In this article, we intend to combine the few and short passages where Georg Lukacs exerts his criticism on Bertolt Brecht's dialectical theatre with the Lukacsian aesthetic theory as a whole, in ...order to comprehend and designate those points, on which the above-mentioned criticism is based. Both thinkers' main concern was to discover ways in which art could contribute to the overcoming of the reification phenomenon. However, since they perceive reification differently, they deal with art's de-reificating role differently too, at least until the end of 1930s. Therefore, in this article, through the discourse and the critical evaluation of these divergencies, we aim to give prominence both to the foundation of the Lukacsian critique on Brecht and the convergencies that are detected from the 1930s onwards.
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In this article, we discuss the de-reifying role of art and its relation with humanity’s self-consciousness, as these are captured in Lukács’ aesthetic thought and, especially, in his work The ...Specificity of the Aesthetic. Through the discourse on both categories that traverse Lukács oeuvre (totality, reification, imputed consciousness, etc.) and exclusively aesthetic categories (typical, particular, catharsis, mimesis, etc.), we attempt to give prominence to the way in which Lukács conceives artwork’s contribution to the cultivation of humanity’s self-consciousness.
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The pandemic of covid-19 accelerated to such an extent the prefigured tendencies - under the development of digital technology of modification of the way of distribution and reception of the works of ...art, that it would be generally admitted “to talk in terms of before and after this crucial moment” f. Morris, 2020). The present article attempts to outline this ongoing decisive change, in which the world of art is subject, not from the aspect of an aesthetic-artistic evaluation of the artworks that are created entirely by digital means and mediums, but from the aspect formed by the famous m. Mcluhan’s thesis “the medium is the message”. In other words, from the point of view of the consequences caused on the contemporary aesthetic experience of man by the medium, by the digital broadcasting of the works of art, that constitutionally presuppose and require the physical presence of the audience.
