Georg Lukács wrote The Theory of the Novel in 1914-1915, a period that also saw the conception of Rosa Luxemburg's Spartacus Letters, Lenin's Imperialism: The Highest Stage of Capitalism, Spengler's Decline of the West, and Ernst Bloch's Spirit of Utopia. Like many of Lukács's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, (...) and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukács's last great work before he turned to Marxism-Leninism. (shrink)

"The actuality of the revolution: this is the core fo Lenin's thought and his decisive link with Marx."This essay on Lenin, which appeared in 1924, was intended to head off the massive criticism leveled at Lukacs History and Class Consciousness by Communist Party leadership. It was a period in which Lukacs was decisively influenced by Lenin and by Rosa Luxemburg, and his intellectual development proceeded concretely toward a political interpretation of history and of literature.In a postscript Lukacs (...) remains essentially unchanged in his view of Lenin as a practitioner whose theoretical superiority lay in his ability to assess the sociohistorical uniqueness of any given situation that required action. Looking back, Lukacs regards the book as a document of the mid-twenties--of how a number of Marxists of the period saw Lenin's personality and mission and his place in world events. Ideas in the book were determined by the concepts of the period, its prejudices, illusions, and extravagances. Nevertheless, the book established certain spiritual verities in perceiving Lenin as the active-practical sage who had a skillfull tactical grasp of realpolitik which was neither empirical nor dogmatic but the culmination of a theoretical attitude. "His life was one of permanent action, of continuous struggle in a world in which he was profoundly convinced that there was no situation without a solution, for himself or his opponents. The leitmotiv of his life was accordingly: always be armed ready for action--for correct action." Lukacs further notes that an essential dimension of Lenin's activism was unceasingly self-education and constant openness to the lessons of experience.Lukacs also emphasizes a number of points in the book that remain methodologically valid, including criticisms of Lenin's behavior which were implicit and accurate critiques of Stalin's later development and the increasing bureaucratization and mechanization of the party. (shrink)

Georg Lukács wrote The Theory of the Novel in 1914-1915, a period that also saw the conception of Rosa Luxemburg's Spartacus Letters, Lenin's Imperialism: The Highest Stage of Capitalism, Spengler's Decline of the West, and Ernst Bloch's Spirit of Utopia. Like many of Lukács's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, (...) and Husserl. The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukács's last great work before he turned to Marxism-Leninism. (shrink)

A series of essays treating, among other topics, the definition of orthodox Marxism, the question of legality and illegality, Rosa Luxemburg as a Marxist, the changing function of Historic Marxism, class consciousness, and the ...

Althought is an autor today not much readed, Lukács give us some theoretical implements too valuables. Exactly in his monumental Aestheticss sketch the idea that the religiosity constitues a specific orientation or vital attitude wich rise, bur without surprass, the forms of thought peculiar of the everyday life, with its characteristic pragmatism of short reach and it’s view of the world as teleologyly orientated in relation with the subject. Similar thesis suppose to send the religious phenomenon to certain anthropological (...) needs, beyond any sociological reductionism, but at the same time, to become aware of the coyuntural and surmontable nature of such needs, front to any essentialist conception about the human nature. By itself, its theory is capable of combine with that of the autors very differents, such as Jean Piaget and his vision of the cognitive rise as an incessant surmounting of the egocentrical tendency. (shrink)

Modern medicine provides unprecedented opportunities in diagnostics and treatment. However, in some situations at the end of a patient’s life, many physicians refrain from using all possible measures to prolong life. We studied the incidence of different types of treatment withheld or withdrawn in 6 European countries and analyzed the main background characteristics.

Tolstoy was a frame of reference in the work of Lukács twice, during 1914–16 and 1935–6 respectively. His first-time encounter with Tolstoy was presented in the chapter of The Theory of the Novel involving both Dostoevsky and Tolstoy, but the former was given more credit and reckoned as the prophet of a new world. It was not until the 1930s that Lukács’ taste changed, and his top priority went to Tolstoy instead. Yet, with due respect to the vicissitudes of his (...) life throughout the 1910s until the 1930s, Lukács remained faithful to his philosophy of history in terms of aesthetic judgment. His preference for the grand artworks was not new as his admiration for Homer showed, but his belief in the resurrection of grand art as realism was rooted in a new and false illusion. Still, his essays on Tolstoy of the 1930s are rich in aesthetic analysis, such as the different aspects of temporality. (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)

"If we are to understand not only the direct impact of Marx on the development of German thought but also his sometimes extremely indirect influence, an exact knowledge of Hegel, of both his greatness and his limitation, is absolutely indispensable."- from the preface. It is well known that Hegel exerted a major influence on the development of Marx's thought. This circumstance led Lukács, one of the chief Marxist theoreticians of this century, to embark on his exploration of Hegelian antecedents in (...) the German intellectual tradition, their concrete expression in the work of Hegel himself, and later syntheses of seemingly contradictory modes of though. Four phases of Hegel's intellectual development are examined: "Hegel's early republican phase," "the crisis in Hegel's views on society and the earliest beginnings of his dialectical method," "rationale and defense of objective idealism," and "the breach with Schelling and The Phenomenology of Mind." Lukács completed this study in 1938, but because of the imminent outbreak of war, it was not published until the late 1940s. A revised German edition appeared in 1954, and it is this text that is the basis of this first English translation of the work. (shrink)

An introduction to Georg Lukacs's work as a whole and in particular to his later philosophical writings.

Originally published in the 1930s, these essays on realism, expressionism, and modernism in literature present Lukacs's side of the controversy among Marxist writers and critics now known as the Lukacs-Brecht debate. The book also includes an exchange of letters between Lukács, writing in exile in the Soviet Union, and the German Communist novelist, Anna Seghers, in which they discuss realism, the European literary heritage, and the situation of the artist in capitalist culture.

There are few books in any language which attempt to survey the whole range of Lukács' work. English readers may, therefore, consider themselves fortunate to have available the present volume and, doubly fortunate, to have forthcoming in late 1970 or early 1971 yet another book by one of the present contributors, István Mészáros, titled the Life and Work of Georg Lukács. The work under review is based on a series of lectures in 1968 at the Graduate School of (...) Contemporary European Studies at the University of Reading. The Introduction by Parkinson is largely expository and concentrates on Lukacs' celebrated Geschichte und Klassenbewusstsein. The individual essays which follow are critical examinations of Lukács' views in the fields of philosophy, sociology, and literary criticism. The essays are generally of a high caliber and the differences which the authors express in relation to various aspects of Lukács are themselves testimony to the complexity and depth of his thought. The most comprehensive, and, in many ways, the most interesting approach to Lukács is in the lead-off essay by Mészáros which, in the context of dealing with his concept of the dialectic, seeks to disclose the basic structure of Lukács' thought and to establish its continuity from the young Lukács to the mature Lukács. Mészáros finds from the very beginning not only a revolutionary turn in Lukács' structure of thought, but along with it--or within it--or perhaps even conditioning it--a complex and far-ranging "ought". The "ought-ridden" character of Lukács' thought, Mészáros claims, is both the source of some of his great intellectual achievements and of some of his great failures, particularly when he substitutes ideology and moral postulates for mediated, concrete reality. Those interested in the development of the concept of the dialectic from Hegel to Marx and from Marx to the present will find Mészáros' discussion of Lukács' categories of "totality" and "mediation" informative and thought-provoking. H. A. Hodges examines Lukács' critique of philosophical irrationalism and singles out for special study his comments on the degree to which Dilthey and Mannheim contributed toward this trend. Parkinson, in addition to writing the introduction, has an essay on the nature of Besonderheit, the central category of Lukács' aesthetics. He translates Besonderheit as "speciality" or "the special." Roy Pascal digs into Lukács' concept of totality as developed in the Ästhetik and as applied in his critique of Walter Scott and of Kafka. In addition, there is an essay by David Craig on how, in Lukács' view, history molds literature, and another essay by Stanley Mitchell on Lukács' concept of the "beautiful." All in all, while the book does not represent a definitive or inclusive introduction to the work of Lukács, it does constitute an important landmark in presenting many important dimensions of his thought, as well as some highly critical appraisals of its validity and importance.--H. B. (shrink)

This thesis attempts to show that Georg Lukacs' Marxist theory of realism is best understood, not as a self sufficient body of theory, but in the context of his pre- Marxist theory of literature and his,role in the Communist movement, A comparison of the theory expounded in "Die Seele and die Fonaen" and "Die Theorie des Romans" with the main positions of "Geschichte und Kiassenbewusstsein" reveals that it was remarkably easy for Lukacs to accommodate his literary theory (...) within the newly-acquired philosophy. An examination of Lukacs' career shows that his move to Marxism was motivated by a search for the practical instrument to implement the ideal which was the mainspring behind both his own life and, in his theory, all great literature, namely, the classical ideal of harmony. The resulting change in emphasis from aesthetics to political action led, in the thirties, to the attempt to synthesize both in a cultural campaign. Political pressure, combined with the genuine belief that the excesses of Stalinism were the acceptable price of resistance to the overriding threat of fascism, resulted in the employment of a rigid determinism, deplored ill others, which was incompatible with the core of his understanding of literary realism. The creation of realism was, however, for both the pre- Marxist and the Marxist Lukacs, ultimately inexplicable in materialist terms. (shrink)

Georg Lukacs's The Process of Democratization provides indispensable reading for an understanding of the revolution that swept Russia and Eastern Europe during 1989-1990. Lukacs, a spokesman for anti-Bolshevik communism, was the advance guard of anti-Stalinist reform. Written in the aftermath of the Prague Spring, his book was a precursor to many of the Gorbachev reforms. Lukacs was the leading communist intellectual in the world until his death. During his last 15 years, he embarked upon a massive (...) effort to revive Marxism as philosophy, as aesthetics, and as politics. The Process of Democratization was part of this attempt at a Marxist renaissance. He would probably be surprised to find that the Second Russian Revolution of 1989-1990 moved far beyond his reformism, overthrowing even the anti-Stalinist communism that he fought to retain. (shrink)

Originally published in the 1930s, these essays on realism, expressionism, and modernism in literature present Lukacs's side of the controversy among Marxist writers and critics now known as the Lukacs-Brecht debate. The book also includes an exchange of letters between Lukács, writing in exile in the Soviet Union, and the German Communist novelist, Anna Seghers, in which they discuss realism, the European literary heritage, and the situation of the artist in capitalist culture.