Georg Lukács's recently discovered defense of Geschichte und Klassenbewusstsein, written in 1925 or 1926 in reply to critical attacks by László Rudas and Abram Deborin, is of a piece with that earlier work and his Lenin of 1924. In its emphasis on the pivotal role and absolute authority of the Communist Party as the incarnation of the class consciousness of the proletariat, it is Leninist to the core. For many contemporary Marxist theorists, including the Lukács disciple István Mészáros, such an (...) apotheosis is precisely what is dead in Lukács's thought. (shrink)

Georg Lukács’s recently discovered defense of Geschichte und Klassenbewusstsein, written in 1925 or 1926 in reply to critical attacks by László Rudas and Abram Deborin, is of a piece with that earlier work and his Lenin of 1924. In its emphasis on the pivotal role and absolute authority of the Communist Party as the incarnation of the class consciousness of the proletariat, it is Leninist to the core. For many contemporary Marxist theorists, including the Lukács disciple István Mészáros, such an (...) apotheosis is precisely what is dead in Lukács’s thought. (shrink)

This article explores the Polanyi brothers’ publicly-stated views--and private debates--concerning the nature and origin of fascism and communism. In that connection, it examines their rival estimates of the Soviet regime.

This article explores the Polanyi brothers’ publicly-stated views--and private debates--concerning the nature and origin of fascism and communism. In that connection, it examines their rival estimates of the Soviet regime.

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.

Among other important things, William T. Scott and Martin X. Moleski’s biography of Michael Polanyi raises questions concerning the scientist-Philosopher’s religious convictions. Despite his profound respect for Christianity, he suffered from an inability to believe.

In the wake of Stalin’s death and the publication of Aleksandr Solzhenitsyn’s early fictions, Georg Lukács claimed to discern a revivification of socialist realism, the officially-sanctioned school of Soviet literature. A furtherance of that process was integral to the “renaissance of Marxism” and vitalization of socialist democracy that he hoped would restore the faith in socialism shaken by the Stalinist era. Although he dared not admit it, he envisioned a socialist realism cast in the image of bourgeois “critical realism.”.