Review: Political Censorship and the Democratic State: The Irish Broadcasting Ban, Riot and Great Anger: Stage Censorship in Twentieth-Century Ireland, Irish Film Censorship: A Cultural Journey from Silent Cinema to Internet Pornography

2005 ◽  
Vol 32 (1) ◽  
pp. 152-156
Author(s):  
Peter Martin
2007 ◽  
Vol 50 (1) ◽  
pp. 197-223 ◽  
Author(s):  
JOHN M. REGAN

To what extent has the recent war in Northern Ireland influenced Irish historiography? Examining the nomenclature, periodization, and the use of democracy and state legitimization as interpretative tools in the historicization of the Irish Civil War (1922–3), the influence of a southern nationalist ideology is apparent. A dominating southern nationalist interest represented the revolutionary political elite's realpolitik after 1920, though its pan-nationalist rhetoric obscured this. Ignoring southern nationalism as a cogent influence has led to the misrepresentation of nationalism as ethnically homogeneous in twentieth-century Ireland. Once this is identified, historiographical and methodological problems are illuminated, which may be demonstrated in historians' work on the revolutionary period (c. 1912–23). Following the northern crisis's emergence in the late 1960s, the Republic's Irish governments required a revised public history that could reconcile the state's violent and revolutionary origins with its counterinsurgency against militarist-republicanism. At the same time many historians adopted constitutional, later democratic, state formation narratives for the south at the expense of historical precision. This facilitated a broader state-centred and statist historiography, mirroring the Republic's desire to re-orientate its nationalism away from irredentism, toward the conscious accommodation of partition. Reconciliation of southern nationalist identities with its state represents a singular political achievement, as well as a concomitant historiographical problem.


Author(s):  
Eliza Anna Delveroudi

This chapter examines the emergence and editorial development of film literature in Greece in the 1920s by drawing two pioneer female film critics, Iris Skaravaiou and Iris Barry, into an “imaginary community” between 1920s Athens and London. It investigates the activities and early professional life of Skaravaiou as well as her links with women critics and cinéphiles of the 1910s and 1920s in France and the United Kingdom in order to relate Greek to West European film literature. It explores how Skaravaiou became involved with film journalism and with developing Greek cinema. It shows that Skaravaiou fought hard to claim a place in Greek journalism and to establish cinema as the newest form of twentieth-century art. The chapter argues that a reconsideration of silent cinema history in Greece, based on neglected but important sources, should welcome Iris Skaravaiou as an important contributor, and that her writings should be placed in the context of a form of modernism that legitimated personal expression and was not aligned with the male canon.


Author(s):  
Benjamin A. Schupmann

The Conclusion uses Schmitt’s thought to analyze what is today known as “constrained” or “militant” democracy. A constrained democracy is a constitutional regime with mechanisms to prevent its own democratic subversion. Although this regime is present to varying degrees in most liberal democratic states today, efforts to provide its comprehensive normative theory and justify its use have fallen short. The conclusion argues that Schmitt’s state and constitutional theory, when used to theorize Weimar’s liberal counter-constitution, provides that comprehensive normative theory of constrained democracy. Schmitt’s state and constitutional theory provides liberal democrats today with an alternative way to think about the legitimacy of the liberal democratic state and the limits of democratic legal change. This chapter concludes by briefly discussing how to move constrained democracy beyond Schmitt and by describing some recent parallels between early twentieth-century extremist movements and today’s political world.


2019 ◽  
Vol 46 (2) ◽  
pp. 210-223
Author(s):  
Elisa Uffreduzzi

In the early years of the twentieth century, cinema joined the multitude of images (such as paintings, photographs, and engravings) which were spreading worldwide postcard stereotypes of Naples and its surrounds. The icons of this topographical myth included the natural beauties of the region and the monuments of the city, but also the citizens themselves. In fact, from macaroni eaters to tarantella dancers and brigands, they were an essential part of the urban landscape. This paper especially focuses on the Neapolitan tarantella dance and its local variants in silent cinema, examining how they were strictly linked to the city and its environs.


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