Sartre's conflicted relationship with his theatrical audience is explained by showing how Sartre's initial theatrical venture, Bariona, created in a POW camp in December 1940, sparked an idealized conception of the audience. The particular context in which the play was produced brought its performers and audience together into an almost mystical fusion. But these virtues, derived from pre-textual “oral“ culture, lost much of their luster with Sartre's second play, The Flies. Like its predecessor, The Flies used myth to counter German censorship, but in occupied Paris in front of a much more heterogeneous audience. The resulting comparative failure complicated Sartre's relationship to the mass audiences he sought in the post-war years. Theater audiences became emblematic of a wider public Sartre never fully trusted to accept or understand his ideas. Furthermore, Sartre's decision to stage almost all his plays between 1946 and 1959 at the “bourgeois“ Théâtre Antoine only made him even more mistrustful of audiences he often found himself writing “against.“
Lessons Learned from Teaching The Merchant of Venice in Israel
Esther B. Schupak
Because of its potential for fostering antisemitic stereotypes, The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States since the 1930s. 1 However, censorship is no longer fashionable
A Battle That Raged during the Spanish Transition
In mid-1970s Spain, many new satirical magazines featured a strong political stance opposing Francisco Franco’s regime and in favour of democracy. Magazines with a significant amount of comics-based content constituted a space for political and social critics, as humour allowed them to go further than other media. However, legal authorities tried to censor and punish them. This article analyses the relationship between the Spanish satirical press and censorship and focuses on the difficulties their publishers and authors encountered in expressing their criticism of the country’s social changes. Various cartoonists have been interviewed, and archival research carried out. In-depth analysis of the magazines’ contents is used to gain an overview of a political and social period in recent Spanish history, in which the satirical press uniquely tackled several issues.
The Tailor and Ansty Revisited
Maryann Gialanella Valiulis
Censorship laws were introduced in the Irish Free State in 1928 and sparked immediate controversy among intellectuals, the media, and the political classes. The issue of censorship became the center of a conversation about Irish national identity. It was, in part, an assertion of independence and a conscious rejection of colonialism, an attempt to decide what stories would be told about them, what image they would portray to the world. In 1942, one text in particular sparked a renewal of the censorship controversy: Eric Cross's book, The Tailor and Ansty, which was banned because it was a realistic portrayal of Irish peasant life that was unacceptable to post-colonial Ireland, and because the author, an English folklorist, was perceived to be trying to undermine post-colonial attempts to establish a modern identity for Ireland. Thus, the application of censorship laws in Ireland can be seen as a move to free Irish self-identity from the negative portrayals of the Irish so prevalent in the colonial period.
Franz A. Birgel
Characterized by Siegfried Kracauer as "the first and last German film that overtly expressed a Communist viewpoint," Kuhle Wampe (1932) is also noteworthy for being the only film on which Bertolt Brecht collaborated from beginning to end, as well as for its controversial censorship in the tumultuous political context of the late Weimar Republic. When set against the background of the 1920 Motion Picture Law and the censorship of two other high-profile films—Sergei Eisenstein's Battleship Potemkin and Lewis Milestone's All Quiet on the Western Front—the political history of Kuhle Wampe highlights the indecisiveness, fragility, and fears of the German Left as the Nazis prepared to take power.
From Flaubert to Sartre
Based on the notion of legal responsibility, the article establishes a connection between the social conditions of production of literature and the ethical principles that founded the commitment of writers as intellectuals in France from the nineteenth century to the post-World War II period. While the penal responsibility of the author is imbued with a belief in the power of words, the trials were in turn often the occasion for writers like Flaubert and Baudelaire to define their own ethics of responsibility against the values of conventional morality and political conformity through which their work was liable to condemnation. Articulating these ethical principles affirmed the writer's independence from political and religious authorities and contributed to the emergence of an autonomous literary field, as defined by Pierre Bourdieu. The figure of the writer as a public intellectual best embodied by Zola and Sartre emerged on the basis of this code of ethics.
's grip as possible, without necessarily leaving one's ‘old’ life behind. Here, self-censorship becomes a tool to reverse prison's mortifying effects and to escape the transcarceral grip. Yet as former prisoners struggle to (re)build a straight life in the
censorship processes between activists that can take place within social movements and that reproduce some problematic forms of marginalization already present in society. The analysis followed an ethnographic process carried out over three years (2014
This issue of Projections focuses on movie violence, a topic of continuing controversy. Concerns about screen violence are not new. Because of their visceral power, popular appeal, and the seeming ease with which they bypassed established channels and norms of socialization, movies swiftly drew the attention and scorn of social critics and reformers. The city of Chicago passed the nation’s first movie censorship ordinance in 1907. Numerous state and municipal censor boards were established in its wake, and movie violence drove the first court-adjudicated censorship case in American film history. The James Boys in Missouri (1908) and Night Riders (1908) were Westerns that Chicago authorities deemed to be immoral because they concentrated on showing the exploits of violent outlaws. The Chicago reformers felt that the films lacked an appropriate moral balance in failing to devote sufficient attention to law-abiding characters.
This article examines the tension between liberalism and Orthodoxy in Israel as it relates to censorship. The first section aims to explain Israel's vulnerability as a multicultural democracy in a hostile region, with significant schisms that divide the nation. The next section presents the dilemma: should Israel employ legal mechanisms to counter hate speech and racism? The third section details the legal framework, while the fourth reviews recent cases in which political radicals were prosecuted for incitement to racism. The final section discusses cases in which football supporters were charged with incitement after chanting “Death to Arabs“ during matches. I argue that the state should consider the costs and risks of allowing hate speech and balance these against the costs and risks to democracy and free speech that are associated with censorship.