György Lukács' aesthetics and his reception of “Modern Art”
aesthetics, Marxism, modernism (art), realism.
This thesis must discuss György Lukács's aesthetic positions, his reception of modern art and the validity of readings that consider him anti-modernist. It proposes, in dialogue with critics of the philosopher, to dissect Lukács's alleged insensitivity to the "avant-gardes" of modernist literature, questioning the uses of the category "modernism", the foundations of Lukácsian aesthetics and its capacity to respond, as a theory of art, to the artistic productions of the "avant-gardists". Without claiming to declare Lukács's aesthetic writings outdated or irrefutable, the aim is to test the hypothesis that, despite the insensitive judgments he issued against this one or that one artist of the modern movement, the philosopher lacks generally more nuanced evaluation of his reception of modern art. Supported by interpreters of Lukács such as Nicolas Tertulian, this hypothesis seems to require, if taken seriously, that the figuration of Lukácsian realism also be put to the test, within the intellectual landscape of Marxism applied to aesthetics, as a conservative deviation from an anti-modernist apriorism. Faced with a debate that has dragged on for decades – sometimes entangled in aporias, sometimes simply declared as an insoluble polemic – and which in many aspects resembles ancient quarrels of literary life, the aim is simply to find the right measure in the critical appreciation of Lukács. In this way, it is hoped to contribute to the clarification of the nuances that, in the haste to condemn or absolve the philosopher, usually go unnoticed in the treatment of his polemical propositions on the so-called avant-gardes of art.