Censorship In Contemporary Russia

Essay from the year 2006 in the subject Politics - Region: Russia, grade: distinction (80%), The University of Sydney (Facultiy of Economics and Business), course: Media and International Politics, language: English, abstract: In a crucial moment of transition in the late 1980s Mikhail Gorbachev came to power and began to liberalise the soviet political system. He allowed in the name ofglasnostseveral newspapers, literary journals and weekly magazines greater editional licence to criticise the Soviet system. Gorbachev’s glasnost gave birth to a new generation of independent-minded journalists. A law on the mass media gave the new Russian Federation a framework. The law was passed in 1991 and amended several times, and it is still one of the most democratic laws in the country. It guarantees everybody the freedom of thought and speech and the right freely to seek, transfer, produce and disseminate information by any lawful means. Article 29.5 forbids censorship and guarantees the freedom of the mass media. In 1991 Russian media celebrated this opportunity and most Russian press declared their independence from the state. Freed from censorship, new quality newspapers acted as a forum for debate of public issues and they took great pride in calling themselves the “fourth estate”. Papers like Nezavisimaya Gazeta or Independent Newspaper for example gloried in the freedom to act as a forum for discussions. The liberalization of television too began in 1990, when the state-owned Russian television station RTR was founded. RTR started broadcasting in spring 1991 and started to show its programs on the Second Channel.

Baguette, a seemingly ordinary house cat, is a descendant of the magic Catlanteans who lived long ago in peace and happiness on the island of Catlantis. When he falls in love with the seductive alley cat Purriana, she insists Baguette accomplish a heroic feat before she’ll agree to marriage. They pay a visit to the oracle, Purriana’s great-great grandmother, who reveals to the surprised Baguette the secret of his bloodline and the special inheritance of all ginger descendants of the Catlanteans: the ability to time travel. She relates the cat-astrophe that befell Baguette’s ancestors when Catlantis was struck by storms and sank to the bottom of the Catlantic Ocean. Now Baguette must travel into the past in order to bring back the Catlantic flowers that will grant every cat nine lives. All the cats of the world have been awaiting his deed, but can Baguette, a lovesick tabby, fulfill the prophecy?

Lev Loseff (1937), der Leningrad 1976 verlassen musste und seit 1979 in Hannover, New Hampshire am Dartmouth College in den USA als Professor of Russian Language and Literature lehrt, hat u.a. Werke von E. Svarc, N. Olejnikov und M. Bulgakov herausgegeben. In seiner ersten großen Monographie "On the Beneficence of Censorship: Aesopian Language in Modern Russian Literature" analysiert Loseff an Werken von Svarc, Solzenicyn, Evtusenko u.a. die aus der Auseinandersetzung mit der Zensur gebotenen stilistischen - auch bereichernden - Besonderheiten der modernen, in der Sowjetunion entstandenen russischen Literatur und veranschaulicht diese im Kontext von Werk, Autor und Epoche.

Censorship took many forms in Imperial Russia. First published in 1982, Fighting Words focuses on the most common form: the governmental system that screened written works before or after publication to determine their acceptability. Charles A. Ruud shows that, despite this system, the nineteenth-century Russian Imperial government came to grant far more extensive legal publishing freedoms than most Westerners realize, adopting a more liberal attitude towards the press by permitting it a position recognized by law. Fighting Words also reveals, however, that the government fell far short of implementing these reforms, thus contributing to the growth of opposition to the Tsarist regime in the second half of the nineteenth century and the first few years of the twentieth. Now back in print with a new introduction by the author, Fighting Words is a classic work offering insight into the press, censorship, and the limits of printed expression in Imperial Russia.

This book introduces readers to the Russian media, its current landscape, and its history by outlining the chief challenges faced by Russian journalists on their quest for media freedom. Focusing on how the Government has traditionally controlled the media through censorship, financial involvement, and relations between media moguls and the State, the book analyses to what extent the Russian media has become 'free' since the fall of Communism. The author questions whether freedom is possible at all in a society where the media has traditionally been so closely linked to the State. There are chapters on different forms of media including print, television, radio and the Internet. Each chapter identifies the main hurdles faced by the particular medium and considers the potential it has for becoming truly independent. Key features include: Vivid examples and case studies of the power play between television and the State during the tumultuous 1990s Clear outline of various different forms of media Comprehensive historical overview supported with examples from relevant publications Drawing on her own experience as a professional journalist, the author, provides a first hand account of what journalists in Russia are encountering today. This position allows the author to frankly discuss the tangible issues that impact those involved in the media and their audiences. By providing both a description of the current situation and an overview of Russian media history, The Media in Russia offers a unique introduction to the field and is key reading for students across various disciplines including Russian studies, media studies and politics.

In recent years, the Russian government has dramatically expanded its restrictions on the internet, while simultaneously consolidating its grip on traditional media. The internet, however, because of its transnational configuration, continues to evade comprehensive state control and offers ever new opportunities for disseminating and consuming dissenting opinions. Drawing on a wide range of disciplines, including media law, human rights, political science, media and cultural studies, and the study of religion, this book examines the current state of the freedom of speech, freedom of expression, and media freedom in Russia, focusing on digital media and cross-media initiatives that bridge traditional and new media spheres. It assesses how the conditions for free speech are influenced by the dynamic development of Russian media, including the expansion of digital technologies, explores the interaction and transfer of practices, formats, stylistics and aesthetics between independent and state-owned media, and discusses how far traditional media co-opt strategies developed by and associated with independent media to mask their lack of free expression. Overall, the book provides a deep and rich understanding of the changing structures and practices of national and transnational Russian media and how they condition the boundaries of freedom of expression in Russia today.

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This volume explores the Russia where the great writer, Fyodor Dostoevsky (1821–81), was born and lived. It focuses not only on the Russia depicted in Dostoevsky's works, but also on the Russian life that he and his contemporaries experienced: on social practices and historical developments, political and cultural institutions, religious beliefs, ideological trends, artistic conventions and literary genres. Chapters by leading scholars illuminate this broad context, offer insights into Dostoevsky's reflections on his age, and examine the expression of those reflections in his writing. Each chapter investigates a specific context and suggests how we might understand Dostoevsky in relation to it. Since Russia took so much from Western Europe throughout the imperial period, the volume also locates the Russian experience within the context of Western thought and practices, thereby offering a multidimensional view of the unfolding drama of Russia versus the West in the nineteenth century.

Political Censorship of the Arts and the Press in Nineteenth-Century Europe presents a comprehensive account of the attempts by authorities throughout Europe to stifle the growth of political opposition during the nineteenth-century by censoring newspapers, books, caricatures, plays, operas and film. Appeals for democracy and social reform were especially suspect to the authorities, so in Russia cookbooks which refered to 'free air' in ovens were censored as subversive, while in England in 1829 the censor struck from a play the remark that 'honest men at court don't take up much room'. While nineteenth-century European political censorship blocked the open circulation of much opposition writing and art, it never succeeded entirely in its aim since writers, artists and 'consumers' often evaded the censors by clandestine circulation of forbidden material and by the widely practised skill of 'reading between the lines'.