The New Yorker
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| Pays |  États-Unis |
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| Langue | Anglais | ||
| Périodicité | Hebdomadaire | ||
| Genre | Généraliste | ||
| Diffusion | 1,054,167 ex. () | ||
| Date de fondation | 1925 | ||
| Ville d'édition | New York | ||
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| Propriétaire | {{{propriétaire}}} | ||
| Site Web | The New Yorker | ||
| ISSN | 0028-792X | ||
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The New Yorker est un magazine américain qui publie des reportages, de la critique, des essais, des bandes dessinées, de la poésie et des fictions. Auparavant hebdomadaire, il est désormais publié quarante fois par an avec six éditions supplémentaires (en général plus épaisses), couvrant deux semaines.
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Même si ses critiques et son agenda se concentrent sur la vie culturelle de la ville de New York, The New Yorker a un large public en dehors de la ville grâce à sa qualité d’écriture et de ses journalistes. Le caractère cosmopolitain et urbain du magazine se résument dans la rubrique Talk of the Town -- Ce qui se dit en ville -- qui propose de brefs et vifs commentaires sur la vie et la culture new-yorkaise, la culture populaire, et l’excentrique Americana, même si cette rubrique s'est tournée au cours des dernière années de plus en plus vers le commentaire politique. Ses bandes dessinées, célèbres caricatures et ses nouvelles ont permis à ces genres une meilleure considération littéraire aux États-Unis.
Au sein de la profession, les équipes de The New Yorker chargées de la correction et de la vérification des faits sont réputées pour leur rigueur. Enfin, The New Yorker est célèbre pour ses écuries d'auteurs, journalistes, collaborateurs et critiques, tous parmi les meilleurs dans leurs catégories.
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[modifier] Histoire
The New Yorker démarra le 17 février 1925 comme édition du 21 février. Il fut fondé par Harold Ross et sa femme Jane Grant, journaliste au New York Times. Ross souhaitait créer un journal humoristique sophistiqué--en contraste avec la banalité des autres publications humoristiques telles que Judge pour lequel il avait travaillé, ou Life. Ross s'associa au promoteur Raoul H. Fleischman pour fonder l'entreprise F-R Publishing et installer les premiers bureaux du jounal au 25 West Forty-fifth Street à Manhattan. Ross continua à éditer le magazine jusqu'à sa mort en 1951. Au cours ses premières années d'existence, parfois incertaines, le magazine s'enorgueillit de sa sophistication cosmopolitaine. The New Yorker publia dans sa première édtion cette célèbre déclaration "It has announced that it is not edited for the old lady in Dubuque." -- « Il a déclaré qu'il n'était pas édité pour les vielles femmes de Dubuque dans l’Iowa »
Bien que le magazine n'ai jamais perdu son sens de l'humour, The New Yorker s'est rapidement établit comme une tribune prééminente du journalisme "sérieux" et de la fiction. Peu de temps après la fin de la Seconde Guerre mondiale, l'essai de John Hersey Hiroshima remplit un numéro entier. Au cours des décennies suivantes, le jounral publia les nouvelles de nombreux auteurs parmi les plus respectés du XXeme et XXIe siècle siècle, parmi Ann Beattie, J.D. Salinger, Haruki Murakami, Alice Munro, Vladimir Nabokov, Philip Roth, and John Updike. La loteir e de Shirley Jackson engendra plus que de courier après sa publication que toutes les autres dans l'histoire de The New Yorker. Pendant ses premières décennie, le magazine publia parfois deux ou même trois nouvelles chaque semaine mais le rythme est resté stable ces dernières années a savoir une histoires par numéro. Même si certains thèmes et modes
sont plus que récurents dans les fictions de The New Yorker, les histoires du magazine sont moins remarquables par leur uniformité que leur diversité, des récits intimistes de John Updike au surréalisme de Donald Barthelme et des récits de vies de provinciaux New-Yorkais névrosés à des histoires situées dans des lieus et époques différentes et traduites de plusieurs langues.
Les 
non-fiction articles de fond (qui constituent généralement la plus grosse partie du magazine) sont connus pour couvrir un ensemble éclectique de thèmes. On trouve parmi les sujets récents l'excentrique évangéliste Creflo Dollar, les différentes manières dont les humains percoivent le passage du temps et le syndrome de Münchausen.
William Shawn (1951-1987) succéda à Ross. Robert Gottlieb (1987-1992) et Tina Brown (1992-1998) poursuivirent après Shawn.
Brown's nearly six-year tenure attracted the most controversy, thanks to Brown's high profile (a marked contrast to that of the retiring Shawn) and to the changes she made to the magazine's format — the introduction of photography, increased focus on current events, and more coverage of "hot" topics such as celebrities and business tycoons. The current editor of The New Yorker is David Remnick, who took over in 1998 from Brown.
The magazine was acquired by Advance Publications in 1985, the media company owned by S.I. Newhouse.
Since the late 1990s, the New Yorker has taken advantage of computer and internet technologies for the release of current and archival material. The New Yorker maintains a web site with some content from the current issue (plus exclusive web-only content) at www.newyorker.com. As well, the New Yorker's cartoons are available for purchase at www.cartoonbank.com. Finally, the complete cartoons of the New Yorker (all 68,647 cartoons) were published on two CD-ROMs (with an oversized book of 2,004 cartoons) and the complete back issues of the New Yorker from 1925 to 2005 (4,109 issues, half a million pages) were published on eight DVD-ROMs.
A New Yorker look-alike called Novy Ochevidets (The New Eyewitness) was launched in Russia in 2004. It folded in January 2005 after five months of circulation.
[modifier] Eustace Tilley
The magazine's first cover, of a dandy peering at a butterfly through a monocle, was drawn by Rea Irvin, who also designed the typeface the magazine uses for its nameplate and headlines. The gentleman on the original cover is referred to as "Eustace Tilley," a character created for The New Yorker by Corey Ford. Eustace Tilley was the hero of a series entitled "The Making of a Magazine," which began on the inside front cover of the issue of August 8, that first summer. He was a younger man than the figure of the original cover. His top hat was of a newer style, without the curved brim. He wore a morning coat and striped trousers. Ford borrowed Eustace Tilley's last name from an aunt—he had always found it vaguely humorous. "Eustace" was selected for euphony. Tilley was always busy, and, in the illustrations by Johann Bull, always poised. He might be in Mexico, supervising the vast farms which grew the cactus for binding the magazine's pages together. The Punctuation Farm, where commas were grown in profusion, because Ross had developed a love of them, was naturally in a more fertile region. Tilley might be inspecting the Initial Department, where letters were sent to be capitalized. Or he might be superintending the Emphasis Department, where letters were placed in a vise and forced sideways, for the creation of italics. He would jump to the Sargasso Sea, where by insulting squids he got ink for the printing presses, which were powered by a horse turning a pole. It was told how in the great paper shortage of 1882 he had saved the magazine by getting society matrons to contribute their finery. Thereafter dresses were made at a special factory and girls employed to wear them out, after which the cloth was used for manufacturing paper. Raoul Fleischmann, who had moved into the offices to protect his venture with Ross, gathered the Tilley series into a promotion booklet. Later Ross took a listing for Eustace Tilley in the Manhattan telephone directory.
Traditionally, the Tilley cover illustrated here is reused every year on the issue closest to the anniversary date of February 21, though on several occasions a newly drawn variation has been substituted.
[modifier] Bandes Déssinées
The New Yorker's cartoons have a reputation for being slightly surreal and often inscrutable. One popular stereotype is that the cartoons have punchlines so non sequitur that they are impossible to understand. However, the cartoons remain popular, indicating that a substantial constituency of readers finds them funny. In addition, certain contemporary New Yorker cartoonists such as Roz Chast break this mold, using humor that almost any reader would find accessible.
The New Yorker's stable of current and former cartoonists includes many important names in American humour, including Charles Addams, Saul Steinberg, James Thurber, Charles Barsotti, Lee Lorenz, the aforementioned Roz Chast, Gahan Wilson, Robert Mankoff, P. S. Mueller, and George Booth, among many others.
[modifier] Politique
Traditionally, the magazine's politics have been essentially liberal and non-partisan. However, in recent years, the editorial staff has been taking a somewhat more partisan stance. Coverage of the 2004 U.S. presidential campaign, led by editorial writer Hendrick Hertzberg and then-political correspondent Philip Gourevitch, strongly favored Democratic candidate John Kerry. In its November 1, 2004 issue, the magazine broke with 80 years of precedent and issued a formal endorsement of Kerry in an unsigned lead editorial.
After the September 11, 2001 attacks, cartoonist and New Yorker cover artist, Art Spiegelman (who is married to the current Art Editor of the magazine), resigned in protest of what he saw as the magazine's self-censorship in its political coverage. The magazine later hired investigative journalist Seymour Hersh to report on military and security issues, and he has produced a number of widely-reported articles on the 2003 Invasion of Iraq and the subsequent occupation by US forces. His revelations in the pages of The New Yorker about abuses in the Abu Ghraib prison and The Pentagon contingency plans for invading Iran were reported around the world.
[modifier] Style
One uncommonly formal feature of the magazine's in-house style is the placement of diaeresis marks in words with repeating vowels—such as reëlected and coöperate—in which the two vowel letters indicate different vowel sounds. The magazine does not put titles of plays or books in italics, but simply sets them off with quotation marks. Formerly, when a word or phrase in quotation marks came at the end of a phrase or clause that ended with a semicolon, the semicolon would be put before the trailing quotation mark; now, however, the magazine follows the usual American punctuation style and puts the semicolon after the second quotation mark.
[modifier] Collaborateurs
Well-known contributors have included:
- Joan Acocella - cultural critic
- Charles Addams - cartoonist
- Woody Allen - humorist
- Roger Angell, fiction editor and baseball writer
- Hannah Arendt - journalist
- Peter Arno - cartoonist
- Whitney Balliett - jazz critic
- Julian Barnes - correspondent/commentator, Britain/Europe
- Robert Benchley, humorist and theatre critic
- Elizabeth Bishop - poet, essayist
- Sidney Blumenthal - editorialist
- George Booth - cartoonist
- Andy Borowitz - humorist
- Maeve Brennan - essayist/short story writer
- Truman Capote - novelist
- Rachel Carson - writer and environmentalist
- Raymond Carver - short story writer
- Roz Chast - cartoonist
- John Cheever - short story writer
- Tom Cheney - cartoonist
- Sam Cobean - cartoonist
- John Henry Collier - short story writer
- Robert Crumb - cartoonist
- Will Cuppy - humorist
- Roald Dahl - short story writer
- David Denby - film critic
- Joan Didion - essayist
- Mark Danner - foreign affairs correspondent
- E. L. Doctorow - fiction writer
- Elizabeth Drew - journalist
- Irwin Edman - philosopher, poet
- Dave Eggers - writer
- Clifton Fadiman — book reviewer
- James Fallows - journalist
- Jules Feiffer - cartoonist
- Ian Frazier - nonfiction writer and humorist
- Leo Garel - Artist
- Veronica Geng - humorist
- Wolcott Gibbs - parodist, humorist, reviewer, and short story writer
- Brendan Gill - nonfiction writer
- Malcolm Gladwell - essayist
- Jonah Goldberg, political and social commentator
- Paul Goldberger - architecture critic
- Adam Gopnik - journalist
- Philip Gourevitch - journalist
- Alma Guillermoprieto - journalist
- Emily Hahn - journalist
- Lis Harris - journalist
- Seymour Hersh - Pulitzer Prize winning investigative reporter
- Hendrik Hertzberg - editorialist
- Sue Hubbell - writer
- Stanley Edgar Hyman - literary critic
- Shirley Jackson - short story writer
- Pauline Kael - film critic
- Garrison Keillor - radio comedian
- Jamaica Kincaid - author
- Alex Kozinski - essayist
- Nicole Krauss - novelist
- Anthony Lane - film critic
- A.J. Liebling - journalism critic and boxing writer
- Janet Malcolm - essayist
- Robert Mankoff - cartoonist and editor
- Joseph Moncure March - editor
- Don Marquis - cartoonist
- Steve Martin - humorist
- Jane Mayer - journalist
- David Mazzucchelli- illustrator
- Bruce McCall - humorist, illustrator
- John McPhee - nonfiction writer
- Louis Menand - literary critic
- James Merrill - poet
- Joseph Mitchell - nonfiction writer
- Haruki Murakami - novelist
- Vladimir Nabokov - fiction writer
- Ogden Nash - poet
- John O'Hara - short story writer
- Susan Orlean - journalist
- Dorothy Parker - short story writer, drama critic, poet, humorist
- S. J. Perelman - humorist
- Andrew Porter - music critic
- George Price - cartoonist
- Alex Ross - music critic
- Philip Roth - fiction writer
- J. D. Salinger - short story writer
- Gerald Scarfe - illustrator
- Simon Schama - historian, art history, professor
- John Seabrook - journalist
- David Sedaris - humorist
- Anne Sexton - poet
- Robert Sikoryak - cartoonist
- Otto Soglow — cartoonist: The Little King cartoons & others
- Susan Sontag - short story writer and essayist
- Art Spiegelman - illustrator
- William Steig - cartoonist
- Saul Steinberg - illustrator
- James Surowiecki - essayist and economic/financial columnist
- James Thurber - cartoonist, short story writer, and essayist
- Calvin Trillin - nonfiction
- John Updike - fiction, essayist
- Chris Ware - cartoonist
- E. B. White - essayist and editor
- Edmund Wilson - literary critic
- James Wood - literary critic
- James Wolcott - television critic
- Alexander Woollcott - theatre critic
- Richard Yates - fiction writer
- Toure - cultural critic
[modifier] Voir aussi
- Media of New York City
[modifier] Bibliographie
- Ross and the New Yorker by Dale Kramer (1951)
- The Years with Ross by James Thurber (1959)
- Ross, the New Yorker and Me by Jane Grant (1968)
- Here at the New Yorker by Brendan Gill (1975)
- About the New Yorker and Me by E.J. Kahn (1979)
- Onward and Upward: A Biography of Katharine S. White by Linda H. Davis (1987)
- At Seventy: More about the New Yorker and Me by E.J. Kahn (1988)
- Katharine and E.B. White: An Affectionate Memoir by Isabel Russell (1988)
- The Last Day of New York by Gigi Mahon (1989)
- Genius in Disguise: Harold Ross of the New Yorker by Thomas Kunkel (1997)
- Remembering Mr. Shawn's New Yorker: The Invisible Art of Editing by Ved Mehta (1998)
- Here But Not Here: My Life with William Shawn and the New Yorker by Lillian Ross (1998)
- The World Through a Monocle: The New Yorker at Midcentury by Mary F. Corey (1999)
- Gone: The Last Days of the New Yorker, by Renata Adler (2000)
- Letters from the Editor: The New Yorker's Harold Ross edited by Thomas Kunkel (2000; letters covering the years 1917 to 1951)
- Defining New Yorker Humor by Judith Yaross Lee (2000)
- NoBrow: The Culture of Marketing - the Marketing of Culture by John Seabrook (2000)
- New Yorker Profiles 1925-1992: A Bibliography compiled by Gail Shivel (2000)
- About Town: The New Yorker and the World It Made by Ben Yagoda (2000)
- A Life of Privilege, Mostly by Gardner Botsford (2003)
- Christmas at The New Yorker: Stories, Poems, Humor, and Art ((2003)
- Maeve Brennan: Homesick at the New Yorker by Angela Bourke (2004)
[modifier] Blogs connected to the New Yorker
- emdashes A critic's devoted yet skeptical blog about all things New Yorker
- The Rest is Noise blog by Alex Ross
- S/FJ blog by Sasha Frere-Jones
[modifier] In popular culture
In the television series Seinfeld, an episode entitled "The Cartoon" refers to a cartoon in the New Yorker. In this episode, Elaine shows the cartoon to the rest of the cast to see if they understand the joke. When none of them do, she gets a meeting with an editor at the magazine, who eventually admits that he doesn't get the joke either.
