Enforcing and Eluding Censorship: British and Anglo-Italian Perspectives brings together a wide range of current work on literary, cultural and linguistic censorship by a team of fifteen contributors working in Italy, Britain and continental Europe. Censorship can take hold of a written text before or after its public appearance; it can strike the cultural item, as well as the very individual/s who created it; it can also catch in its net the agents responsible for its publication and diffusion (in the case of a printed text, authors, editors, printers, publishers, librarians and booksellers). It can be directed against a single person or against a group, an organization, a political party, or a religious confession. The different “ways of censorship” – how it was enforced or eluded in the Italian or Anglo-American worlds, and often in their mutual relations – are the topic of this volume, whose contents are divided into two main sections. The first, entitled “Discourse Regulation”, discusses instances of institutionalized and regulatory censorship and, conversely, forms of reaction against pressure and control. The second section, entitled “Textual and Ideological Manipulations”, debates some of the ways in which cultural products can be used to exert censorial influence upon society; among these, it shows how language and descriptions of language may provide a biased view of reality. All in all, the chapters in this volume highlight a notion of censorship that defies strict boundaries and definitions, thus challenging received ideas on cultural practices.

This Handbook triangulates the disciplines of history, legal history, and literature to produce a new, interdisciplinary framework for the study of early modern England. For historians of early modern England, turning to legal archives and learning more about legal procedure has seemed increasingly relevant to the project of understanding familial and social relations as well as political institutions, state formation, and economic change. Literary scholars and intellectual historians have also shown how classical forensic rhetoric formed the basis both of the humanist teaching of literary composition (poetry and drama) and of new legal epistemologies of fact-finding and evidence evaluation. In addition, the post-Reformation jurisdictional dominance of the common law produced new ways of drawing the boundaries between private conscience and public accountability. This Handbook brings historians, literary scholars, and legal historians together to build on and challenge these and similar lines of inquiry. Chapters in the Handbook consider the following topics in a variety of combinations: forensic rhetoric, poetics and evidence; humanist and legal learning; political and professional identities at the Inns of Court; poetry, drama, and visual culture; local governance and legal reform; equity, conscience, and religious law; legal transformations of social and affective relations (property, marriage, witchcraft, contract, corporate personhood); authorial liability (libel, censorship, press regulation); rhetorics of liberty, slavery, torture, and due process; nation, sovereignty, and international law (the British archipelago, colonialism, empire).

The book explores the importance of free speech in America by telling the stories of its chief antagonists - the censors.

This collection of essays highlights cultural features and processes which characterized translation practice under the dictatorships of Benito Mussolini (1922-1940) and Francisco Franco (1939-1975). In spite of the different timeline, some similarities and parallelisms may be drawn between the power of the Fascist and the Francoist censorships exerted on the Italian and Spanish publishing and translation policies. Entrusted to European specialists, this collection of articles brings to the fore the “microhistory” that exists behind every publishing proposal, whether collective or individual, to translate a foreign woman writer during those two totalitarian political periods. The nine chapters presented here are not a global study of the history of translation in those black times in contemporary culture, but rather a collection of varied cases, small stories of publishers, collections, translations and translators that, despite many disappointments but with the occasional success, managed to undermine the ideological and literary currents of the dictatorships of Mussolini and Franco.

Literature as Document considers the relationship between documents and literary texts in Western Literature of the 1930s. More specifically, the volume deals with the notion of the “document” and its multifaceted and complex connections to literary “texts” and attempts to provide answers to the problematic nature of that relationship. In an effort to determine a possible theoretical definition, many different disciplines have been taken into account, as well as individual case studies. In order to observe dynamics and trends, the idea for this investigation was to look at literature, taking its practices, its factual-looking and concrete applications, as a point of departure – that is to say, then, starting from the literary object itself.

Over 6000 different languages are used in the world today, but the conventions of 'media speak' are far from universal and the complexities of translation are rarely acknowledged by the industry, audiences or scholars. Redressing this neglect, Speaking in Subtitles argues that the specific contingencies of translation are vital to screen media's global storytelling. Looking at a range of examples, from silent era intertitling to contemporary crowdsourced subtitling, and from avant-garde dubbing to the increasing practice of 'fansubbing', Tessa Dwyer proposes that screen media itself is a fundamentally 'translational' field.

This book offers a descriptive and practical analysis of prosody in dubbed speech, examining the most distinctive traits that typify dubbed dialogue at the prosodic level. The author's unique perspective - as both a translation studies researcher and a voice-over professional - helps to bring these two aspects of the dubbing process together into a coherent study for the first time. Supported by corpus analysis of English and Spanish episodes of US TV show How I Met Your Mother, she examines aspects of prosody in source and target languages, including features such as intonation, loudness, tempo, rhythm and tension. This book will be of interest to students and scholars of translation and interpreting, media studies, television and film production, as well as dubbing professionals.