Books by Ilona Urquhart
Front matter and introduction available through Bloomsbury and Google preview: https://www.bloomsb... more Front matter and introduction available through Bloomsbury and Google preview: https://www.bloomsbury.com/au/censorship-and-the-limits-of-the-literary-9781628920109/
Though literature and censorship have been conceived as long-time adversaries, this collection seeks to understand, rather, the degree to which they have been dialectical terms, each producing the other, coeval and mutually constitutive.
After the opening of the USSR’s spekstrahn, the enormous collections of literature forbidden under the Soviets, containing more than one million items, the push to redefine censorship so expansively has encountered cogent criticism. German scholars describing the centralised control of East German print publication, for example, have wanted to insist on the substantive difference of pre-publication state censorship from more mundane forms of speech regulation in democracies. Work on South African apartheid censorship and the operations of censorship in colonial countries is also demonstrating its formative role in the institutional structures of literature beyond the metropole. In light of these and other developments, Censorship and the Limits of the Literary examines a number of critical issues. Is literature ever without censorship? Does censorship need the literary? In a globalizing era for culture, does censorship represent the final (failed) version of national control?
Journal Articles by Ilona Urquhart
The means by which the portrait of Dorian Gray gains its supernatural power is concealed in Oscar... more The means by which the portrait of Dorian Gray gains its supernatural power is concealed in Oscar Wilde’s The Picture of Dorian Gray, but the insinuation that Dorian has made a deal with the devil remains. This article demonstrates that in the absence of a devil character the devil function is taken on by art, which tempts Dorian to act in transgressive and ultimately destructive ways. When Wilde is read in the light of Matthew Arnold’s essays on literature and criticism, this characterisation of art and particularly literature can be understood as a reaction to the latter’s overvaluation of poetry and prediction that it would come to replace religion as a moral guide. The Picture of Dorian Gray, conversely, puts forward the view that art should only ever be enjoyed superficially, and that the only guide for conduct should be one’s soul—Wilde’s poetic representation of the individualist ideal.
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Books by Ilona Urquhart
Though literature and censorship have been conceived as long-time adversaries, this collection seeks to understand, rather, the degree to which they have been dialectical terms, each producing the other, coeval and mutually constitutive.
After the opening of the USSR’s spekstrahn, the enormous collections of literature forbidden under the Soviets, containing more than one million items, the push to redefine censorship so expansively has encountered cogent criticism. German scholars describing the centralised control of East German print publication, for example, have wanted to insist on the substantive difference of pre-publication state censorship from more mundane forms of speech regulation in democracies. Work on South African apartheid censorship and the operations of censorship in colonial countries is also demonstrating its formative role in the institutional structures of literature beyond the metropole. In light of these and other developments, Censorship and the Limits of the Literary examines a number of critical issues. Is literature ever without censorship? Does censorship need the literary? In a globalizing era for culture, does censorship represent the final (failed) version of national control?
Journal Articles by Ilona Urquhart
Though literature and censorship have been conceived as long-time adversaries, this collection seeks to understand, rather, the degree to which they have been dialectical terms, each producing the other, coeval and mutually constitutive.
After the opening of the USSR’s spekstrahn, the enormous collections of literature forbidden under the Soviets, containing more than one million items, the push to redefine censorship so expansively has encountered cogent criticism. German scholars describing the centralised control of East German print publication, for example, have wanted to insist on the substantive difference of pre-publication state censorship from more mundane forms of speech regulation in democracies. Work on South African apartheid censorship and the operations of censorship in colonial countries is also demonstrating its formative role in the institutional structures of literature beyond the metropole. In light of these and other developments, Censorship and the Limits of the Literary examines a number of critical issues. Is literature ever without censorship? Does censorship need the literary? In a globalizing era for culture, does censorship represent the final (failed) version of national control?