『발자크와 프랑스 리얼리즘』에 나타난 루카치의 자연주의 비판 연구

유기환 한국프랑스어문교육학회 2013 프랑스어문교육 Vol.42 No.-

Georg Lukacs est un critique occidental dont les oeuvres sont le plus fréquemment citées dans les recherches littéraires de Corée. Les chercheurs coréens ont apprécié entre autres ses idées concernant le réalisme. Les deux concepts réalistes de Lukacs – type et totalité - ont eu une grande influence sur la création et la critique littéraires de Corée depuis les années 1980. C’est Balzac et le réalisme français qui explique le mieux les pensées réalistes de Lukacs. Balzac et le réalisme français est composé de quatre articles : «Les Paysans» (1934), «Illusions perdues» (1935), «Balzac, critique de Stendhal» (1935) et «Pour le centième anniversaire de la naissance de Zola» (1940). Ce que Lukacs a souligné dans les quatre articles, c’est que la méthode réaliste est encore meilleure que la méthode naturaliste : celle-là permet au romancier de se constituer comme participant aux grandes luttes de l’époque, tandis que celle-ci le force à être un simple chroniqueur de la vie quotidienne. Lukacs va jusqu’à dévaloriser le naturalisme de Zola en ces mots : «le naturalisme apportent un appauvrissement de la grande littérature.» Pour simplifier, Zola sert de repoussoir à Balzac dans ce texte. Cet article a pour but d'analyser les commentaires de Lukacs sur le naturalisme de Zola dans Balzac et le réalisme français et de mesurer aussi leur signification et leur limite. Nous avons divisé cet article en quatre chapitres, qui étudient respectivement quatre thèses de Lukacs. Résumons ces thèses. Premièrement, le scientisme de Zola conduit finalement à la vision d’une société harmonieuse, parce qu’il consiste à assimiler la société à un organisme régi harmonieusement. Deuxièmement, Zola ne peut pas incarner la totalité d’une société, parce qu’il ne s’attache qu’à la description du détail de la vie fragmentaire. Troisièmement, Zola ne crée pas des personnages typiques mais des personnages moyens, parce qu’il ignore la relation dialectique entre l’individu et la société. Quatrièmement, le tempérament romantique oblige Zola à empailler ses personnages, à les transformer en marionnettes. La conclusion consiste enfin à réfuter les thèses de Lukacs et par conséquent à valoriser le naturalisme de Zola.

Lukács, Adorno, and Beckett

Kim, Jaecheol(김재철) 새한영어영문학회 2014 새한영어영문학 Vol.56 No.2

By revisiting the Lukacs-Adorno debate on modernism, this essay surveys the aesthetic theories of Lukacs and Adorno: in particular, this essay critically investigates Adorno’s aesthetics presented in Aesthetic Theory from the Lukacsian perspective. The scope of this essay also covers a critical investigation of the recent critical trend that Adorno is more favorably received by critics than Lukacs after the rise of post-structuralism. This is because critics tend to esteem Adorno’s “negative dialectic” as a sort of deconstructive practice while considering Lukacs’s notion of totality as an expression of Stalinist totalitarianism. Nonetheless, what we should not fail to notice in this regard is that the Lukacs-Adorno debate has its own significance not just because it is the culmination of the modernist debate but behind it resides critical issues such as how we should take the social engagement of writers and how art could be an expression of social praxis. The essay will begin with a brief survey of Lukacs and Adorno’s aesthetic theories, and then it critically examines Adorno’s essay “Reconciliation under Duress” which allegedly shows the way Adorno successfully confutes Lukacsian theory. Nonetheless, Adorno’s theory in “Reconciliation under Duress” is possible only when he forecloses the possibility of art’s social engagement―thus making an argument of “Negation under Duress.” In the final section of this essay, I read Beckett’s Endgame in terms of and from the perspectives of Lukacs and Adorno’s aesthetic theories. Endgame becomes a significant work to frame the debate not only because the debate itself formed around Beckett’s work but also the play which negates any possible engagement of art to its existential condition (i.e. the society), thus praised by Adorno, shows the way Adorno’s aesthetics forecloses any sort of social praxis.

루카치 소설론의 비극 수용 양상에 대한 비판적 고찰

장사흠(Jang Sa-Huem) 국어국문학회 2008 국어국문학 Vol.- No.148

This paper makes a critical inquiry into G. Lukacs' Die Thorie Des Romans. And through the inquiry it reinterprets the concept 'the course to the totality' which G. Lukacs indicates only to the distinctive feature of novel('Roman' in German), and gropes the theoretical base which makes it possible to make clear the phenomena in which novel continually changes. and is mixed with other genres. In Lukacs' the concept 'the course to the totality' and 'the break between ego and world' contrast the world vision of epic with the world vision of novel('Roman' in German), But insofar as to say of novel in the duality of ego and world. the novel ought to be said in the relation to no less ancient Greece tragedy than Homer's epic. Because in the Greece literature history. ancient lyric poetry breaks the totality and shows the birth of individual ego. ancient Greece tragedy actualizes the break. In ancient Greece tragedy man faces death to resist and comes by autonomy. and rebirth as being who does not give in the oppression of world. It is the difference between two forms that the tragedy has the autonomy on the other hand the epic hasn't. But Lukacs overlooks the trait of Greece tragedy. On account of his overlooking Lukacs' theory of novel can not explain the change in novel. 'The course to totality' which Lukacs says must not be limited to novel. It can be said that the course resembles the Hegel's historic course. Therefore as not only history but also history as record can be included in this category. So philosophy and essay cannot be excluded in the category. for the philosophy and essay objectifies the world. However Lukacs restricts the course within the novel. But though Lukacs himself said that 'the philosophy was the nostalgia to the transcendental home' as he quoted it from Novalis. he limits the nostalgia only to the course of novel. Insofar as to make criterion on the duality of ego and world. the fact must be reckoned in the criterion that the novel has relation to the other genres which moves toward the recover of totality. For this situation. it is a natural consequence that the history. biograph. and essay are included in the novel. Therefore 'the course to the totality' must be reinterpreted as a formality for the autobiographical essay novel that blends the history. biograph. and essay. It is for the reason that this paper reinterprets the Lukacs' theory of novel that reckons without the feature ancient Greece tragedy.

1930~40년대 식민지 조선과 중국에서의 루카치 리얼리즘론 수용: 김남천과 후펑[胡风]의 사례를 중심으로

장효예 ( Zang Xiaorui ) 민족문학사학회·민족문학사연구소 2024 민족문학사연구 Vol.85 No.-

The research focuses on how Chinese and Korean intellectuals accepted Lukacs’ realism in the 1930s and how they developed it into their own literary criticism. Lukacs’ is a world-famous writer and Marxist theorist. His theory of literature have had a profound influence from the last century to the present. Especially has had a profound impact on East Asia since the last century. Lukacs’ theory first entered East Asia because of the prevalence of Fukumotoism in Japan, founder Fukumoto Kazuo conceived Fukumotoism by combining Marxism theory he learned while studying in Europe with the actual situation of Japan at that time. Fukumotoism’s composition includes traces of Lukacs’ thinking. Fukumotoism was turned into Japan’s party organization thought, which had an influence on both the post-ChuangZaoShe in China and the Third Front in Korea. Hu Feng and Kim Nam-cheon may have been contacted with Lukacs’ ideas early on because they are both associated with members of the post-ChuangZaoShe and the Third Front. In the 1930s, both countries experienced a new beginning and they began to pay attention to Lukacs’ realism, which they utilized to complete their understanding of literature characterized by realism. The theory of realism they have is similar to Lukacs’, but there is a difference due to their own circumstances. The real situation of the country was the basis for their reconstruction of realistic literature. Hu Feng and Kim Nam-cheon’s endorsement and expansion of Lukacs’ realism justifies Edward Wadie Said’s ‘Traveling Theory.’

루카치의 물화 개념의 마르크스주의적 성격 분석과 재활성화 과제

김민수 한국철학회 2024 철학 Vol.- No.160

루카치의 ‘물화(Verdinglichung)’ 개념이 마르크스주의적 성격으로 충분히 분석될 수 있으며, 그렇게 해명될 때 물화 개념을 토대로 한 비판사회이론(Kritische Gesellschaftstheorie)을 더욱 더 풍부하게 재활성화 될 수 있다. 하버마스는 의식철학의 패러다임을 비판하면서 루카치의 물화 개념에 대해 범주오류의 문제가 있음을 제기하였고, 최근 호네트는 규범론적 차원에서 루카치의 물화 개념을 재활성화 하고자 하는 시도를 전개하였다. 그런데, 이러한 규범론적 토대를 루카치의 물화 개념에서 찾고자 하는 시도가 보여준 일면적인 이론적 경향은 최근의 물화 개념 및 비판 이론의 논의를 협소하게 만들고 있다. 논자는 물화 개념에 기초한 초기 비판이론의 성격과 이론적 과제를 더욱 더 풍부하게 하기 위해 루카치 텍스트의 고유한 맥락으로 되돌아가서, 마르크스주의적 성격을 분석해 내고자 한다. ‘기만당하는 의식’에서 루카치의 물화 개념의 본래적인 의미를 도출될 수 있다. 이것은 ‘의식철학의 문제 영역으로 회기’ 필요성의 단서를 제공한다. Lukacs’s concept of ‘reification (Verdinglichung)’ can be fully analyzed as a Marxist character, and when so clarified, social criticism theory based on the concept of reification can be revitalized even more richly. Habermas criticized the paradigm of the philosophy of consciousness and raised the problem of a category error in Lukacs’s concept of reification, and Honneth recently developed an attempt to revitalize Lukacs’s concept of reification according to a normative perspective. The one-sided theoretical tendency shown by the attempt to find this normative foundation in Lukacs’ concept of reification narrows the recent discussion of the concept of reification and critical theory. In order to further enrich the essential nature and theoretical tasks of early critical theory based on the concept of reification, the author seeks to return to the unique context of Lukacs’s text and analyze its Marxist character. The original meaning of Lukacs’ concept of reification can be derived from ‘consciousness being deceived’. This provides a clue to the need to ‘return to the problematic area of the philosophy of consciousness’.

특집논문 : 김윤식 비평과 문학사론, 총체성과 가치중립성 사이

황호덕 ( Hoduk Hwang ) 한국문학연구학회 2015 현대문학의 연구 Vol.0 No.57

This paper focuses on the early part of the literary studies and criticisms of Kim Yun-sik(1935-), who is a representative critic as well as a literary historian in Korea. I argue that his early works were in a period of a theoretical transition from New Criticism to Gyorgy Lukacs. Along with existentialism, New Criticism bifurcated the South Korean literary field and the realm of criticism after the liberation. New Criticism was the supreme theory at that time that ensured the academians their self-verification within the literary field and the university system in South Korea where anticommunism and American supremacy mainly dominated. Kim initiated his study with the methodology of New Criticism around 1960s, and proceeded with Lukacsian history of literature around 1970. However, this transition was not the result of abrupt ideological/theoretical conversion. Elliot, Lukacs, and Kim shared a concomitant feature : It was their will to believe literary form as a mythical tool or illusion that could achieve totality under the modern society. For example, for Lukacs, the path in which a problematic individual chose to go became an adventure for his/her lost-totality, because this individual attempted to identify his/her ideal with the world that he/she learned from experience. Lukacs’s idea had a common with that of Elliot as well as of his successors, the New Critics, since they built the mythical tool of regulation and order between tradition and individual or sensibility and thought. For Kim, the transition from Elliot to Lukacs was a vision that enabled to integrate not only national history with universal history, but also ideology with literature. In this vision, Kim conducted his literary research on the continuity of the history of Korean literature and the universality of Korean literature as an individual literature, thus proving their intersection with political-economic history as well as with intellectual history. Despite Kim’s transition to Lukacs, the mythical tool of Elliot or the inheritance of New Criticism was not absolutely banished. For example, it is true that Kim suggested the system or the concept of modernity as value-neutrality when his criticism (=theory of literary history) was fully developed. His suggestion was driven from his will to draw the overview of the history of modern Korean literature. However, it is also true that there was a certain urge, which penetrates his criticism (=theory of literary history), to summon every history and various values to a single frame and relieve competing facts and conflicts as a part of the whole named of ``Modern Korean Literature``. Kim’s mode of literary history (``History of modern Korean literature as a epic``), in a way, exactly repeated Elliot’s modern epic, which was a mythical tool. Thus, Kim’s criticism of redemption always had to confront with the crisis of being criticized for relativism and the violation of the principle of the excluded middle.

青年卢卡奇是人本主义者吗?——基于《历史与阶级意识》文本的再解读

张睿卿(Ruiqing Zhang) YIXIN 출판사 2024 International journal of Marxism studies Vol.1 No.3

The traditional academic characterization of young Lukacs as a “umanist”, due to the lack of a clear definition of the question “what is humanism” and the neglect of the historical context in which History and Class Consciousness was written, has led to a misinterpretation of humanism as young Lukacs’s theoretical problematic, and fails to find out the antinomy of Lukacs in humanistic thought, so it is almost a kind of imposed interpretation. In fact, In fact, a re-examination of the definition of humanism shows that young Lukacs should not be called a “humanist”. Because, firstly, Lukacs criticized Feuerbach's, Schiller’s and Schelling’s humanism in philosophy and aesthetics, and he attacked the mistakes of humanism in theoretical starting point and means, but failed to distinguish between humanistic aesthetic ideal and Marxist aesthetic ideal in the view of purpose. Secondly, the Marxist-Leninist view of the subject, which Lukacs attempted to construct on the dialectical dimension of historical necessity and contingency, with class consciousness and party organization as its core elements, which transcends the humanistic subject theory of realism and nominalism. 将青年卢卡奇定性为“人本主义者”的传统观点,由于缺乏对“人本主义是什么”这一问题的清晰界定以及忽略《历史与阶级意识》成书的历史背景,导致其将人本主义错认为青年卢卡奇的理论问题式,并未能察明卢卡奇在人本主义思想上的二律背反性质,因而几近一种强制阐释。事实上,在对人本主义的定义进行重新考察后可知,青年卢卡奇不应被称为“人本主义者”。第一,卢卡奇对在哲学和美学上对费尔巴哈和席勒、谢林的人本主义进行了批判。他抨击了人本主义辩证法在理论出发点和手段上的错误,但没能在目的论上区分人本主义审美理想与马克思主义审美理想。第二,卢卡奇在历史必然性与偶然性的辩证法维度上,尝试建构的以阶级意识和政党组织为核心内容的马克思列宁主义主体观,超越了实在论与唯名论的人本主义主体理论。

민중미술; 「원시(原始)를 꿈꾸다」, 바타이유(G. Bataille)와 루카치(G. Lukacs) 사상으로 접목 고찰

김현화 ( Hyun Wha Kim ) 미술사와 시각문화학회 2011 미술사와 시각문화 Vol.10 No.-

In 1980`s, Korean painters such as Kim Jung-heun, Kim Kyong-in, Son Jang-sup, Joo Jae-hwan, Oh Yoon, Lim Ok-Sang, Lee Jong-Gu, who witnessed Gwangju Massacre in May 1980, began to represent these terrible scenes in their arts. The movement is called ``Minjung Art``. This research explores the characteristics and meanings of the Minjoong Art, primarily considering the relationship between art and Korean political situation in the 80`s. Korea has depended on and been protected by the world superpower America after its liberation from Japan by the aid of American military force. This situation has deeply affected Korean people that they have identified Americanization with capitalism, industrialization, and modernization. Minjung Artists thought that Korea has become a new colony of American economy, culture, art and politics. That is why Minjung Art was strongly motivated by the anti-colonial, and anti-American ideas. Minjung Art is a Socialist Art based on the Marx-Lenin theories. As such, it has its root in the philosophy of Gyogy Lukacs. In this paper, I attempt to illuminate the theoretical relationship between the Gyogy Lukacs, Georges Bataille and Minjung Art. Gyogy Lukacs, an influential literary and art critic of the twentieth century, was a Post-Marxist who pointed out the capability of Realist Art to confront an objective reality that exists in the world. Georges Bataille, a French writer, economist, and sociologist, was a member of the extremely influential ``College of Sociology`` in France. For them, work was the foundation for knowledge and ration. In the primitive times, Art was a work. Bataille believed that the making of tools and weapons was the departure point for that early faculty of ration, which humanized the animals we once had been. It is obviously work that made him a human being, the reasonable animal we are. Bataille thought that if it is true that work is our origin, if it is true that work is the key to humanity, human beings would eventually distance themselves completely from animality through work. Minjung Art did not aim at the revolution of social reality but to be an ideological art seeking for the reforms of the society that grants freedom for the people.

역사적,철학적 소설미학의 역사성과 현재성 -G. 루카치의 『소설의 이론』을 중심으로

김경식 ( Kyong Sig Kim ) 한국브레히트학회 2006 브레히트와 현대연극 Vol.15 No.-

Die vorliegende Arbeit ist eine Art Einleitung zur Monografie uber die Theorie des Romans von Georg Lukacs. Im allgemeinen wird anerkannt, dass die Theorie des Romans ein `klassisches` Buch als theoretisch-asthetischer Diskurs uber den modernen Roman ist. Ungeachtet Lukacs` einiger geschichtsphilosophischer oder klassizistischer Bestimmungen, die ihre Unzulanglichkeit am neueren Roman erweisen, ist es der The-orie des Romans gelungen, eine Begrundung fur den Aufstieg des Romans zur repra-sentativen Gattung der Moderne zu geben, die spater H. Marcuse, W. Benjamin, Th. W. Adorno, L. Goldmann u.a. theoretisch inspiriert. Eigentlich war die Theorie des Romans als Einleitungskapitel zu einem asthetisch-geschichtsphilosophischen Werk uber Dostojewsky geschrieben, den junger Lukacs als Kunder eines neuen Menschen, als Gestalter einer neuen Welt, als Finder und als Wiederfinder einer neu-alten Form, einer erneuten Form der Epopoe angebetet hatte. Also kann man sagen, dass dieses Buch von der Sehnsucht nach den neuen Menschen und der neuen Welt beherrscht ist. Und der Wesenszug dieser Sehnsucht ist als romantischer Antikapitalismus bestimmbar, dessen Schwachen und Grenzen vor allem in dem Begriff der Kutur, der dem Begriff der Zivilisation gegenubersteht, deutlich sichtbar sind.

사물화와 대상성 - 사회형태의 비판과 사회학

서동진 비판사회학회 2023 경제와 사회 Vol.- No.140

It marks the centennial anniversary of the publication of Lukacs’ History and Class Consciousness. In this article, we will suggest a new approach into this work which decisively contributed to the birth of critical theory. We try to read the work as the project of unwittingly spawning the negation of sociology. Employing the sociology of meaning and interpretation based on the philosophical ideas of neo-Kantianism and Lebensphilosophie, the early classical sociology of M. Weber and G. Simmel attempted to establish a science of society with independent rationality and laws distinct from natural science. Lukács regarded this separation of economy and society as corresponding to the philosophical problems(thing in itself, subject and object) introduced by neo-Kantian philosophy. And he sought to reframe historical materialism by appropriating the concepts of meaning, objectivity, and form of the Neo-Kantian Southwest School, especially Rask, and rejecting the fundamental antinomy that constitutes sociology through Marx’s theory of materialism. In that sense, Lukacs’s essay “Reification and the Consciousness of the Proletariat” could be counted as the rare case of the critique of sociology. To unriddle this, we will refer to recent achievements in the new reading of Lukacs, which shed light on hitherto overlooked the influence of neo-Kantianism on Lukać s. And we would like to distance from the prevailing readings around this work, that is, the arguments that it is restricted to the theory of subjectivity saturated with anthropocentric Marxism. In particular, we will try to rediscover the significance of Lukács’s analysis, which appropriates commodity fetishism as a reification that is the form of objectivity and subjectivity that corresponds to it and posits the commodity as the basic form of objectivity in capitalist society.