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)

Bd. 1. Irrationalismus zwischen den Revolutionen.--Bd. 2. Irrationaismus und Imperialismus.--Bd. 3. Irrationalismus und Soziologie.

Zur Ästhetik Schillers.--Hegels Ästhetik.--Einführung in die Ästhetik Tschernyschewskijs.--Einführung in die ästhetischen Schriften von Marx und Engels.--Karl Marx und Friedrich Theodor Vischer.--Nietzsche als Vorläufer der faschistischen Ästhetik.--Franz Mehring (1846-1919)--Literatur und Kunst als Überbau.

1. Heidelberger Philosophie der Kunst (1912-1914).--2. Heidelberger Ästhetik (1916-1918).

1. Művészet és társadalom; válogatott esztétikai tanulmányok.--2. Világirodalom; válogatott világirodalom tanulmányok 2 v.

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)

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)

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)

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)

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)

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.

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)