[PDF] Political Censorship Of The Visual Arts In Nineteenth Century Europe eBook
Political Censorship Of The Visual Arts In Nineteenth Century Europe Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Political Censorship Of The Visual Arts In Nineteenth Century Europe book. This book definitely worth reading, it is an incredibly well-written.
In this comprehensive account of censorship of the visual arts in nineteenth-century Europe, when imagery was accessible to the illiterate in ways that print was not, specialists in the history of the major European countries trace the use of censorship by the authorities to implement their fears of the visual arts, from caricature to cinema.
Political Censorship of the Arts and the Press in Nineteenth-Century Europe presents a comprehensive account of the attempts by authorities throughout Europe to stifle the growth of political opposition during the nineteenth-century by censoring newspapers, books, caricatures, plays, operas and film. Appeals for democracy and social reform were especially suspect to the authorities, so in Russia cookbooks which refered to 'free air' in ovens were censored as subversive, while in England in 1829 the censor struck from a play the remark that 'honest men at court don't take up much room'. While nineteenth-century European political censorship blocked the open circulation of much opposition writing and art, it never succeeded entirely in its aim since writers, artists and 'consumers' often evaded the censors by clandestine circulation of forbidden material and by the widely practised skill of 'reading between the lines'.
In nineteenth-century Europe the ruling elites viewed the theater as a form of communication which had enormous importance. The theater provided the most significant form of mass entertainment and was the only arena aside from the church in which regular mass gatherings were possible. Therefore, drama censorship occupied a great deal of the ruling class’s time and energy, with a particularly focus on proposed scripts that potentially threatened the existing political, legal, and social order. This volume provides the first comprehensive examination of nineteenth-century political theater censorship at a time, in the aftermath of the French Revolution, when the European population was becoming increasingly politically active.
Originally published in 1983. The nineteenth century was a time of great economic, social and political change. As Europe modernized, previously ignorant and apathetic elements in the population began to demand political freedoms. There was pressure also for a freer press, for the rights of assembly and association. The apprehension of the existing elites manifested itself in an intensification of often brutal form of political repression. The first part of this book summarizes on a pan-European basis, the major techniques of repression such as the denial of popular franchise and press censorship. This is followed by a chronological survey of these techniques from 1815 – 1914 in each European country. The book analyzes the long and short-term importance of these events for European historical development in the 19th and 20th centuries.
The English saying that "a picture is worth a thousand words" has often been applied in a perverse manner by ruling authorities, who have frequently feared visual imagery even more than the printed word. This was especially the case in countries, such as nineteenth-century France, where a significant segment of the population was illiterate and could understand visual imagery better than the printed word. In this volume, specialists in nineteenth-century French history trace the use of censorship by nineteenth-century authorities who feared the power of all the visual and performing arts, from caricature to the cinema and the theater.
Author : Elizabeth C. Childs Publisher : Samuel and Althea Stroum Books Page : 413 pages File Size : 38,27 MB Release : 2018-02-08 Category : Art ISBN : 9780295997445
Suspended License offers a wide-ranging approach to censorship of the visual arts over recent centuries and in a variety of cultural contexts, seeking to elucidate the range of political, social, and artistic circumstances in which censorship has occurred. Using examples from 16th-century Germany and Italy, late 18th-century Spain, 19th-century France, and 20-century Germany, China, and America, leading art historians examine what these various experiences reveal historically and what light they shed on current dilemmas and controversies. Essays explore the censure of artworks by famous masters -- Michelangelo, Veronese, Goya, Daumier, Manet -- as well as the censored art of less familiar figures, such as contemporary artists in China. The rejection of modernism as an allegedly corrupt and dangerous style is considered both in Nazi Germany in the 1930s and in McCarthy era Texas in the 1950s. The recent debates in America over government sponsorship for the arts are also discussed, as well as the claims raised about the allegedly pornographic content of work by contemporary artists Wojnarowicz and Mapplethorpe. Suspended License demonstrates that recent controversies over sponsorship, pornography, sacrilege, and aesthetic integrity in modern art are not without historical precedent, and also shows that many of the works now universally regarded as masterpieces have been the objects of censorious action in the past. Numerous illustrations contribute greatly to the reader's understanding of this important subject.
From 1815 to 1914, European governments and their political oppositions were engaged in a constant war for the minds of the general population, especially the working classes. The German socialist newspaper, Hamburger Echo, declared on September 27, 1910, In waging our war, we do not throw bombs. Instead we throw our newspapers amongst the masses of the working people. Printing ink is our explosive. The most comprehensive study ever published about European censorship practices during the 1815-1914 period, this book discusses the censorship of books, newspapers, caricatures, theater, and film through an analytical introductory survey and six chapters by leading specialists who summarize 19th-century censorship practices in the six major countries of continental Europe: Germany, Italy, France, Austria, Russia, and Spain. As a result of the massive transformation of European life in the post-Napoleonic period and the simultaneously rapid growth in industrialization, urbanization, literacy, transportation, and communication, the average European emerged quite suddenly as a potential player who could no longer be ignored by the ruling elite.
Honoré Daumier (1808–79), who was imprisoned early on for a politically offensive cartoon, painted scenes from seventeenth-century theatre and literature at moments of stifling censorship later in his career. He continued to find form for dangerous political dissent in the face of intense and shifting censorship laws by drawing on La Fontaine, Molière, and Cervantes, masters of dissimulation and critique in a newly glorified literary past. This book reveals new connections between legal repression and subversive fine-arts practice, showing the force of Daumier’s role in the broader stories of image-text relationships and political expression.
This anthology examines Love's Labours Lost from a variety of perspectives and through a wide range of materials. Selections discuss the play in terms of historical context, dating, and sources; character analysis; comic elements and verbal conceits; evidence of authorship; performance analysis; and feminist interpretations. Alongside theater reviews, production photographs, and critical commentary, the volume also includes essays written by practicing theater artists who have worked on the play. An index by name, literary work, and concept rounds out this valuable resource.