Toward a Historical Definition of Modernism: Georg Lukacs and the Avant-Garde

1986 ◽  
Vol 58 (4) ◽  
pp. 845-882 ◽  
Author(s):  
Mary Gluck
Keyword(s):  
Avant Garde ◽  
Georg Lukacs ◽  
Definition Of ◽  
Georg Lukács

Rechter und linker Antidemokratismus im 20. Jahrhundert – Die Paradigmen Heidegger und Lukács

2019 ◽  
Vol 29 (1) ◽  
pp. 35-62
Author(s):  
Harald Seubert
Keyword(s):  
Heart Surgery ◽  
Max Weber ◽  
Open Heart Surgery ◽  
History Of Ideas ◽  
Avant Garde ◽  
Georg Lukacs ◽  
Tolerance Of Ambiguity ◽  
History Of ◽  
Political Right ◽  
Georg Lukács

The tendency in the history of ideas in the 20th century, which has been succinctly described as the „betrayal of the intellectuals“ (J. Benda), causes philosophy to tip over into ideology. The resulting anti-democratism is exemplified on the political ‚right‘ by Martin Heidegger and on the ‚left‘ by Georg Lukács. Thus, according to the diagnosis of the essay, in the spirit of Thomas Mann’s Magic Mountain, a tendency to fundamentally negating extremes in democracy emerges. Then it is shown (II.) how Heidegger increasingly develops the phenomenological version of everyday existence in the „Man“ into a fighting concept against the deliberative public. This tendency culminates in Heidegger’s ‚Rectorate Speech‘, it also shows a continuity that is by no means only reflected in the ‚Schwarze Heften‘, but also in the large manuscripts on the History of Being (Contributions to Philosophy). In the second main section, with a view to Georg Lukács (III.), it is shown how an avant-garde interweaving of ethics and aesthetics, inspired by Max Weber and the George Kreis and vital in its verve, can be transformed into a realization of philosophy in the tactics of revolution. While Heidegger’s type is that of an anti-democratism that keeps away from the ideologues of nationalism, Lukács shows the tragic sample of self-submission to the twists and turns of communist Stalinist ideologies. Finally (IV.), a method is discussed how to distinguish the undeniable contributions of both authors to the philosophical self-understanding of modernity from its ideological muddling: an open-heart surgery, which requires judgement and „tolerance of ambiguity“ in order not to end up in the stereotypical illusory alternative of a „primacy of democracy over philosophy“ (R. Rorty).

scholarly journals Historical Fiction as a Mixture of History and Romance: Towards the Genre Definition of the Historical Novel

2014 ◽  
Vol 3 (1) ◽  
pp. 7-17 ◽  
Author(s):  
Ladislav Nagy
Keyword(s):  
Historical Fiction ◽  
Historical Novel ◽  
Political Attitude ◽  
Class Consciousness ◽  
Georg Lukacs ◽  
Definition Of ◽  
Georg Lukács

Abstract This article focuses on Walter Scott’s Waverley and its classification as the founding text of the historical novel by Georg Lukacs. The author attempts to show that Lukacs takes Scott too much at his word and posits Waverley in the tradition of the English historical novel as it developed from Defoe and Fielding, while neglecting the close ties that Waverley has with marginalized genres such as romance. The author also argues that rather than being an expression of class consciousness, Waverley is an attempt to justify a certain change in political attitude, from radicalism to conservatism

L'évolution de la pensée de Georg Lukács

1971 ◽  
Vol 20 (1) ◽  
pp. 13-36 ◽  
Author(s):  
Nicolas Tertulian
Keyword(s):  
Georg Lukacs ◽  
Georg Lukács

Saints and Miracles: The End of the Affair

2018 ◽  
Author(s):  
Allan Hepburn
Keyword(s):  
The Novel ◽  
Graham Greene ◽  
Georg Lukacs ◽  
Dorothy Sayers ◽  
Theory Of The Novel ◽  
The Mind ◽  
Georg Lukács

Miracles rarely appear in novels, yet Graham Greene includes several of them in The End of the Affair. Sarah Miles heals a boy suffering from appendicitis and a man with a disfigured cheek. Like a saint, she seems to heal or revive through her compassionate touch, as when she raises her lover, who may or may not have died in a bomb blast, by touching his hand. This chapter locates Sarah’s interventions amidst debates about miracles, beginning with David Hume’s sceptical rejection of inexplicable phenomena, through such mid-century books as C. S. Lewis’s Miracles and Dorothy Sayers’ The Mind of the Maker. The inherent godlessness of novels, as Georg Lukacs puts the matter in Theory of the Novel, would seem to ban mystical content altogether from novelistic discourse. Yet this chapter argues for the revaluation of mystical content—the ordeals of the whisky priest in The Power and the Glory, for example—within the generic precincts of the novel.

scholarly journals Racionalismo e reificação em ​História e consciência de classe

Tempo Social ◽  
2018 ◽  
Vol 30 (3) ◽  
pp. 5-24
Author(s):  
Ricardo Musse
Keyword(s):  
Karl Marx ◽  
Georg Lukacs ◽  
Georg Lukács

História e consciência de classe é considerado, consensualmente, como um dos marcos de fundação do marxismo ocidental. Sua contribuição para a gênese da teoria crítica tampouco pode ser desprezada. O presente artigo procura mostrar como alguns conceitos decisivos do arcabouço teórico da Escola de Frankfurt foram desenvolvidos em 1923 por Georg Lukács. Destaca, sobretudo, os conceitos de reificação e racionalismo. História e consciência de classe considera a reificação, seguindo uma trilha aberta por Karl Marx, o fenômeno central da sociedade capitalista. O racionalismo é exposto em duas dimensões articuladas, na esfera do pensamento – em especial na ciência e na filosofia –, e no âmbito da vida material, como racionalidade econômica.

scholarly journals Hegel and Lukács on the Novel

2010 ◽  
Vol 31 (02) ◽  
pp. 23-34 ◽  
Author(s):  
Allen Speight
Keyword(s):  
Significant Influence ◽  
The Novel ◽  
Georg Lukacs ◽  
Philosophy Of Literature ◽  
The World ◽  
Theory Of The Novel ◽  
Prose Literature ◽  
Georg Lukács

That Hegel was a significant influence on the young Georg Lukács'Theory of the Novelis a point few would dispute. Lukács himself insisted that the first part of TN represented his own transition from Kantian to Hegelian theory, and most critics have subsequently affirmed the importance of Hegel to Lukács' pre- (or, depending on one's view, proto-) Marxist argument inTN. Yet the two are in some ways strange to take together in the context of novelistic theory. Despite the profusion of novelistic literature in his own time and his own significant appropriation of it for the limning of essential moments of the development of the world-historical spirit, Hegel's officialAestheticshardly presents what one could claim to be an especially worked-outtheoryof the novel. TheAestheticstakes up literature in general primarily under the rubric of providing a theory of the genres ofpoetry— epic, lyric and dramatic — and what relatively few words Hegel actually devotes to the novel and prose literature in the lectures are tucked in corners: at the end of the discussion of the development of the epic, in the discussion of the historical form of the romantic, and in scattered comments elsewhere. As forTN, despite the strong connections some have drawn between Hegel and Lukács — Peter Demetz said that Lukács was ‘in a certain sense … the last Hegelian in the grand style’ (Demetz 1967: 215) — others have questioned whether Lukács' work should be regarded primarily as making a contribution to the philosophy of literature in the tradition from which Hegel writes.

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