Censorship A World Encyclopedia 2 E K

History is an important, dangerous, and fragile subject. Historical thought can be censored in widely diverging political and historiographical contexts, as historians are well aware. Yet the problems of censorship, often thought to be obvious, are rarely studied. Filling a significant void, this guide supplies information on the censorship of historical thought and the fate of persecuted historians in over 130 countries from Afghanistan to Zimbabwe and from 1945 to 2000. With each entry providing a chronological overview of cases and giving a full listing of sources, the book is the first systematic effort to overview the repression of historical thought. Aiming to encompass all countries in which censorship and persecution have taken place, De Baets sketches a world map of repression that goes beyond the well-known and well-studied cases. It assembles scattered data from three types of sources: the works of censors and censored, historical and biographical dictionaries and historiographical surveys, and reports from international human rights organizations. Showing the universality of historical censorship and its infinite variety in amount and degree, the book also provides a basis for further comparative research.

In The Account Books of the Reimarus Family of Hamburg, 1728-1780, Almut Spalding and Paul S. Spalding offer a two-volume critical edition of domestic records that open windows onto early modern Europe and the Enlightenment.

Seminar paper from the year 2007 in the subject Communications - Media and Politics, Politic Communications, grade: 1,3, University of Siegen, course: Censorship - Concept & Case Studies, 12 entries in the bibliography, language: English, abstract: On June 25th, 1943, American press editors received a confidential note, the contents an purpose of which was hard to understand even for those who were familiar with the technical terms. It said: " ...] you are asked not to publish or broadcast any information whatever regarding war experiments involving: Production or utilization of atom smashing, atomic energy, atomic fission, atomic splitting, or any of their equivalents. The use for military purposes of radium or radioactive materials, heavy water, high voltage discharge equipment, cyclotrons. The following elements or any of their compounds: polonium, uranium, ytterbium, hafnium, protactinium, radium, rhenium, thorium, deuterium." What sounded "like Greek" to the selected adressees of the request, in retrospective can be identified even by an amateur as the attempt to hide evidence that the US government was doing research on a nuclear device. It was about to play a decisive role in the ending of the Pacific War. Since the United States' entry in World War II, domestic censorship had to draw a line very carefully: On the one hand, the First Amendment to the Constitution grands the freedom of speech and the press; on the other hand, sensitive information, if revealed to the public, could fall into the hands of enemy agents. To handle this task, the government set in effect a voluntary censorship, building up on every journalist's patriotic instinct not to publish anything that might be a threat to the war effort. How was censorship organized? What kind of information was censored? Is there an actual difference between voluntary and mandatory censorship? These are questions the following research paper will elaborate on. A brief overview of the practices

Seminar paper from the year 2007 in the subject Communications - Media and Politics, Politic Communications, grade: 1,3, University of Siegen, course: Censorship - Concept & Case Studies, language: English, abstract: On June 25th, 1943, American press editors received a confidential note, the contents an purpose of which was hard to understand even for those who were familiar with the technical terms. It said: “[...] you are asked not to publish or broadcast any information whatever regarding war experiments involving: Production or utilization of atom smashing, atomic energy, atomic fission, atomic splitting, or any of their equivalents. The use for military purposes of radium or radioactive materials, heavy water, high voltage discharge equipment, cyclotrons. The following elements or any of their compounds: polonium, uranium, ytterbium, hafnium, protactinium, radium, rhenium, thorium, deuterium.” What sounded “like Greek” to the selected adressees of the request, in retrospective can be identified even by an amateur as the attempt to hide evidence that the US government was doing research on a nuclear device. It was about to play a decisive role in the ending of the Pacific War. Since the United States' entry in World War II, domestic censorship had to draw a line very carefully: On the one hand, the First Amendment to the Constitution grands the freedom of speech and the press; on the other hand, sensitive information, if revealed to the public, could fall into the hands of enemy agents. To handle this task, the government set in effect a voluntary censorship, building up on every journalist's patriotic instinct not to publish anything that might be a threat to the war effort. How was censorship organized? What kind of information was censored? Is there an actual difference between voluntary and mandatory censorship? These are questions the following research paper will elaborate on. A brief overview of the practices of censorship in times of war will accompany the analysis. Finally, the text makes an attempt to answer the question how the United States “survived” the censorship period and how it affected further censorship strategies. An important source for this paper is the book “Secrets of Victory. The Office of Censorship and the American Press and Radio in World War II” by Michael S. Sweeney, that has been published in 2001. Censorship of the press during war is common to many countries and has been used for strategic ends in many periods of time. A characteristic for modern wars in particular is a “difference of interest”, with journalists torn between their task to report “as truthfully as possible” and a responsibility not to help the enemy.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

The immediate post-war period marks a pivotal moment in the internationalization of American theatre when Tennessee Williams' plays became some of Broadway's most critically acclaimed and financially lucrative exports. Dirk Gindt offers a detailed study of the production and reception of Williams' work on Swedish and French stages at the height of his popularity between 1945 and 1965. Analysing the national openings of seminal plays, including The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, Orpheus Descending and Suddenly Last Summer, Gindt provides rich and nuanced insights into Williams' transnational impact. In the process, he charts a network of fascinating and influential directors, actors, designers, producers and critics, all of whom left distinctive marks on mid-twentieth-century European theatre and culture. Gindt further demonstrates how Williams' work foregrounded cultural apprehensions, racial fantasies and sexual anxieties, which resulted in heated debates in the critical and popular media.