The central axis of the article is the argument that
adopts from the Hegelian dialectics not only the category of totality but also the master–slave dialectic, although it never refers explicitly to ...the latter. Hence, in this article, we aim to detect the subtle influence that the Hegelian master–slave dialectic exerts on
and, more specifically, on the constitution of the Lukacsian concepts of reification, praxis, working class-bourgeoisie interaction, working-class self-consciousness, autonomous subject. Our approach to the Hegelian master–slave dialectic is mostly – but not only – based on its philosophical–anthropological interpretation by A. Kojeve. Kojeve’s interpretation, by attributing a crucial role to labour in the mastery–slavery dialectic, focuses on that aspect of the Hegelian dialectic which, in our estimation, was determining for
In addition, our approach to the Hegelian master–slave dialectic is based on some occasional references Lukacs has to it in
as well as on his interpretation latent in
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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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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