Francisco Franco, articulista de incógnito (1945–1960)

Se trata de un análisis pormenorizado de los artículos publicados por Francisco Franco en el periódico Arriba entre los años 1945 y 1960 bajo los seudónimos de Jakim Boor, Hispanicus y Macaulay. Se lleva a cabo su disección en dos grandes categorías: enemigos del Régimen y política, economía y sociedad. Para ello, se toma como ejemplo el propio artículo de Hispanicus titulado “Lo político, lo económico y lo social”. En la primera de las dos grandes categorías se agrupan todos aquellos elementos abstractos -instituciones o ideologías- que Franco consideraba perjudiciales para la España que él gobernaba o que históricamente habían sido hostiles a este país; en la segunda se recogen el comentario sobre política en términos actuales o generales, las situaciones económicas y sociales así como los numerosos fragmentos de Historia de España que el dictador gustaba de incluir en sus colaboraciones periodísticas.

El declive de la memoria en "Tu rostro" mañana de Javier Marías: la escritura revivida

Este trabajo tiene como objetivo estudiar los diferentes estados mentales de los personajes de las novelas de Tu rostro mañana, de Javier Marías. Estudiando las reflexiones del narrador sobre J. Deza, Peter Wheeler o Francisco Rico observamos que su decadencia mental se muestra a través de una suerte de ―presciencia‖ o lucidez momentánea que puede servir para mostrar el silencio como única tendencia de todo discurso. Desde el momento en que toda historia de ficción se cimenta sobre un discurso –no importa su cauce de presentación, ni su fuente– este es falsificado por el tiempo, la gente y cualquier otra herramienta que pueda ser utilizada para contar nada. Las conclusiones de este trabajo muestran la quimera que implica tratar de mantener una contención absoluta sobre lo acaecido, pues dicho vacío de narrativas será ocupado por una suplantación que suele ser el reverso más infame de sus actores. Es por ello que el narrador J. Deza sigue conminado a explicar sus historias, incluso allí donde uno diría que ya no puede haber ni palabras suficientes para traducir un hecho en ficción.

Of Marx and Makers: an Historical Perspective on Generative Justice

In Marxist frameworks “distributive justice” depends on extracting value through a centralized state. Many new social movements—peer to peer economy, maker activism, community agriculture, queer ecology, etc.—take the opposite approach, keeping value in its unalienated form and allowing it to freely circulate from the bottom up. Unlike Marxism, there is no general theory for bottom-up, unalienated value circulation. This paper examines the concept of “generative justice” through an historical contrast between Marx’s writings and the indigenous cultures that he drew upon. Marx erroneously concluded that while indigenous cultures had unalienated forms of production, only centralized value extraction could allow the productivity needed for a high quality of life. To the contrary, indigenous cultures now provide a robust model for the “gift economy” that underpins open source technological production, agroecology, and restorative approaches to civil rights. Expanding Marx’s concept of unalienated labor value to include unalienated ecological (nonhuman) value, as well as the domain of freedom in speech, sexual orientation, spirituality and other forms of “expressive” value, we arrive at an historically informed perspective for generative justice. 

Commentary on Henrician Proclamation 1538:A Proclamation Prohibiting Unlicensed Printing of Scripture (1538)

Royal Proclamation prohibiting the printing and publishing of ecclesiastical and other books without prior licence, as well as the importation, sale and publication of English language texts printed on the continent. This Proclamation established the precedent for the pre-publication licensing of literary works in England.
The commentary describes the background to the Proclamation, in particular the significance of the English Reformation, and Henry VIII's increasing interest in regulating and censuring the press. The commentary suggests that while this early instance of press intervention influenced governmental attitudes to censorship throughout the next 150 years, one of the crucial differences between this and later models of ideological control was that the 1538 Proclamation sought to censure print materials in a manner that was decoupled from the economic ownership and exploitation of such works.

Commentary on the Stationers' Royal Charter 1557

Royal Charter providing the Company of Stationers with corporate legal status within the City of London, and conferring on them exclusive control over printing within England. The grant of the Charter ensured that the Company's licensing procedures became the standard by which members of the book trade secured the right to print and publish literary works, giving rise to what is generally referred to as ‘stationers' copyright'.
The grant of the Charter by Mary is often understood as the point at which the monarchy established an effective regulatory institution to control and censure the press, in the guise of the Stationers' Company, in exchange for an absolute monopoly over the production of printed works. In fact, the commentary suggests that censorship of the press throughout the Tudor period remained an essentially ad hoc and reactive phenomenon, and that both Mary and Elizabeth relied, not primarily upon the Company of Stationers, but on the use of statutory instruments and royal proclamations to censure heretical and treasonous texts.

Commentary on the Elizabethan Injunctions 1559

Royal Proclamation setting out the manner in which the Elizabethan Church was to be reformed and governed. Injunction 51 of this Proclamation continued in the tradition of Henry VIII's 1538 Proclamation in providing the legal foundation for a system of pre-publication licensing in Elizabethan England.
The commentary describes how, in accordance with the Injunctions, the licensing and censorship of the press was to be carried out, not by the Stationers' Company, but by the Privy Council and Elizabeth's newly established Ecclesiastical Commission (the High Commission). It also details how Elizabeth also continued to rely upon the sporadic use of statutory measures and royal proclamations to respond to seditious or heretical texts. Moreover, it suggests that, in practice, the extent to which the Elizabethan press was subject to regulatory control was much less draconian than has usually been suggested.

Commentary on the Humble Remonstrance of the Company of Stationers 1643

A petition from the Company of Stationers to Parliament to introduce some form of legislative regulation of the press. The petition is significant in revealing the extent to which the Stationers depended upon the state to support the regulation of the book trade, as well as the nature of the various public and private interest arguments upon which they sought to base their claim. The commentary articulates the various arguments presented by the Stationers within their petition. The benefits of the legal regulation they suggested concerned not only the censorship and suppression of seditious and heretical texts, but also facilitated the advancement of learning and knowledge and the flourishing of the printing industry itself. In addition, the petition presents the figure of the ‘author' as reliant upon the benefit of his work, and that the ‘production of the Brain' was to be regarded as equivalent to any other commodity or chattel.

Commentary on the Licensing Act 1662

Legislation prohibiting the publication of any literary work without prior licence.
Drawing upon both the Star Chamber Decree 1637 (uk_1637) and the Acts Regulating Printing during the Interregnum (see: uk_1643 and associated documents), the Licensing Act set out a comprehensive set of provisions concerning both the licensing of the press and the regulation and management of the book trade. In addition, it confirmed the rights of those holding printing privileges (or patents) granted in accordance with the royal prerogative (see for example: Day's privilege for The Cosmographical Glass (uk_1559b)) as well as those who had registered works with the Stationers' Company (uk_1557). It also introduced the first legal library deposit requirement. In force between 1662 and 1679, and then again between 1685 and 1695, the Act represents the last occasion on which the censorship of the press was formally and strategically linked to the protection of the economic interests of the Stationers' Company. Its lapse led the Stationers' Company to lobby parliament for renewed protection, ultimately resulting in the passing of the Statute of Anne 1710 (uk_1710).

Violence gratuite et adolescents-bourreaux : Réception, traduction et enjeux de deux romans suédois pour adolescents, en France, au début des années 2000

The purpose of this thesis is to contribute to a better understanding of the role of Swedish literature for adolescents in the French literary scene in the early 2000s. The sociology of literature constitutes the main theoretical framework of this thesis. Drawing from examples that broach the sensitive topic of "unprovoked violence" as it is treated in two Swedish novels for teenagers, Spelar död [Play Death] by Stefan Casta and När tågen går förbi (Train Wreck) by Malin Lindroth, this thesis shows how these novels are innovative in Even-Zohar’s sense of the term, as addressed in his Polysystem Theory (1990). By introducing "unprovoked violence" and violent teenagers via a realistic genre, such works filled a vacuum in the French system and injected a new dynamic into it. This dynamic makes it possible for new literary models to be introduced in the system and to change the standards of that system. The analyses of the French and Swedish receptions of the two novels mentioned above show that they gave rise to a moral panic in France, which is not an unusual thing to happen in periods of ongoing change. This also clarifies the differences in norms between the two systems. The French system tends to reject dark topics, while the Swedish wishes to discuss them. The investigations of the translations of unprovoked violence show that adherence to Swedish norms determine the translation’s adequacy (Toury), which may be part of the reason for the stormy reception the two works received in France, and their undergoing censure. The position of translators and publishers in the literary system also plays a major role for a translated text not being censured during the transfer from one system to another. Even if the Swedish titles translated into French are few, this thesis shows that the impact of Swedish literature on adolescents in France is certain. By introducing new and sensitive topics, such novels could be early markers of an evolution of the French field of literature for adolescents.

A comparative study of approaches to audiovisual translation

For those who are not new to the world of Japanese animation, known mainly as anime, the debate of "dub vs. sub" is by no means anything out of the ordinary, but rather a very heated argument amongst fans. The study will focus on the differences in the US English version between the two approaches of translating audio-visual media, namely subtitling (official subtitles and fanmade subtitles) and dubbing, in a qualitative context. More precisely, which of the two approaches can store the most information from the same audiovisual segment, in order to satisfy the needs of the anime audience. In order to draw substantial conclusions, the analysis will be conducted on a corpus of 1 episode from the first season of the popular mid-nineties TV animated series, Sailor Moon. The main objective of this research is to analyze the three versions and compare the findings to what anime fans expect each of them to provide, in terms of how culture specific terms are handled, how accurate the translation is, localization, censorship, and omission. As for the fans’ opinions, the study will include a survey regarding the personal preference of fans when it comes to choosing between the official subtitled version, the fanmade subtitles and the dubbed version.

Myanmar MIL Workshop Series

The Mobile Information Literacy curriculum is a growing collection of training materials designed to build literacies for the millions of people worldwide coming online every month via a mobile phone. Most information information and digital literacy curricula were designed for a PC age, and public and private organizations around the world have used these curricula to help newcomers use computers and the internet effectively and safely. The better curricula address not only skills, but also concepts and attitudes. The central question for this project is: what are the relevant skills, concepts, and attitudes for people using mobiles, not PCs, to access the internet? As part of the Information Strategies for Societies in Transition project, we developed a six-module curriculum for mobile-first users. The project is situated in Myanmar, a country undergoing massive political, economic, and social changes, and where mobile penetration is expected to reach 80% by the end of 2015 from just 4% in 2014. Combined with the country’s history of media censorship, Myanmar presents unique challenges for addressing the needs of people who need the ability to find and evaluate the quality and credibility of information obtained online, understand how to create and share online information effectively, and participate safely and securely.

Myanmar DIL WORKSHOP SERIES Unit 4: Working Online and Using Information

The Mobile Information Literacy curriculum is a growing collection of training materials designed to build literacies for the millions of people worldwide coming online every month via a mobile phone. Most information information and digital literacy curricula were designed for a PC age, and public and private organizations around the world have used these curricula to help newcomers use computers and the internet effectively and safely. The better curricula address not only skills, but also concepts and attitudes. The central question for this project is: what are the relevant skills, concepts, and attitudes for people using mobiles, not PCs, to access the internet? As part of the Information Strategies for Societies in Transition project, we developed a six-module curriculum for mobile-first users. The project is situated in Myanmar, a country undergoing massive political, economic, and social changes, and where mobile penetration is expected to reach 80% by the end of 2015 from just 4% in 2014. Combined with the country’s history of media censorship, Myanmar presents unique challenges for addressing the needs of people who need the ability to find and evaluate the quality and credibility of information obtained online, understand how to create and share online information effectively, and participate safely and securely.

Post tenebras spero lucem : Alquimia y ritos en el Quijote y otras obras cervantinas

This study focuses on two areas: alchemy (Part I) and rituals of initiation (Part II) in the works of Miguel de Cervantes, focusing on Don Quijote de la Mancha as my main case study. The first part analyses the function of alchemy and how it can be interpreted throughout the works and various literary genres of Cervantes. It will demonstrate that the texts of Cervantes contain both explicit and implicit allusions to, as well as different aspects of alchemy, such as operative and spiritual alchemy and how these are ultimately used by Cervantes as a means of expression. The author draws from this rich source and modifies these means of expression in order to achieve various results: sometimes with wit or in relation to fraud; at other times it focuses on inner alchemy relating to chivalry in what I have called spiritual chivalry, which has the aim of self-improvement and ultimately, gnosis. Regarding the chivalric rituals of initiation, according to this investigation chivalry serves as both satire and representation of the alchemical process in the case of Don Quijote, which finds its key moments during the rituals. In this sense alchemy and chivalry are studied as two sides of the same coin, in which the search for something higher, an object (the philosopher stone, the beloved), subjects the protagonist to continuous transmutations and puts him in contact with the transitory, that is, liminal states, people and spaces. From this perspective Don Quixote de la Mancha is built upon liminal poetics. My approach, which follows the tenets of analogical hermeneutics, is included within the framework of the Western Esotericism Studies. The 16th and 17th centuries were a fertile age for alchemy throughout Europe. In Spain, alchemy and other esoteric disciplines co-existed with the Spanish Inquisition and its body for the control of ideas and texts: censorship. By being ambiguous and putting into dialogue different ideas of alchemy, Cervantes not only allowed readers to reach their own conclusions, he also protected his work from censorship.

Pyramus and Thisbe 4 You or a "Wondrous Strange" Tale of Contemporary Romanian Theatre

Like its title, Pyramus and Thisbe 4 You, Alexandru Dabija’s production at the Odeon Theatre, Bucharest, was a tongue-in-cheek invitation to the audience that at once aimed to tease past and recent Romanian endeavours and to tease out the stage potential a Shakespeare play holds today. My examination of the production re-constructs the local cultural contexts the production plays with and against, referring to the Romanian ways of making Shakespeare this production enters into dialogue with. Take 1, an all-female version casting the mature stars of the Odeon, I read against both Elizabethan all-male stage practice and Andrei Serban’s all-female Lear at the Bulandra (2008). Take 2, “an old device” (V.1.50): a teacher-student “devising” session at the Academy of Theatre and Cinema, I read against critics’ “more strange than true” (V.1.2) parlance on “theories of perception and reception” and against hi-tech Shakespeare dominating the Romanian stages in the first decade of the third millennium. Take 3, local political banter on ethnic discrimination, I read as “satire keen and critical” (V.1.54) on both communist censorship and the recent rise of nationalism in Romania. Take 4, a “cold” reading-cum-improvisation performed by the technical crew – this production’s mechanicals – I read as “palpable-gross play” (V.1.376) on both acting and spectating practices. What I argue in this article is that Dabija’s production goes beyond its local context and mores, and proposes a re-assessment of Shakespeare’s cultural currency in (European) Romania and Europe at large by exposing current tyrannies in Shakespeare studies: from translation and adaptation, through directing and acting, to viewing and reviewing.

Censura no governo de Vargas

O presente trabalho tem diferentes objetivos: o primeiro deles é apresentar resultados da pesquisa que vem sendo realizada pelo Observatório de Comunicação, Liberdade de Expressão e Censura (OBCOM-USP), a partir do Arquivo Miroel Silveira da Escola de Comunicações e Artes da Universidade de São Paulo (AMS/ECA-USP), sobre censura aos meios de comunicação e à produção artística. O tema da liberdade de expressão tem se tornado cada vez mais importante para os estudos de comunicação. O segundo objetivo é, relembrando os 60 anos do suicídio do presidente Getúlio Vargas, falar de sua atuação no controle e intervenção sobre a imprensa e a produção artística. Ele foi o criador do sistema de censura que vigorou no Brasil de 1937 a 1988 (quando a Constituição eliminou os órgãos oficiais de censura), através do Departamento de Imprensa e Propaganda (DIP), do qual o Arquivo Miroel Silveira é resultado e exemplo. O terceiro objetivo do presente trabalho é mostrar que a censura moral ou estética é um subterfúgio para o principal intuito de toda censura, que é controlar a produção simbólica e impedir a crítica e a dissidência. Isso será feito através da análise dos documentos do processo 268 de censura prévia da peça Ben-Hur, de 1943, que deveria estrear em São Paulo. Finalmente, o quarto objetivo deste texto é mostrar que a extinção dos órgãos oficiais de censura, a chamada censura “clássica”, não evitou que outros meios indiretos, plurais, particulares e governamentais continuassem a controlar meios de comunicação e manifestações artísticas, impedindo a livre expressão.