Officially, the term SAM HILL is considered a bowdlerization of unknown origin.
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She thinks this is pure censoriousness — and that Louise, famously candid, would have been "horrified" at this Bowdlerization.
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Yet, out of this data set, some comedians and their fans seem determined to gerrymander an epidemic of bowdlerization.
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A Jellicle cat, according to T.S. Eliot lore, is a bowdlerization of "dear little cats," one apocryphally created by a child in his life that he then co-opted for his cat poems.
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There's a general consensus on the Grimms' tendency to turn wicked mothers into wicked stepmothers, as they did over time for "Snow White" and "Hansel and Gretel": It seems to be a gentle bowdlerization, an attempt to keep the biological mothers in their stories models of virtue.
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The Family Shakespeare, Thomas Bowdler's famous reworked edition of William Shakespeare's plays. 1818 Expurgation, also known as bowdlerization, is a form of censorship which involves purging anything deemed noxious or offensive from an artistic work, or other type of writing of media. The term bowdlerization is a pejorative term for the practice, particularly the expurgation of lewd material from books. The term derives from Thomas Bowdler's 1818 edition of William Shakespeare's plays, which he reworked in order to make them more suitable for women and children.
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Soft grunge is a fashion trend that originated in 2010 as a form of 1990s appropriation. Soft grunge is a bowdlerization of early 1990s grunge culture, involving grunge fashions such as flannel and grunge from contemporary subculture and gothic ("goth") subculture.
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Tobacco bowdlerization occurs when a publisher or government agency expurgates a photograph, text, or video document to remove images and references to consuming tobacco products. It often occurs in conjunction with traditional restrictions on tobacco advertising, and is most commonly seen on works that are aimed at children.
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Perrin attributes the fall of bowdlerization and literary expurgation to the rise of Freudian psychology, feminism, and the influence of mass media. Perrin also cites Whiteing's statements as a harbinger of doom for Bowdler's popular status. On Bowdler's birthday each year (July 11), some literature fans and librarians "celebrate" Bowdler's "meddlings" on "Bowdler's Day". The "celebration" is ironic, scorning Bowdler as a literary censor and perpetuating the views that Whiteing served to popularize.
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Sam Hill is an American English slang phrase, a euphemism or minced oath for "the devil" or "hell" personified (as in, "What in the Sam Hill is that?"), the "Sam" coming from salmon(sal(o)mon an oath) and "Hill" from hell. Etymologist Michael Quinion and others date the expression back to the late 1830s; they and others consider the expression to have been a simple bowdlerization, with, according to the Oxford English Dictionary, an unknown origin.
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Johnny Cash's 1965 recording substitutes "dram-house" for the traditional "Rosie's," i.e. the saloon for the brothel (though Burl Ives' 1949 recording retains the more logical, "first down to Rosie's, and then to the card-house..."). This bowdlerization renders nonsensical the next phrase, "...and then to the card-house," as though drinking and gambling took place in separate establishments. One of the Fifes' sources "exaggerating somewhat, says that there were originally seventy stanzas, sixty-nine of which had to be whistled.".
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Although she began writing poems, she is primarily known as a fiction writer who draws heavily on personal experience. Many of Lin Bai's works explore the problems that face women in maturity. Women's sexual identity and private experiences, such as masturbation, lesbian relationships, abortion, adultery, and narcissistic self-love feature in many of her works. In the cultural market of 1990s China, Lin Bai's work enjoyed commercial success but also suffered from reductive reading, both because of its "sexual appeal" and bowdlerization by its publishers.
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Taking a much more moderate stance than Whiteing, the opinion of whom The National describes as "flagrant exaggeration", they instead suggest that The Family Shakespeare is a relic of a bygone, pre-Victorian time, and that "As public taste moved on towards broader standards of literary propriety, the verb 'to bowdlerize' suffered corresponding degradation." Nonetheless, they acknowledge that public opinion of Bowdler and bowdlerization as a practice is perhaps best represented Whiteing's strong views. By 1925 The Family Shakespeare was all but obsolete. In 1969 Noel Perrin published Dr. Bowdler's Legacy: A History of Expurgated Books in England and America.
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The poem, which is five stanzas long, describes nostalgic scenes from the life of the anonymous narrator. The narrator, who addresses each memory to the title character, begins the first stanza by describing the life and death of a woman named Alice. Some variation occurs in the beginning of the poem's fourth stanza. In the original manuscript, the stanza begins as follows: However, when the poem was arranged to music, the lyrics of that section were changed slightly, so that the relevant lines were as follows: This mild bowdlerization met with some annoyance from the author.
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Recognizing this, NBC soon abandoned these attempts at the bowdlerization and/or alteration of a theatrical film's content. But at the same time, it became apparent to all three networks that if some movies could not be successfully repackaged for family viewing, then perhaps a stronger emphasis should be focused on producing more films specifically for television. As a result, this hybrid genre began to exert a larger presence on American home screens. The origin of the American network TV-movie had actually occurred years earlier, when NBC had entered into an agreement with Universal wherein the studio produce films approximately 98 minutes long to be broadcast initially on the network.
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After they missed, the drum major took out a shotgun and blew the Bunny away. He was carried off by band members dressed as dining hall workers. After the September 11 attacks in 2001, the YPMB became a source of minor controversy for performing a halftime show parodying the history of jingoism in American media and culture, including patriotic bowdlerization, and addressing the possibility of conscription. A strong negative reaction from several audience members, including boos (especially when "War" was spelled on the field) and angry letters to administrators and newspapers, led the band to limit the often aggressive political content of its shows through at least the 2002 season.
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Picasso's Les Demoiselles d'Avignon, edited by Christopher Green, Courtauld Institute of Art, University of London, Cambridge University Press, 2001 The work, painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon (who had previously titled the painting in 1912 Le bordel philosophique) renamed the work its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. John Golding, Visions of the Modern, University of California Press, 1994, Archives de France, Les Demoiselles d'Avignon, Pablo Picasso, 2007 (French) Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization Las chicas de Avignon ("The Girls of Avignon").
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The film is so unfocused that at the end of its very long 104 minutes, I was unable to say who I was supposed to like and who I was supposed to hate - although I could name several characters for whom I had no feelings at all... The screenplay is based on a novel by Jane Smiley, unread by me, which won the Pulitzer Prize - which means that either the novel or the prize has been done a great injustice." Desson Howe wrote in The Washington Post: "That Jane Smiley’s A Thousand Acres would become a movie was inevitable. Another virtual certainty was its bowdlerization... Without Smiley’s connecting prose (although we’re subjected to long bouts of narration), there’s nothing left but the melodrama... If there are any positives to point to, it would be Lange’s performance. Her emotional battle to avoid harsh realities is sure to put her up for those big-time awards. It’s too bad she’s emoting away in an empty drama that - with all its narrative ellipses - should have been called A Hundred Acres.
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