and cultural and philosophical essays. Hitherto this work has proved useful piecemeal, in its illumination of Dreiser’s fiction, while a few outstanding pieces have served to define Dreiser’s version of realism or literary naturalism. This essay takes the literary criticism seriously as a body of work in itself, sketching out some categories and topics, and providing detailed historical contexts for several items, which reveal under-appreciated nuances and engagements in even better-known pieces such as “True Art speaks Plainly” and “Life, Art and America.” The essay sees coherence across the diverse foci of Dreiser’s literary criticism via the concept of the “occasions of literary criticism,” by which is meant the historical and cultural contexts into which he was writing. It charts the roots of Dreiser’s literary criticism in his need to respond to charges of “literary immorality,” its growth through his very particular response to censorship, and its maturity in his suggestion, in a speech given as part of the peace conference in Paris in 1938, of an American literary tradition dedicated to social justice, taking in Mark Twain and H. D. Thoreau as well as the expected cohort of realists and naturalists. The essay concludes by relating these contexts and preoccupations to the history and practice of the Theodore Dreiser Edition.

Through a wide range of sources, this study reveals the non-philosophical spread of the ideas of Immanuel Kant in the Slovak regions of Hungary. The flow of philosophical ideas can be demonstrated not only in the works of the Hungarian followers of Kant, but also in censorship sources documenting the import of Kantian texts in the 1790s. The critical debates in correspondences and published texts reveal anti-Kantian argumentations. Information about the advertisements of Kant’s works and subscriptions to them also help form an idea about their popularity. Research on private albums reveals how the philosophical legacy circulated, despite bans and repressions, in non-public communication networks and how its social area extended beyond the sphere of philosophy and education.

There is hardly any other art form as immersive as film. Thus, if a movie focuses on the abyss of human behaviour, dealing with crimes, violence or even murder, it is often accused of being immoral and corrupting its audience. On the basis of selected examples from Alfred Hitchcock’s ›Rope‹ to Martin Scorsese’s ›Taxi Driver‹ and Lars von Trier’s ›Dogville‹, this critical essay explores the question of the moral claims movies can make. Considering contemporary films such as ›Promising Young Woman‹ and ›Joker‹ this text asks how modern anti-heroes influence the audience and what changes can be seen over the last decades in the moral reception of movies. Finally, the essay concludes with the latest attempts of censorship and looks at who determines the moral value of art. [ABSTRACT FROM AUTHOR]

The article deals with the "Crottogini case", in which the Sanctum Officium banned the dissertation of Swiss ordained priest Jakob Crottogini in 1955/56. The exact reasons for the ban were not known until now, but it is suspected to be related to Crottogini's empirical study on the sexual difficulties of priest candidates. Only since March 2020 has Crottogini's file been accessible in the archive of the Congregation for the Doctrine of the Faith, allowing for a conclusive reconstruction and evaluation of the censorship case. In light of the abuse allegations in the Catholic Church, the ban on Crottogini's book gains special significance today. [Extracted from the article]

This article is devoted to studying of the phenomenon of censorship and self-censorship in the modern American and Russian political media discourse. The authors analyse the pre-election speeches and the publications in the social networks of K. A. Sobchak and V. V. Zhirinovsky, as well as of D. Trump and H. Clinton. The purpose of the article, which consists in conducting a comparative linguocultural study of the mechanisms of censoring and self-censoring information in the modern American and Russian political media discourse, is achieved by using a comparative method, linguocultural analysis, a complex method of lexical and semantic, stylistic, interpretive, and emotive analysis. The analysis of the material shows that traditional forms of censorship in Russian political media discourse are not identified, but they can be found in the media space of the USA, causing a relatively weak public reaction among the communicators. In media space of the USA and Russia, the absence of formal external censorship restrictions leads to the updating of self-censorship to maintain the integrity of the manifestations of the language personality of a politician. Censorship in modern American and Russian media environment lies in such a structuring of information, that deliberately prevents the addressee from interpreting the information in an undesirable way. Self-censorship in modern media environment of the USA and Russia is characterized by an increase of the volume of information and the relative preservation of its valuable aspect. In addition, media discourse can be implicitly censored by filtering the comments under social media publications or by artificially increasing the number of approving reactions to them (by getting «cheat likes»). Self-censorship may use some features of the response to visual elements, when the picture and text supplement each other, causing the desired for the addressee emotional response. Hypertext can also direct the emotional response in the desirable direction, referring to the beneficial for the addressee elements of media discourse.

German-born American poet, novelist, journalist and editor George Sylvester Viereck (1884 –1962) during his almost 60-year literary career (his first poem was published in 1898) befriended, met and corresponded with hundreds of contemporaries, including world famous persons. His first biographer Elmer Gertz wrote in 1954, “One should go through Viereck’s correspondence with the great personalities of his time in order to learn the full extent of the admiration they expressed for him. Alas, that correspondence is scattered; but excerpts from it can be found in the catalogues of various autograph dealers and should be preserved”. Liberated from prison in 1947 Viereck was not able to restore his previous position in literary world, was in need of money and had to sell autographs from his personal archive. This publication includes letters of four writers addressed to Viereck and dealing with his literary and editorial work. All of them are preserved in the author’s private collection and are published in English for the first time. In Russian translation one letter is published for the first time, another one was previously published, two letters were quoted. Journalist, writer, and politician Brand Whitlock (1869 –1934) followed Viereck’s journalistic activities as well as his Decadent poetry. English author and poet Richard Le Gallienne (1866 –1947), being a living incarnation of the “naughty nineties” for Viereck, valued contributing to his magazine The International. Known as the Dean of American Biographers, famous writer Gamaliel Bradford (1863 –1932) refused to support Viereck’s protest against the prohibition of his novel My First 2000 Years in the Irish Free State. Poet, artist and filmmaker Ferdinand Earle (1878 –1951) remained faithful to his long friendship with Viereck even when the latter was emprisoned.

Copyright of Perspektive Mediation is the property of Verlag Oesterreich GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Twórczość literacka Leopolda Tyrmanda doczekała się wielu omówień. Jednak dotychczasowe analizy miały najczęściej charakter literaturoznawczy, badano także biografię. Prace filologiczne nie były podejmowane. Trudno byłoby tu winić uczonych, gdyż długo brakowało odpowiednich materiałów źródłowych. Badanie procesu twórczego, analizowanie kolejnych etapów formowania się tekstu czy problemy związane z wariantywnością dotąd praktycznie nie istniały. W tym kontekście ciekawa jest współpraca Tyrmanda z Jerzym Giedroyciem. Na łamach paryskiej „Kultury” publikował on utwory wielu polskich pisarzy. W przypadku dzieł Tyrmanda Redaktor „oczyszczał” je z wszelkiego rodzaju fraz, które uważał za niewłaściwe, zbędne lub niepoprawne politycznie. W taki sposób Życie towarzyskie i uczuciowe zostało skrócone o trzydzieści procent. Dzięki listom wiemy, że wiele ingerencji rozmijało się z autorską intencją. Leopold Tyrmand’s works have been extensively analyzed, usually from the perspective of literary studies or with a focus on biography. However, no philological analysis has been made so far due to the lack of source materials. The process of creation, the stages of forming the text, or the problems connected with various versions have not been examined yet. In this respect, it is interesting to look into the collaboration between Tyrmand and Jerzy Giedroyc, who published the works of Polish writers in Paris-based “Kultura.” Giedroyc “cleared” Tyrmand’s texts of any phrases he considered indecent, redundant, or politically incorrect. In this way, Życie towarzyskie i uczuciowe (The Social and Emotional Life) was shortened by thirty percent; as we know from the letters, many of the revisions did not follow the author’s intention.

The article "Freud on a Journey" by Georges-Artur Goldschmidt deals with language and the different expressions of eroticism in German and French. Goldschmidt notes that Freud wrote in a desexualized language and tried to make up for the lost time of language. He also mentions the censorship in Germany, which led to the book "Sister Monika" by E.T.A. Hoffmann being removed from the registers. Goldschmidt, who was born as an emigrant himself, has written about Freud's language and is a well-known translator of works by Peter Handke, Kafka, and Nietzsche. [Extracted from the article]

The article "Moral Art · Art Morality: Can art be moral? · Must art be moral?" discusses the question of whether art is allowed or obliged to be moral. It is argued that nowadays artworks are no longer safe and can be banned from museums due to their perceived immorality. The text raises questions about the role of artists and the production of moral art, as well as the reception and censorship of immoral art. It emphasizes that the relationship between art and morality should be considered from a historical perspective and offers various perspectives on these questions. [Extracted from the article]

The article reports that cancel culture reveals a political struggle about interpretative power in a new culture war. Topics include polarization is progressing with the logic of the media, which made such a debate possible in the social media from the art world; and Dutch artist Erik Kessels wanted to create a work of art against the selected portrait photos, and sculptural photos.

The paper is a case study, part of a larger and older research project on the reception of modernist American literature in the cultural press of communist Romania in the 1960s. If the 1950s were the toughest years, in terms of censorship and physical atrocities, the 1960s could be considered the milder ones, while also anticipating the enlightened 1970s. We have been analyzing the Romanian cultural press as going beyond the role of an interface between an ecriture terminal and a network of readers: firstly, via translations, more or less accurate, secondly, through interviews and memories from journalists, fellowwriters, friends, family members, as reproduced from publications belonging mainly to the Eastern / Communist Bloc (Cuba included). Our research is also based on investigations run in the archives of the former secret police, the infamous Securitate. The relation between censorship and ideology, between institutionalized and self-censorship is underlined, as well as their effect in the act of literary translation. Our paper focuses on Hemingway as a result of him being the most popular representative of the Lost Generation at the time, in the countries of the former Soviet Bloc. The main text we had in view was How Do You Like It Now, Gentlemen? by Lilian Ross.

Communism, a totalitarian system that wanted to oversee all spheres of public life and in some cases also of private citizens. One of the institutions fulfilling this task was censorship, functioning in all countries of the so-called People’s Democracy. It supervised verbal and written communication, i.e. the transmission of truth which had been previously infiltrated and manipulated. The Catholic Church remained the last area of free speech in Poland, conducting also journalistic activities of official bodies or these in the form of magazines, wherein the first were directed to the clergy providing on the one hand curial and pastoral information and on the other theological knowledge. In the case of the Ordinariate of Gorzow (Gorzów), which covered 1/7 of the country, these were first Orders from 1945, and from 1957 Gorzowskie Wiadomości Kościelne. The task of censorship was to supervise the content of subsequent issues. Excerpts or even entire articles, that according to the censor were contrary to the interests of the regime, were removed. The resources of the Zielona Gora (Zielona Góra) Delegacy of the Office Controlling the Press, Publications and Spectacles, collected in the State Archives are largely incomplete, hence the author, presenting examples of interference in the publishing activity of Gorzowskie Wiadomości Kościelne, focused only on the years 1957–1959.

The study takes on the role of the press, publishers, writers' associations for the German literary circles in Romania in the period 1949-1989. These institutions endeavored to support young authors by publishing their literary creation but only under certain conditions which are detailed in the article. Another focus is on how censorship and self-censorship worked. The examples given show different effects of censorship on writers and poets. When some authors dared to slip texts with a subversive message, other writers preferred to stay away from the literary scene because they thought it was better to write literature for the desk drawer (Schubladenliteratur) and wait for better times to publish it. The result of these constraints referring to the writing process finally determined the authors to encode criticism in their texts, readers being forced to read between the lines. [ABSTRACT FROM AUTHOR]

One of the many consequences that the countries under the Soviet domination had to suffer after the Second World War was the rewriting of history in order to be useful to the Bolshevik ideology. The first affected by the censorship were the books that were subjected to removal and banning. Ion Ionescu de la Brad, a great agronomist, scientist and political figure whose ties with Bessarabia were systematically hushed up, was a victim of communist censorship. His biography hid the fact that he was the prefect of Bolgrad County in 1857-1858, after the south of Bessarabia was returned to the Moldavian Principality by the Treaty of Paris (1856), and his protest in the Romanian Parliament of 1878-1880 against the new seizure of this territory by Russia under the Berlin Treaty (1878). This happened because after 1945, Romania was forced to exclude from the public consciousness any mention of the territories taken from it: Bessarabia, Northern Bukovina, and South Dobrudja. The censorship applied by the Romanian communist regime in relation to the works of Ion Ionescu de la Brad was expressed in three forms: a) his lifetime publications on Bessarabia were seized and kept in closed library collections; b) works with a mention of this scientist, published before 1944, were banned for researchers and sent to closed or documentary library funds; c) excerpts related to Bessarabia were cut from the works published after 1950. It is necessary to publish a monograph based on the research in Cahul, Bolgrad, and Ismail counties in 1857-1858, as this will help destroy the clichés imposed by Russian propaganda, restore the historical truth and get a correct and complete description of this area.

Since his death, Karel Havlíček Borovský (1821–1856) has been seen by the Czech public as a ‘national martyr’ (a view not entirely upheld by historical facts), as well as a symbol of courage, defiance and forthrightness. Similar qualities have been attributed to his fiction, a vivid and humorous reflection of the state of affairs in the culture and politics of his time. However, Havlíček’s poems and epigrams were created in the trying circumstances of Metternich’s Austria, during the revolutionary years of 1848 and 1849 and subsequent years of social depression. Throughout this period his publishing possibilities were limited to the demands of censorship, at risk of losing his literary existence. He wrote his best-known poems while detained in Brixen, with no hope of publication. During his lifetime he was unable to publish a single book of his own fiction, and for years after his death his works were known primarily through unauthorized copies. The first posthumous comprehensive editions of his writings (esp. Zelený 1870, Tůma 1886, Quis 1889 and 1906) were similarly limited by the political conditions of the Austro-Hungarian monarchy. At the same time, however, they aimed at presenting an idealized image of the national poet by modifying and redacting the original texts. This study follows the situation outlined here from a textological perspective. In the first part, it notes the uncertain boundaries of Havlíček’s works in terms of textual units, author attribution and delimitation of genre. In the second part, it presents examples of censorship and self-censorship. In the third part, it deals with changes to Havlíček’s texts after the author’s death, mainly due to inaccurate copies and editorial interventions (e.g. the removal and concealment of taboo words). It is this aspect of publishing practice in the second half of the 19th century that results in a particularly problematic, flat and banal image of Havlíček’s work. The study is accompanied by analysis of several specific textual problems that remain unresolved.

For almost half a century, in Romania, the communist censorship wiped out of the collective memory the names of many prominent intellectuals of the interwar period. Among them, the Acterian brothers – Haig, Arșavir and Jeni – outstanding representatives of the Bucharest Armenian cultural elite, tragic victims of the History turmoil which hit Romania between 1940 and 1950. Haig Acterian, brilliant stage director and theater theoretician, close friend of Gordon Craig and author of major essays on theater history and aesthetics, perished in 1943 on the WWII Eastern Front. Arșavir Acterian, well known publisher and lawyer in the Thirties, twice sent to jail by the communist regime installed in 1948, could resume his writing career only after 1990. Jeni Acterian, gifted theatre director and fabulous memoirist, forced to conceal her identity under a false name when the monarchy was replaced by the communist republic, died prematurely, killed by fear and grief. In 1997, Haig Aterian’s letters sent to his wife, actress Marietta Sadova, from Vienne, Berlin and Rome where he had got scholarships, were brought together and published by his brother Arșavir in Dragoste și viață în lumea teatrulu (Love and Life within the Theater World), revealing testimony of generous and bright ideas for reforming the theatrical and cinema esthetics and production.

China imposed a new National Security Law on its Special Administrative Region (SAR) of Hong Kong in mid-2020. The deployment of this legal weapon, combined with other actions of local authorities that have grown noticeably more irritable and vindictive, means that Hong Kong media no longer enjoy the freedom from government restrictions that they had been accustomed to. Hong Kong has thus joined the ranks of the many societies with media environments that are semi-free and semi-closed. These societies’ experiences indicate that arrests and bans, while attracting the most attention, are not what inflict the most damage in the long run. As alarming as the on-going legal actions are, citizens’ access to information and ideas is more likely to be restricted by less spectacular and coercive means, including economic carrots and sticks that encourage a culture of self-censorship. Such an environment requires new mindsets and skillsets among journalists.

The article examines the Stan and Ollie's comic version of the opera The Bohemian Girl (1936) and argues for a reading that acknowledges its empathetic depiction of ›Gypsy‹ life and the reasons why the censors of the Nazi regime in Germany banished the film. With reference to the dialogic principle, the concept of responsivity and some ideas about intercultural discourses proposed by Herbert Uerlings the article analysis genre, plot and role images and the way the usual frame for deviant behaviour is modified according to their interplay. [ABSTRACT FROM AUTHOR]

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The aim of this study is to extract – based on the analyses of narrative sources belonging to the memorialist literature – the elements which outline the personal and collective drama of the ethnic Germans in Romania authors during the communist regime, and most likely possible factors in their determination to emigrate. The memories, memoirs, and journals we have analyzed are significant sources of information regarding the lives of their authors and these sources allowed us to build a complex picture of the politics, culture, and environment they lived in. Accents and themes that are resumed in all works, as a leitmotif, are represented by the horrors of the communist period, the political system, censorship, discrimination, and last but not least by lack of freedom. The memoirs of these authors – witnesses and victims of the tragic events in the history of Romania and Eastern Europe in the second half of the 20th century - are key tools that help to interpret, decode, and reconstruct historical realities from the period of the totalitarian regime. [ABSTRACT FROM AUTHOR]

Starting from the classic ethical problems and reviewing the modern regulated ethical norms regarding freedom of speech and its limitations in media communication, the current paper aims to verify the following hypotheses in media communication: (1) Alerting European Court of Human Rights (ECHR) of the infringement on freedom of speech entails a positive response for journalists who fight for this right, (2) Press censorship is the result of editorial policy and the political orientation of the press, which can generate mass resignations of journalists, (3) The more politicised the media institutions, the more limited the right to freedom of speech is for journalists.

The present paper proposes a reinterpretation of Mihail Sebastian’s diary from the perspective of its footnotes in which the editor preserved many expressions and phrases that were suppressed in the officially authorized text. By paying attention to the author’s own corrections, we can notice a constant alternation of meanings, options and circumstances. Moreover, the reader of this text is most fortunate to be witness to the construction of the author’s discourse. Highly informative, the supresseed phrases and expressions often communicate much more than what the author may have intended and increase the authenticity of the whole text.