György Lukács first published the original Hungarian language version of Soul and Form in 1910. It included eight of the ten essays later to be published in subsequent German, Italian, and English editions. This current centennial edition adds to the mix one additional Lukács essay, "On Poverty of Spirit", written at roughly the same time as the others and bearing a vital relationship to them. Finally, in this edition we have added to the Lukács material an important introductory essay by (...) Judith Butler, as well as a concluding essay, by Katie Terezakis, which draws out connections between the Lukácsian concept of form and its elaboration and critique in Lukács’s own work and in works of critical theory and philosophy up to the present. (shrink)

How is it possible that works of art exist? How do we become receptive aesthetic subjects? The Specificity of the Aesthetic extends these fundamental ontological and phenomenological questions around which Georg Lukács's theory of art was organised. This late work of aesthetics seeks to solve a puzzle that neither philosophy nor socialist politics was able to: the fundamental ethical question of what individuals and humanity as a whole ought to do. Art offers Lukács the already-existing means through which the damaged (...) edifice of Marxism might be reconstructed on a durable basis on which to rest the philosophy, politics, and ethics of a non-Soviet-style Marxism. Erik M. Bachman, Ph.D. (2011), University of California at Santa Cruz, is a Lecturer at that university. Author of Literary Obscenities: U.S. Case Law and Naturalism after Modernism (2018), he has also published numerous essays on modernism, film, and Lukács. Tyrus Miller, Ph.D. (1994), Stanford University, is the Dean of the School of Humanities at the University of California at Irvine. He has published and edited many notable monographs and essays on modernism, critical theory, and the avant-garde. (shrink)

Georg (György) Lukács (1885–1971) was a literary theorist and philosopher who is widely viewed as one of the founders of “Western Marxism”. Lukács is best known for his pre-World War II writings in literary theory, aesthetic theory and Marxist philosophy. Today, his most widely read works are the Theory of the Novel of 1916 and History and Class Consciousness of 1923. In History and Class Consciousness, Lukács laid out a wide-ranging critique of the phenomenon of “reification” in capitalism and formulated (...) a vision of Marxism as a self-conscious transformation of society. (shrink)

At the end of his life György Lukács described his intellectual career as ‘my way to Marx’ [mein Weg zu Marx]. By this he meant that his professional life can be interpreted as an attempt to get to the real Marx. In this paper I use this expression in a narrower and more direct meaning: I attempt to present the road at the end of which the young Lukács arrived at a Marxist standpoint.

Substantively revised entry, 2023. Georg (György) Lukács (1885–1971) was a literary theorist and philosopher who is widely viewed as one of the founders of “Western Marxism” and as a forerunner of 20th-century critical theory. Lukács is best known for his Theory of the Novel (1916) and History and Class Consciousness (1923). In History and Class Consciousness, he laid out a wide-ranging critique of the phenomenon of “reification” in capitalism and formulated a vision of Marxism as a self-conscious transformation of society. (...) This text became a reference point both for critical social theory and for many currents of countercultural thought. Even though his later work did not capture the imagination of the intellectual public to the same extent as his earlier writings, Lukács remained a prolific writer and an influential theorist in his later career and published hundreds of articles on literary theory and aesthetics, not to mention numerous books, including two massive works on aesthetics and ontology. He was also active as a politician in Hungary in both the revolution of 1919 and during the events of 1956. Today, his work remains of philosophical interest not only because it contains the promise of an undogmatic, non-reductionist reformulation of Marxism, but also because it combines a philosophical approach that draws on Neo-Kantianism, Hegel, and Marx with an acute cultural sensitivity and a powerful critique of modern life inspired by Weber’s and Simmel’s sociological analyses of modern rationalization. (shrink)

One of the leading representatives of a “Western” Marxism, György (Georg) Lukács was born in 1885 in Budapest. He joined the Communist Party of Hungary in 1918. During the short‐lived Hungarian Commune of 1919 he was responsible for the cultural policy of the revolutionary regime. After its collapse he lived in emigration in Vienna, Berlin, and Moscow. Following the condemnation of his political views by the Comintern in 1928 he withdrew from direct participation in politics. He returned to Hungary in (...) 1945. A new wave of official attacks in 1949 resulted in his renewed retreat from political activity. During the Hungarian revolution of 1956 he was minister of culture in the government of Imre Nagy. First interned in Romania, he worked then in the situation of an internal emigration and banishment in Hungary till 1967, when he was allowed to return to public cultural life. He died in 1971. (shrink)

A estética de Hegel significa, no campo da filosofia da arte, o ápice do pensamento burguês, das tradições burguesas progressistas. Os conhecidos aspectos positivos do pensamento hegeliano e seu modo de escrever se manifestam com mais clareza neste trabalho; a universalidade de seu conhecimento, seu profundo e fino senso pelas peculiaridades e contradições do desenvolvimento histórico, a conexão dialética dos problemas históricos com as questões teóricas e sistemáticas das legalidades objetivas universais: todos esses traços positivos da filosofia hegegeliana aparecem mais (...) claros em sua estética. Os clássicos do marxismo mantinham particularmente grande apreço por esse trabalho. (shrink)

György Lukács was a Hungarian Marxist philosopher, writer, and literary critic who shaped mainstream European Communist thought. Soul and Form was his first book, published in 1910, and it established his reputation, treating questions of linguistic expressivity and literary style in the works of Plato, Kierkegaard, Novalis, Sterne, and others. By isolating the formal techniques these thinkers developed, Lukács laid the groundwork for his later work in Marxist aesthetics, a field that introduced the historical and political implications of text. For (...) this centennial edition, John T. Sanders and Katie Terezakis add a dialogue entitled "On Poverty of Spirit," which Lukács wrote at the time of Soul and Form, and an introduction by Judith Butler, which compares Lukács's key claims to his later work and subsequent movements in literary theory and criticism. In an afterword, Terezakis continues to trace the Lukácsian system within his writing and other fields. These essays explore problems of alienation and isolation and the curative quality of aesthetic form, which communicates both individuality and a shared human condition. They investigate the elements that give rise to form, the history that form implies, and the historicity that form embodies. Taken together, they showcase the breakdown, in modern times, of an objective aesthetics, and the rise of a new art born from lived experience. (shrink)

The study examines the original work An Attempt to Get Lenin Back on His Feet (Berlin, 1974) by Rudi Dutschke, the well-known German political philosopher and leader of the youth movement in 1968, as well as the influence of the famous Hungarian philosopher György Lukács on the ideas of Dutschke. Dutschke revealed the reasons for the impossibility of socialist ideals being feasible in the 20th century, despite the heroic attempts of the Bolsheviks and Western radical socialists to realize them. The (...) revolution occurred in a country of semi-Asian stagnating capitalism and was not supported by the European anti-capitalist revolution. As a result, after the victory of the Bolsheviks in Russia, the social system was revived with the dominance of the state bureaucracy (the fused party-state apparatus) over society. There were no universal forms of social movement (Verkehr), which led to the fact that socialism became local, up to the danger of its abolition. At the same time, according to Dutschke, it is precisely an equal alliance between the progressive intelligentsia and the working masses that can open up new ways for the transition from a society of necessity to a society of freedom, provided that the intelligentsia renounces leaderism (which was the mistake the Bolsheviks fell into). Therefore, the figure of György Lukács is most important for Dutschke since studying his creative path makes it possible to realize the basic principles of such an equal union. The study shows that the creative path of Lukács before he entered the Comintern as one of the leaders of the section of the Hungarian Communists is characterized by the desire to find a way to solve the fundamental dilemma of the revolutionary, as he believed: either, like the Bolsheviks, strive for an uncompromising victory and the implementation of their program at the cost of violence; or to make compromises with the social democratic and even bourgeois parties, at the same time being in danger of defeat and the impossibility of implementing their ideas, primarily because the socialist intellectuals fail to establish strong ties with the working masses, and the latter may not be thoroughly imbued with anti-capitalist consciousness. Thus, Lukács can survey a spokesperson for the views of the intelligentsia, and through the criticism of these views, it will be possible to comprehend how educated people can better understand the actual needs and interests of the working people in order to pursue policies that would be more in line with them and learn how to lead the masses indeed. (shrink)

The investigation of the social and epistemological context of the rejection of ontology makes György Lukács’s critique of neopositivism an important moment of his late work, Zur Ontologie des gesellschaftlichen Seins . This article argues, on the one hand, that Lukács’s critique of neopositivism can be regarded as an indispensable contribution to understand the social roots of realist attitudes towards ontology, and, on the other hand, that the target of Lukács’s marxist critique of neopositivism is indeed a special, neutral epistemological (...) position between realism and instrumentalism, which became explicit only in a later period of history of neopositivism. To prove this assumption, I investigate some components of Lukács’s critique of neopositivism-critique by showing inter alia that Lukács fails to distinguish clearly between the two different forms of realism—scientific and moderate—which lead to the rejection of ontology. (shrink)

Before he joined the Communist Party, the young György Lukács published an outstanding history of the modern drama in which he combined sociological analysis with aesthetic judgment. By doing so he called his countrymen's attention to a new and insightful approach to the study of literature. At the same time, he made a strong case for the superiority of neoclassical tragedy—largely inspired by personal experience.

Before he joined the Communist Party, the young György Lukács published an outstanding history of the modern drama in which he combined sociological analysis with aesthetic judgment. By doing so he called his countrymen's attention to a new and insightful approach to the study of literature. At the same time, he made a strong case for the superiority of neoclassical tragedy—largely inspired by personal experience.