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''ドイツ語:Süddeutsche Monatshefte'' ("South German Monthly", also credited as ''ドイツ語:Süddeutscher Monatshefte'') was a German magazine published in Munich between January 1904 and September 1936. After beginnings as an art and literary venue, liberal but highly critical of modernism, it made a turn toward politics before World War I. Especially supportive of German conservatism, it was also sympathetic toward ''Völkisch'' ideologists, and published propaganda in favor of militarist politicians such as Alfred von Tirpitz. Having for its founder and editor Paul Nikolaus Cossmann, an assimilated Jew, ''ドイツ語:Süddeutsche Monatshefte'' was generally antisemitic—strongly so after 1920, when it hosted calls for racial segregation. Its publication of conspiracy theories such as the stab-in-the-back myth paved the way for Nazi propaganda, but ''ドイツ語:Süddeutsche Monatshefte'' was more closely aligned with the mainstream right. It played a part in conspiratorial alliances supporting the policies of Gustav von Kahr, although it also had Conservative Revolutionaries among its core contributors. In its late years, ''ドイツ語:Süddeutsche Monatshefte'' turned to Bavarian nationalism and Wittelsbach loyalism, becoming a target for the Nazi regime. Cossmann was imprisoned for dissidence, then deported for his Jewishness; took over, leading ''ドイツ語:Süddeutsche Monatshefte'' until its disestablishment in 1936. ==Beginnings== Established as a mainly social-liberal tribune by Cossmann, a Jewish writer who had converted to Catholicism, ''ドイツ語:Süddeutsche Monatshefte'' initially sought to reaffirm the cultural importance of Southern Germany and solidify its symbiotic relationship with Prussia, creating cultural bridges between Catholics and Protestants.〔Alexandre, pp. 195–196, 210–212〕 Joining the directorial staff in the first edition was liberal pastor-politician Friedrich Naumann (its political director to 1913),〔Alexandre, p. 196, 199–200, 210–212〕 who shared editorial oversight with painter Hans Thoma and composer Hans Pfitzner.〔"Chronique allemande", ''Bibliothèque Universelle et Revue Suisse'', Vol. 39, Issue 115, pp. 635–636〕 Protestant social reformer and Joseph Schnitzer, a Modernist Catholic, were noted guest writers, with Cossmann acting as neutral host.〔Alexandre, pp. 196–198〕 During the federal election of 1907, the magazine hosted debates between Schnitzer and Center Party militant , on Political Catholicism and its role in society (a divisive one, according to Schnitzer).〔Alexandre, p. 206〕 However, according to historian Adam R. Seipp, ''ドイツ語:Süddeutsche Monatshefte'' was mainly an interface for traditional Munich—Catholic, "deeply conservative", "suspicious of outside influences", and antithetical to the modernist ''Simplicissimus''.〔Adam R. Seipp, ''The Ordeal of Peace: Demobilization and the Urban Experience in Britain and Germany, 1917–1921'', p. 39. Farnham: Ashgate Publishing, 2009. ISBN 978-0-7546-6749-0〕 Cossmann managed to attract important writers to the magazine's permanent staff, including and Karl Alexander von Müller.〔 In its early issues, ''ドイツ語:Süddeutsche Monatshefte'' hosted mainly essays by the likes of Hofmiller (such as his 1909 putdown of the modernist author Robert Walser),〔Bernhard F. Malkmus, ''The German Picaro and Modernity: Between Underdog and Shape-shifter'', p. 65. New York: Continuum International Publishing Group, 2011. ISBN 978-1-4411-9723-8〕 Carl Spitteler, and , and poetry by .〔 Some of the cultural and social chronicles had nationalist undertones, debating over the requirements of German modernization. As Anglophiles, Hofmiller, Lujo Brentano, and suggested fusing Anglo–American lessons in modernity with the German ''Volkstum'', to make Germany a more competitive capitalist nation; in 1906, a Dr. Paul Tesdorf went further, promoting eugenics as a means to engineer a better people.〔Alexandre, pp. 197–198, 200–202〕 In contrast, Naumann and other authors worried about finance capitalism and oligopolies, exhorting a German nationalism based on "democratic capitalism" or syndicalism, and following closely the development of Marxist revisionism.〔Alexandre, pp. 202–204. See also Struve, p. 90〕 In a February 1906 obituary for the "legal socialist" Anton Menger, Eugen Ehrlich commented that the term "socialism" had virtually lost its mystique.〔Thilo Ram, "Juristensozialismus in Deutschland", in ''Quaderni Fiorentini per la Storia del Pensiero Giuridico Moderno'', Vols. 3–4 ("Il 'Socialismo giuridico': ipotesi e letture. I"), 1974–1975, p. 15〕 The magazine took a distinctly liberal position on education reform, with Rade supporting the Jewish studies movement.〔Christian Wiese, "'The Best Antidote to Anti-Semitism'? ''Wissenschaft des Judentums'', Protestant Biblical Scholarship, and Anti-Semitism in Germany before 1933", in Andreas Gotzmann, Christian Wiese (eds.), ''Modern Judaism and Historical Consciousness: Identities, Encounters, Perspectives'', pp. 153–154. Leiden: Brill Publishers, 2007. ISBN 978-90-04-15289-2〕 Most of the contributors, in particular Gustav Wyneken, were critics of the Herbartian educational tradition; Wyneken's polemics with the more conservative Friedrich Wilhelm Foerster were taken up by ''ドイツ語:Süddeutsche Monatshefte''.〔Alexandre, pp. 207–208〕 In 1909, the journal was also one of the first to host Hans Driesch's philosophical tracts, discussing the concept of becoming in history and nature.〔Caterina Zanfi, ''Bergson e la filosofia tedesca, 1907–1932'', p. 151. Macerata: Quodlibet, 2013. ISBN 978-88-7462-549-9〕 In 1913, it aired Moritz Geiger's grievances against experimental psychology, implicitly a defense of classical phenomenology.〔Martin Kusch, ''Psychologism. A Case Study in the Sociology of Philosophical Knowledge'', p. 195. London: Routledge, 1995. ISBN 0-415-12555-3〕 Debates about innovation were carried into the artistic realm. An early contributor, Henry Thode, wrote articles which censured modern art from conservative and antisemitic positions, attacking modernist critics such as Julius Meier-Graefe.〔Thomas W. Gaehtgens, "Les rapports de l'histoire de l'art et de l'art contemporain en Allemagne à l'époque de Wölfflin et de Meier-Graefe", ''Revue de l'Art'', Vol. 88, 1990, pp. 35, 38〕 In 1911, the debate was taken further: ''ドイツ語:Süddeutsche Monatshefte'' hosted both 's manifesto against French "invasion" in German art, as well as the more cautious, pro-modernist, replies to Vinnen, from: Thoma, Lovis Corinth, Gustav Klimt, Max Klinger, Max Slevogt, Count Kalckreuth, Wilhelm Trübner, and Auguste Rodin.〔"Revue des revues. ''Süddeutsche Monatshefte''", ''La Chronique des Arts et de la Curiosité. Supplément à la Gazette des Beaux-arts'', No. 23/1911, p. 182〕 In various other issues, ''ドイツ語:Süddeutsche Monatshefte'' carried polemical essays by aestheticists such as 〔Heinz Politzer, "(Rudolf Borchardt, Poet of Assimilation. The Extreme Case of an Extreme Tendency )", in ''Commentary'', January 1950〕 and Paul Zarifopol.〔Aurel Sasu (ed.), ''Dicționarul biografic al literaturii române'', Vol. II, p. 868. Pitești: Editura Paralela 45, 2004. ISBN 973-697-758-7; Paul Zarifopol, "Tehnica artistică și cealaltă tehnică", ''Viața Românească'', Nr. 7–8/1930, pp. 3–4〕 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「Süddeutsche Monatshefte」の詳細全文を読む スポンサード リンク
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