Censorship

This article explores the impact of Catholic confessionalism on humanist scholarship by focusing on the edition of Augustine of Hippo’s collected works produced by the Leuven theologians in 1577–8. This edition replaced Erasmus’ controversial version and claimed to provide an authoritative, Catholic text. Yet an analysis of the paratextual presentation shows that the result was a neutralised Augustine, rather than a paragon of Tridentine Catholicism. The editors avoid controversial theology, while silently copying substantial parts of Erasmus’ censurae and marginal notes. Local politics and publishing interests explain the intriguing survival of Erasmus and exemplify the disparate implementation of Trent in Catholic Europe.

“Anti-white,” “anti-Catholic,” obscene and blasphemous, “centered around negative activity,” “defamatory to minorities, God, women, and the disabled,” or simply a “filthy, filthy book” and “trash”: This is only a brief list of reasons forwarded by various school boards, concerned parents, and other watchful spirits across the United States who were – and still are – opposed to including The Catcher in the Rye in High School or College reading lists. Holden Caulfield has thus met a fate comparable to James Joyce’s "Ulysses" and D.H. Lawrence’s "Lady Chatterley’s Lover," being at once contested and cherished, cursed and hailed.

This essay sheds light on the legitimacy of such a book ban, yet from a classic philosopher’s perspective. In his vision of the ideal republic, Plato had not only dealt with the question of the best ruler or the principles of the community, but he also contemplated the role of the arts and artists for society. Thereby, he shared the concern of the contemporary censors in that he likewise wanted to protect children from indecency, specifically if transmitted by artists, and suggested that art should benefit the state and the individual. "Would The Catcher in the Rye" thus be banned from the ideal republic?

The answer to the above question shall not, however, rest with Plato alone. Contemporary thinkers and philosophers such as Richard Rorty and Martha C. Nussbaum have likewise reflected on the role of art and literature in the education of good citizens. Their ideas ultimately lead to the question whether modern democratic societies might not actually require allegedly offensive art and literature as a test to their own principles.

This chapter interrogates how activist social media communication in authoritarian contexts is shaped through the mutual articulation of social media user practices, business models, and technological architectures, as well as through the controlling efforts of states. It specifically focuses on social media protest activity and contention in China, Tunisia, and Iran, authoritarian states which have made a large effort to control online activity. The analysis shows that instead of blocking or repressing social media activism, authoritarian states rather shape online contention. Online censorship and offline repression push users to adapt their communication by creatively misspelling words, using synonyms, symbolic language and parody, and through self-censorship. Simultaneously by using commercial platforms activists effectively lose control over their data, and over the spaces through which they communicate. This is particularly problematic in authoritarian settings, in which activist communication depends on specific technological arrangements and on the ability to keep sensitive data out of the hands of the authorities. Finally, while activist social media communication is shaped by Internet censorship and encapsulated by commercial social platforms, activists are constantly exploring new ways to evade censorship, but also to regain control over their collective data. They do so through technical means, especially filtering circumvention tools, but also by posting and translating information across different social media services, and by setting up their own platforms to curate their data.

"The Piracy Crusade examines the music industry’s overreaction to the threat of digital piracy, and the resulting damage done to our economy, culture and society. It challenges the commonly-accepted myth that piracy is killing the music industry, exploring the unheralded benefits of digital sharing, and the “perfect storm” of economic factors – many of them self-inflicted – that burst the industry’s bubble.

The book critiques the premise of digital piracy itself, arguing that today’s file sharers, music bloggers and mashup artists are simply making use of new technologies to recuperate music from its 20th Century status as an entertainment commodity, and returning it to its original role as a medium for interpersonal and group communication.

Finally, The Piracy Crusade reveals how a flood of new laws and policies enacted in the name of combating piracy have undermined free speech, privacy and cultural innovation – all for the sake of protecting an outmoded media cartel."

This paper explores the relationship of law and literature through an intertextual reading of Urdu writer Ismat<br> Chughtai's biographical essay Un Byaahtaonke naam (In the Name of Those Brides). The essay is based on the<br> obscenity trial for her short story Lihaf, where she was tried alongside fellow writer Saadat Hasan Manto for<br> his story Bu. The trial branded her as a writer of obscenity in literary memory. The author in this paper<br> explores how law becomes a tool of oppression through a feminist reading of women's experiences that resists<br> their violent interpellation by law as insubordinate subjects. The essay presents an ethnographic account of<br> her experience of law's violence by mapping the feminine self in court and turning an irreverent gaze on law<br> through literature's meaning-making practices. Using three texts, the paper traces how Chughtai<br> problematizes the gendered parameters of ob...

An analysis of the original context of staging Tennessee Williams' plays. Palmer and Bray’s meticulous analysis shows how Hollywood censorship restrictions gradually relaxed over time. Baby Doll (1956) caused a furor on its first release: the Catholic Church denounced it as an example of a Hollywood fast becoming too tolerant of a “corruptive, [im]moral influence” (146). When director Elia Kazan rereleased the film as part of a double-bill with the exploitation film Shanty Tramp (1967), scarcely a murmur of protest was raised.

Flower Show is the novel for all lives' death once they suffer, but cannot be familiar with it at all. The characters in this novel faced to their deaths in front of camera shot by the step of a television program. This novel shows the stories of the remains described as a viewpoint of humanity and this work is one of Örkény's masterpieces.
This paper can be devided two parts. One is for describing about the censorship and self-censorship and the other is for analyzing this novel, so this paper is not only for focusing to analyze the novel. Many famous writers like Dante, Boccaccio, Geoffrey Chaucer, Goethe, George Orwell, and even James Joyce whose work was selected as the best novel of the 20th century by scholars and reviewers in America could not avoid the censorship from the authorities including governments which wanted to hold their courses for literature. It is needless to say that the actual problem from this is the writers could not express themselves as they intended. In case of Hungary, they also took experiences concerning to the history of censorship with other european countries. But considering their history they should suffered double censorship from the hungarian authorities, and the upper power as well like Habsburg or others.
I don't and I can't deny the main motive of this novel is related to death as everybody may accept it who read this novel. In this paper, rather I tried to analyze this novel based on the censorship and self-censorship. To prove it, I examined the background of story writing, some parts of this novel where I can assume and the interviews once given by the writer.

the Censors proves that there is always something new to discover about "The Master of Suspense." The Alfred Hitchcock Wiki, https://the.hitchcock.zone/wiki/Hitchcock lists over 200 books on Alfred Hitchcock and his films, the majority published within the past twenty years. This number does not include thousands of articles, reviews, interviews, nor The Hitchcock Annual, an intermittently printed journal. With these enormous repositories of information at hand one might wonder what remains to be said, but Hitchcock and the Censors offers new insights. It is informative even for post-production professionals who are familiar with Hitchcock's mastery of editing, creative use of sound, and memorable music. Most editors have likely studied the shower scene in Psycho (1960) ad infinitum. For the list of The Motion Picture Editors Guild 75 best edited films, including several directed by Hitchcock see the May/June 2012 issue of Cinemontage. While he may not have handed out ...

Praca dzieli się na sześć części: wstęp, cztery rozdziały oraz zakończenie.
Rozdział I, Tematyka poruszana w recenzjach cenzorskich, obejmuje następujące zagadnienia: II wojna światowa w literaturze dla dzieci i młodzieży, rugowanie magii i elementów nadprzyrodzonych z literatury adresowanej do najmłodszych, wizerunek socrealistycznej „nowej rodziny” i „nowego człowieka”, kwestie obyczajowe w literaturze końca lat czterdziestych i początków lat pięćdziesiątych. W rozdziale II, Recenzja cenzorska jako kryptotekst, autorka formułuje definicję recenzji cenzorskiej. Jej zdaniem cenzorska wypowiedź oceniająca, posiadająca cechy recenzji literackiej, wydawniczej, naukowej i tekstu propagandowego, to kryptotekst, czyli tekst niejawny o celowo ograniczonej dystrybucji. W rozdziale III, Struktura i język recenzji cenzorskiej, kontynuowane są rozważania związane z recenzją jako typem tekstu. Dotyczą one m.in. trójdzielnej budowy recenzji (streszczenie, ocena, decyzja) czy podziału cenzorskich ocen ze względu na różne kategorie: cenzurowanie ze względu na temat, okoliczności powstania utworu, autora, społeczną użyteczność książki, wydawnictwo, czas złożenia do GUKPPiW. Rozdział IV, Cenzorska nadgorliwość? Strategie cenzorskie wobec twórców i tematów „wygodnych”, poświęcony jest sposobom oceniania i losom edytorskim książek, w których w pełni ujawnia się socrealistyczna poetyka. Jako przykład tekstu uznanego w GUKPPiW za pisany „na zamówienie nowej rzeczywistości” zostało wybrane opowiadanie Przy budowie Tadeusza Konwickiego.

Film classification is the practice of assigning information and guidance to a film based on its content. The British Board of Film Classification is the non-governmental organization responsible for classifying films distributed in the UK and they define classification as a way in which to “give consumers information they might need about a particular film or video before deciding whether or not to view it, the BBFC examines and age rates films and videos before they are released” (BBFC, 2012). They look at “Issues such as discrimination, drugs, horror, imitable behavior, language, nudity, sex, sexual violence, themes and violence” (BBFC, 2012) when they make the decision to classify a film a certain way. They also have to consider how the film may make the audience feel through impact and context and how it will be classified for home release. The classification system is defined by age from a U which is suitable for all ages, right up to R18 which is used to identify films with explicit content only to be shown or sold in licensed premises. The BBFC have been responsible for classifying films since 1912 and it has been somewhat effective in policing film distribution. However, censorship is becoming an increasingly difficult part of film policy to regulate with the online video culture steadily evolving. When the organization first started, they would have only had theatrical releases to contend with, but now there are multiple avenues for viewing films including DVD’s, Blu-rays, digital files, on demand services and the internet. Piracy has also been a huge issue for classification as there is no policy to regulate who can download what, with underage children able to freely access content which has been deemed inappropriate for their age group by the BBFC. This of course raises the question; how are the BBFC going to keep up with a continually digitized society? Looking through policy documents on their website and addressing academic arguments surrounding film policy and classification, an analysis can be formed and the future movements of the BBFC subjectively determined.

The introduction of innovative methods of statecraft institutionalised surveillance in the name of good governance. The modernization of surveillance initiated censorship that was legitimised in India by the British government during the colonial period. The Indian government appropriated the concept of censorship from the colonial masters, and exhibited and justified, more often than not, in a perverse manner, that depiction of sexually explicit contents and representation of contentious events that may lead to communal clashes will be

Building on existing studies, this chapter examines cyberpolitics in the world’s largest authoritarian regime, China, and attempts to evaluate the impact of the Internet and social media on the authoritarian rule. Through analysis of cyberactivism and state adaptation in relation to each other, I argue that though the digital technology has empowered Chinese citizens in multiple ways, their general political inactiveness and the pluralization of cyberactivism, exacerbated by state censorship, have prevented regime transition from becoming the shared awareness. Moreover, the Chinese state has adapted far beyond censorship and propaganda. Its attempt to accommodate cyberactivism is also crucial to explain the authoritarian regime’s resilience.

7. bis 9. April 2017, Schwabenakademie Irsee, Klosterring 4, 87660 Irsee

Die Tagung kann auf der Grundlage der in den letzten Jahren, etwa im Zusammenhang mit diversen Tagungen und Ausstellungen der sogenannten Lutherdekade stehenden vorgelegten Forschungen zum Thema ‚katholische Bildverehrung’, ‚lutherische und protestantische‘ Bildverehrung und Bilderfrage und Bildkritik und ‚Bildersturm’ in vielen Bereichen einen jüngst akzentuierten und aktualisierten Forschungszweig erstmals diskutieren.
Dass Ikonoklasmus jedoch andererseits tagespolitisch besondere Aktualität hat, wird gerade durch Berichte etwa aus Syrien oder dem Irak deutlich, während auch an anderen Orten durch Vernachlässigung von Weltkulturerbe eine Zerstörung von Kunstwerken bewusst in Kauf genommen wird. Ebenso haben Klimaveränderungen, der Massentourismus und Naturkatastrophen bereits unzählige Werke vernichtet oder massiv verändert. Wie – so stellt sich eine Kernthese der Tagung dar – finden sich terminologische und methodische Apparaturen, um Bildzerstörungen der Gegenwart und der Vormoderne miteinander in Bezug zu setzen?
Der Fokus der Tagung soll daher nicht allein auf Bildverboten in Antike und Mittelalter, auf bildertheologischem Schrifttum oder dem reformatorischen Bildersturm in den südlichen Niederlanden, der Schweiz oder England liegen. Die angesprochene chronologisch als auch disziplinär vollzogene Breite des Forschungsfeldes bildet noch immer ein Desiderat. Welche Gründe lassen sich für die Zerstörung von Kunstwerken anführen? Wie unterscheidet sich die Wirkmächtigkeit des Bildes im Sinn von David Freedbergs „Power of Images“ in den unterschiedlichen Handlungsräumen und inwiefern wird das Kunstwerk als Bedrohung oder Waffe wahrgenommen?
Horst Bredekamps vor nunmehr vier Jahrzehnten ausgearbeitete Perspektive auf „Kunst als Medium sozialer Konflikte“ kam zu dem Ergebnis, dass Bilderstürme und die dahinter stehenden bilderstürmerischen Theorien auch essentielle Impulse setzten und Neuschöpfungen kreierten. Wie lässt sich dieser wegweisende Ansatz in aktuelle Forschungsdebatten eingliedern? Welche analytische Bedeutung haben in diesem Kontext Begriffe wie Zäsur, Umkodierung und Reinterpretation? Dabei muss der Blick auf die Frage gerichtet werden, wie die zeitgenössische Kunst mit dem Themenkomplex umgeht. Gerade diese Frage stellt ein spannendes Potential dar, das die Tagung anhand mehrerer Vorträge analysieren möchte: Inwiefern – so der Ansatz – ist das „Sich-Erneuern“ oder das bewusste Auslöschen ein Thema der Kunst? Inwiefern nehmen zeitgenössische Künstler ex- oder implizit Stellung zum vormodernen Bildersturm, inwiefern ist die Auflösung oder die Zerstörung positiv oder negativ konnotiert?
Mit der Analyse des Bildersturms ergreift das Kunsthistorische Forum Irsee 2017 einen Kernbereich Kunsthistorischer Forschung. Gerade im Zuge der Gründung des „Ulmer Vereins“ im Jahr 1968 wurde das Thema des Bildersturms in vielfältiger Form von der kunsthistorischen Forschung aufgegriffen (Warnke, Bredekamp). Bildersturm ist somit ein zentrales Moment der kunsthistorischen Fachgeschichte. Die Ergebnisse der in den vergangenen zehn Jahren, innerhalb der sogenannten Lutherdekade erfolgten maßgeblichen Forschungen zu Bildverehrung und Bildzerstörung in und nach der Reformation, sind im Fach noch nicht ausgewertet, was die Tagung unter anderem leisten soll. Sie sieht sich aber darüber hinaus explizit nicht als rein disziplinäre Veranstaltung.
Durch eine transdisziplinäre Betrachtung des Phänomens sollen erstmals die Prozesse langer Dauer des Themas grundlegend erfasst werden. Nur so kann das hochkomplexe Thema eine umfassende wissenschaftliche Auseinandersetzung erfahren und einen wichtigen Beitrag zur aktuellen Reformations- und Konfessionalsierungsforschung leisten, sowie ebenso zentrale Impulse für bildwissenschaftliche Fragestellungen. Die Tagung wird in deutscher und englischer Sprache stattfinden, die Publikation der Tagungsergebnisse ist zeitnah (Frühjahr 2018) fest eingeplant.

In 1984, a disparate group of horror films imported from the USA and Europe were banned in the United Kingdom. It is popularly believed that these so-called ‘video nasties’ were the product of Britain’s immoral and disreputable independent video industry and that – following a series of public complaints about the advertising being used to promote these films – a moral panic spontaneously erupted that resulted in the introduction of the Video Recordings Act in 1984.

While neither of these statements is entirely accurate, both have contributed to a discursively constructed history that holds the independent video distributors entirely responsible for the events that followed, with the ushering-in of a scheme of government- sanctioned censorship that continues in Britain to this day.

Through an exploration of the marketing and distribution of the video nasties, foregrounding technological, economic and aesthetic concerns, Nasty Business complicates the established history and contextualises the video nasties within the broader global landscape of an emergent home video industry. It moves beyond the explicitly social readings that have positioned the video nasties as a quintessentially British concern, instead reconsidering them as part of a broader global film industry with promotions demonstrative of wider industrial practice. And it tracks the development of the category and reveals other possible motives and benefits in the introduction of the Video Recordings Act.

How does erasure execute knowledge production? The following is a tour through a collection of erasure that provides a glimpse into the many directions that this question may take us, through the lens of a series of artistic interventions, academic research, experiments and artefacts.

Au début du XXIe siècle, en France, il est des images filmées dont l'État interdit l'accès à une catégorie du public, les mineurs, parce que leurs effets sont jugés dangereux : ce sont des images d'actes sexuels, des images d'actes violents, ou les deux. De quelle instance procèdent ces décisions ? Selon quels critères ? Avec quelles conséquences en cas de contestation de la décision du gouvernement, aussi bien par les artistes que par des associations de spectateurs au nom de la protection de la jeunesse et du respect de la dignité humaine ?
L'ouvrage analyse comment les commissaires interprètent et rendent un avis sur les films. Il se penche aussi sur la manière dont des décisions ministérielles délivrant des visas ont été remises en cause à plusieurs reprises depuis le film "Baise-moi" en 2000. Il peut sembler évident que la liberté d'expression en France, un État se présentant comme démocratique, ne cesse de s'étendre et que cette extension sera acquise pour toujours. Pourtant, en pénétrant dans les coulisses de la « censure » au cinéma telle qu'elle s'exerce aujourd'hui, ce que la lectrice ou le lecteur sont invités à découvrir, c'est pourquoi la liberté d'expression n'est jamais définitivement gagnée.

Author of the entry on Jazzová sekce [Jazz Section]

- - - Main editor of the book: Michal Přibáň
- - - Author´s team of the book: Eduard Burget, Petra Čáslavová (Loučová), Michal Jareš, Veronika Košnarová, Zuzana Malá (Říhová), Michal Přibáň, Alena Přibáňová, Andrea Vítová, Dominik Mačas, Milena Šubrtová

This book´s topic is publishing houses in the humanities and social and cultural journalism. Listed alongside entries for the most significant companies are so-called regional publishing houses, including those active in the Czech diaspora. The individual entries contain information about the history of each firm, commentary on its published output, and clearly organized bibliographic information. This publication is the most thorough treatment to date of postwar publishing activity in Czechoslovakia from the perspective of literary history.

There are various kinds of censorship, but most often this term is connected with some kind of political tense and oppression. However, many important intellectual or artistic movements have developed under censorship in various countries over the years. So does censorship have a positive or negative influence on people's work and creation? Do people become more creative or intellectually fertile when they are oppressed in some way? In recent years – as it is often said – democracy throughout the world has seemed to collapse, and various political forces (e.g. ISIS or pro-Russian unrest in Ukraine) have oppressed people. Those who have decided to comment on current political situations have been punished for their words (as the journalists of Charlie Hebdo), and those who have broken national or political taboo have been incarcerated (as the members of a Russian feminist band Pussy Riot). When we live in such times, we start to think about the past – comparing it to presence – and ask ourselves numerous questions: Where does the freedom end, and where does the oppression start? What can we do to prevent such situations? How can we live under censorship and political oppression? We would like to share our queries with researchers with various experience, that is why we invite scholars interested and involved in: We encourage scholars from various countries and cultures to visit our conference, so the intellectual experience we share is deeper and multi-level! Different forms of presentations are encouraged, including case studies, theoretical investigations, problem-oriented arguments, and comparative analyses. We will be happy to hear from both experienced scholars and young academics at the start of their careers, as well as doctoral students. We also invite all persons interested in participating in the conference as listeners, without giving a presentation. We hope that due to its interdisciplinary nature, the conference will bring many interesting observations on and discussions about the role of censorship in the past and in the present-day world. Our repertoire of suggested topics includes but is not restricted to: 1. Social life: • social effects of censorship • social effects of political oppression • societies living under oppression • minorities influenced by censorship • minorities influenced by political oppression • violating human rights under political oppression • migrations caused by political oppression • censorship and exile

Just as other types of communication can be considered in terms of rhetoric, palinode, or recantation can also be studied as a pragmatic phenomenon. Palinode / recantation is the public retraction of something that was previously said. Unlike other types of recantation, the palinode of censure involves three participants – the sender, the receiver, and the censor; it is communicated clearly as a retraction and is motivated by fear of punishment by a censor who has understood the original message to be a threat to his ideology. These characteristics differentiate it from other kinds of recantation and from other pragmatic phenomena such as reformulation, self-censorship, or compliance with an order.

Bien que le droit de la liberté d'expression ait été défendu tout au long de l'histoire, jusqu'à la déclaration des droits de l'homme, il a malheureusement eu la censure comme un obstacle, une ombre, un instrument légitime qui régule la vie humaine, par la suppression d'une liberté intellectuelle, éparpillée sur plusieurs moyens d'expression artistiques tels que la littérature, le théâtre, la peinture et le cinéma, dans lequel chaque réalisateur utilise son film comme moyen de communication pour transmettre ses messages à son public, tout en pouvant faire face à des hauts et des bas tout au long de l'horloge biologique dudit film, qui commence comme un foetus fécondé dans la pensée d'un cinéaste, pour naître ensuite sous la forme de scénario et dialogue, qui croît à travers ses différents cycles de vie artistiques, législatifs et productifs, jusqu'à sa sortie en salles pour le grand public, qui représente le stade de maturité de l'oeuvre. Et à chacune de ces étapes du cycle de vie d'un film, l'auteur peut bien faire face à une censure, menant à l'emprisonnement de ses idées, et parfois même leur enterrement avant de naître. A traves notre communication, nous essayerons de démontrer la multitude des cas de censure dans n'importe quel stade de l'horloge biologique d'un film, dont le résultat peut varier entre un drap à variable transparence et un linceul qui emmène l'oeuvre à son enterrement avant de voir le jour.

South Korean advertising has been historically subjected to rigorous scrutiny by various authorized and self-appointed organizations. By the early 2000s, however, interference with advertising grew harder to justify even to the censors themselves, as liberal freedom became a hegemonic ideal. I draw on ethnographic observation at a quasi-government censorship board, the Korea Communications Standards Commission, to explore how advertising censors navigated the contradictory demands to protect the unwary public and to respect advertisers' freedom. Suggesting that the censors’ quandaries exemplified the deadlock in the liberal ideologies of freedom, I argue that advertising censorship, though ostensibly limiting advertising discourses, ultimately produced “smart” consumers, to use the censors' parlance—subjects whose cynical distance toward advertising allowed maximum freedoms for advertisers.

Censorship is a centuries-old issue for the United States. The importance of intellectual freedom and the freedom of speech is particularly evident in libraries, organizations dedicated to the access and spread of information. Issues regarding censorship and intellectual freedom have even reached the US Supreme Court. The following essay serves as a history of censorship in the United States, particularly in its libraries, and how the same issues of censorship have now transitioned into the digital age.

Speech at Australian universities is restricted in various ways. A few of them, such as student protests against visiting speakers, receive lots of attention. Others seldom do, such as defamation threats and cyber harassment. Self-censorship may be more significant than overt censorship. Those who want to raise awareness of hidden limitations on speech can learn from the methods used to raise the alarm about student protests.

The object of this paper is, on one hand, to rethink the freedom of expression in the Digital Age as a «ius communicationis»: a right to communicate which includes the whole communicative process, both active and passive dimension and the rights to spread, seek, receive and access information; and, on the other hand, It would «translate» the guarantees of freedom of expression (in particular prohibition of  a previous censorship) to the new means of control (both private and public ones) in Internet.

The objective of this study was to provide an overview on the use and significance of social media in Laos, and recommendations on how development partners can make better use of this media.  The study involved three interrelated activities:  a desk study, a user survey and face-to-face interviews.

This article studies post-war Italy’s forgetful attitude towards its Fascist past by interpreting a political measure, the Togliatti amnesty (1946), and 1950s film censorship as ‘institutionalised forms of (…) amnesia’ (Ricoeur 2004, 452). The amnesty, which erased the Fascists’ legal responsibility for war and political crimes, represented the first act of oblivion of the Republican political establishment, embodying a forgetful mindset that influenced Italian culture through institutional instruments like film censorship. In 1950s Italy, censorship acted as a further form of institutionalised amnesia aimed at erasing from films the traces of the compromising continuity between the Fascist past and the democratic present. The story of the making and unmaking of the Italian episode of I vinti by Michelangelo Antonioni is a meaningful example of this dynamic. Producers and government commissioners censored the plot and changed it from a story about a neo-fascist militant to one about a young bourgeois who smuggles cigarettes. However, Antonioni resisted the institutional imposition to forget by choosing locations where the material dimension of the landscape still embodied the Fascist legacy of the country.

Les formes nouvelles de censure dans l'art se spécifient par plusieurs traits. D'abord par Je fait que les censeurs ne sont plus des institutions comme l'État ou l'Église, mais des asso­ciations (féministes, LGBTQI+, antispécistes, décoloniales, etc.), des groupes voire des groupuscules plus ou moins éphémères. Enfin, le lieu de la censure n'est plus le tribunal, mais les médias: réseaux sociaux (Facebook et autres), sites internet, journaux qui exercent de fortes pressions allant de l'intimidation au lynchage. La zone floue, mi-juridique, mi-sociale, où s'exercent ces nouvelles formes de censure soulève de nombreuses questions.