Spender's Lives
After the war, Spender joined UNESCO as Counsellor to the Section of Letters, and this marked an new phase of his celebrity: a twenty-year-long stint as a kind of globe-trotting cultural emissary. The postwar years were good years in which to be an intellectual. The civilized world had to be rebuilt, but thoughtfully: this time, we had to get it right. Huge congresses were organized at which famous thinkiers debated the big questions: "Freedom and the Artist," "The Role of the Artist," "Art and the Totalitarian Threat." Spender was in regular attendance at such gatherings in Europe, and was soon in demand for trips to India, Japan, even Australia. These "junketings," as he described them, were usually paid for by the Congress for Cultural Freedom, based in Washington, as part of America�s herats-and-minds offensive against Communism. In 1953, he was approached by the congress to edit the literary side of a new monthly, Encounter, which would be "anti-Communist in policy but not McCarthyite." (He was told that the money for it cam from the Farfield Foundation, a supposedly independent body.) Spender, it had been noted, contributed to the much discussed 1949 anthology "The God That Failed," a collection of contrite essays by six of Europe�s most prominent ex-Communists. His 1936 flirtation with the Party was no longer to be laughed at: he had experienced that of which he spake, and could thus be seen as a Cold Warrior of high potential.
ソヴェートロシア 漫画ポスター集
昇曙夢編 南蠻書房
序
十月革命後、ソヴェート・ロシヤに於て漫画とポスターとが少なからざる役割を演じ、以上な発達を遂げたことは世人の等しく認むるところである。中でも革命ポスターと政治及び風俗漫画とは、既にそれだけでもプロレタリヤ革命の最も貴重なる芸術的記念塔を築いているほどで、この事実は未だ嘗て歴史の知らない一つの大きな驚異である。未来の革命史家と芸術史家とは決してこの事実を見過するようなことはなかろうと信ずる。（中略）ロシヤに於いては、ポスターも漫画も共にヒロイックな革命時代の所産として、（中略）芸術的に優れているということが、鑑賞家の興味の中心となっている。その中でも特にモール、アブシーツ、コチェルギン、マヤコーフスキイ等の各種ポスター、デー二の政治漫画、チェリョムイフの宗教漫画、エフィーモフの文壇漫画は、その芸術亭手法に於て最も有名である。
是等の漫画とポスターとが、革命時代に民衆教化の上に与って力のあったことは言うまでもない。之によって芸術と民衆とは密接に結び付けられ、革命の偉大なる標榜の一つであった芸術の民衆化は立派に実現された。（中略）ロシア国民（中略）自らも絵筆の絵具の助けによって、自己の思想感情を表現するようになった。（中略）本輯に収めた百六十有余種の画は、重としてポロンスキイ編輯の下に三千部の限定版として一九二五年国立出版所から発行された「ロシヤ革命ポスター集」を初め、デーニの「政治漫画集」、漫画雑誌「ベジュボーニク」、其他編者が一九二三年と一九二八年の二回に互ってロシヤを訪問した時に蒐集した資料の中から、特に永久に記念すべき芸術的なものだけを選んだ。（中略）本輯の編集に当り三元社主萩原正徳君が数ヶ月に互る渾身の努力を献て（後略）
一九二九年四月
編者識
The Asia Foundation's Motion-Picture Project and the Cultural Cold War in Asia
"Drawing on archival materials from the Asia Foundation records at the Hoover Institution Archives and the Robert Blum Papers at Yale University Library, this article focuses on the origins and development of the Federation of Motion Picture Producers in Asia (FPA) by unveiling the existence of the Asia Foundation (TAF) and its forgotten motion-picture projects in Asia. Under the leadership of its first president, Robert Blum (1953-1962), the Asia Foundation, a private nonprofit organization, was actively involved in the motion-picture industries in Cold War Asia. The Asia Foundation covertly supported anticommunist motion-picture industry personnel, ranging from producers, directors, and technicians to critics and writers in Japan, Hong Kong, Burma, and South Korea, as well as American and British motion-picture producers in Malaysia and Thailand through clandestine activities. This study aims to investigate how and to what extent TAF and its field agents furtively acted to construct an anticommunist motion-picture producers' alliance in Asia, responded to local film executives' various needs, and negotiated with the constantly changing political, social, and cultural environments in the region during the project's active periods."
