This paper discusses Eastern European Marxists’ consideration of science and technology concerning aesthetic dimensions. Different from most of Western Marxists who take negative or dystopian attitudes towards modern science and technology from the aesthetic utopian perspective, those Marxists who come from countries such as Hungary, Yugoslav, Poland, Czechoslovakia, East Germany, Bulgaria or Romania, which once belonged to the socialist camp, under the influence of Soviet and Western culture, pay attention to the complicated tension between science-technology and aesthetics. In this paper, (...) I probe into these notions by reading György Lukács, Budapest School, Romanian theorists and the Yugoslav Praxis Group, which are divided into four key points: basic nature of science in contrast with arts; modern tension of culture between science and arts; the possibility of scientific aesthetics; and development of arts in the world of technology. There is a dialectical understanding of science and technology here which contributes to contemporary recognition of science and technology from the point of view of neo-humanism, not only in aesthetics but also human existence. This is relevant to theoretical reflection on the present and future Chinese socialist aesthetics. (shrink)

This paper offers a short history of Agnes Heller’s relationship to China through three aspects: imaginative aesthetic enjoyment, real encounters with Chinese cultural spectacles and actual audiences, and the construction of an academic community through creative dialogue. These discussions suggest that Heller felt at home in China. Although Heller has passed away, a home for us remains in her work through remembering her and engaging further with her writings.

The conceptual and methodological contributions of Marxist aesthetics from Eastern European countries like Hungary, Yugoslavia, Poland, Czechoslovakia, Bulgaria, Romania, and East Germany were productive and significant despite various hurdles faced concerning institutionalization, legitimization and differing theoretical abuses. In its mode of inquiry and discursive practices, Eastern European Marxist aesthetics is both similar and dissimilar to its Western, Soviet, Russian and Chinese counterparts. The specificity here is the function of a unique geographical and socio-historical context, as well as interaction with other (...) contemporary paradigms of thought. The innovative impulses of Eastern European Marxist aesthetics affected six scholarly domains: aesthetics of praxis, theory of realism, critique of modernity, semiotics, theory of genre and cultural theory. This paper provides a general survey of the intellectual achievements of Eastern European Marxist aesthetics across these six domains and will show how this theoretical tradition has influenced the modern history of ideas. (shrink)

György Márkus, as a leading member of the Budapest School led by György Lukács in Hungary, is closely concerned with aesthetics. His final unfinished writings in political exile in Sydney were focused on the question of modern cultural autonomy. From the 1960s to the new century, from Budapest to Sydney in Australia, he established a new form of Neo-Marxist aesthetics on the basis of critical theory drawn from Lukács to the Frankfurt School. His aesthetics includes three dimensions: an aesthetics of (...) praxis, a reconstruction of Lukács’s aesthetics and a theory of aesthetic modernity. His aesthetics is characteristic of analytic philosophy, especially ‘categorical analysis’. It shifts from philosophical aesthetics in the Hungarian period, which is based on an ontological foundation, that is, materialist phenomenology, to social or sociological aesthetics in the Australian period concerning social modernity, institution, constitution, culture, and so on. This is a turn from a philosophical paradigm to a structural one as regards aesthetics, which indicates a break with Lukács’s late return in the early 1960s to Hegelian inspired Ontology of Social Being. Márkus is strictly and essentially an essayist in fragments, who distinguishes himself from the other members of the Budapest School in this way. Ironically, this genre is once again influenced by the young Lukács’s aesthetics. (shrink)