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Full Text Would Be Made Available in Britain CONTENTS READINGS ON THE EDGE ALBERTO LÁZARO THE CENSORSHIP OF BRITISH FICTION IN TWENTIETH-CENTURY EUROPE: PARADOXES AND INCONSISTENCIES BOJANA VUJIN ‘A VAMPIRE WITH A SOUL? HOW LAME IS THAT?’AUTO-REFERENTIALITY IN BUFFY THE VAMPIRE SLAYER CLAIRE CRABTREE-SINNETT A CONDITION OF PERMANENT MOURNING: RESONANCES OF JOYCE IN ALICE MCDERMOTT’S AT WEDDINGS AND WAKES AND CHARMING BILLY CRISTINA CHEVEREŞAN “TELLING HER OWN TRUTH”: RECORDING UNTRANSLATABLE HISTORIES IN CRISTINA GARCIA’S FICTION ELISABETTA MARINO THE ITALIAN RISORGIMENTO IN MARY SHELLEY’S RAMBLES IN GERMANY AND ITALY IN 1840, 1842 AND 1843 (1844) DEBRA JOURNET “HOW THINGS ARE SUPPOSED TO BE”: RHETORIC, EDUCATION, AND MOTIVE IN KAZUO ISHIGURO’S NEVER LET ME GO MICHAEL TAYLOR THE TEMPTATIONS OF THE TRIGGER: DEMYTHOLOGIZING VIOLENCE IN COOPER’S THE PIONEERS DANA CRĂCIUN THE 9/11 CONUNDRUM: BEYOND MOURNING IN COLUM McCANN’S LET THE GREAT WORLD SPIN NEW WINE IN NEW BOTTLES ILEANA ŞORA DIMITRIU NOVELIST OR SHORT-STORY WRITER? NEW APPROACHES TO GORDIMER’S SHORT FICTION DANIELA ROGOBETE TOWARDS A POETICS OF SMALL THINGS. OBJECTS AND OBJECTIFICATION OF LOSS IN JHUMPA LAHIRI’S INTERPRETER OF MALADIES MAGDA DANCIU APPROPRIATING OTHERNESS IN ANNE DONOVAN’S BUDDHA DA TOMISLAV M. PAVLOVIĆ SAMUEL BECKETT AND HAROLD PINTER: THE TWO LYRIC POETS OF MODERN STAGE ALEKSANDAR B. NEDELJKOVIĆ THE POETICS OF THE PUNCHLINE IN GREG BEATTY’S SCIENCE FICTION POEM “NO RUINED LUNAR CITY” ARTUR JAUPAJ PARODIC DECONSTRUCTION OF THE WEST AND/OR WESTERN IN ISHMAEL REED’S YELLOW BACK RADIO BROKE DOWN BILJANA VLAŠKOVIĆ WHO IS THE DARK LADY OF THE SONNETS: SHAW VERSUS SHAKESPEARE ANNA WALCZUK THE GROTESQUE AS A LITERARY STRATEGY FOR EXPRESSING THE INEXPRESSIBLE MOJCA KREVEL SCI-FI THAT IS NO LONGER ONE: CYBERPUNK AND POSTMODERNITY IN LITERATURE DIANA-GABRIELA LUPU THE IMAGE OF FRANCE IN HENRY JAMES’S INTERNATIONAL NOVELS WORDS AND PROCESSES MAURIZIO GOTTI ENGLISH WITHIN AND ACROSS BOUNDARIES SÁNDOR MARTSA BACK-FORMATION RECONSIDERED NADEŽDA SILAŠKI, ZOOMORPHISATION OF INFLATION – LETTING THE HORSE OUT OF THE BARN TATJANA ĐUROVIĆ ANNAMARIA KILYENI HAIR MATTERS: METAPHORICAL RECON CEPT UALIZATIONS OF HAIR IN PRINT ADS MARCELA MALÁ CHANGES IN THE SYNTACTIC FUNCTIONS OF FINITE/ NON-FINITE CLAUSES IN NEWSPAPER LANGUAGE VLADAN PAVLOVIĆ THE CONCEPT OF RAISING IN GENERATIVE AND COGNITIVE GRAMMAR SABINA HALUPKA-REŠETAR ON THE DERIVATION OF CLEFT AND PSEUDO-CLEFT CONSTRUCTIONS IN ENGLISH: A MINIMALIST ACCOUNT ÁGOSTON TÓTH THE “NEURAL ARGUMENT” GÁBOR CSERNYI NAMED ENTITIES AND THEIR TREATMENT IN A COMPUTATIONAL LINGUISTIC IMPLEMENTATION CRISTINA-MIHAELA ZAMFIR IDENTIFYING (IN)CONGRUENCE AND TRACKING PRESUPPOSITIONS IN NLP: A LINGUISTIC APPROACH TO BUSINESS COMMUNICATION SIMONA ŞIMON THEMATIC AND RHEMATIC PROGRESSION IN WRITTEN ADVERTISEMENTS READINGS ON THE EDGE THE CENSORSHIP OF BRITISH FICTION IN TWENTIETH-CENTURY EUROPE: PARADOXES AND INCONSISTENCIES ALBERTO LÁZARO University of Alcalá Abstract: Censorship is as old as civilisation itself. Since the beginning of time, censors from different countries and cultures have tried to suppress books that they considered immoral, blasphemous, seditious or dangerous to the national security. Censorship of printed publications was particularly vigorous across Europe in the twentieth century and writers had to confront several censorship systems before having their books published. The diversity of political regimes under which censorship flourished generated a multiplicity of attitudes and responses towards the same author or text. This article looks at the inconsistencies and paradoxes that emerged from various European censorship systems during the twentieth century when censors had to decide whether to publish or ban the work of some very-well known British novelists, such as H. G. Wells, D. H. Lawrence, George Orwell or Doris Lessing. Keywords: censorship, Lawrence, Lessing, Orwell, reception, Wells. 1. Introduction Censorship has existed and exists in all societies, authoritarian, democratic or otherwise. Since the beginning of time, censors from different countries and cultures have tried to suppress books that they considered immoral, blasphemous, seditious or dangerous to the national security. Traditionally, they acted as gate- keepers safeguarding three basic social institutions: family, church and state. The general motives may be similar, however, the actual implementation and practice of censorship has been diverse, depending on time and country. In twentieth- century Europe censorship of printed publications was particularly vigorous and writers had to confront several censorship systems before having their books published. The diversity of political regimes under which censorship flourished generated a multiplicity of censoring attitudes and responses towards the same author or text. History of literary reception is strewn with examples of radical changes of opinion concerning the decorum or unsuitability of certain texts. The same book could be banned today and celebrated as a classic five years later; its author could be ranked among the celebrities of one regime and be prosecuted in a different country. This article looks at the inconsistencies and paradoxes that emerged from various European censorship systems during the twentieth century when censors had to decide whether to publish or ban the work of some very-well known British novelists, such as H. G. Wells, D. H. Lawrence, George Orwell or Doris Lessing. In order to better understand these inconsistencies and paradoxes, it is worth briefly reviewing some of the censorship systems established in twentieth- century Europe. Firstly, Britain enforced different types of institutional censorships. On the one hand, the Ministry of Information, created during the First World War and then again in 1939, was responsible for filtering information that might be considered harmful to the national interests during the war years (Maclaine 1979). George Orwell worked for this Ministry of Information during the Second World War and used it as his inspiration for the Ministry of Truth in Nineteen-Eighty-Four. On the other hand, there were some laws on obscenity and sexual content, like the Obscene Publications Act of 1857, which was changed in 1959 and 1964. Thanks to this 1959 change, which introduced the possibility of defence against the charge of obscenity on the grounds of literary merit, Lawrence’s Lady Chatterley’s Lover was allowed to be published. In Ireland, after the country gained its independence from the United Kingdom, the Censorship of Publications Act was passed in 1929. This law established the creation of a Censorship Board of five people that could ban publications they considered to be indecent or obscene. In this country, where the Catholic Church had traditionally had a strong influence, customs officials and organised groups of Catholic Actionists sent books to the censorship board with offensive passages marked, and on this basis the board banned the books. The register of prohibited publications included a great number of important names, among them Marcel Proust, William Faulkner, Ernest Hemingway, Saul Bellow, Vladimir Nabokov, Samuel Beckett, Arthur Koestler, George Bernard Shaw, Dylan Thomas, Jean Paul Sartre, Sean O’Casey, H. G. Wells, Nadine Gordimer, Kate O’Brien, Patrick Kavanagh, and many, many more. In 1967 the law was reformed and from that moment the strictness of Irish censorship began to fade (Adams 1968; Carlson 1990). Another country in which the Catholic Church has traditionally played a significant role in religious, cultural and political spheres was Spain. Here, a strict censorship policy was established during General Franco’s regime (1939-1975). It was a system of previous censorship, that is to say, no book could be printed or sold without permission from the censorship office. Censors examined all applications and wrote reports in which they justified their decision on whether the text was allowed to be printed, was banned or could be published with some “alterations”. In a totalitarian regime that evolved from right-wing extremism and supported the traditional values of the Catholic Church, these Spanish censors suppressed or changed any publication that was thought to be subversive or included “improper” comments about morality, the Church, or the principles of the regime. Official censorship did not really disappear until the Constitution of 1978, which introduced full freedom of expression. Censorship files of Franco’s regime are found in the Archivo General de la Administración (Alcalá de Henares, Madrid). On the other side of the political spectrum and on the other side of the map of Europe, state censorship remained severe in the first home of communism, the Soviet Union (now Russia). In the period between the Bolshevist Revolution in 1917 and the end of the 1980’s all kinds of ideological publications were forbidden. In 1922, the central censorship office was established, known for short as Glavlit. They had absolute authority over the performing arts and all publications. Censors were present in every large Soviet publishing house and they reacted against books that were hostile to Marxism, communism or the Soviet power, as well as literature that contained elements of capitalist ideology, bourgeois moral and religious values. All Western literature was usually suspected of being ideologically dangerous for Socialist readers, particularly from the 1930s onward (Ermolaev 1997; Blium 2003a). At the end of the Second World War this type of censorship was
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