This paper examines the ineffective and unsustainable information management system employed by the Socialist Republic of Vietnam. The Vietnamese public faces an absence of information, due to strictly controlled state media and an unreliable unofficial media. Meanwhile, the current information management system does not allow the regime to meet its core interests of increasing government legitimacy and decreasing corruption. Increasing press freedom is also perceived as an existential threat, and so the government’s basic interests contradict each other. This paper examines the literature on information management in authoritarian and democratic regimes to determine the functions of the media in more free and less free contexts. It then examines the information systems of two successful case studies, China and Singapore, to locate applicable lessons for the Vietnam case. The paper finds that while Vietnam should adopt some elements of China’s media demobilization strategies, both the Vietnamese regime and the Vietnamese people are better served by moving towards a Singaporean-style social contract between the public and the regime.

4 Abstract The thesis examines the Czech translations of the novel Winnetou by German author Karl May, which were published in the beginning of the 20th century, in the era of Protectorate of Bohemia and Moravia and in the Czechoslovak Socialist Republic. The aim of the empirical research is to prove whether the translations were influenced and manipulated by the governing ideology or not. The paper also covers relevant works of the translation theorists Anton Popovič, Itamar Even- Zohar and André Lefevere. Due to limited extent of this paper the empirical re- search focuses only on selected parts from four Czech translations of the novel Winnetou, which are related to religious, philosophical and national topics. The analysis covers not only the linguistic aspect of the translations, but also takes into consideration the political situation of the relevant era. Key words: Karl May, Winnetou, censorship and translation, manipulation school, metatext

Over a period of sixty years, between 1936 and 1996, there were numerous filmed versions of Shakespeare’s Romeo and Juliet, but four in particular were made for and obtained a worldwide commercial release. George Cukor’s lavish production of 1936 with Norma Shearer as Juliet was the first feature length, big budget, ‘talkie’ of Shakespeare’s play to be made by a major studio and aimed at the cinema going public. Shearer remains, to this day, the only actress of the modern age who was a major film star when cast in the role of Juliet. In direct contrast to this, Renato Castellani’s Anglo Italian neo-realist, retrospective 1954 adaptation featured an unknown Susan Shentall, who had never acted before filming and, on completion of the film, retired and never acted again. Franco Zeffirrelli’s sweeping 1968 production with Olivia Hussey as Juliet was a worldwide commercial success and is still revered by many as being the authoritative film experience of the play. Baz Luhrmann’s1996 version, with Claire Danes playing opposite Leonardo DiCaprio, was initially decried as an affront to Shakespeare’s masterpiece and the director was accused of sacrificing the text for a highly stylised and bombastic shallow content. It is only recently that this film has been viewed by critics and academics alike in a more sympathetic and positive manner. These films, taken individually, present to us a particular performance of the ‘Juliet’ of Shakespeare’s text; but in addition to this they allow us a comparative study of the portrayal of Juliet as a celluloid reflection of the idealised woman shaped by the progressive demands of the contemporary phallocentric society in the western world. Patricia White examined this reflection theory in Feminism and Film and, in turn, referred to the studies of Molly Haskell and Marjorie Rosen in the early 1970s, and quoted them on the basis that film ‘reflects social reality, that depictions of women in film mirror how society treats women, that these depictions are distortions of how women ‘“really are” and what they “really want” ’(White 118). The theory explores the supposition that women are repeatedly and systematically portrayed in a catalogue of images that compels the viewer to see and accept them in a typology of roles which, according to White, reinforces the phallocentric ideology of women as an array of ‘virgins, vamps, victims, suffering mothers, child women and sex kittens’(White 118). A question that therefore arises and which is central to this thesis is how, specifically, has Juliet been portrayed in film? Has the Juliet of the screen been nothing more than an object of visual stimulation, an object of the scopophilic gaze and male sexual fantasy? If this is the case, how does this vary in each of the filmed versions listed? We must also consider how Juliet exists in relation to other characters in the play beyond her direct involvement with Romeo. Juliet’s role is pivotal within the play even though she does not have the most lines. She has a direct influence on Mercutio and his relationship to Romeo, even though Juliet and Mercutio fail to exchange a single line of dialogue in the entire play. Juliet’s relationship with Romeo is altered dramatically in the aftermath of Mercutio’s death. Juliet’s life is also influenced by her relationships with others such as the Nurse and Friar Laurence, each of whom will abandon her at some point in the play. How are these relationships played and interpreted in each of the films in question? One cannot write extensively of Juliet if one limits oneself to writing exclusively of her. Each of these characters and how they are portrayed needs also to be examined. So too must the directors, all male, be examined in some detail. How much do they alter the Juliet of Shakespeare’s text and for what purpose?

A presente monografia analisa influências do jornalismo na produção de dramaturgos que também trabalharam como jornalistas, no Brasil, em meados do século XX. A partir de pesquisas no Arquivo Miroel Silveira, formado por documentos da censura prévia ao teatro no Estado de São Paulo de 1930 a 1970, e em acervos de jornais como o Banco de Dados da Folha de S.Paulo e a Hemeroteca do Arquivo Público do Estado de São Paulo, foi identificado que alguns desses dramaturgos escreveram peças inspiradas em acontecimentos relatados pela imprensa, num procedimento que aproxima as duas formas de narrativa. Com base num referencial teórico unindo categorias do jornalismo e das artes, estudaremos cinco peças onde se observa essa influência - O poço, de Helena Silveira (1950); O beijo no asfalto, de Nelson Rodrigues (1961); Vereda da salvação, de Jorge Andrade (1964); Barrela, de Plínio Marcos (1959) e Liberdade, liberdade, de Millôr Fernandes (1965). Analisaremos as influências do jornalismo nestes textos e a forma como a censura teatral lidava com estas aproximações entre dramaturgia e jornalismo. / This monograph analyzes influences of journalism in the production of playwrights who also worked as journalists in Brazil in the mid-twentieth century. From research in the Archive Miroel Silveira, formed by theater censorship documents in the State of São Paulo from 1930 to 1970, and in archives of newspapers such as Folha de S.Paulo and O Estado de S. Paulo, it was identified that some of these playwrights wrote plays inspired by events previously reported by the press, a procedure which approximates both forms of narrative. Based on a theoretical framework linking categories of journalism and arts, we will study five pieces in which we can observe this procedure - O poço, by Helena Silveira (1950), O beijo no asfalto, by Nelson Rodrigues (1961); Vereda da salvação, by Jorge Andrade (1964), Barrela, by Plínio Marcos (1959) and Liberdade, liberdade, by Millôr Fernandes (1965). We will analyze the influences of journalism in these texts and how theatrical censorship dealt with these similarities between drama and journalism.

Many scholars have argued back and forth regarding the reliability of the narrator Nick Carraway in F. Scott Fitzgerald’s most well-known novel The Great Gatsby. Nick’s attention to detail in his narrative is the element due to which many scholars argue in favour of his reliability. One of these scholars is Wayne C. Booth, who was the first that introduced reliability and unreliability, and marked Nick as a reliable narrator. Nick’s account is a retrospective telling of events which happened two years earlier and Booth argues for Nick’s reliability because he provides the benefit of hindsight. However, in this essay, I will argue that Nick Carraway is an unreliable narrator as the consequence of his selectiveness that is visible in the narrative. Through Nick’s selectiveness, four categories are evident: concealment of information, censorship, memory, and drunkenness. As a result, these categories, alongside the central aspect of selectiveness, verify the suppression of the complete plot which Nick hides from the reader.

The aim of this paper is to examine the correlation between regime socialisation and censorship support in South Korea. The National Security Act is a policy that has been active in the country mentioned, since the 1950’s and restricts the freedom of speech. In a country like South Korea, which is a democracy, it is hard to understand the dual values that are being portrayed in the society. With the help of a theory about political socialisation by individual experience and by using a linear regression, this paper hypothesises that there will be people who are more supportive or completely against the backing for censorship if they have lived through an authoritarian regime. In the bivariate linear regression, the results indicate that there is a relation between the independent, regime socialisation and the dependent variable, support for censorship. However opposed to the theory of this paper, that inhabitants of countries with former authoritarian rule should be more supportive of censorship, the results from the multivariate linear regression show that with the control variables, gender, education, income and Asian values, the correlation between regime socialisation and the support for censorship is not statistically significant. Instead it shows that gender, education and income confound the relationship between regime socialisation and support for censorship.

Over recent years, censorship of the press in Turkey has been under international scrutiny, having been examined on the basis of recent political developments such as the Justice and Development Party’s democratisation promises with the incentive of the EU accession process and the role of the press in Turkey’s democratisation. This research aims to widen the terms of reference by providing a unifying framework for the problems posed by political, historical, and legal agents to press freedom, and analysing their interrelation throughout the history of modern Turkey. It seeks to identify the hindrances encountered by the press, which has its roots in the deep-seated State ideology and institutional framework that prioritises state security over individual rights and freedoms. This thesis therefore sets forth the inextricable link between the political history of Turkey and the current application of the law, and presents an in-depth analysis of Turkish political history in relation to press freedom, legal scholarship, and case-law as evidence to demonstrate this. The analysis of the obstacles to establishing stronger legal protection for the press that would not be affected by political change, is based on doctrinal and socio-legal analysis that investigates the flaws in the Turkish Constitution, Turkish Penal Code and Turkish Anti-Terror Law and questions the judicial approach to the implementation of the right to free expression of the press. The thesis specifies the loopholes in Turkish legislation that allow insufficient legal protection for freedom of the press and the inefficiency of the judiciary to realise the press’s right to free expression. The thesis recommends practical amendments to clarify broadly drawn legal provisions. A reduction in judicial bureaucracy to eliminate political influences on the judiciary. Judicial training for the internalisation of the right to free expression of the press as a human right . All of which would help overcome institutional hindrances based on the perception of a critical press as a threat to state security and national interest.

Made available in DSpace on 2016-04-27T19:30:14Z (GMT). No. of bitstreams: 1 Daniel Martins Valentini.pdf: 4956297 bytes, checksum: 67b70b0f8bea066c989d9e96a06372a4 (MD5) Previous issue date: 2011-05-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to develop a reflection about the censorship of Teatro Oficina in 1960s, watching as the action of the repressive apparatus with the group, before and after the 1964 coup, seeking to understand the changes that occurred with the hardening of the dictatorial regime. In this quest, we realized that the researches on the Oficina focused mainly on memory of Zé Celso, while other group members had their narratives ignored. We feel, therefore, the need to also work with the other historical actors narratives / Este trabalho visa desenvolver uma reflexão acerca da censura ao Teatro Oficina nos anos de 1960, observando como foi a ação deste aparelho repressor junto ao grupo antes e depois do Golpe de 1964, buscando o entendimento das transformações que aconteciam com o endurecimento do regime ditatorial. Nesta busca, percebemos que as pesquisas sobre o Oficina concentraram-se, sobretudo, na memória de Zé Celso, enquanto outros integrantes do grupo tiveram suas narrativas desprezadas. Sentimos, assim, a necessidade de trabalhar também com as narrativas dos outros atores históricos

Made available in DSpace on 2016-04-27T19:30:28Z (GMT). No. of bitstreams: 1 Valmir Mendes dos Santos Junior.pdf: 22753763 bytes, checksum: e854be617c6fb84026f613e27a442ef2 (MD5) Previous issue date: 2011-11-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This Work " The Vargas Era and the theater: a study about plays vetoed between 1930 and 1945 in São Paulo" by Valmir Mendes dos Santos Junior, this text aims to understand govern actions in artistic area, specifically about theater from data of Collection Miroel Silveira of Comunication and Art School of University São Paulo. The First data collected in this collection, enabled to discover 7 plays vetoed between 1930 and 1945, after they were denied by existents organs. This Way, did this research aims to discuss the main social and political aspects presented those plays that were vetoed between 1930 and 1945? For answer of this question, the plays had been studied: "Andaime", "Gaspar o Serralheiro" e "Defesa Passiva" in order to understand the reasons of the mains event lived in the country in that era. The first conclusions of this research indicates that the censure during Vargas govern, became more rigid with the implantation of " New State" (1930-1945). Also highlighting that among the play theme vetoed there were recurrence subjects related to capitalist system criticizen, role of women in the society and also the workers were exploited. Defesa Passiva, specifically mentions officials organs in its plot, and therefore modifications were necessary to suit requirements of the "New State" in order to be aproved its presentation / O presente trabalho, A Era Vargas e o teatro: um estudo sobre peças teatrais vetadas entre 1930 e 1945 em São Paulo , de autoria de Valmir Mendes dos Santos Junior, tem como objetivo compreender as ações do governo Vargas na área artística, especificamente com relação ao teatro, a partir de um levantamento realizado no Arquivo Miroel Silveira, da Escola de Comunicação e Artes da Universidade de São Paulo. O primeiro levantamento realizado nesse acervo permitiu a descoberta de 7 peças vetadas entre 1930 e 1945, após serem submetidas à censura dos órgãos existentes. Dessa forma, esta pesquisa busca identificar quais fatores sociais e políticos são apresentados nessas peças para que elas tenham sido vetadas entre 1930 e 1945. Para responder a esse questionamento, foram estudadas as peças: Andaime , Gaspar, o serralheiro , Defesa Passiva e Ladra , buscando-se compreender as razões dos vetos e relacionar esses motivos aos principais acontecimentos vividos no país naquele período. Ao se estabelecer essa relação, concluiu-se primeiramente que a censura durante o governo Vargas ganhou uma maior rigidez com a implantação do Estado Novo (1937-1945). Também destacamos que, entre as temáticas das peças vetadas, há uma recorrência dos assuntos relacionados ao sistema capitalista, ao papel da mulher na sociedade e também às condições vividas pelos trabalhadores explorados. Defesa Passiva traz ainda uma outra especificidade, pois menciona órgãos oficiais do governo em seu enredo, de forma que foi necessária sua modificação para adequação às exigências do Estado Novo, para que assim pudesse ser autorizada sua representação

This thesis examines the legal and governance issues presented by internet blocking (“filtering”) systems through the use of the United Kingdom’s Cleanfeed system as a national case study. The Cleanfeed system – which aims to block access to child abuse images – has been influential both domestically and internationally but has been the subject of relatively little sustained scrutiny in the literature. Using a mixed doctrinal and empirical methodology this work discusses the evolution of Cleanfeed and considers the way in which government pressure has led to a private body without any express legislative basis (the Internet Watch Foundation) being given the power to control what UK internet users can view. The thesis argues that the Cleanfeed system sits at the intersection of three distinct trends – the use of architectural regulation, regulation through intermediaries and self-regulation – which individually and collectively present significant risks for freedom of expression and good governance online. It goes on to identify and examine the fundamental rights norms and governance standards which should apply to internet blocking and tests the system against them, arguing in particular that Cleanfeed fails to meet the requirements developed by the European Court of Human Rights under Articles 6 and 10 ECHR. It considers the extent to which Cleanfeed might be made amenable to these principles through the use of judicial review or actions under the Human Rights Act 1998 and concludes that the diffuse structure of the system and the limited availability of horizontal effect against private bodies will leave significant aspects beyond the effective reach of the courts. This work also assesses claims that the Cleanfeed system is a proof of concept which should be extended so as to block other material considered objectionable (such as websites which “glorify terrorism”). It argues that the peculiar features of the system mean that it represents a best case scenario and does not support blocking of other types of content which are significantly more problematic. The thesis concludes by considering proposals for reform of the Cleanfeed system and the extent to which greater public law oversight might undermine the desirable features associated with self-regulation.