Censorship in Canadian Literature - download pdf or read online

By Mark Cohen

Cohen evaluations Timothy Findley's extensive anti-censorship place; he lines Margaret Atwood's evolution from implicit help for the censorship of pornography in physically damage to the rejection of censorship within the Handmaid's story; and he offers the 1st exact learn of the draft of Margaret Laurence's unfinished novel, exhibiting the measure to which her ultimate silence used to be as a result of the her censorship ordeal. eventually, an research of the writing of Beatrice Culleton and Marlene Nourbese Philip exhibits how other kinds of socio-cultural censorship - from gate-keepers to self-censorship - silence local and black Canadian voices. Cohen's re-definition of censorship as primarily a convention of judgment takes us past the conventional Enlightenment delineation of censorship as an oppressive executive perform and the ensuing neutralist liberal condemnation of censorship on precept. considering judgment is enmeshed within the cloth of human endeavour, censorship is inevitable; when you consider that censorship is inevitable, Cohen concludes, debate over no matter if censorship itself is fascinating may still collapse to a look for censorship practices which are extra simply. Censorship in Canadian Literature is a necessary textual content for students of Canadian literature in addition to for a person interested by modern debates approximately censorship and civil rights.

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Extra resources for Censorship in Canadian Literature

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In this light the powerful arguments she makes for banning pornography show up much more clearly, and as a result Laurence's position on censorship is revealed to be much closer to the one that derives from my definition of censorship as judgment than to the liberal anti-censorship position that might otherwise be ascribed to her based on a reading of the article alone. Of all the chapters in this book, chapter 5 illustrates most clearly the definition I have constructed of censorship. In it I look at types of censorship that occur as a result of the competition of social groups in the cultural sphere.

He drives the point home by quoting Rushdie directly: "What is freedom of expression? Without the freedom to offend, it ceases to exist" (187). These arguments for unrestricted freedom of speech are neither self-evident nor supported by historical experience. There is no natural law that says that, when confronted with both truth and falsehood, humans consistently recognize and adopt the former. As Schauer points out, "History provides too many examples of falsity triumphant over truth to justify the assertion that truth will inevitably prevail" (26-7).

In his first draft for the filmscript the violence is present: "Robert is lying on top of Barbara apparently strangling her ... Robert appears to be 'angry' - almost in a fit of fury" (Ftsi, file 18-6:216). But while love scenes are fairly common in motion pictures, violent sex takes a director on to thin ice and has been grounds for banning films in certain provinces in Canada. Add homosexuality to violent sex scenes, and you have a film ripe for controversy. The closest the film version of The Wars comes, however, to depicting homosexuality is a scene in which Robert, soon after joining the army, is shown showering with his fellow soldiers.

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