This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Censorship in varying forms has been part of human experience for 2,500 years and has proved itself to be a recurring presence for political thought, whether as active repression, a shaping context for expression, or as itself a subject for analysis and argument. From the death of Socrates to the fatwa against Salman Rushdie, attempts to silence thinkers and writers have provoked passionate and often penetrating responses that speak of their historical moment. Censorship Moments will provide short, accessible and stimulating access to a variety of these responses. Each chapter will couple a short textual 'moment' of writing on censorship and freedom of expression by a past writer with analysis by an expert current scholar. The book's main focus is the public political dimension of censorship, in its relation to political authority and political thought, while also reflecting on the porous boundary to literature and other areas such as law and the media.

While recent publications have explored the relationship between New Testament texts and early Roman imperial ideology, Ephesians has been underanalyzed in these conversations. In this study, Justin Winzenburg provides an original contribution to the field by assessing how matters of the disputed authorship, audience, and date of Ephesians have varied consequences for the imperial-critical status of the epistle. Previously underexplored elements of the Roman context of Ephesians, with a focus on maiestas [treason] charges, imperial cults, and Roman imperial eschatology are examined in light of the two major theories of the date of the epistle. The author concludes that, while there are limitations to an imperial-critical reading of the epistle, some of the epistle's speech acts can be understood as subversive of Roman imperial ideology.

Condemned as a fascist putsch in the East and praised as a 'people's uprising' in the West, the uprising of 17 June 1953 shook East Germany. Drawing on interviews and archive research, this book examines East German citizens' memories of the unrest and reflects on the nature of state power in the GDR.

This timely collection explores the politics of female celebrity across a range of contemporary and historical media contexts. Amidst concerns about the apparent 'decline' in the currency of modern fame ('famous for being famous'), as well as debates about the shifting parameters of public/private visibility, it is female celebrities who are positioned as the most active discursive terrain. This collection seeks to interrogate such phenomena by forging a greater conceptual, theoretical and historical dialogue between celebrity studies and critical gender studies. It takes as its starting point the understanding that female celebrity is a particularly fraught cultural phenomenon with ideological and industrial implications that warrant careful scrutiny. In moving across case studies from the 19th century to the present day, this book works from the assumption that the case study should play a crucial role in generating debate about the dialogue between 'past' and 'present', and the individual essays seek to reflect this spirit of enquiry

'Through different voices and styles of contributions, including papers, edited talks and panel discussion, this collection explores and applies the principles of relational transactional analysis. It sets them in social, cultural and political contexts, and considers a number of important implications of this particular relational turn in psychotherapy. The book advances relational transactional analyses and, in doing so, reflects the creativity and vibrancy of contemporary TA. The editors have skilfully brought together different generations of TA practitioners in an accessible and stimulating volume. I commend the editors and highly recommend the book.'- Dr Keith Tudor, author of a number of books and co-author of the article "Co-creative transactional analysis" in the Transactional Analysis Journal. He is Associate Professor, Auckland University of Technology, Auckland, Aotearoa, New Zealand.

Divided into six sections, this title examines Government secrecy (GS) in a variety of contexts, including comparative examination of government control of information, new definitions, categories, censorship, ethics, and secrecy's relationship with freedom of information and transparency.

"Addresses censorship as a worldwide issue from its earliest recorded form to the modern day ; Includes unique case studies of music censorship unfamiliar to Western audiences ; Documents censorship through a necessarily intersectional lens." --Oxford University Press.

Throughout history and across the globe, governments have taken a strong hand in censoring music. Whether in the interests of "safeguarding" the moral and religious values of their citizens or of promoting their own political goals, the character and severity of actions taken to suppress and control music that has been categorized as unacceptable, immoral, or as the Nazi's termed the music of Jewish and modernist composers, "degenerate," ranges from economic sanctions to forced immigration, imprisonment, and death. Yet in almost all cases composers found methods to counter this suppression and to let their voices be heard, even through the very music they were often forced to compose for the oppressing parties. In this first major collection of its kind, thirty contributors tackle centuries of music censorship across the globe from the medieval era to the modern day. Case studies address a number of instances both well- and lesser-known, including the tumultuous history of Wagner and Israel, rap music in the United States, silencing of women composers, and music in post-revolutionary Iran. Sections are organized by nature of censorship - religious, racial, and sexual - and type of government enforcement - democratic, totalitarian, and transitional. Focusing on individual composers and artists as well as eras within single countries, this Handbook champions the efficacy of music as an agent of collective power and resilience.

No study of Goethe's early lyric poetry has been published in English in the last fifty years. But the reading of this poetry the author presents is not intended merely to introduce an English readership to a major body of work; rather, the book delineates for the first time in any language an account of the symbolic network or organizing myth that underlies Goethe's individual poems. This marks a decisive break with the previous research on Goethe, which has tended to view his poetry as the expression of occasional experiences. The author shows, on the contrary, that Goethe's lyric work circles around a core set of problems and figures, that it evinces a systematic coherence unperceived until now.