"Hungarian Cubes" proposes an aesthetical typology of the ornamentation of cubic houses from the 1960s 70s in Hungary. The book is based on the artistic project Magyar Kocka Hungarian Cube, which German-Hungarian artist Katharina Roters is pursuing since 2005. The origins of the Hungarian Cube, a standardized type of residential house, date back to the 1920s, when the cube as prototype of a radically functional design first appeared in plans for single-family homes in Budapest s suburbs (...) and also in social housing projects. During Hungary s communist era after WW II, many villages were rebuilt on uniform schemes of single-family homes and the "Magyar Kocka "or "Kadar Kocka, " as they were also named after Hungary s communist president Janos Kadar became ubiquitous. A unique characteristic of this housing type is the ornamental decoration of its facades. The facade thereby became an opportunity of both individual and collective expression within uniformity. The ornament is not merely an aesthetic sign. It rather creates meaningful identity and distinguishes the appearance of entire dwellings across the country. Often this individualized ornament can also be read as an act of subversion against the pressure of conformity in the socialist system. Katharina Roters has been investigating and documenting this previously neglected ornamental phenomenon since 2005 from an artistic point of view. The houses are shown in her images cleaned of all surplus information, fences and railings, antennas, road signs, electric power lines. Only by this deletion of additions to each house the project can reach beyond a merely archival nature and the photograph becomes a document of aesthetic typology. The book combines the serial composition of Roters s images with essays on various aspects of this architectural phenomenon. ". (shrink)

By challenging the state and corporate prerogatives to distinguish between “good” and “bad” development, social movements by and in support of inhabitants of Rosia Montana (Transylvania) are subverting prevailing perceptions about Central and Eastern Europe (CEE)’s liberal path of development illustrating its injustice in several ways that will be detailed in this article under the heading “inhibitions of political economy” or Balkanism. The significance of the “Save Rosia Montana” movement for post-communism is that it invites post-communist subjects to reflect (...) and revise their perception about issues such as communism, capitalism and development and to raise questions of global significance about the fragile edifice of justice within the neo-liberal capitalist economy. However, r esistance to injustice (and implicitly affirmations of other senses of justice) is an ambiguous discursive practice through which Rosieni make sense as well as partake their sense of Rosia Montana. The movement brings about a public dispute which may be compared with a differend : (in Lyotard’s words), a conflict that cannot be confined to the rules of “cognitive phrases,” of truth and falsehood. This article argues that while post-communist events of “subjectification” are unstable and thus, are to be viewed aesthetically, this same ambiguous multiplication of political subjectivity may facilitate the creation of social spaces for imagining alternative possibilities of development. (shrink)

This paper is a background study. It gives an overview of the institutions, decisive trends and major achievements of Hungarian philosophy at the beginning of the 20th century. Thus light is shed on the philosophical scenery which forms the background to the Lukács Circle. The paper discusses the relation of the Lukács Circle at the turn of the century to “official” Hungarian philosophy. First, the introduction portrays the various phases of the evolution of Hungarian institutions of philosophy. (...) Then it sketches the institutional scene at the turn of the century. Thirdly, it attempts to determine the relation of the Lukács Circle to the official academic philosophy, and also sketches some of its aspects after 1919–1920. (shrink)

The article ‘Aesthetic culture’ was written in 1908. Although it is in the same period as Soul and Form, in essence, the ideas expressed in this article go beyond the pure philosophy of life and the theory of form, which is different from the idealistic tendency of Lukács in this period. Moreover, ‘Aesthetic culture’ and History and Class Consciousness have ontological and epistemological consistency in subject–object relation and class consciousness. This was the first Marxist reflection of Lukács, and also a (...) reliable sign that he was to join the Hungarian Communist Party 10 years later and turned to Marxism. By criticizing the paradox of aesthetic culture itself, Lukács tried to construct a culture as a whole as a category, and tried to solve the deep contradiction between the freedom of consciousness and the passive form of the subject in modern society. This kind of culture as a whole would be based on the class consciousness of the proletariat itself and take life as the main category, so as to provide the proletariat with practical theoretical conception to expand their space for living in bourgeois culture. (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)

György Lukacs 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)

This book sets out to clarify the nature of the aesthetic as a category within the theory of historical materialism. It opens with an analysis of Marx's brief discussion of Greek art in the Grundrisse, moves through a series of readings of specifically bourgeois texts, including those of Ruskin, G.M. Hopkins, Nietzsche and Henry James, and then to the terrain of Marxism in the concepts of history underwriting the work of Fredric Jameson and Jean-Paul Sartre. Sprinkler detours through the recent (...) works of Perry Anderson to set the stage for a systematic consideration of the theoretical itinerary and continuing relevance of the contributions of Louis Althusser. Imaginary Relations is a cogently argued attempt to shift the terrain of Marxist theorizing about art from the domain of ideology considered as simply false consciousness to a concept of art which makes aesthetic texts sources of empirical data about the real, historical world. (shrink)

Synthesizes the work of three titans of mid-century art and critical theory, proposing an aesthetics of the political and artistic left with a deft authority.

The paper is meant to introduce a symposium on aesthetics in Hungary today. Through a brief survey of the Hungarian aesthetic tradition, which goes back to the eclectic “university aesthetics” of the late 18 th century and produced a number of prominent figures such as Georg Lukács and his disciples in the “Budapest School” in the 20th century, the paper seeks to point out some key characteristics of this tradition and to reflect on the intellectual landscape of (...) contemporary aesthetics in Hungary, diversified by many fields of study, methods and subdisciplines. (shrink)

There has always been a strong connection historically between aesthetics and radical politics, and this is no less true for the global justice movements current preoccupation with cultural approaches to political action. The essays collected here seek to engage with past and present convergences between the theories and practices of artists and writers and the theories and practices of movements for radical social change. There is already a massive amount of literature on Marxist approaches to aesthetics, art and (...) literature, and whilst recognising the usefulness of such approaches, the essays collected here attempt to engage with culture from other radical critical positions - whether they be anarchist, autonomist, ecological or otherwise. Such perspectives have often been overlooked historically, but it is arguable that they now more centrally influence the activities of radical artists and activists. As such, the perspectives of these essays, which are often drawn from or inspired by the practices of the current global justice movement, exhibit an exhilarating political and generational break with the suppositions of earlier radical theoretical approaches to cultural critique. (shrink)

Introduction At first sight the field of Marxist theories of aesthetics consists of a disparate collection of theories with very little in common. ...

György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both (...) British criticism and German aesthetics, the paper traces the development of Szerdahely's concept of beauty from beauty as form (uniformity amidst variety) to beauty in motion (sensibility). Initially, Szerdahely argues for unity and variety as the two main constituents of a beautiful object, evoking disinterested contemplation, but he then turns to sensibility as the third necessary condition of beauty: an object becomes aesthetically beautiful only if it has the power to strike the senses (Lux) and stir the affections (Vivacitas), enlivening the whole embodied person. The paper argues that this third principle of sensibility proves to be more emphatic than the first two, leading to (1) the aesthetic conception of beauty as an experiential quality; but more interestingly to (2) the incorporation of the element of self-preservation and self-love into aesthetic experience. The reason for the latter development lies in Szerdahely’s anthropological argument, which traces back every affection to the instantaneous apprehension of good or evil concerning ourselves, implying desire (Adpetitus) or aversion (Auersi) in our reactions. (shrink)

An intense and lively debate on literature and art between thinkers who became some of the great figures of twentieth-century philosophy and literature.

My “Letter” collects some facts concerning the 20th century history of Hungarian Philosophy as a basis for understanding its situation now. Progressive and conservative systems of thought dominated the first half of the century alternately, until the post-war communist regime refused to tolerate independent thinking. The new regime after 1956 was unpredictably hostile or tolerant towards philosophical dissenters. All this resulted in a multifaceted philosophical life in the period after 1989. Its basic tendency has been a historical approach (...) issuing in various disciplines like phenomenology and hermeneutics, analytical philosophy, postmodern thought, philosophy of religion, while ethics and aesthetics became disciplines in their own right. The “Letter” maps out some of the institutional bases of philosophizing as well as some of the dangers threatening independent philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Building Literacy Bridges for Adolescents Using Holocaust Literature and TheatreWayne Brinda (bio)IntroductionDo you have a sibling or best friend whom you dared to do something? Did you ever slip surreptitiously into a place where you should not be? What if your best friend or sibling later became your enemy because of a situation beyond your control? Could that happen? What would you do? Think about those questions as you (...) read this excerpt from In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust and visualize the action:The boys look more alike than brothers. In fact, they are identical twins, indistinguishable in the smooth innocence of their faces, their wide brown eyes, and their hair, nearly shaven to their scalps to thwart the summer heat... At the entrance to the grand church of St. Stephen's Basilica in Budapest, the boys slip surreptitiously through the six-inch-wide opening of the formidable oak middle door, with its inlaid bronze portraits of the Hungarian kings. They giggle gleefully and a bit nervously as they peer into the dimly lit chamber, which feels refreshingly cool in contrast to the scorching afternoon sun they have just escaped. The twins mimic and build on each other's playful daring. Even their spirited laughter is identical, punctuated by squeals of delight... Let's go find his hand. What? St. Stephen's hand. I heard that his hand is kept in a golden box behind the altar somewhere. Let's go find it. No. We're not supposed to be back there. That's the craziest thing I ever heard—a king's hand inside a box in a church. He must have been pretty mad when they cut his hand off.1 [End Page 31]This small theatrical imaginative experience begins the adventure of two twin Hungarian Jewish boys who became caught up in World War II, the Holocaust, communism, and the aftermath.Those two boys became the father and uncle of the author, Eugene Pogany, who wrote In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust. Pogany recalls and tries to reconcile their experiences, differences, and conflicts with each other that lasted a lifetime and beyond. As educators and those who work with adolescents, we seek to reconcile the past experiences and conflicts our students have with reading by finding strategies that bridge adolescents and literature. Two powerful tools for building such bridges are nonfiction literature written about the experiences of young people and adults during and after the Holocaust and using theatre to bring these stories to life.McEwan noted that as literature becomes complex, adolescents tend to struggle with comprehension and may forgo the idea of discovering enjoyment.2 Incorporating nonfiction stories from the Holocaust with innovative theatre experiences of the literature into the curriculum can engage students in literature with complex themes, characters, and plots. This is especially true when the learning is assessed by using projects developed by, with, and for young adolescents. As a result, the literature becomes comprehensible, accessible, relevant, enjoyable, and aesthetically stimulating.As an educator, researcher, and artistic director of a theatre for young adults, I reflect on the charge by Snow and Biancarosa that educators need to "figure out how to ensure that every student gets beyond the basic literacy skills of the early-elementary grades, to the more challenging and more rewarding literacy of the middle and secondary school years."3 For some students, literacy bridges are gateways to new worlds, skills, and possibilities for enjoyment. For students who struggle with reading, those bridges are obstacles they are afraid or even refuse to cross because of past fears or failures. Even with guidance and support, many students will stop reading when the text becomes complex or never even attempt to read the book when they decide it has no relevancy or purpose after looking at its title, skimming the back, looking for pictures, or counting the pages.This leads to a question and thoughts that inspired my research on using Holocaust literature and theatre to engage young students in discovering, comprehending, visualizing, and aesthetically enjoying the literary experience:• What can be done in the... (shrink)

Translator's introduction -- Preface -- Part I: The aesthetics of politics -- Ten theses on politics -- Does democracy mean something? -- Who is the subject of the rights of man? -- Communism : from actuality to inactuality -- The people or the multitudes -- Bio-politics or politics -- September 11 and afterwards : a rupture in the symbolic order -- Of war as the supreme form of advanced plutocratic consensus -- Part II: The politics of aesthetics -- (...) The aesthetic revolution and its outcomes -- The paradoxes of political art -- The politics of literature -- The monument and its confidences or Deleuze and Art's capacity for resistance -- The ethical turn of aesthetics and politics -- Part III: Response to critics -- The usage of distinctions. (shrink)

Since the collapse of communism in Eastern Europe, the validity of Marxism and Marxist theory has undergone intense scrutiny both within and outside the academy. In _Lukács After Communism_, Eva L. Corredor conducts ten lively and engaging interviews with a diverse group of international scholars to address the continued relevance of György Lukács’s theories to the post-communist era. Corredor challenges these theoreticians, who each have been influenced by the man once considered the foremost theoretician of Marxist aesthetics, to (...) reconsider the Lukácsean legacy and to speculate on Marxist theory’s prospects in the coming decades. The scholars featured in this collection—Etienne Balibar, Peter Bürger, Terry Eagleton, Fredric Jameson, Jacques Leenhardt, Michael Löwy, Roberto Schwarz, George Steiner, Susan Suleiman, and Cornel West—discuss a broad array of literary and political topics and present provocative views on gender, race, and economic relations. Corredor’s introduction provides a biographical synopsis of Lukács and discusses a number of his most important theoretical concepts. Maintaining the ongoing vitality of Lukács’s work, these interviews yield insights into Lukács as a philosopher and theorist, while offering anecdotes that capture him in his role as a teacher-mentor. (shrink)

Recent interest in communism as an idea prompts reconsideration of Walter Benjamin’s conception of a “communist” aesthetic politics. In spite of Benjamin’s categorical condemnation of aestheticized politics, his “artwork essay” is better read as both explicit condemnation of a particular type of aestheticized politics and implicit commendation of another type. Under the modern conditions of the technological reproducibility of art, and mass politics, the character of and relationship between the cultural value spheres of politics and aesthetics also changes. (...) Benjamin analyzes dialectically the actuality of the fascist response to modern mass arts and politics in which technology and society are misaligned, and the potentiality of a communist response that would bring about a collective interplay of humanity and technology. (shrink)

Based on retrospection on the reappraisal of the past in Hungary since 1989, this text analyses the representation of the Communist era in the Magyar Nemzeti Múzeum, the Terror Háza Múzeum and the Hadtörténeti Múzeum Budapest. All three museums place the suppression of the Hungarian people at the centre of their narration, while depicting the Hungarian nation as a victim. The 1956 revolution is staged as a central turning point in the second half of the 20th century, (...) which supplies the narrative with a fresh set of martyrs. In this context, Imre Nagy not only takes the role of an icon with regard to the events of 1956, but his re-interment is also seen as a climax of the turnabout of 1989. (shrink)

This book offers an original and challenging study of Marx's contact with the visual arts, aesthetic theories, and art policies in nineteenth-century Europe. It differs from previous discussions of Marxist aesthetic theory in looking at Marx's views from an art-historical rather than from a literary perspective, and in placing those views in the context of the art practices, theories, and policies of Marx's own time. Dr Rose begins her work by discussing Marx's planned treatise on Romantic art of 1842 against (...) the background of the philosophical debates, cultural policies, and art practices of the 1840s, and looks in particular at the patronage given to the group of German artists known as the 'Nazarenes' in those years, who are discussed in relation to both the English Pre-Raphaelites, popular in the London known to Marx, and to the Russian Social Realists of the 1860s. The author goes on to consider claims of twentieth-century Marxist art theories and practices to have represented Marx's own views on art. The book the conflicting claims made on Marx's views by the Soviet avant-garde Constructivists of the 1920s and of the Socialist Realists who followed them are considered, and are related back to the aesthetic theories and practices discussed in the earlier chapters. (shrink)

This research examines the most important historical, political, economic, social, cultural, and religious factors before, during, and after the reign of Communism in Czechoslovakia from 1918 to 2021 and their effect on the extreme increase in atheism and decrease in Christianity, particularly Roman Catholicism, in the present-day Czech Republic. It devotes special attention to the role of the Clandestine Catholic Church (Ecclesia Silentii) and the changing policies of the Holy See vis-à-vis this Church, examining these policies' impact on the continuing (...) decline of Roman Catholicism in the Czech Republic after the collapse of Communism. The article also deals with Pope Pius XII's Secret Mandates of 1948-1950, the Second Vatican Council, and the Holy See's Ostpolitik. Scholars, who previously relied only on the views of the Czechs, blame the unprecedented drop in Christianity, the near-total destruction of the Catholic Church, and the rise in atheism on the Czechoslovak communist government's four decades of totalitarianism. Although the increase in atheism and decrease in Christianity were substantial during the era of Communism from 1948 to 1989, our data indicate that the decline in Christianity, particularly the historically predominating Roman Catholicism, did not commence with the 1948 communist coup d’état but traces its origins to the breakdown of the Austro-Hungarian Empire after the conclusion of WWI and the establishment of Czechoslovakia on October 28, 1918. What's more, this research shows that the most significant and unprecedented steep deterioration of the Christian Faith, namely Roman Catholicism, did not occur during the era of Communism but only after the Czechoslovak communist government collapsed in 1989. This massive decay did not happen even during the most extraordinary communist persecution of the Catholic Church during the era of Stalinism in Czechoslovakia. This research further finds that the Holy See's ill-advised policies and systematic, sustained, and prevalent failures in leadership, guidance, and teachings are responsible for the near destruction of the Roman Catholic Church and especially the end destruction of the Clandestine Catholic Church (Ecclesia Silentii), in the Czech and Slovak Republics after the fall of Communism. These failures furthermore contributed to the Czech Republic, the historical lands of Bohemia and Moravia that once were in the center of Christendom, degenerating into the most atheist country in Europe and the world today. (shrink)

A well-known Hungarian philosopher, politician, literary and art theorist Georg Lukacs was a notable figure of philosophical thought in XX century. Although he was interested in many problems philosophical-aesthetical matter is the main one in all his works. The problem of human alienation from social forms is outlined in his numerous literary, philosophical, aesthetical works of pre- and post- Marxian periods. The concept of philosophical-aesthetical grounds for overcoming human alienation has been developed in his art from romantic feeling of (...) existential tragedy through the utopian expectancy of “aesthetic ideal” realization to the reliance on being conscious of individual blood nature through dialectic penetration of subjectivity and objectivity in the process of aesthetical perception. Thus he has the unaltered point of view that the art is a particular opposed to alien human nature sphere of being which allows taking away the dual principle of alien forms of human being and its essence. (shrink)

In the mid-1950s, the Hungarian Ministry of Foreign Affairs made an effort to break free of the isolation brought about by the military defeat and communist takeover after WWII. One of the main priorities of Hungarian foreign policy was the developing world, including Africa. Although the revolution and subsequent reprisals of 1956 temporarily halted the opening up, at the end of the decade Hungary launched a new diplomatic offensive. Ethiopia, which symbolized African independence and power, was among (...) the main targets. In spite of the setbacks and challenges, and thanks to the determination of Hungarian diplomats, Hungarian-Ethiopian relations were normalized in 1959–60. This paper examines this process by analyzing documents from the Hungarian National Archive and explains why establishing diplomatic connections proved valuable to both parties. (shrink)

In the experience of building towards communism in our country we have witnessed the rising role and specific weight of art and aesthetic culture in the general system of developing a communist morale in Soviet people. A number of factors requires emphasis here:First, it is perfectly clear that, under the conditions of the building of communism, becoming a professional cannot mean confining oneself to education in one's field but presumes that the individual acquire a high general level of culture, (...) that he be capable of rapidly mastering knowledge and skills in related occupations, and that he have the ability to think and behave in a nonstereotyped fashion. (shrink)

With this nuanced and interdisciplinary work, political theorist Mihaela Mihai tackles several interrelated questions: How do societies remember histories of systemic violence? Who is excluded from such histories' cast of characters? And what are the political costs of selective remembering in the present? Building on insights from political theory, social epistemology, and feminist and critical race theory, Mihai argues that a double erasure often structures hegemonic narratives of complex violence: of widespread, heterogeneous complicity and of "impure" resistances, not easily subsumed (...) to exceptionalist heroic models. In dialogue with care ethicists and philosophers of art, she then suggests that such narrative reductionism can be disrupted aesthetically through practices of "mnemonic care," that is, through the hermeneutical labor that critical artists deliver—thematically and formally—within communities' space of meaning. Empirically, the book examines both consecrated and marginalized artists who tackled the memory of Vichy France, communist Romania, and apartheid South Africa. Despite their specificities, these contexts present us with an opportunity to analyze similar mnemonic dynamics and to recognize the political impact of dissenting artistic production. Crossing disciplinary boundaries, the book intervenes in debates over collective responsibility, historical injustice, and the aesthetics of violence within political theory, memory studies, social epistemology, and transitional justice. (shrink)

Corruption is a major problem in the societies of the post-communist Central European countries. Corruption in health care has some unique characteristics undermining the efficacy of and respect for Hungarian health care. One of the forms of corruption is tipping. This highly contested phenomenon is present in most of the patient/health professional’s interactions in a sophisticated manner, raising serious ethical and legal dilemmas. The present paper analyzes tipping and other corruption-related factors, such as financial conflict of interest between (...) industry and health care and argues that since ethical and legal considerations are often ignored in the country, patient care and clinical research are affected by these controversial issues to a great extent. (shrink)

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as it (...) merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)

(1994). Annex: The survey questionnaires. World Futures: Vol. 39, The Evolution of European Identity: Surveys of the Growing Edge A Report by the European Culture Impact Research Consortium (EUROCIRCON), pp. 161-164.

0. 1. GENERAL DESCRIPTION OF THE PROBLEMATIC This study is devoted to an examination of a concept of crucial significance for Soviet aesthetics - the concept of the aesthetic (esteticeskoe). Soviet aestheticians have for some time already been trying to design a concept of the aesthetic that would satisfy, on the one hand, the requirements of aesthe tic phenomena, and, on the other hand, the principles of the Marxist-Leninist world view. The first part of this work shows how the (...) concept of the aesthetic has been and continues to be problematic for Soviet aestheticians. This task is carried out by dwelling, first of all, on the controversies among Soviet aesthe ticians concerning meta-aesthetic issues, viz, the nature and scope of aesthetics as well as its place among other philosophical and non-philosophical disci plines. A particularly clear view of the problems that have traditionally pre occupied Soviet aestheticians is provided by an examination of what they standardly call the 'method of aesthetics', where 'method' is understood in the sense of an explanatory framework rather than in the strict logico-scien tific sense of the term. This discussion will provide the occasion to pass in review the main periods of Soviet aesthetics and the characteristic aspects of each. The chapter on the sources of contemporary Marxist-Leninist aesthetics brings into relief the lack of a homogeneous tradition in the question of the nature of the aesthetic and other related problems. (shrink)

The article reveals the features of the formation and functioning of aesthetic research in such two areas of Marxism as Soviet and Chinese. The study identified three key stages in the development of aesthetics in Soviet Marxism – the pre-war (the 1920s and 1930s), late Stalinism and the Khrushchev thaw, and the late period (1970-1980s). It should be noted that in the context of Soviet Marxism, the key tasks were that aesthetics becomes influential and in-demand science, included in (...) the program of "technical progress" and "education of the builder of communism", important ideological, aesthetic, and applied field of philosophy. Therefore, in addition to the fact that purely ideological works were developed within the framework of aesthetic discourse, aesthetics itself in Soviet Marxism was able to develop thanks to contacts with semiotics, psychology, anthropology, cultural history, and sociology. Relying on a selective stream of translations of Western philosophies of art, Soviet aesthetics is beginning to resonate with global trends, which is facilitated by the unspoken consensus of the idea of aesthetics as a part of philosophical and humanitarian knowledge that has its own autonomy. Proved that in China culture and the cultural revolution are inextricably linked with the Marxist projects of critiquing capitalist modernity and building alternative modernity. Aesthetics and culture also were at the center of attention in Chinese Marxist circles. In this respect, the diverse practices and designs of Chinese Marxism are similar to those of Western Marxism or an equally distinct variety of Euro-American Marxist intellectual enterprises. Aesthetic Marxism in China had a dual mission – to criticize the internal contradictions of revolutionary hegemony and to offer a constructive vision of culture in a post-revolutionary society. This is the value of Chinese aesthetic Marxism, the implications of which go beyond China proper in the world of global cultural criticism. Moreover, being non-Western, Chinese aesthetic Marxism deliberately questioned the inherent Eurocentrism of Marxism. If this Eurocentrism is to be challenged and problematized, the questions posed by Chinese aesthetic Marxists cannot be ignored. (shrink)

The gendered assumptions embedded in the construction of the rational individual are well established in Western feminist thought but inapplicable to describe societies operating on different principles, such as East European state socialism. This article identifies the communist subject as the building block of communist political ideology and argues that this formulation was no less male biased than its counterpart, the rational individual under liberal capitalism. In state socialist Hungary this male bias came to be expressed differently: Women (...) were integrated into society through membership in a social group perceived as relatively homogeneous regarding interests and obligations and with gender-specific qualities and privileges. These qualities were considered inferior to men's since women—because of household responsibilities—were not capable of total devotion to the communist party. The author explores this construction of the female communist subject through a content analysis of classified materials from the archives of the Hungarian Socialist Workers' Party. (shrink)

For a better understanding of the present situation in Romania it is necessary to go beyond the limited political approach, i.e., to seek the germs of contemporary conflicts in the history of that country — especially in the history of the Romanian Communist Party. We have to mink about the origins of Romanian communism in 1921, when the Socialist Left split into a strong and active radical minority and a “reformist” traditional Social-Democratic wing. The situation of the Left in (...) Romania was further complicated by an ethnic syncretism. Because of the incorporation of Transylvania, Bessarabia, and North Bukovinaand the subsequent national, social, economic, and cultural claims of the Hungarian, German, Jewish, Ukrainian, and Russian minorities, the ethnic problem became an obsession during the inter-war period. (shrink)

本书考察西方马克思主义理论有关政治与美学关联问题的思想成果,对于重视政治伦理、在文艺与政治关系上走过弯路的中国美学来说,西方马克思主义提供了非常重要的参照系。.