Download Free The Oxford Review Or Literary Censor Book in PDF and EPUB Free Download. You can read online The Oxford Review Or Literary Censor and write the review.

Outrages: Sex, Censorship, and the Criminalization of Love
The Censorship Effect argues that the stylistic features that prompted the criminal indictment of Madame Bovary and Les Fleurs du Mal were the products of an intense struggle and negotiation with a culture of censorship.
Like every totalitarian regime, Nazi Germany tried to control intellectual freedom by censoring books. Between 1933 and 1945, the Hitler regime orchestrated a massive campaign to take control of all forms of communication. In 1933, there were 90 book burnings in 70 German cities. Indeed, Werner Schlegel, an official in the Ministry of Propaganda, called the book burnings "a symbol of the revolution." In later years, the regime used less violent means of domination. It pillaged bookstores and libraries and prosecuted uncooperative publishers and dissident authors. In Harmful and Undesirable, Guenter Lewy analyzes the various strategies that the Nazis employed to enact censorship and the government officials who led the attack on a free intellectual life, including Martin Bormann, Philipp Bouhler, Joseph Goebbels, and Alfred Rosenberg. The Propaganda Ministry played a leading role in the censorship campaign, supported by an array of organizations at both the state and local levels. Because of the many overlapping jurisdictions and organizations, censorship was disorderly and erratic. Beyond the implementation of censorship, Lewy describes the plight of authors, publishers, and bookstores who clashed with the Nazi regime. Some authors were imprisoned. Others, such as Gottfried Benn, Werner Bergengruen, Gerhart Hauptmann, Ernst Jünger, Jochen Klepper, and Ernst Wiechert, became controversial "inner emigrants" who chose to remain in Germany. Some of them criticized the Nazi regime through allegories and parables. Ultimately, Lewy paints a fascinating portrait of intellectual life under the Nazi dictatorship, detailing the dismal fate of those who were caught in the wheels of censorship.
A fascinating narrative of life in communist Romania, and a thought-provoking meditation on the nature of literature and censorship. Winner of the 2023 Oxford Weidenfeld Translation Prize A Censor’s Notebook is a window into the intimate workings of censorship under communism, steeped in mystery and secrets and lies, confirming the power of literature to capture personal and political truths. The novel begins with a seemingly non-fiction frame story—an exchange of letters between the author and Emilia Codrescu, the female chief of the Secret Documents Office in Romania’s feared State Directorate of Media and Printing, the government branch responsible for censorship. Codrescu had been responsible for the burning and shredding of the censors’ notebooks and the state secrets in them, but prior to fleeing the country in 1974 she had stolen one of these notebooks. Now, forty years later, she makes the notebook available to Liliana, the character of the author, for the newly instituted Museum of Communism. The work of a censor—a job about which it is forbidden to talk—is revealed in this notebook, which discloses the structures of this mysterious institution and describes how these professional readers and ideological error hunters are burdened with hundreds of manuscripts, strict deadlines, and threatening penalties. The censors lose their identity, and are often frazzled by neuroses and other illnesses.
An argument that the system of boards that license human-subject research is so fundamentally misconceived that it inevitably does more harm than good. Medical and social progress depend on research with human subjects. When that research is done in institutions getting federal money, it is regulated (often minutely) by federally required and supervised bureaucracies called “institutional review boards” (IRBs). Do—can—these IRBs do more harm than good? In The Censor's Hand, Schneider addresses this crucial but long-unasked question. Schneider answers the question by consulting a critical but ignored experience—the law's learning about regulation—and by amassing empirical evidence that is scattered around many literatures. He concludes that IRBs were fundamentally misconceived. Their usefulness to human subjects is doubtful, but they clearly delay, distort, and deter research that can save people's lives, soothe their suffering, and enhance their welfare. IRBs demonstrably make decisions poorly. They cannot be expected to make decisions well, for they lack the expertise, ethical principles, legal rules, effective procedures, and accountability essential to good regulation. And IRBs are censors in the place censorship is most damaging—universities. In sum, Schneider argues that IRBs are bad regulation that inescapably do more harm than good. They were an irreparable mistake that should be abandoned so that research can be conducted properly and regulated sensibly.
"Explores the defining relationship of literature to censorship across the globe"--
Imperial Germany's governing elite frequently sought to censor literature that threatened established political, social, religious, and moral norms in the name of public peace, order, and security. It claimed and exercised a prerogative to intervene in literary life that was broader than that of its Western neighbors, but still not broad enough to prevent the literary community from challenging and subverting many of the social norms the state was most determined to defend. This study is the first systematic analysis in any language of state censorship of literature and theater in imperial Germany (1871-1918). To assess the role that formal state controls played in German literary and political life during this period, it examines the intent, function, contested legal basis, institutions, and everyday operations of literary censorship as well as its effectiveness and its impact on authors, publishers, and theater directors.
First published in 1992, Writing and Censorship in Britain explores the issue of censorship, from a range of cultural and literary perspectives, from the Tudor period to the 1990s. Written by some of the leading experts in the field, this collection charts the struggles for artistic expression, reveals how censorship is appropriated as a legitimate tactic in the defence of oppressed and marginalised groups, and analyses the struggles writers have employed in the face of its complex dynamics. Here variously defined, defended and deplored, censorship emerges as both an unstable and a potent concept. Through it we define ourselves: as readers, as writers and as citizens. This book will be of interest to students of literature, history and law.