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Née de sa rivalité avec la raison d'Église, entre guerres de religion et primat du politique, la raison d'État a des visages multiples et contradictoires. Cet ouvrage les déchiffre à travers les diverses pratiques de censure en usage aux XVIe et XVIIe siècles. Clair-obscur de la modernité politique, les rapports entre censures et raisons d'État ne se réduisent pas à la part d'ombre du pouvoir absolu : ils appartiennent aussi à l'histoire de l'acquisition des libertés individuelles, à la formation de l'opinion publique et à la construction des sociétés modernes.

Excerpt from The Habit and the Horse: A Treatise on Female EquitationOn the wide ocean of censure and of praise, I crave your attention me on so bold a venture. It is not, believe me, that I court.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from The Dying Man's Testament to the Church of Scotland, or a Treatise Concerning Scandal: Divided in Four Parts; 1 Concerning Scandal in the General; 2 Concerning Publick Scandals, or Scandals as They Are the Object of Church-Censures, and More Particularly as They Are in PracticeMe'answinning and edifying. And whoever knew his king they will read the fame in'this Trea to Others.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

L'uvre la plus ambitieuse et la plus révolutionnaire de Sue (qui eut à subir les foudres de la censure). Une chevauchée trépidante à travers l'histoire européenne, de l'Antiquité à la Révolution de 1848.

From its founding in 1966 to contemporary attempts to censure its history and revise its significance, the Black Panther party has aroused fear, hope, pride, vilification, and government-sponsored oppression. The trials of Huey Newton, the Chicago Eight, and the Panther 21 made it enormously difficult for many Americans to distinguish the propaganda from the philosophy; the media's indifference to the Panthers' free breakfast programs, neighborhood clinics, and liberation schools only complicated the problem.This is the first and only collection of the most vital, representative writings of the party. Here are Huey P. Newton, Bobby Seale, Eldridge Cleaver, David Hilliard, and Fred Hampton; Kathleen Cleaver and other Panther women; the party's court battles and acquittals; its positions on black separatism, the power structure, the police, violence, and education; as well as songs, poems, and political cartoons. This book explains exactly what the Black Panthers stood for and what issues they confronted, almost all of which remain unresolved today.

The spirit of Gustav Mahler looms over the pages of Shostakovichs turbulent, sprawling and enigmatic Symphony No. 4, a work so uncompromising that for many years he suppressed its performance, fearing public censure. Mixing bombast with banality, savagery with sarcasm, this baffling yet profound work is also one of his most startlingly original. Its paired with his ever popular Symphony No. 10, a brooding and lyrical masterpiece which is said to contain a musical portrait of Joseph Stalin in t

Argues that during the postwar years until McCarthy's censure traditional liberal preoccupations were blunted by concern for national security

This volume sheds light on one of the most explosive episodes of censure of academic scholarship in recent decades. Bruce Rind, a former psychology professor at Temple University, investigated sexual relations between male adults and adolescents through history and across cultures, from highly institutionalized relationships in Ancient Greece and Rome, to 33 contemporary cultures including the USA, and among various species. His conclusions that these relations, when consensual, are not always negative was radical, but based in his research findings. Even before publication of an invited article on the topic, he was subjected to intensive attacks, censured, and censored. This book presents a substantially extended version of Rind’s original, unpublished article, plus 12 scholarly responses to his work that argue for or against Rind’s conclusions or offer useful context on his work. For anyone interested in sex research and the academic freedom issues surrounding it, whether supportive of or vehemently opposed to Rind’s ideas, this book is a must-read.

This book sets out a new understanding of the penal law of a liberal legal order. The prevalent view today is that the penal law is best understood from the standpoint of a moral theory concerning when it is fair to blame and censure an individual character for engaging in proscribed conduct. By contrast, this book argues that the penal law is best understood by a political and constitutional theory about when it is permissible for the state to restrain and confine a free agent. The book's thesis is that penal action by public officials is permissible force rather than wrongful violence only if it could be accepted by the agent as being consistent with its freedom. There are, however, different conceptions of freedom, and each informs a theoretical paradigm of penal justice generating distinctive constraints on state coercion. Although this plurality of paradigms creates an appearance of fragmentation and contradiction in the law, the author argues that the penal law forms a complex whole uniting the constraints on punishment flowing from each paradigm.

Florence Verducci challenges the presuppositions and expectations that have led to embarrassed censure of the wit and comic irreverence that Ovid wove into these dramatic monologues, addressed by his heroines to absent lovers.Originally published in 1986.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

1918: German troops flood back from the Russian front for an all-out assault in France. The under-strength British reel back; the spectre of defeat haunts the land. In the front line, Bertie struggles to bring out his battered battalion; at home Jessie, carrying his child, faces her family's censure. Thomas follows the Romanovs to Ekaterinburg as Russia descends into bloody civil war. Emma drives an ambulance in the FANY, and Jack is shot down. In the last, terrifying year of the war, the Morlands are more than ever in the thick of it, winning through by courage, steadfastness and love.

Paperback. 1703: The wild east coast of Scotland. Returning to her home town of Pittenweem, fishwife and widow Sorcha McIntyre knows she faces both censure and mistrust. After all, this is a country where myth and legend are woven into the fabric of the everyday, a time when those who defy custom like Sorcha has are called to account. It is dangerous to be a clever woman who 'doesn't know her place' in Pittenweem - a town rife with superstition. So, when a young local falls victim to witchcraft, the Reverend Cowper and the townsfolk know who to blame. What follows for Sorcha and her friends is a terrifying battle, not only for their souls, but for their lives, as they are pitted against the villagers' fear, a malevolent man and the might of the church. The independent women of Scotland stand up to a witch hunt, male fury and the power of the Church in a battle for survival in this compelling historical novel based on true events in early eighteenth century Scotland. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Les Fleurs du mal est le titre d'un recueil de poèmes en vers de Charles Baudelaire, englobant la quasi-totalité de sa production poétique, de 1840 jusqu'à sa mort survenue fin août 1867. Publié le 25 juin 1857, le livre fait scandale et suscite un procès retentissant qui entraîne la censure de 6 pièces. Il est réédité, dans des versions différentes, en 1861, 1866 puis 1868. La réhabilitation n'intervient qu'en 1949. C'est l une des uvres majeures de la poésie moderne. Ses 163 pièces rompent avec le style convenu, en usage jusqu'alors. Elles rajeunissent la structure du vers par l'usage régulier d'enjambements, de rejets et de contre-rejets. Elles rénovent la forme rigide du sonnet. Elles utilisent d'inédites associations d'images, tel l'« Ange cruel qui fouette des soleils » (Le Voyage). Elles mêlent langage savant et parler quotidien. Les Fleurs du mal diffèrent d'un recueil classique, où les poèmes ne sont souvent réunis que par l'effet du hasard. Elles sont assemblées selon un dessein précis pour chanter, avec une sincérité absolue : la souffrance d'ici-bas (conçue comme une conséquence de la finitude humaine et une nécessaire expiation, selon une conception toute chrétienne) ; le dégoût du mal (et souvent de soi-même) ; l'obsession de la mort ; l'aspiration à un monde idéal, accessible par de mystérieuses correspondances. Nourries de sensations physiques que la mémoire restitue avec acuité, elles sont empreintes d une nouvelle esthétique où l'art poétique juxtapose la palette mouvante des sentiments humains et la vision lucide d'une réalité souvent crue voire triviale à la plus ineffable beauté. Elles exerceront une influence considérable sur des poètes ultérieurs aussi éminents que Paul Verlaine, Arthur Rimbaud et Stéphane Mallarmé.

Maximus the Confessor, saint and martyr, is the theologian of synthesis: of Rome and Byzantium, of Eastern and Western theology, of antiquity and the Middle Ages, reexcavating the great treasures of Christian tradition, which at that time had been buried by imperial and ecclesial censure.Von Balthasar was an authority on the Church Fathers—Irenaeus, Origen, Gregory of Nyssa, Evagrius Ponticus, Augustine, and above all, Maximus the Confessor. This masterpiece on Maximus broke new ground at that time. Subsequent editions included new material from decades of research. This is the first English translation of the latest edition of this acclaimed work.This book presents a powerful, attractive, religiously compelling portrait of the thought of a major Christian theologian who might, for this book, have remained only an obscure name in the handbooks of patrology. It is based on an intelligent and careful reading of Maximus’s own writings. Here the history of theology has become itself a way of theological reflection.

'Villa miretur vulgus; mihi flavus Apollo Pocula Castalia plena ministret aqua.' TO THE RIGHT HONOURABLE HENRY WRIOTHESLEY, EARL OF SOUHAMPTON, AND BARON OF TICHFIELD. RIGHT HONOURABLE, I know not how I shall offend in dedicating my unpolished lines to your lordship, nor how the world will censure me for choosing so strong a prop to support so weak a burthen: only, if your honour seem but pleased, I account myself highly praised, and vow To take advantage of all idle hours, till I have honoured you with some graver labour. But if the first heir of my invention prove deformed, I shall be sorry it had so noble a godfather, and never after ear so barren a land, for fear it yield me still so bad a harvest. I leave it to your honourable survey, and your honour to your heart's content; which I wish may always answer your own wish and the world's hopeful expectation. Your honour's in all duty, WILLIAM SHAKESPEARE.

Ces deux cours télévisés du Collège de France, présentent, sous une forme claire et synthétique, les acquis de la recherche sur la télévision. Le premier démonte les mécanismes de la censure invisible qui s'exerce sur le petit écran et livre quelques-uns des secrets de fabrication de ces artefacts que sont les images et les discours de télévision. Le second explique comment la télévision, qui domine le monde du journalisme, a profondément altéré le fonctionnement d'univers aussi différents que ceux de l'art, de la littérature, de la philosophie ou de la politique, et même de la justice et de la science ; cela en y introduisant la logique de l'audimat, c'est-à-dire de la soumission démagogique aux exigences du plébiscite commercial.

While America is not alone in its ambivalence toward sex and its depictions, the preferences of the nation swing sharply between toleration and censure. This pattern has grown even more pronounced since the 1960s, with the emergence of the New Right and its attack on the "floodtide of filth" that was supposedly sweeping the nation. Antipornography campaigns became the New Right's political capital in the 1960s, laying the groundwork for the "family values" agenda that shifted the country to the right. Perversion for Profit traces the anatomy of this trend and the crucial function of pornography in constructing the New Right agenda, which has emphasized social issues over racial and economic inequality. Conducting his own extensive research, Whitney Strub vividly recreates the debates over obscenity that consumed members of the ACLU in the 1950s and revisits the deployment of obscenity charges against purveyors of gay erotica during the cold war, revealing the differing standards applied to heterosexual and homosexual pornography. He follows the rise of the influential Citizens for Decent Literature during the 1960s and the pivotal events that followed: the sexual revolution, feminist activism, the rise of the gay rights movement, the "porno chic" moment of the early 1970s, and resurgent Christian conservatism, which now shapes public policy far beyond the issue of sexual decency. Strub also examines the ways in which the left failed to mount a serious or sustained counterattack to the New Right's use of pornography as a political tool. As he demonstrates, this failure put the Democratic Party at the mercy of Republican rhetoric. In placing debates about pornography at the forefront of American postwar history, Strub revolutionizes our understanding of sex and American politics.

Florence Verducci challenges the presuppositions and expectations that have led to embarrassed censure of the wit and comic irreverence that Ovid wove into these dramatic monologues, addressed by his heroines to absent lovers.Originally published in 1986.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Maximus the Confessor, saint and martyr, is the theologian of synthesis: of Rome and Byzantium, of Eastern and Western theology, of antiquity and the Middle Ages, reexcavating the great treasures of Christian tradition, which at that time had been buried by imperial and ecclesial censure.Von Balthasar was an authority on the Church Fathers—Irenaeus, Origen, Gregory of Nyssa, Evagrius Ponticus, Augustine, and above all, Maximus the Confessor. This masterpiece on Maximus broke new ground at that time. Subsequent editions included new material from decades of research. This is the first English translation of the latest edition of this acclaimed work.This book presents a powerful, attractive, religiously compelling portrait of the thought of a major Christian theologian who might, for this book, have remained only an obscure name in the handbooks of patrology. It is based on an intelligent and careful reading of Maximus’s own writings. Here the history of theology has become itself a way of theological reflection.

A true story about a forbidden New Testament that shattered the calm of a Yugoslavian village. John and Anna Olesh, raised in a solid Catholic community, face severe censure when John leaves his family for a time to make money in America. Even more hardship-and persecution-stands in their way when they befriend an evangelical missionary, accept a New Testament, and come to know God. But through all their trials, they learned that when God moves, nothing can stand in His way.