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Em um momento histórico em que o conceito de reificação de György Lukács volta a ser analisado mediante abordagens inovadoras, como em Axel Honneth, alguns problemas elementares quanto a tal conceito de reificação permanecem superficialmente debatidos. O mais incômodo destes problemas é a influência decisiva de Max Weber sobre o livro História e Consciência de Classe. É somente a partir do jovem Lukács que se torna amplamente visível para a história do marxismo a interlocução entre Marx e Weber. Diálogo muitas vezes recusado pelo marxismo tradicional deixa de trazer à tona as questões da racionalidade moderna, núcleo fundamental da categoria lukacsiana de reificação. A tese sobre o entrelaçamento entre racionalidade e fetichismo se tornou marco de uma nova, e ambígua, tradição do marxismo Ocidental.

This book-length treatment of György Lukács' major achievement, his Marxist aesthetic theories. Working from the thirty-one volumes of Lukács' works and twelve separately published essays, speeches, and interviews, Bela Kiralyfalvi provides a full and systematic analysis for English-speaking readers. Following an introductory chapter on Lukács' philosophical development, the book concentrates on the coherent Marxist aesthetics that became the basis for his mature literary criticism. The study includes an examination of Lukács' Marxist philosophical premises; his theory of the origin of art and the relationship of art to life, science, and religion; and his theory of artistic reflection and realism. Later chapters treat the concepts of type and totality in Lukács' category of specialty, the distinctions between allegory and symbolism in his theory of the language of art, and Lukács' understanding of aesthetic effect and form and content in art. There is a separate chapter on Lukács' dramatic theory. This lucid and readable account of Lukács' aesthetic theories will be of special interest to students of literature, aesthetics, and drama. In addition, it will be appreciated by those generally concerned with Marxist theory.Originally published in 1975.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Artigo do filósofo hungaro, György Lukács, publicado no ano de 1964, na Revista Forvm, XI/124, 125, Wien 1964, S. 181-214.

Georgy (or Georg) Lukacs, is described as a creative & original thinker, who was authentically Marxist because he was praxis-orientated. The historical conditions of his work are analyzed & compared to those of Karl Marx, Friedrich Engels, V. I. Lenin, & others. Lukacs tragic personality & dualistic position are discussed in tracing the development of his work. The characteristic limitations of his critical thought are analyzed & contrasted with those of Ernst Bloch. Lukacs's deterministic view of history, in spite of his continuing concern for the "ought," is compared with Bloch's treatment of "possibility" as the basic modal category of philosophy of history. Lukacs's critique of utopian consciousness & his tendency to reduce theory to knowledge is contrasted with Bloch's principle of hope. Explanations made by Lukacs for his loyalty to the Hungarian Communist Party in view of the problems he experienced are discussed. Bloch's sense of human dignity is contrasted with Lukacs's actual experience of repression & ideological abuse. The failure of Lukacs to live according to the ethical demands implicit in his theoretical projects is seen as self-destructive; it is in this that his thought is seen to have failed. F. Rasmussen

In questo intervento si tenta di mettere a fuoco alcuni punti di forza della teoria estetica di Lukács, limitatamente al romanzo, degni di considerazione nel campo teorico attuale. Rispettto alla rigida separazione tra il giovane filosofo e critico esistenzialista e il maturo teorico del realismo, con Jameson si avanza l'ipotesi che le prime opere siano comprensibili solo alla luce delle successive. Limitatamente al problema del romanzo moderno, si tenta di dimostrare che l'opera di Lukács possa venire osservata come una continua meditazione sulla narrazione, sulle sue strutture, sulla relazione con la realtà che essa esprime e, soprattutto, sul valore epistemologico che essa acquista se confrontata ad altre forme discorsive(Jameson 1983). Il termine inattuale, presente nel titolo, vuole dunque risultare doppiamente sibillino. Al suo significato più comune, di segno negativo, che sta per "invecchiato", come si sa, si affianca un senso orgogliosamente apologetico e irriverente, quello delle Considerazioni inattuali di Nietzsche o dell' inattualità come valore paradossale del saggismo frammentario di Karl Kraus.