scholarly journals What About Realism? Alberto Blest Gana, Georg Lukács, and Their Chilean Readers

2021 ◽  
Vol 5 (1) ◽  
pp. 54-65
Author(s):  
Luigi Patruno
Keyword(s):  
Literary Realism ◽  
Realist Novel ◽  
Georg Lukacs ◽  
Alberto Blest Gana ◽  
Martin Rivas ◽  
Georg Lukács

Abstract In this article, I analyse Georg Lukács’s theories of realism in relation to Alberto Blest Gana’s work. For this purpose, I explore two essays that have greatly contributed to locating the Chilean author’s novels within the realm of literary realism. The texts chosen for my study are Jaime Concha’s prologue to the Martín Rivas edition by the Ayacucho Library and Ricardo A. Latcham’s essay “Blest Gana y la novela realista” [Blest Gana and the Realist Novel]. Concha and Latcham find appropriate categories for the interpretation of Blest Gana’s work in Lukács’s essays. In their readings, they accurately apply notions such as the selective principle or the typology of characters. However, while using those insights as a shared critical platform, they arrive at different interpretations of what is meant by realism. The article elucidates the role played by Concha and Latcham in the Chilean intellectual field and shows how literary genealogies inform their critical projects.

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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