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

Brecht's relationship to Marxism is extremely important and highly complex. From the 1920s until his death in 1956, Brecht identified himself as a Marxist; when he returned to Germany after World War II, he chose the German Democratic Republic (GDR), where his actress wife Helene Weigel and he formed their own theater troupe, the famed Berliner Ensemble, and were eventually given a state theater to run. Yet Brecht's relationship to orthodox Marxist officials and doctrine was often conflictual, and (...) his own work and life were highly idiosyncratic. Of a strongly anti-bourgeois disposition from his youth, the young Brecht was also initially repelled by Bolshevism. He experienced the German revolution of 1918 with some ambivalence and dedicated himself to literary and not political activity during the turbulent early years of the Weimar republic. He recorded in his Diaries, for example, a negative response to a talk he heard on 1920 on the Soviet Union in which he was repelled by the concept of socialist order he heard discussed. He indicated a negative impression of Bolshevism and conclude his entry by noting that he rather have a new car than socialism! (shrink)

The article focuses on one highly idiosyncratic trait of Lifshits’ reading of Hegel, namely his assertion that the epoch of Restoration during which Hegel produced his main works was analogous to the period of the 1930s in the USSR. In both cases, “constructive” tasks came to the fore as the fermentation of the revolutionary era waned. On this assumption, Lifshits built up his idea of a Restauratio magna, which should serve as the guiding star of cultural politics. In fact, Lifshits (...) came very near to rehabilitating of Edmund Burke’s views about the conservation of cultural heritage, which is highly problematic in light of his initial Marxist convictions. (shrink)

Developing a concept briefly introduced in Counterrevolution and Revolt, Marcuse here addresses the shortcomings of a Marxist aesthetic theory and explores a dialectical aesthetic in which art functions as the conscience of society. Marcuse argues that art is the only form of expression that can take up where religion and philosophy fail and contends that aesthetic offers the last refuge for two-dimensional criticism in a one-dimensional society.

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)

The paper explores Sreten Petrović’s contribution to Marxist aesthetics. Petrović developed his theory within the framework of the Yugoslav Praxis School, although he was not a member of it. Petrović followed Danko Grlić, a prominent member of the Praxis School, in explaining art as a specific emanation of praxis – free, creative, autonomous and self-emancipatory activity beyond the commodity form of capitalist society. Art was thus understood as the liberation and emancipation of Being and its essence. However, Petrović (...) also introduced a novelty – he claimed that art can never be fully understood nor explained. According to him, the only true Marxist aesthetics, given our limited cognitive abilities and the capitalist imperative of producing commodities, would be to limit aesthetics to meta-aesthetics and affirm the ‘critique of the aesthetic mind’. We argue that by limiting aesthetics to meta-aesthetics Petrović is following the young Wittgenstein and his proposition that the world is unintelligible to philosophy. Accordingly, we claim that Petrović’s contribution should be seen as an important contribution to Marxist aesthetics. (shrink)

The study of the processes and methods through which elements of Hegelian philosophy and aesthetics have been appropriated and adjusted to the needs of Marxist–Leninist criticism is essential for understanding Bolshevik–Marxist aesthetics in the process of its consolidation into an official doctrine in Soviet Russia. By looking at the career of the Bolshevik Commissar of Enlightenment, Anatoly Lunačarskij, it is possible to discern the extent to which the process was forged by the unsanctioned presence of Goethe (...) and Hegel. The article traces their important contributions in the causes of sustaining revolutionary romanticism and its eventual overcoming in favor of the rationality and solemnity of socialist realism. (shrink)

Although Chinese Marxism—primarily represented by Maoism—is generally seen by Western intellectuals as monolithic, Liu Kang argues that its practices and projects are as diverse as those in Western Marxism, particularly in the area of aesthetics. In this comparative study of European and Chinese Marxist traditions, Liu reveals the extent to which Chinese Marxists incorporate ideas about aesthetics and culture in their theories and practices. In doing so, he constructs a wholly new understanding of Chinese Marxism. Far from (...) being secondary considerations in Chinese Marxism, aesthetics and culture are in fact principal concerns. In this respect, such Marxists are similar to their Western counterparts, although Europeans have had little understanding of the Chinese experience. Liu traces the genealogy of aesthetic discourse in both modern China and the West since the era of classical German thought, showing where conceptual modifications and divergences have occurred in the two traditions. He examines the work of Mao Zedong, Lu Xun, Li Zehou, Qu Qiubai, and others in China, and from the West he discusses Kant, Schiller, Schopenhauer, and Marxist theorists including Horkheimer, Adorno, Benjamin, and Marcuse. While stressing the diversity of Marxist positions within China as well as in the West, Liu explains how ideas of culture and aesthetics have offered a constructive vision for a postrevolutionary society and have affected a wide field of issues involving the problems of modernity. Forcefully argued and theoretically sophisticated, this book will appeal to students and scholars of contemporary Marxism, cultural studies, aesthetics, and modern Chinese culture, politics, and ideology. (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)

Disinterring Kant -- Kant's first critique and the problem of reification -- The aesthetic, the beautiful and praxis -- The aesthetic and class interests -- The sublime in Kant's philosophical architecture -- Labour, the aesthetic, and nature -- On Marxism and metaphor -- In the laboratory of Kant's aesthetic.

From the point of view of reflected postmodernity, Ágnes Heller constructs her own discourse of aesthetics on the basis of György Lukács’s contribution. She locates aesthetics in her social philosophy, philosophy of history, and ethics, transforming aesthetics from a ‘Marxist Renaissance’ to a ‘post-Marxist’ position, and points out that the paradoxes of modern culture can be avoided by a personality that is autonomous and moral in action. The notion of the beautiful character in everyday life (...) is a symbol of the ideal type of society and of the good life in contrast to the God-forsaken world of modern dilemmas and the domination of the sublime in postmodernism. It is the expression of freedom and democracy in the contemporary age. Heller’s neo-humanist aesthetics is in essence the presentation of her cultural politics as a Great Republic. (shrink)

After being largely unknown to non-siniphone philosophers, Li Zehou's ideas are gradually being translated into English, but very little has been done on his aesthetics, which he says is the key to his oeuvre. In the first of three sections of this paper, I briefly introduce the reader to Kant's aesthetics through Li's eyes, in which he develops an implicit notion of aesthetic freedom as political vehicle through the notions of subjectivity, universalization, and the unity of the cognitive (...) faculties. In the second section, I introduce Marx's notions of 'human nature as practice' and 'freedom as practice', as outlined in his early manuscripts. I conclude that Marx's politics take free practice as the highest expression of humanity, which is finally, ideally, self-legislating. In the final section, I present Li's interpretation of Marx as a remedy for Kant, introducing some of Li's specialized vocabulary and demonstrating his final synthesis of Kant and Marx in a notion of aesthetic freedom that presupposes political freedom. (shrink)

Has anything of value been contributed to aesthetic issues from a Marxist point of view? I suspect that most intelligent people asked this question might be inclined to answer no. If they hesitated, it might be because of some dim awareness that there has been a great deal of concern about aesthetic issues by European intellectuals influenced by Marxism. But this present bibliography which is limited to books and articles in English shows how extensive and diverse the literature has (...) been. Many items are included here which are not primarily concerned with aesthetic issues, but which are nevertheless relevant. And there are many items which are not Marxist in orientation but bear on Marxism. The annotations are helpful and the bibliography will be a great aid to anyone interested in exploring this dimension of Marxism. It is unfortunate that the bibliography is limited to work written or translated into English, for many of the best works have not been translated. However, the compiler promises a supplemental volume dealing with foreign material.--R. J. B. (shrink)

This paper is an attempt to introduce the thought of the Martinican philosopher, René Ménil to the English-speaking world. It suggests that his philosophy can best be characterized as an aesthetic Marxism, which moved through three crucial phases: (1) a surrealist/French communist phase; (2) a Black poeticist/French communist phase; and (3) a critical poeticist/Martinican communist phase. The passage through these three phases was marked by an increasing and more fixed centering of the aesthetic that created very real tensions with its (...) politico-economic base. The paper explores these tensions through a comparative analysis with other Caribbean aesthetic Marxists or aesthetic historicists such as CLR James, Nicolás Guillén, and Kamau Brathwaite. (shrink)

This chapter contains section titled: Kantian Subjectivity and Post‐Marxian Anthropological Ontology Relations to the Thought of Heidegger, Wittgenstein, and Foucault The Future of Philosophy Aesthetics “The Fourth Outline of Human Subjectivity” Conclusion.

Feminism, poststructuralism, postcolonialism, and Marxism, among other critical approaches, have undermined traditional notions of aesthetics in recent decades. But questions of aesthetic judgment and pleasure persist, and many critics now seek a "return to aesthetics" or a "return to beauty." Janet Wolff advances a "postcritical" aesthetics grounded in shared values that are negotiated in the context of community. She relates this approach to contemporary debates about a committed politics similarly founded on the abandonment of certainty. Neither universalist (...) nor relativist, the "aesthetics of uncertainty" provides a discourse on beauty that contemporary critics can engage with and offers a basis for judgment that is committed to assigning value to works of art. Wolff explores her position through a range of topics: the question of beauty in relation to feminist critique; the problematic status of twentieth-century English art, visual representations of the Holocaust, Jewish identity as portrayed by the artist R. B. Kitaj, refugee artists and modernism in 1940s Britain, and the nature and appeal of imagistic thinking in sociology. She addresses the desire for certainty and the timeliness of doubt and concludes with a meditation on the intersection of aesthetics and ethics, arguing that ethical issues are very much implicated in aesthetic discourse. (shrink)

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)