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The main aim of this thesis is to analyse and explore the philosophical justifications for freedom of speech during the nineteenth century and their application as political praxis. In this work, specific types of free speech argument are identified and examined in the light of the ideological stance of those who sought to argue for freedom of speech, primarily from key ideological perspectives of the nineteenth century, utilitarianism, liberalism and socialism. Initially three types of free speech argument are identified: the accountability argument, the liberty argument and the truth argument. However, on an inspection of socialist arguments for freedom of speech, the author suggests that a fourth sufficiently distinct type of free speech argument is present, particularly within the more mature works of socialist radicals and agitators. Though the arguments for freedom of speech overlap within different ideological and historical contexts, a case is made for a relatively distinct type of free speech argument within the socialist political praxis of free speech. Furthermore, in examining key political and philosophical texts, and an analysis of the free speech arguments in nineteenth century political pamphlets and newspapers, the argument is made that in order to gain a thorough understanding of political history and philosophy a holistic approach should be adopted, one which looks at ideas, context, history, artefact, and political praxis.

Studying the last century and a half of Ukrainian linguistic history reveals relentless attempts to stifle the development of Ukrainian as well as to suppress translation activities under both the tsarist and Soviet regimes. Exploring the morphological evolution of the Ukrainian language discloses evidence of terminological inconsistencies due to the lexical russification of Ukrainian during the Soviet regime, leading to inconsistencies between the standard of Ukrainian used in the Soviet Union versus that used in the diaspora. Additional examination of Ukrainian linguistic history discloses political motives for banning translations, refusing the right to translate, censoring translations, and punishing translators who rejected the mandatory Soviet literary norm of Socialist Realism. In order to further understand the implications of translation practices in the Ukrainian SSR, it is important to examine the language policies, political agendas and translation practices prior to and throughout the Soviet regime. This thesis explores and analyses the russification of Ukrainian through translation policies designed to fulfil Soviet political and ideological agendas. It compares power differentials between Russian and Ukrainian, as well as between Russian and other minority languages in translation, and examines the resulting terminological inconsistencies. It shows unequivocally how translation, transliteration, and censorship were used to foster linguicide and assimilate Ukrainian minorities, from the late tsarist era to the collapse of the Soviet Union.

Officially in 1934, socialist realism emerged in Soviet society as the new cultural aesthetic, providing an artistic framework for all forms of cultural productionart, music, architecture and literature. In the realm of childrens writing, socialist realism had particularly interesting effects on the themes and formulas that were utilized by authors. Though once thought to represent the tsarist and peasant past, the Party encouraged the use of traditional folk elements to popularize the new overtly Soviet tales, despite the apparent unorthodoxy. Similarly, authors were encouraged to reintroduce the hero, also seemingly unorthodox in what was a theoretically collective society. Nonetheless, heroic themes and characters emerged to recognize achievements in industry and the drive for modernization, encourage vigilance against internal and external spies and saboteurs, propagandize the Soviet war effort against Germany, and honour Soviet soldiers for their sacrifices. Soviet childrens books demonstrated to youth the communist qualities of selflessness and devotion to the collective, and about the dangers of idleness. Children learned that the Soviet Union was to be the new Soviet family, replacing the bond of blood kinship. The leader cult filtered down to childrens books and Stalin made a significant appearance as the father of all heroes. This thesis argues that the Party recognized the value of childrens literature for shaping the character development of young readers. Popular in their own right, childrens books were not able to avoid the manipulation and control of the Party, which employed them as tools of propaganda. However, it is difficult to separate the extent of their genuine popularity from their appeal as propaganda.

Studying the last century and a half of Ukrainian linguistic history reveals relentless attempts to stifle the development of Ukrainian as well as to suppress translation activities under both the tsarist and Soviet regimes. Exploring the morphological evolution of the Ukrainian language discloses evidence of terminological inconsistencies due to the lexical russification of Ukrainian during the Soviet regime, leading to inconsistencies between the standard of Ukrainian used in the Soviet Union versus that used in the diaspora. Additional examination of Ukrainian linguistic history discloses political motives for banning translations, refusing the right to translate, censoring translations, and punishing translators who rejected the mandatory Soviet literary norm of Socialist Realism. In order to further understand the implications of translation practices in the Ukrainian SSR, it is important to examine the language policies, political agendas and translation practices prior to and throughout the Soviet regime. This thesis explores and analyses the russification of Ukrainian through translation policies designed to fulfil Soviet political and ideological agendas. It compares power differentials between Russian and Ukrainian, as well as between Russian and other minority languages in translation, and examines the resulting terminological inconsistencies. It shows unequivocally how translation, transliteration, and censorship were used to foster linguicide and assimilate Ukrainian minorities, from the late tsarist era to the collapse of the Soviet Union.

Officially in 1934, socialist realism emerged in Soviet society as the new cultural aesthetic, providing an artistic framework for all forms of cultural productionart, music, architecture and literature. In the realm of childrens writing, socialist realism had particularly interesting effects on the themes and formulas that were utilized by authors. Though once thought to represent the tsarist and peasant past, the Party encouraged the use of traditional folk elements to popularize the new overtly Soviet tales, despite the apparent unorthodoxy. Similarly, authors were encouraged to reintroduce the hero, also seemingly unorthodox in what was a theoretically collective society. Nonetheless, heroic themes and characters emerged to recognize achievements in industry and the drive for modernization, encourage vigilance against internal and external spies and saboteurs, propagandize the Soviet war effort against Germany, and honour Soviet soldiers for their sacrifices. Soviet childrens books demonstrated to youth the communist qualities of selflessness and devotion to the collective, and about the dangers of idleness. Children learned that the Soviet Union was to be the new Soviet family, replacing the bond of blood kinship. The leader cult filtered down to childrens books and Stalin made a significant appearance as the father of all heroes. This thesis argues that the Party recognized the value of childrens literature for shaping the character development of young readers. Popular in their own right, childrens books were not able to avoid the manipulation and control of the Party, which employed them as tools of propaganda. However, it is difficult to separate the extent of their genuine popularity from their appeal as propaganda.

Thesis (D. Mus. Arts)--University of Washington, 2001. / Vita. Includes bibliographical references (leaves 73-76).

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