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''politics'' was a journal founded and edited by Dwight Macdonald from 1944 to 1949. Macdonald had previously been editor at ''Partisan Review'' from 1937 to 1943, but after falling out with its publishers, quit to start ''politics'' as a rival publication,〔(''TIME'' April 4, 1994 Volume 143, No. 14 – "Biographical sketch of Dwight Macdonald" by John Elson ) (Accessed 4 December 2008)〕 first on a monthly basis and then as a quarterly. ''politics'' published essays on politics and culture and included among its contributors James Agee, John Berryman, Bruno Bettelheim, Paul Goodman, C. Wright Mills, Mary McCarthy, Marianne Moore, Irving Howe, Daniel Bell, Hannah Arendt. The journal reflected Macdonald's interest in European culture. He used ''politics'' to introduce US readers to the thinking of the French philosopher Simone Weil, publishing several articles by her, including "A Poem of Force", her reflections on the ''Iliad''.〔Moulakis,Athanasios. ''Simone Weil and the Politics of Self-Denial'' Translated by Ruth Hein. University of Missouri Press, 1998 ISBN 0826211623 (pp. 2-3)〕 He also printed work by Albert Camus. Another European, the Italian political and literary critic Nicola Chiaromonte, was also given space in the journal. ''politics'' was also Macdonald's vehicle for his repeated and violent attacks against Henry Wallace and his Progressive Party campaign for President.〔("Dwight Macdonald: Godfather of One-Editor Journals" by Rene Wadlow )(Accessed 4 December 2008)〕 * * In a letter to Philip Rahv at the end of December 1943, George Orwell mentioned that Macdonald had written asking him to contribute to his forthcoming journal.〔Orwell, Sonia and Angus, Ian (eds.). ''The Collected Essays, Journalism and Letters of George Orwell Volume 3: As I Please (1943-1945)'' (Penguin)〕 Orwell had replied telling him he might "do something ‘cultural’" but not ‘political’ as he was already writing his "London Letters" to ''Partisan Review''. In his "As I Please" article for the 16 June 1944 issue of ''Tribune'', George Orwell recommended ''politics''.〔 He stated that he disagreed with its policy but admired "its combination of highbrow political analysis with intelligent literary criticism." He went on to add that there were no monthly or quarterly magazines in England "to come up to" the American ones, of which there were several. Macdonald, in an editorial comment for the November 1944 issue of ''politics'' referred to a letter from Orwell which cast interesting light on the ‘russification’ of English political thought over the last two years.〔 Orwell had read the May issue's review of Harold Laski's ''Faith, Reason and Civilisation'' and mentioned that the ''Manchester Evening News'', the evening edition of the ''Manchester Guardian'', had refused to print his own review because of its anti-Stalin implications. Despite considering the book "pernicious tripe", Orwell had praised the author for being "aware that the USSR is the real dynamo of the Socialist movement in this country and everywhere else.", but criticized him for shutting his eyes to "purges, liquidations", etc. Macdonald pointed out that the fact that such a review should be considered "too hot" shows how much the feats of the Red Army had misled the English public opinion about Russia. He added that the "English liberal press had been far more honest about the Moscow Trials than our own liberal journals" and that Trotsky had been able to write in the ''Guardian''. == Dwight Macdonald: Culture as politics – and ''politics'' as culture == As a prototypical "one-man magazine", ''politics'' bore the sensibility and characteristic preoccupations of its founding, and sole, editor, the literary and polemical journalist Dwight Macdonald (1906–1982), whose cantankerous past in the face of institutional authority of all kinds furnished a fitting prologue to his six-year tenure in the editor's chair. After his undergraduate years at Yale – during which he gained early notoriety for his critique in the student newspaper of William Lyon Phelps, a pillar of the university's English faculty, and a lecturer and media figure with a national following – and a brief stint in the Executive Training Squad at the R.H. Macy department-store company, Macdonald landed a position as a writer and associate editor in 1929 at ''Fortune'', the business monthly launched the year of the American stock market crash by Henry Luce, a Yale alumnus eight years Macdonald's senior whose stable of iconic magazines had begun in 1923 with ''Time''. Exposure to the many captains of industry whose works and ways he profiled, set against the deepening Depression, sharpened in him a disdain for capitalism which made common cause with an elitist, aristocratic artistic sensibility that admired the classical European past as a sustaining and shaming foil to what he saw as the cultural degradations attendant upon the ascendancy of mass society. As a result, much of Macdonald's outwardly political criticism would take puckish aim at one or another of the stylistic infelicities, whether verbal or in manners, of the reigning pundits and politicians of the day, along with a critical tendency, somewhat like that of an earlier journalistic-literary "rebel in defense of tradition"〔Wreszin, Michael. ''A Rebel in Defense of Tradition: The Life and Politics of Dwight Macdonald''. New York: Basic Books, 1994.〕 (to borrow the title of Macdonald's biographer Michael Wreszin), H.L. Mencken, more characteristically negative in tenor than constructive, programmatic or partisan – Mencken's claim that "(one horse-laugh is worth ten thousand syllogisms )" might well have been Macdonald's own.〔And it was no accident, to speak after the old-Marxist schema, that one whose satiric wit would often take the form of stylistic parody of his antagonists in both politics (e.g., Henry Wallace) and culture (the formulaic style of ''Time'' and others among what Macdonald called the "Lucepapers") would eventually, as of 1960, get round to editing one of the best-regarded collections of its kind, ''(Parodies: An Anthology from Chaucer to Beerbohm – And After )''.〕 Upon leaving ''Fortune'' in 1936, after a dispute over his epic four-part profile of U.S. Steel one of whose crescendoes was an epigram from Lenin on imperialism as the highest stage of capitalism, he immersed himself in the works of Marx, Lenin and Trotsky, a schooling which, against the backdrop of the Moscow Trials and the bitter divisions over their authenticity across the American left intelligentsia, led him to side with the Trotskyist faction against the Stalinists.〔In which political opposition style, again, shared center stage: "On the evidence of Stalin's barbarous oratorical style alone, one could deduce the bureaucratic inhumanity and the primitiveness of modern Soviet society." Quoted in Geoffrey Wheatcroft, "(From Trotsky to Midcult: In Search of Dwight Macdonald )." ''New York Observer'', March 27, 2006.〕 The New York social critic Paul Goodman, whose early essays in ''politics'' seeded his flowering into mainstream fame twenty years later, famously asserted that Macdonald "thinks with his typewriter", a restless, perpetually self-revising (and, often enough in rueful retrospect, self-mocking) quality that saw Macdonald studding the later book versions of his magazine essays with a sort of after-the-fact Greek chorus of second thoughts, self-recriminations and liberal, as it were, doses of ''l'esprit de l'escalier'', that lent his writing a quality one critic〔Paul Berman in ''The New Republic'', (September 12, 1994 ): "The habit of heckling his own opinions was a main element in Macdonald's prose style, too. He was always posting footnotes or intruding parentheses into his own sentences in order to add a second point of view, normally quite skeptical of the first. You could almost imagine that 'Dwight Macdonald' was actually two persons: a Macdonald from Yale who was urbane, relaxed, witty and intelligent, and a second Macdonald from Yale who was even more urbane, relaxed and so forth. Delmore Schwartz's judgment was this: 'antagonism for its own sake is his appetite and neurosis, and none of his political predictions come true, but he is a master of expository prose.' And the source of that mastery was, I think, the doubleness in his approach. Macdonald No. 1 expressed judgments; Macdonald No. 2 judged expressions; and the writing came out stereophonic."〕 labeled "stereophonic." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Politics (journal)」の詳細全文を読む スポンサード リンク
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