Soul and Form (Columbia Themes in Philosophy, Social Criticism, and the Arts)
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György Lukacs was a Hungarian Marxist philosopher, writer, and literary critic who shaped mainstream European Communist thought. Soul and Form was his first book, published in 1910, and it established his reputation, treating questions of linguistic expressivity and literary style in the works of Plato, Kierkegaard, Novalis, Sterne, and others. By isolating the formal techniques these thinkers developed, Lukács laid the groundwork for his later work in Marxist aesthetics, a field that introduced the historical and political implications of text.
For this centennial edition, John T. Sanders and Katie Terezakis add a dialogue entitled "On Poverty of Spirit," which Lukács wrote at the time of Soul and Form, and an introduction by Judith Butler, which compares Lukács's key claims to his later work and subsequent movements in literary theory and criticism. In an afterword, Terezakis continues to trace the Lukácsian system within his writing and other fields. These essays explore problems of alienation and isolation and the curative quality of aesthetic form, which communicates both individuality and a shared human condition. They investigate the elements that give rise to form, the history that form implies, and the historicity that form embodies. Taken together, they showcase the breakdown, in modern times, of an objective aesthetics, and the rise of a new art born from lived experience.
still it has only been an easing of her life, an escape from its heaviest necessities. Such self-liberation of a woman is not the fulfillment of her essential necessity as is the real self-liberation of a tragic man, and the conclusion of the play raises a question which Ernst the theoretician had foreseen long before: can a woman be tragic in herself and not in relation to the man of her life? Can freedom become a real value in a woman’s life? The core of Paul Ernst’s life’s work is the ethic
Symposium (Plato) Tactics Taine, Hippolyte Adolphe Temptation Terezakis, Katie Thackeray, William Theme, form v. Theory and Practice (Habermas) The Theory of the Novel (Lukács); criticism of Tieck, Ludwig Time Tone, unity of Torment Totality; alienation and ; experience and; form and; Jay and; of narrative Totalization Tragedy; abstraction and; Beer-Hofmann and; classical; of culture; dramatic; fairy-tale v.; George and; historical; idyll and; man and; metaphysical root of; paradox
at this stage of his life, loses his job and his career because, just this once, he speaks up for the workers. Jean Bousset obtains a small post in Paris and takes the old man, whose wife has died in the meanwhile, to live with him. Now the two of them live together in the attic of a Paris hotel, the old man and the fair-haired youth. Everything is peaceful and beautiful and idyllic. But the old man feels that he is a useless burden to his friend—and, silently, he tiptoes out of his life.
accident by the soul, and everything becomes equally accidental in the face of it. Lyric becomes epic, and this signifies the conquest of the outward by the inward. The transcendental in life becomes graphically vivid. The rigor of the form consists in the fact that it remains epic—in the fact that inner and outer are kept together and apart with equal strictness, and the reality of life remains intact and undissolved. To dissolve everything in moods is banal, it can be done at any time; but when
and bearing a vital relationship to them. Finally, in this edition we have added to the Lukács material an important introductory essay by Judith Butler, one of America’s leading philosophical voices in cultural studies and literary criticism, as well as a concluding essay, by Katie Terezakis, which draws out connections between the Lukácsian concept of form and its elaboration and critique in Lukács’s own work and in works of critical theory and philosophy up to the present. Lukács was born in