By John H. Houchin
Arguing that theatrical censorship coincides with major demanding situations to spiritual, political and cultural traditions, John Houchin explores its influence on twentieth-century American theatre. in addition to the well known instance of the home Un-American actions Committee within the Fifties, different virtually both influential occasions affected the process the yankee degree through the century. After a precis of censorship in eighteenth- and nineteenth-century the US, Houchin analyzes key political and theatrical occasions among 1900 and 2000.
Read or Download Censorship of the American Theatre in the Twentieth Century PDF
Similar specific topics books
Ebook through De Braganca, Aquino, Wallerstein, Immanuel Maurice
This file examines the perspectives of India and Pakistan at the value ofPakistan_s foray into the Kargil-Dras region in a restricted warfare that has cometo be referred to as the Kargil clash. The objective of the research is to assessboth combatants_ perceptions of the situation, for you to comparing thepossibilities of destiny Kargil-like occasions and the results of thelessons every one state realized for balance in South Asia.
Thomas Sowell takes goal at a number of felony, social, racial, academic, and financial matters during this most modern number of his arguable, by no means dull, continuously thought-provoking essays. From "gun regulate myths" to "mealy mouth media" to "free lunch medicine," Sowell will get to the center of the issues all of us care approximately together with his often unsparing candor.
Additional resources for Censorship of the American Theatre in the Twentieth Century
45 The concept of “republican virtue” also incorporated signiﬁcant concern for security. The colonial middle class, a sizable population, which included prosperous small merchants, tradesmen, and craftsmen, routinely voiced these concerns. For this group, any decline of “republican virtue” signiﬁed ﬁscal as well as political and religious degeneration. Wastefulness and frivolity, once only personal ﬂaws, were now regarded as palpable threats to the community. ”46 “A Friend to All Mankind” condemned the wealthy because they “leave the poor and distressed without alms, and turn a deaf ear to their affecting supplication.
109 The “admiration” of which Logan spoke was clearly not honoriﬁc. Burlesque performers compounded the damage caused by their immodesty by colluding in their own objectiﬁcation. Not only did they titillate audiences with their appearance and demeanor, they were brazenly themselves. They even established eye and verbal contact with spectators to enhance their appeal. These performers, at least as Logan read them, merely stimulated audiences by calling attention to their exposed bodies. Logan, like many other nineteenth-century American feminists, were of the opinion that male sexual passion was irrational and dangerous.
115 Comstock and his supporters reacted to this rapid onset of modernity by seeking to resuscitate the moral certitude that dominated much nineteenth-century thought and behavior. By returning to the moral strictures of the past, he hoped to dictate the direction that future generations would follow. While Comstock occasionally railed against gambling and intemperance, he, like his Edwardian generation, deﬁned immorality in purely sexual terms and exerted tremendous effort in an attempt to prescribe the depiction of the female body.