The Paris Review
The Paris Review is a quarterly English language literary magazine established in Paris in 1953 by Harold L. Humes, Peter Matthiessen, George Plimpton. In its first five years, The Paris Review published works by Jack Kerouac, Philip Larkin, V. S. Naipaul, Philip Roth, Terry Southern, Adrienne Rich, Italo Calvino, Samuel Beckett, Nadine Gordimer, Jean Genet, Robert Bly; the Review's "Writers at Work" series includes interviews with Ezra Pound, Ernest Hemingway, T. S. Eliot, Ralph Ellison, William Faulkner, Thornton Wilder, Robert Frost, Pablo Neruda, William Carlos Williams, Vladimir Nabokov, among many hundreds of others. Literary critic Joe David Bellamy called the series "one of the single most persistent acts of cultural conservation in the history of the world."The headquarters of The Paris Review moved from Paris to New York City in 1973. Plimpton edited the Review from its founding until his death in 2003. Brigid Hughes took over as "executive editor" from 2003 to 2005, she was followed by Philip Gourevitch from 2005 to 2010, Lorin Stein from 2010 to 2017, Emily Nemens since April 2018.
An editorial statement, penned in the inaugural issue by William Styron, stated the magazine's aim: The Paris Review hopes to emphasize creative work—fiction and poetry—not to the exclusion of criticism, but with the aim in mind of removing criticism from the dominating place it holds in most literary magazines. I think The Paris Review should welcome these people into its pages: the good writers and good poets, the non-drumbeaters and non-axe-grinders. So long as they're good; the Review's founding editors include Humes, Plimpton, William Pène du Bois, Thomas Guinzburg and John P. C. Train; the first publisher was Prince Sadruddin Aga Khan. Du Bois, the magazine’s first art editor, designed the iconic Paris Review eagle to include both American and French significance: an American eagle holding a pen and wearing a Phrygian cap; the magazine’s first office was located in a small room of the publishing house Éditions de la Table ronde. Other notable locations of The Paris Review include a Thames River grain carrier anchored on the Seine from 1956 to 1957.
The Café de Tournon in the Rue de Tournon on the Rive Gauche was the meeting place for staffers and writers, including du Bois, Matthiessen, Alexander Trocchi, Christopher Logue and Eugene Walter. The first-floor and basement rooms in Plimpton's 72nd Street apartment became the headquarters of The Paris Review when the magazine moved from Paris to New York City in 1973. Brigid Hughes took over as editor following Plimpton's death in 2003, she was succeeded by Philip Gourevitch in spring 2005. Under Gourevitch's leadership, the Review began incorporating more nonfiction pieces and, for the first time, began publishing a photography spread; the Paris Review announced, in 2006, the publication of a four-volume set of Paris Review interviews. The Paris Review Interviews, Volumes I-IV were published by Picador from 2006–2009. Gourevitch announced his departure in the fall of 2009, citing a desire to concentrate more on his writing. In 2007, an article published by The New York Times supported the claim that founding editor Matthiessen was in the CIA but stated that the magazine was used as a cover, rather than a collaborator, for his spying activities.
In a May 27, 2008 interview with Charlie Rose, Matthiessen stated that he "invented The Paris Review as cover" for his CIA activities. Matthiessen maintained that the Review was not part of the Congress for Cultural Freedom, an organization used by the CIA to sponsor an array of literary magazines. Lorin Stein was named editor of The Paris Review in April 2010, he oversaw a redesign of the magazine's print edition and its website, both of which were met with critical acclaim. In September 2010, the Review made available online its entire archive of interviews. On December 6, 2017, Stein resigned amid an internal investigation into his sexual misconduct toward women he worked with at the magazine. In October 2012, The Paris Review published an anthology, Object Lessons, comprising a selection of twenty short stories from The Paris Review's archive, each with an introduction by a contemporary author. Contributors include Jeffrey Eugenides, Lydia Davis, Ali Smith, it promises to be an "indispensable resource for writers and anyone else who wants to understand fiction from a writer’s point of view".
On October 8, 2012, the magazine launched its app for iPhone. Developed by Atavist, the app includes access to new issues, back issues, archival collections from its fiction and poetry sections—along with the complete interview series and the Paris Review Daily. In November 2015, The Paris Review published its first anthology of new writing since 1964, The Unprofessionals: New American Writing from The Paris Review; this collection includes fiction and poetry from the last five years of the magazine under Lorin Stein's editorial direction. Including writing by well-established authors like Zadie Smith, Ben Lerner, John Jeremiah Sullivan, as well as emerging writers like Emma Cline, Ottessa Moshfegh, Alexandra Kleeman, Angela Flournoy, The Unprofessionals emphasizes “contemporary writers who treat their art not as a profession, but as a calling.”The current staff of The Paris Review includes Nicole Rudick, Dan Piepenbring, Caitlin Youngquist, Sadie Stein, Robyn Creswell
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Poetry is a form of literature that uses aesthetic and rhythmic qualities of language—such as phonaesthetics, sound symbolism, metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. Poetry has a long history, dating back to prehistorical times with the creation of hunting poetry in Africa, panegyric and elegiac court poetry was developed extensively throughout the history of the empires of the Nile and Volta river valleys; some of the earliest written poetry in Africa can be found among the Pyramid Texts written during the 25th century BCE, while the Epic of Sundiata is one of the most well-known examples of griot court poetry. The earliest Western Asian epic poetry, the Epic of Gilgamesh, was written in Sumerian. Early poems in the Eurasian continent evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, the Homeric epics, the Iliad and the Odyssey. Ancient Greek attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama and comedy.
Attempts concentrated on features such as repetition, verse form and rhyme, emphasized the aesthetics which distinguish poetry from more objectively informative, prosaic forms of writing. Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive responses. Devices such as assonance, alliteration and rhythm are sometimes used to achieve musical or incantatory effects; the use of ambiguity, symbolism and other stylistic elements of poetic diction leaves a poem open to multiple interpretations. Figures of speech such as metaphor and metonymy create a resonance between otherwise disparate images—a layering of meanings, forming connections not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm; some poetry types are specific to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante, Goethe and Rumi may think of it as written in lines based on rhyme and regular meter.
Much modern poetry reflects a critique of poetic tradition, playing with and testing, among other things, the principle of euphony itself, sometimes altogether forgoing rhyme or set rhythm. In today's globalized world, poets adapt forms and techniques from diverse cultures and languages; some scholars believe. Others, suggest that poetry did not predate writing; the oldest surviving epic poem, the Epic of Gilgamesh, comes from the 3rd millennium BCE in Sumer, was written in cuneiform script on clay tablets and on papyrus. A tablet dating to c. 2000 BCE describes an annual rite in which the king symbolically married and mated with the goddess Inanna to ensure fertility and prosperity. An example of Egyptian epic poetry is The Story of Sinuhe. Other ancient epic poetry includes the Iliad and the Odyssey. Epic poetry, including the Odyssey, the Gathas, the Indian Vedas, appears to have been composed in poetic form as an aid to memorization and oral transmission, in prehistoric and ancient societies.
Other forms of poetry developed directly from folk songs. The earliest entries in the oldest extant collection of Chinese poetry, the Shijing, were lyrics; the efforts of ancient thinkers to determine what makes poetry distinctive as a form, what distinguishes good poetry from bad, resulted in "poetics"—the study of the aesthetics of poetry. Some ancient societies, such as China's through her Shijing, developed canons of poetic works that had ritual as well as aesthetic importance. More thinkers have struggled to find a definition that could encompass formal differences as great as those between Chaucer's Canterbury Tales and Matsuo Bashō's Oku no Hosomichi, as well as differences in content spanning Tanakh religious poetry, love poetry, rap. Classical thinkers employed classification as a way to assess the quality of poetry. Notably, the existing fragments of Aristotle's Poetics describe three genres of poetry—the epic, the comic, the tragic—and develop rules to distinguish the highest-quality poetry in each genre, based on the underlying purposes of the genre.
Aestheticians identified three major genres: epic poetry, lyric poetry, dramatic poetry, treating comedy and tragedy as subgenres of dramatic poetry. Aristotle's work was influential throughout the Middle East during the Islamic Golden Age, as well as in Europe during the Renaissance. Poets and aestheticians distinguished poetry from, defined it in opposition to prose, understood as writing with a proclivity to logical explication and a linear narrative structure; this does not imply that poetry is illogical or lacks narration, but rather that poetry is an attempt to render the beautiful or sublime without the burden of engaging the logical or narrative thought process. English Romantic poet John Keats termed this escape from logic "Negative Capability"; this "romantic" approach views form as a key element of successful poetry because form is abstract and distinct from the underlying notional logic. This approach remained influential into t
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Griffin Poetry Prize
The Griffin Poetry Prize is Canada's most generous poetry award. It was founded in 2000 by philanthropist Scott Griffin; the awards go to one Canadian and one international poet. Effective 2010, the annual Griffin Poetry Prize was doubled from CAD$100,000 to CAD$200,000 in recognition of the prize’s tenth anniversary; the increased amount of $100,000 will be awarded as follows: CAD$10,000 to each of the seven shortlisted – four international and three Canadian – for their participation in the shortlist readings. The winners, announced at the Griffin Poetry Prize Awards evening, will be awarded CAD$65,000 each, for a total of CAD$75,000 that includes the CAD$10,000 awarded at the readings the previous evening. In April 2000, Scott Griffin started the Griffin Trust to raise public awareness of the crucial role poetry plays in society's cultural life. Griffin served as its Chairman, with Trustees Margaret Atwood, Robert Hass, Michael Ondaatje, Robin Robertson and David Young. In June 2004, Carolyn Forché joined the board of Trustees.
New trustees have been named as follows: in 2014, Karen Solie, Colm Tóibín and Mark Doty, in 2016, Jo Shapcott and Marek Kazmierski, in 2018, Ian Williams. Margaret Atwood, Robert Hass, Michael Ondaatje, Robin Robertson and Colm Tóibín have assumed the role of Trustees Emeriti; the Trust created the Griffin Poetry Prize with the aim of helping to introduce contemporary collections of poetry to the public's imagination. The award was two annual prizes of CAD$40,000 each, for collections of poetry published in English during the preceding year. One prize for a living Canadian poet, the other to a living poet from any other country, which could include Canada. Qualified judges are selected annually by the Trustees; the prize shortlists are announced in April every year. The shortlisted poets gather for an evening of public readings every May/June, the winners are announced and all of the poets are feted the following evening. Eligible collections of poetry must have been published between January 1 and December 31 of the prior year.
Submissions must come from publishers only. In November 2010, Scott Griffin announced a new Griffin Trust initiative called Poetry In Voice/Les voix de la poésie, a bilingual recitation contest for high school students across Canada; the Griffin Trust has championed other initiatives since its inception, including a statue in tribute to poet Al Purdy, participation in international poetry festivals, donations of poetry books to various organizations, including the Correctional Service of Canada, Scottish Poetry Library and other libraries and colleges. Winners are highlighted with bold. Canada: Anne Carson, Men in the Off Hours Robert Bringhurst, Nine Visits to the Mythworld Don McKay, Another GravityInternational: Nikolai Popov and Heather McHugh, translation of Glottal Stop: 101 Poems from the German written by Paul Celan Chana Bloch and Chana Kronfeld, translation of Open Closed Open from the Hebrew written by Yehuda Amichai Fanny Howe, Selected Poems Les Murray, Learning HumanJudges: Carolyn Forché Dennis Lee Paul MuldoonGuest performer at awards ceremony: Gord Downie Canada: Christian Bök, Eunoia Erin Mouré, Sheep's Vigil by a Fervent Person Karen Solie, Short Haul EngineInternational: Alice Notley, Disobedience Victor Hernández Cruz, Maraca Christopher Logue, Homer: War Music Les Murray and VerbalJudges: Dionne Brand Robert Creeley Michael HofmannGuest host at awards ceremony: Albert Schultz Canada: Margaret Avison and Wild Carrot Dionne Brand, thirsty P. K. Page, Planet Earth: Poems Selected and NewInternational: Paul Muldoon, Moy Sand and Gravel Kathleen Jamie, Mr And Mrs Scotland are Dead: Poems 1980-1994 Gerald Stern, American Sonnets: poems C. D. Wright, Steal Away: selected and new poemsJudges: Michael Longley Sharon Olds Sharon ThesenGuest speaker at awards ceremony: Heather McHugh Canada: Anne Simpson, Loop Di Brandt, Now You Care Leslie Greentree, go-go dancing for ElvisInternational: August Kleinzahler, The Strange Hours Travelers Keep Suji Kwock Kim, Notes From the Divided Country David Kirby, The Ha-Ha Louis Simpson, The Owner of the HouseJudges: Billy Collins Bill Manhire Phyllis Webb Canada: Roo Borson, Short Journey Upriver Toward Oishida George Bowering, Changing on the Fly Don McKay, CamberInternational: Charles Simic, Selected Poems: 1963-2003 Fanny Howe, On the Ground Michael Symmons Roberts, Corpus Matthew Rohrer, A Green LightJudges: Simon Armitage Erin Mouré Tomaž ŠalamunGuest speaker at awards ceremony: August Kleinzahler Canada: Sylvia Legris, Nerve Squall Phil Hall, An Oak Hunch Erin Mouré, Little theatresInternational: Kamau Brathwaite, Born to Slow Horses Michael Hofmann, translation of Ashes for Breakfast: Selected Poems from the German written by Durs Grünbein Michael Palmer, Company of Moths Elizabeth Winslow, translation of The War Works Hard by Dunya MikhailJudges: Lavinia Greenlaw Lisa Robertson Eliot WeinbergerLifetime Recognition Award to Robin Blaser Guest speaker at awards ceremony: Simon Armitage Canada: Don McKay, Strike/Slip Ken Babstock, Airstream Land Yacht Priscila Uppal, Ontological NecessitiesInternational: Charles Wright, Scar Tissue Paul Farley, Tramp in Flames Rodney Jones, Salvation Blues Frederick Seidel, Ooga-BoogaJudges: John Burnside Charles Simic Karen SolieLifetime Recognition Award to Tomas Tranströmer Guest speaker at awards ceremony: Matthew Rohrer Canada: Robin Blaser, The Holy Forest: Collected Poems of Robin Blaser Robert Majzels and Erin Moure, translation of Notebook of Roses and Civilization from the French written by Nicole Brossard David McFadden, Why Are You So Sad?
Selected Poems of David W. McFaddenInternational: John Ashbery, Notes from the Air: S
Yonsei University is a private research university in Seoul, South Korea. It is one of Korea's three SKY universities, considered the most prestigious in the country. Yonsei is one of the oldest universities in South Korea; the student body consists of 26,731 undergraduate students, 11,994 graduate students, 4,518 faculty members, 6,788 staff, 257,931 alumni. Yonsei operates its main campus in Seoul and offers graduate and doctoral programs in Korean and English; the university was established in January 1957 through the union of Yonhi College and Severance Union Medical College. This was a result of a lasting bilateral cooperation between the colleges; the institutions were new to Korea at the time of their inception. Yonhi College was one of the first modern colleges, founded as Chosun Christian College in March 1915. Severance has its roots in the first modern medical center in Korea, founded in April, 1885; as a tribute, the name'Yonsei' was derived from the first syllables of the names of its two parent institutions,'Yon.
In the symbol of Yonsei University is a shield. In the shield, ` ㅇ' means. On the left side of'ㅇ', the book is truth; the shield defends these two ideas. The symbol animals is an eagle, the symbol color is "royal blue." The Yonsei University Medical School dates to April 10, 1885, when the first modern hospital to practice Western medicine in Korea, was established. The hospital was founded by Horace Newton Allen, the American protestant missionary appointed to Korea by the Presbyterian Church in the USA The hospital was renamed Jejungwon on April 26; as there appeared difficulties, the church appointed Canadian Oliver R. Avison to run Jejungwon on July 16, 1893. Gwanghyewon was financed at first by the Korean government, while the medical staff was provided by the church. However, by 1894 when the First Sino-Japanese War and Gabo reforms took place, the government was not able to continue its financial support, thus management of Jejungwon came under the church. In 1899, Avison returned to the U.
S. and attended a conference of missionaries in New York City where he elaborated on the medical project in Korea. Louis Severance, a businessman and philanthropist from Cleveland, was present and moved, he paid for the major portion of the construction costs of new buildings for the medical facility. Jejungwon was renamed Severance Hospital after him. Jejungwon was a hospital, but it performed medical education as an attachment; the hospital admitted its first class of 16 medical students selected through examinations in 1886, one year after its establishment. By 1899, Jejungwon Medical School was independently recognized. Following the increase of diversity in missionary denominations in Korea, collaboration began to form. Jejungwon began to receive medical staff, school faculty, financial support from the Union Council of Korean Missionaries in 1912. Accordingly, the medical school was renamed as Severance Union Medical College in 1913; the rest of Yonsei University traces its origins to Chosun Christian College, founded on March 5, 1915, by an American Protestant missionary, Horace Grant Underwood sent by the church.
Underwood became the first president, Avison became the vice president. It was located at the YMCA. Courses began in April with 18 faculty members. Underwood died of illness on October 12, 1916, Avison took over as president. On August 22, 1910, Japan annexed Korea with the Japan–Korea Treaty of 1910; the first Governor-General of Korea, Terauchi Masatake, introduced the Ordinance on Chosun Education in 1911, subsequently Regulations on Professional Schools and Revised Regulations on Private Schools in March, 1915. These were intended to stifle private education in Korea. Severance Union College struggled to meet these requirements, it received its recognition as a professional medical school on May 14, 1917. In 1922 the governor-general Makoto Saito issued Revised Ordinance on Chosun Education, it called for more strict qualification of the faculty, Severance reacted obediently and further recruited more members with degrees from accredited institutions in North America and Europe. Japan did not ignore the competence of this institution.
Moreover, in March 1934, the Japanese Ministry of Education and Culture further recognized Severance in allowing its graduates the right to practice medicine anywhere in Japanese sovereignty. Oh Geung Seon became the first Korean president of Severance in 1934. Ordinances in 1915 and 1922 affected the fate of Chosun Christian College. Intended as a college, it was not recognized as such, since the Ordinance did not allow the establishment of Korean private colleges. Hence, Chosun Christian College, now renamed Yonhi College, was accepted only as a'professional school' on April 17, 1917, the
The New Republic
The New Republic is an American magazine of commentary on politics and the arts, published since 1914, with influence on American political and cultural thinking. Founded in 1914 by leaders of the progressive movement, it attempted to find a balance between a humanitarian progressivism and an intellectual scientism, discarded the latter. Through the 1980s and'90s, the magazine incorporated elements of "Third Way" neoliberalism and conservatism. In 2014, two years after Chris Hughes, a co-founder of Facebook, purchased the magazine, he ousted its editor and attempted to remake its format and partisan stances, provoking the resignation of the majority of its editors and writers. In early 2016, Hughes announced he was putting the magazine up for sale, indicating the need for "new vision and leadership", it was sold in February 2016 to Win McCormack. Domestically, The New Republic as of 2011 supported a modern liberal stance on fiscal and social issues, according to former editor Franklin Foer, who stated that it "invented the modern usage of the term'liberal', it's one of our historical legacies and obligations to be involved in the ongoing debate over what liberalism means and stands for."
As of 2004, some, like Anne Kossedd and Steven Rendall, contended that it was not as liberal as it had been before 1974. The magazine's outlook was associated with the Democratic Leadership Council and "New Democrats" such as former US President Bill Clinton and Connecticut Senator Joseph Lieberman, who received the magazine's endorsement in the 2004 Democratic primary; the magazine endorsed Barack Obama in the 2008 general election. Prior to 2014, while defending federal programs like Medicare and the EPA, it advocated some policies that, while seeking to achieve the ends of traditional social welfare programs used market solutions as their means, so were called "business-friendly". Typical of some of the policies supported by both The New Republic and the DLC during the 1990s were increased funding for the Earned Income Tax Credit program and reform of the Federal welfare system, supply-side economics the idea of reducing higher marginal income tax rates, which received heavy criticism from senior editor Jonathan Chait.
In its current incarnation, The New Republic is in favor of universal health care. On certain high-profile social issues, such as its support of same-sex marriage, The New Republic could be considered more progressive than the mainstream of the Democratic Party establishment. In its March 2007 issue, The New Republic ran an article by Paul Starr where he provided a definition of modern democratic liberalism: Liberalism wagers that a state... can be strong but constrained – strong because constrained... Rights to education and other requirements for human development and security aim to advance equal opportunity and personal dignity and to promote a creative and productive society. To guarantee those rights, liberals have supported a wider social and economic role for the state, counterbalanced by more robust guarantees of civil liberties and a wider social system of checks and balances anchored in an independent press and pluralistic society; the New Republic does not focus on domestic policy, as it brings analysis and commentary of various international affairs.
Support for Israel was a strong theme in The New Republic under Martin Peretz, the former owner of The New Republic: "Support for Israel is deep down an expression of America's best view of itself." According to journalism professor Eric Alterman: Nothing has been as consistent about the past 34 years of The New Republic as the magazine's devotion to Peretz's own understanding of what is good for Israel... It is not too much to say that all of Peretz's political beliefs are subordinate to his commitment to Israel's best interests, these interests as Peretz defines them always involve more war. Unsigned editorials prior to the 2003 invasion of Iraq expressed strong support for military action, citing the threat of weapons of mass destruction as well as humanitarian concerns. Since the end of major military operations, unsigned editorials, while critical of the handling of the war, have continued to justify the invasion on humanitarian grounds, but no longer maintain that Iraq's WMD facilities posed any threat to the United States.
In the November 27, 2006 issue, the editors wrote: At this point, it seems beside the point to say this: The New Republic regrets its early support for this war. The past three years have complicated our idealism and reminded us of the limits of American power and our own wisdom. On June 23, 2006, in response to criticism of the magazine from the blog Daily Kos, Martin Peretz wrote the following as a summary of The New Republic's stances on then-recent issues: The New Republic is much against the Bush tax programs, against Bush Social Security "reform", against cutting the inheritance tax, for radical health care changes, passionate about Gore-type environmentalism, for a woman's entitlement to an abortion, for gay marriage, for an increase in the minimum wage, for pursuing aggressively alternatives to our present reliance on oil and our present tax preferences for gas-guzzling automobiles. We were against the confirmation of Justice Alito; the magazine has published two articles concerning income inequality criticizing conservative economists for their attempts to deny the existence or negative effect increasing income inequality is having on the United States.
In its May 2007 issue the magazine ran an editorial pointing to the humanitarian beliefs of liberals as being responsible for the recent plight of the American left. In another article The New Republic fav