Podcast appearances and mentions of georg luk

Who else in literature today could be more interesting to interview than Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans, as well as the author of popular reviews and the sweater weather Substack? We talked about so much, including: Chopin and who plays him best; why there isn't more tennis in fiction; writing fiction on a lab bench; being a scientific critic; what he has learned working as a publisher; negative reviews; boring novels; Jane Austen. You'll also get Brandon's quick takes on Iris Murdoch, Jonathan Franzen, Lionel Trilling, György Lukács, and a few others; the modern critics he likes reading; and the dead critics he likes reading.Brandon also talked about how his new novel is going to be different from his previous novels. He told me:I no longer really want to be starting my books, quote unquote, in media res. I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation.I have enjoyed Brandon's fiction (several people I recommend him to have loved Real Life) and I think he's one of the best critics working today. I was delighted to interview him.Oh, and he's a Dickens fan!Transcript (AI produced, lightly formatted by me)Henry: Today I am talking to Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans. Brandon is also a notable book reviewer and of course he writes a sub stack called Sweater Weather. Brandon, welcome.Brandon: Yeah, thanks for having me.Henry: What did you think of the newly discovered Chopin waltz?Brandon: Um, I thought, I mean, I remember very vividly waking up that day and there being a new waltz, but it was played by Lang Lang, which I did not. I don't know that, like, he's my go-to Chopin interpreter. But I don't know, I was, I was excited by it. Um, I don't know, it was in a world sort of dominated by this ethos of like nothing new under the sun. It felt wonderfully novel. I don't know that it's like one of Chopin's like major, I don't know that it's like major. Um, it's sort of definitively like middle of the road, middle tier Chopin, I think. But I enjoyed it. I played it like 20 times in a row.Henry: I like those moments because I like, I like it when people get surprised into realizing that like, it's not fixed what we know about the world and you can even actually get new Chopin, right?Brandon: I mean, it felt a little bit like when Beyonce did her first big surprise drop. It was like new Chopin just dropped. Oh my God. All my sort of classical music nerd group texts were buzzing. It felt like a real moment, actually.Henry: And I think it gives people a sense of what art was like in the past. You can go, oh my God, new Chopin. Like, yes, those feelings are not just about modern culture, right? That used to happen with like, oh my God, a new Jane Austen book is here.Brandon: Oh, I know. Well, I mean, I was like reading a lot of Emile Zola up until I guess late last year. And at some point I discovered that he was like an avid amateur photographer. And in like the French Ministry of Culture is like digitized a lot of his glass plate negatives. And one of them is like a picture that Zola has taken of Manet's portrait of him. And it's just like on a floor somewhere. Like he's like sort of taken this like very rickety early camera machinery to this place where this portrait is and like taken a picture of it. It's like, wow. Like you can imagine that like Manet's like, here's this painting I did of you. And Zola's like, ah, yes, I'm going to take a picture to commemorate it. And so I sort of love that.Henry: What other of his photos do you like?Brandon: Well, there's one of him on a bike riding toward the camera. That's really delightful to me because it like that impulse is so recognizable to me. There are all these photos that he took of his mistress that were also just like, you can like, there are also photographs of his children and of his family. And again, those feel so like recognizable to me. He's not even like a very good photographer. It's just that he was taking pictures of his like daily life, except for his kind of stunt photos where he's riding the bike. And it's like, ah, yes, Zola, he would have been great with an iPhone camera.Henry: Which pianists do you like for Chopin?Brandon: Which pianists do I love for Chopin? I like Pollini a lot. Pollini is amazing. Pollini the elder, not Pollini the younger. The younger is not my favorite. And he died recently, Maurizio Pollini. He died very recently. Maybe he's my favorite. I love, I love Horowitz. Horowitz is wonderful at Chopin. But it's obviously it's like not his, you know, you don't sort of go to Horowitz for Chopin, I guess. But I love his Chopin. And sometimes Trifonov. Trifonov has a couple Chopin recordings that I really, really like. I tend not to love Trifonov as much.Henry: Really?Brandon: I know it's controversial. It's very controversial. I know. Tell me why. I, I don't know. He's just a bit of a banger to me. Like, like he's sort of, I don't know, his playing is so flashy. And he feels a bit like a, like a, like a keyboard basher to me sometimes.Henry: But like, do you like his Bach?Brandon: You know, I haven't done a deep dive. Maybe I should do a sort of more rigorous engagement with Trifonov. But yeah, I don't, he's just not, he doesn't make my heart sing. I think he's very good at Bach.Henry: What about a Martha Argerich?Brandon: Oh, I mean, she's incredible. She's incredible. I bought that sort of big orange box out of like all of her, her sort of like masterwork recordings. And she's incredible. She has such feel for Chopin. But she doesn't, I think sometimes people can make Chopin feel a little like, like treacly, like, like a little too sweet. And she has this perfect understanding of his like rhythm and his like inner nuances and like the crispness in his compositions. Like she really pulls all of that out. And I love her. She has such, obviously great dexterity, but like a real sort of exquisite sensitivity to the rhythmic structures of Chopin.Henry: You listen on CD?Brandon: No, I listen on vinyl and I listen on streaming, but mostly vinyl. Mostly vinyl? Yeah, mostly vinyl. I know it's very annoying. No, no, no, no, no.Henry: Which, what are the good speakers?Brandon: I forget where I bought these speakers from, but I sort of did some Googling during the pandemic of like best speakers to use. I have a U-Turn Audio, U-Turn Orbital record player. And so I was just looking for good speakers that were compatible and like wouldn't take up a ton of space in my apartment because I was moving to New York and had a very tiny, tiny apartment. So they're just from sort of standard, I forget the brand, but they've served me well these past few years.Henry: And do you like Ólafsson? He's done some Chopin.Brandon: Who?Henry: Víkingur Ólafsson. He did the Goldbergs this year, but he's done some Chopin before. I think he's quite good.Brandon: Oh, that Icelandic guy?Henry: Yeah, yeah, yeah. With the glasses? That's right. And the very neat hair.Brandon: Yes. Oh, he's so chic. He's so chic. I don't know his Chopin. I know his, there's another series that he did somewhat recently that I'm more familiar with. But he is really good. He has good Beethoven, Víkingur.Henry: Yeah.Brandon: And normally I don't love Beethoven, but like—Henry: Really? Why? Why? What's wrong with Beethoven? All these controversial opinions about music.Brandon: I'm not trying to have controversial opinions. I think I'm, well, I'm such a, I'm such, I mean, I'm just like a dumb person. And so like, I don't, I don't have a really, I feel like I don't have the robust understanding to like fully appreciate Beethoven and all of his sort of like majesty. And so maybe I've just not heard good Beethoven and I need to sort of go back and sort of get a real understanding of it. But I just tend not to like it. It feels like, I don't know, like grandma's living room music to me sometimes.Henry: What other composers do you enjoy?Brandon: Oh, of course.Henry: Or other music generally, right?Brandon: Rachmaninoff is so amazing to me. There was, of course, Bach. Brahms. Oh, I love Brahms, but like specifically the intermezzi. I love the intermezzi. I recently fell in love with, oh, his name is escaping me now, but he, I went to a concert and they sort of did a Brahms intermezzi. And they also played this, I think he was an Austrian composer. And his music was like, it wasn't experimental, but it was like quite, I had a lot of dissonance in it. And I found it like really interesting and like really moving actually. And so I did a sort of listening to that constantly. Oh, I forget his name. But Brahms, Chopin, Rachmaninoff, love Rachmaninoff. I have a friend who says that Rachmaninoff writes Negro spirituals. And I love that theory that Rachmaninoff's music is like the music of the slaves. It just, I don't know. I really, that really resonates with me spiritually. Which pieces, which Rachmaninoff symphonies, concertos? Yeah, the concertos. But like specifically, like I have a friend who said that Rach II sounded to her like the sort of spiritual cry of like the slaves. And we were at like a hangout with like mostly Black people. And she like stopped playing like Juvenile, like the rapper. And she put on Rach II. And we just like sat there and listened. And it did feel like something powerful had entered the room. Yeah, but he's my guy. I secretly really, really love him. I like Liszt, but like it really depends on the day and the time for him. He makes good folk music, Liszt. I love his folky, his folk era.Henry: What is it that you enjoy about tennis?Brandon: What do I enjoy about tennis? I love the, I love not thinking. I love being able to hit the ball for hours on end and like not think. And like, it's the one part of my life. It's the one time in my life where my experience is like totally unstructured. And so like this morning, I went to a 7am drill and play class where you do drills for an hour. Then you play doubles for an hour. And during that first hour of drills, I was just like hitting the ball. I was at the mercy of the guy feeding us the ball. And I didn't have a single thought about books or literature or like the status of my soul or like the nature of American democracy. It was just like, did I hit that ball? Well, did I hit it kind of off center? Were there tingles in my wrist? Yes or no. Like it was just very, very grounding in the moment. And I think that is what I love about it. Do you like to watch tennis? Oh, yeah, constantly. Sometimes when I'm in a work meeting, the Zoom is here and the tennis is like playing in the background. Love tennis, love to watch, love to play, love to think about, to ponder. Who are the best players for you? Oh, well, the best players, my favorite players are Roger Federer, Serena Williams, Stanislas Wawrinka, love Wawrinka. And I was a really big Davydenko head back in the day. Nikolai Davydenko was this Russian player who had, he was like a metronome. He just like would not miss. Yeah, those are my favorites. Right now, the guy I'm sort of rooting for who's still active is Kasper Rud, who's this Norwegian guy. And I love him because he just looks like some guy. Like he just looks like he should be in a seminary somewhere. I love it. I love, I love his normalness. He just looks like an NPC. And I'm drawn to that in a tennis player.Henry: It's hard to think of tennis in novels. Why is that?Brandon: Well, I think a lot of people don't, well, I think part of it is a lot of novelists. Part of it is a lot of novelists don't play sports. I think that they, at least Americans, I can't speak for other parts of the world, but in America, a lot of novelists are not doing sports. So that's one. And I think two, like, you know, like with anything, I think that tennis has not been subjected to the same schemes of narrativization that like other things are. And so like it's, a lot of novelists just like don't see a sort of readily dramatizable thing in tennis. Even though if you like watch tennis and like listen to tennis commentary, they are always erecting narratives. They're like, oh yeah, she's been on a 19 match losing streak. Is this where she turns it around? And to me, tennis is like a very literary sport because tennis is one of those sports where it's all about the matchup. It's like your forehand to my backhand, like no matter how well I play against everyone else, like it's you and me locked in the struggle. And like that to me feels incredibly literary. And it is so tied to your individual psychology as well. Like, I don't know, I endlessly am fascinated by it. And indeed, I got an idea for a tennis novel the other day that I'm hopefully going to write in three to five years. We'll see.Henry: Very good. How did working in a lab influence your writing?Brandon: Well, somewhat directly and materially in the case of my first book, because I wrote it while I was working in the lab and it gave me weirdly like time and structure to do that work where I would be pipetting. And then while I was waiting for an assay or a experiment to run or finish, I would have 30 minutes to sit down and write.Henry: So you were writing like at the lab bench?Brandon: Oh, yeah, absolutely. One thousand percent. I would like put on Philip Glass's score for the hours and then just like type while my while the centrifuge was running or whatever. And and so like there's that impression sort of baked into the first couple books. And then I think more, I guess, like spiritually or broadly, it influenced my work because it taught me how to think and how to organize time and how to organize thoughts and how to sort of pursue long term, open ended projects whose results may or may not, you know, fail because of something that you did or maybe you didn't do. And that's just the nature of things. Who knows? But yeah, I think also just like discipline, the discipline to sort of clock in every day. And to sort of go to the coalface and do the work. And that's not a thing that is, you know. That you just get by working in a lab, but it's certainly something that I acquired working in a lab.Henry: Do you think it's affected your interest in criticism? Because there's there are certain types of critic who seem to come from a scientific background like Helen Vendler. And there's something something about the sort of the precision and, you know, that certain critics will refuse to use critical waffle, like the human condition. And they won't make these big, vague gestures to like how this can change the way we view society. They're like, give me real details. Give me real like empirical criticism. Do you think this is — are you one of these people?Brandon: Yeah, yeah, I think I'm, you know, I'm all about what's on the page. I'm all about the I'm not gonna go rooting in your biography for not gonna go. I'm not I'm not doing that. It's like what you brought to me on the page is what you've brought to me. And that is what I will be sort of coming over. I mean, I think so. I mean, very often when critics write about my work, or when people respond to my work, they sort of describe it as being put under a microscope. And I do think like, that is how I approach literature. It's how I approach life. If there's ever a problem or a question put to me, I just sort of dissect it and try to get down to its core bits and its core parts. And and so yeah, I mean, if that is a scientific way of doing things, that's certainly how I but also I don't know any other way to think like that's sort of that's sort of how I was trained to think about stuff. You've been to London. I have. What did you think of it? The first time I didn't love it. The second and third times I had a good time, but I felt like London didn't love me back. London is the only place on earth I've ever been where people have had a hard time understanding me like I like it's the only place where I've like attempted to order food or a drink or something in a store or a cafe or a restaurant. And the waiters like turned to my like British hosts and asked them to translate. And that is an entirely foreign experience for me. And so London and I have like a very contentious relationship, I would say.Henry: Now, you've just published four classic novels.Brandon: Yes.Henry: George Gissing, Edith Wharton, Victor Hugo and Sarah Orne Jewett. Why did you choose those four writers, those four titles?Brandon: Oh, well, once we decided that we were going to do a classics imprint, you know, then it's like, well, what are we going to do? And I'm a big Edith Wharton fan. And there are all of these Edith Wharton novels that Americans don't really know about. They know Edith Wharton for The Age of Innocence. And if they are an English major, they maybe know her for The House of Mirth. Or like maybe they know her for The Custom of the Country if they're like really into reading. But then they sort of think of her as a novelist of the 19th century. And she's writing all of these books set in the 1920s and about the 1920s. And so it felt important to show people like, oh, this is a writer who died a lot later than you think that she did. And whose creative output was, you know, pretty, who was like a contemporary of F. Scott Fitzgerald in a lot of ways. Like, these books are being published around the same time as The Great Gatsby. And to sort of, you know, bring attention to a part of her over that, like, people don't know about. And like, that's really exciting to me. And Sarah Orne Jewett, I mean, I just really love The Country of the Pointed Furs. I love that book. And I found it in like in a 10 cents bin at a flea market one time. And it's a book that people have tried to bring back. And there have been editions of it. But it just felt like if we could get two people who are really cool to talk about why they love that book, we could sort of have like a real moment. And Sarah Orne Jewett was like a pretty big American writer. Like she was a pretty significant writer. And she was like really plugged in and she's not really read or thought about now. And so that felt like a cool opportunity as well to sort of create a very handsome edition of this book and to sort of talk about a bit why she matters. And the guessing of it all is we were going to do New Grub Street. And then my co-editor thought, well, The Odd Women, I think, is perhaps more relevant to our current moment than New Grub Street necessarily. And it would sort of differentiate us from the people, from the presses that are doing reissues of New Grub Street, because there's just been a new edition of that book. And nobody in America really knows The Odd Women. And it's a really wonderful novel. It's both funny and also like really biting in its satire and commentary. So we thought, oh, it'll be fun to bring this writer to Americans who they've never heard of in a way that will speak to them in a lot of ways. And the Victor Hugo, I mean, you know, there are Hugos that people know all about. And then there are Hugos that no one knows about. And Toilers of the Sea was a passion project for my co-editor. She'd read it in Guernsey. That's where she first discovered that book. And it really meant a lot to her. And I read it and really loved it. I mean, it was like Hugo at his most Hugo. Like, it's a very, it's a very, like, it's a very abundant book. And it's so wild and strange and changeful. And so I was like, oh, that seems cool. Let's do it. Let's put out Toilers of the Sea. So that's a bit of why we picked each one.Henry: And what have you learned from being on the other side of things now that you're the publisher?Brandon: So much. I've learned so much. And indeed, I just, I was just asked by my editor to do the author questionnaire for the novel that I have coming out next. And I thought, yes, I will do this. And I will do it immediately. Because now I know, I know how important these are. And I know how early and how far in advance these things need to be locked in to make everyone's life easier. I think I've learned a bit about the sometimes panicked scramble that happens to get a book published. I've learned about how hard it is to wrangle blurbs. And so I think I'm a little more forgiving of my publishers. But they've always been really great to me. But now I'm like, oh, my gosh, what can I do for you? How can I help you make this publication more of a success?Henry: Do you think that among literary people generally, there's a lack of appreciation of what business really involves in some of the senses you're talking about? I feel like I see a lot of either indifferent or hostile attitudes towards business or commerce or capitalism, late stage capitalism or whatever. And I sometimes look at it and I'm like, I don't think you guys really know what it takes to just like get stuff done. You know what I mean? Like, it's a lot of grind. I don't think it's a big nasty thing. It's just a lot of hard work, right?Brandon: Yeah, I mean, 1000%. Or if it's not a sort of misunderstanding, but a sort of like disinterest in like, right, like a sort of high minded, like, oh, that's just the sort of petty grimy commerce of it all. I care about the beauty and the art. And it's just like, friend, we need booksellers to like, sell this. I mean, to me, the part of it that is most to me, like the most illustrative example of this in my own life is that when I first heard how my editor was going to be describing my book, I was like, that's disgusting. That's horrible. Why are you talking about my race? Why are you talking about like my sexuality? Like, this is horrible. Why can't you just like talk about the plot of the book? Like, what is the matter with you? And then I had, you know, I acquired and edited this book called Henry Henry, which is a queer contemporary retelling of the Henry ad. And it's a wonderful novel. It's so delightful. And I had to go into our sales conference where we are talking to the people whose job it is to sell that book into bookstores to get bookstores to take that book up. And I had to write this incredibly craven description of this novel. And as I was writing it, I was like, I hope Alan, the author, I hope Alan never sees this. He never needs to hear how I'm talking about this book. And as I was doing it, I was like, I will never hold it against my editor again for writing this like, cheesy, cringy copy. Because it's like you, like, you so believe in the art of that book, so much that you want it to give it every fighting chance in the marketplace. And you need to arm your sales team with every weapon of commerce they need to get that book to succeed so that when readers pick it up, they can appreciate all of the beautiful and glorious art of it. And I do think that people, you know, like, people don't really kind of, people don't really understand that. And I do think that part of that is publishing's fault, because they are, they've been rather quick to elide the distinctions between art and commerce. And so like publishing has done a not great job of sort of giving people a lot of faith in its understanding that there's a difference between art and commerce. But yeah, I think, I think there's a lot of misapprehension out there about like, what goes into getting bookstores to acquire that book.Henry: What are the virtues of negative book reviews?Brandon: I was just on a panel about this. I mean, I mean, hopefully a negative book review, like a positive review, or like any review, will allow a reader or the audience to understand the book in a new way, or to create a desire in the reader to pick up the book and see if they agree or disagree or that they, that they have something to argue with or push against as they're reading. You know, when I'm writing a negative review, when I'm writing a review that I feel is trending toward negative, I should say, I always try to like, I don't know, I try to always remember that like, this is just me presenting my experience of the book and my take of the book. And hopefully that will be productive or useful for whoever reads the review. And hopefully that my review won't be the only thing that they read and that they will in fact, go pick up the book and see if they agree or disagree. It's hopefully it creates interesting and potentially divergent dialogues or discourses around the text. And fundamentally, I think not every critic feels this way. Not every piece of criticism is like this. But the criticism I write, I'm trying to create the conditions that will refer the reader always back to the text, be it through quotation, be it through, they're so incensed by my argument that they're going to go read the book themselves and then like, yell at me. Like, I think that that's wonderful, but like, always keeping the book at the center. But I think a negative review can, you know, it can start a conversation. It can get people talking about books, which in this culture, this phase of history feels like a win. And hopefully it can sort of be a corrective sometimes to less genuine or perceived less genuine discourses that are existing around the book.Henry: I think even whether or not it's a question of genuine, it's for me, it's just a question of if you tell people this book is good and they give up their time and money and they discover that it's trash, you've done a really bad thing to that person. And like, there might be dozens of them compared to this one author who you've been impolite to or whatever. And it's just a question of don't lie in book, right?Brandon: Well, yeah. I mean, hopefully people are honest, but I do feel sometimes that there is, there's like a lack of honesty. And look, I think that being like, well, I mean, maybe you'll love this. I don't love it, you know, but at least present your opinion in that way. At least be like, you know, there are many interpretations of this thing. Here's my interpretation. Maybe you'll feel differently or something like that. But I do think that people feel that there have been a great number of dishonest book reviews. Maybe there have been, maybe there have not been. I certainly have read some reviews I felt were dishonest about books that I have read. And I think that the negative book review does feel a bit like a corrective in a lot of ways, both, you know, justified or unjustified. People are like, finally, someone's being honest about this thing. But yeah, I think it's interesting. I think it's all really, I think it's all fascinating. I do think that there are some reviews though, that are negative and that are trying to be about the book, but are really about the author. There are some reviews that I have read that have been ostensibly about reviewing a text, but which have really been about, you don't like that person and you have decided to sort of like take an axe to them. And that to me feels not super productive. I wouldn't do it, but other people find it useful.Henry: As in, you can tell that from the review or you know that from background information?Brandon: I mean, this is all projection, of course, but like there have been some reviews where I've read, like, for example, some of the Lauren Oyler reviews, I think some of the Lauren Oyler reviews were negative and were exclusively about the text. And they sort of took the text apart and sort of dissected it and came to conclusions, some of which I agreed with, some of which I didn't agree with, but they were fundamentally about the text. And like all the criticisms referred back to the text. And then there were some that were like projecting attitudes onto the author that were more about creating this sort of vaporous shape of Lauren Oyler and then sort of poking holes in her literary celebrity or her stature as a critic or what have you. And that to me felt less productive as like a book review.Henry: Yes. Who are your favorite reviewers?Brandon: Ooh, my favorite reviewers. I really love Christian Lawrence. And he does my, of the critics who try to do the sort of like mini historiography of like a thing. He's my favorite because he teaches me a lot. He sort of is so good at summing up an era or summing up a phase of literary production without being like so cringe or so socialist about it. I really love, I love it when he sort of distills and dissects an era. I really like Hermione Hobie. I think she's really interesting. And she writes about books with a lot of feeling and a lot of energy. And I really love her mind. And of course, like Patricia Lockwood, of course, everyone, perhaps not everyone, but I enjoy Patricia Lockwood's criticism. You don't?Henry: Not really.Brandon: Oh, is it because it's too chatty? Is it too, is it too selfie?Henry: A little bit. I think, I think that kind of criticism can work really well. But I think, I think it's too much. I think basically she's very, she's a very stylized writer and a lot of her judgments get, it gets to the point where it's like, this is the logical conclusion of what you're trying to do stylistically. And there are some zingers in here and some great lines and whatever, but we're no longer, this is no longer really a book review.Brandon: Yeah.Henry: Like by the, by the end of the paragraph, this, like, we didn't want to let the style go. We didn't want to lose the opportunity to cap that off. And it leads her into, I think, glibness a lot of the time.Brandon: Yeah. I could see that. I mean, I mean, I enjoy reading her pieces, but do I understand like what's important to her at a sort of literary level? I don't know. I don't, and in that sense, like, are they, is it criticism or is it closer to like personal essay, humorous essay? I don't know. Maybe that's true. I enjoy reading them, but I get why people are like, this is a very, very strong flavor for sure.Henry: Now you've been reading a lot of literary criticism.Brandon: Oh yeah.Henry: Not of the LRB variety, but of the, the old books in libraries variety. Yes. How did that start? How did, how did you come to this?Brandon: Somewhat like ham-fistedly. I, in 2021, I had a really bad case of writer's block and I thought maybe part of the reason I had writer's block was that I didn't know anything about writing or I didn't know anything about like literature or like writing. I'd been writing, I'd published a novel. I was working on another novel. I'd published a book of stories, but like, I just like truly didn't know anything about literature really. And I thought I need some big boy ideas. I need, I need to find out what adults think about literature. And so I went to my buddy, Christian Lorenzen, and I was like, you write criticism. What is it? And what should I read? And he gave me a sort of starter list of criticism. And it was like the liberal imagination by Lionel Trilling and Guy Davenport and Alfred Kazin who wrote On Native Grounds, which is this great book on the American literary tradition and Leslie Fiedler's Love and Death in the American Novel. And I, and then Edmund Wilson's Axel's Castle. And I read all of those. And then as each one would sort of refer to a different text or person, I sort of like followed the footnotes down into this rabbit hole of like literary criticism. And now it's been a sort of ongoing project of the last few years of like reading. I always try to have a book of criticism on the go. And then earlier this year, I read Jameson's The Antimonies of Realism. And he kept talking about this Georg Lukács guy. And I was like, I guess I should go read Lukács. And so then I started reading Lukács so that I could get back to Jameson. And I've been reading Lukács ever since. I am like deep down the Lukács rabbit hole. But I'm not reading any of the socialism stuff. I told myself that I wouldn't read any of the socialism stuff and I would only read the literary criticism stuff, which makes me very different from a lot of the socialist literary critics I really enjoy because they're like Lukács, don't read in that literary criticism stuff, just read his socialism stuff. So I'm reading all the wrong stuff from Lukács, but I really, I really love it. But yeah, it sort of started because I thought I needed grown up ideas about literature. And it's been, I don't know, I've really enjoyed it. I really, really enjoy it. It's given me perhaps terrible ideas about what novels should be or do. But, you know, that's one of the side effects to reading.Henry: Has it made, like, what specific ways has it changed how you've written since you've acquired a set of critical principles or ideas?Brandon: Yeah, I mean, I think part of it is, part of it has to do with Lukács' idea of the totality. And, you know, I think that the sort of most direct way that it shows up in a sort of really practical way in my novel writing is that I no longer really want to be starting my books, quote unquote, in media res. Like, I don't want, I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation and stuff like that. And so like that, that's sort of, that's sort of abstract, but like in a concrete way, like what I'm kind of trying to resolve in my novel writing these days.Henry: You mentioned Dickens.Brandon: Oh, yes.Henry: Which Dickens novels do you like?Brandon: Now I'm afraid I'm going to say something else controversial. We love controversial. Which Dickens? I love Bleak House. I love Bleak House. I love Tale of Two Cities. It is one of the best openings ever, ever, ever, ever in the sweep of that book at once personal and universal anyway. Bleak House, Tale of Two Cities. And I also, I read Great Expectations as like a high school student and didn't like it, hated it. It was so boring. But now coming back to it, I think it, honestly, it might be the novel of our time. I think it might accidentally be a novel. I mean, it's a novel of scammers, a novel of like, interpersonal beef taken to the level of like, spiritual conflict, like it's about thieves and class, like it just feels like like that novel could have been written today about people today, like that book just feels so alive to today's concerns, which perhaps, I don't know, says something really evil about this cultural stagnation under capitalism, perhaps, but I don't know, love, love Great Expectations now.Henry: Why are so many modern novels boring?Brandon: Well, depends on what you mean by boring, Henry, what do you mean? Why?Henry: I mean, you said this.Brandon: Oh.Henry: I mean, I happen to agree, but this is, I'm quoting you.Brandon: Oh, yes. I remember that. I remember that review.Henry: I mean, I can tell you why I think they're boring.Brandon: Oh, yes, please.Henry: So I think, I think what you said before is true. They all read like movies. And I think I very often I go in, I pick up six or seven books on the new book table. And I'm like, these openings are all just the same. You're all thinking you can all see Netflix in your head. This is not really a novel. And so the dialogue is really boring, because you kind of you can hear some actor or actress saying it. But I can't hear that because I'm the idiot stuck in the bookshop reading your Netflix script. Whereas, you know, I think you're right that a lot of those traditional forms of storytelling, they like pull you in to the to the novel. And they and they like by the end of the first few pages, you sort of feel like I'm in this funny place now. And to do in media res, like, someone needs to get shot, or something, something weird needs to be said, like, you can't just do another, another standard opening. So I think that's a big, that's a big point.Brandon: Well, as Lukasz tells us, bourgeois realism has a, an unholy fondness for the, the average, the merely average, as opposed to the typical. And I think, yeah, a lot of it, a lot of why I think it's boring echoes you, I think that for me, what I find boring, and a lot of them is that it feels like novelists have abandoned any desire to, to have their characters or the novels themselves integrate the sort of disparate experiences within the novel into any kind of meaningful hole. And so there isn't this like sense of like things advancing toward a grander understanding. And I think a lot of it is because they've, they are writing under the assumption that like the question of why can never be answered. There can never be like a why, there can never be a sort of significance to anything. And so everything is sort of like evacuated of significance or meaning. And so you have what I've taken to calling like reality TV fiction, where the characters are just like going places and doing things, and there are no thoughts, there are no thoughts about their lives, or no thoughts about the things that they are doing, there are no thoughts about their experiences. And it's just a lot of like, like lowercase e events in their lives, but like no attempt to organize those events into any sort of meaningful hole. And I think also just like, what leads to a lot of dead writing is writers who are deeply aware that they're writing about themes, they're writing about themes instead of people. And they're working from generalities instead of particularities and specificities. And they have no understanding of the relationship between the universal and the particular. And so like, everything is just like, like beans in a can that they're shaking around. And I think that that's really boring. I think it's really tedious. Like, like, sure, we can we can find something really profound in the mundane, but like, you have to be really smart to do that. So like the average novelist is like better off like, starting with a gunshot or something like do something big.Henry: If you're not Virginia Woolf, it is in fact just mundane.Brandon: Indeed. Yeah.Henry: Is there too much emphasis on craft? In the way, in the way, in like what's valued among writers, in the way writers are taught, I feel like everything I see is about craft. And I'm like, craft is good, but that can just be like how you make a table rather than like how you make a house. Craft is not the guarantor of anything. And I see a lot of books where I think this person knows some craft. But as you say, they don't really have an application for it. And they don't. No one actually said to them, all style has a moral purpose, whether you're aware of it or not. And so they default to this like pointless use of the craft. And someone should say to them, like, you need to know history. You need to know tennis. You need to know business. You need to know like whatever, you know. And I feel like the novels I don't like are reflections of the discourse bubble that the novelist lives in. And I feel like it's often the continuation of Twitter by other means. So in the Rachel Kong novel that I think it came out this year, there's a character, a billionaire character who comes in near the end. And everything that he says or that is said about him is literally just meme. It's online billionaire meme because billionaires are bad because of all the things we all know from being on Twitter. And I was like, so you just we literally have him a character as meme. And this is the most representative thing to me, because that's maybe there's craft in that. Right. But what you've chosen to craft is like 28 tweets. That's pointless.Brandon: 28 tweets be a great title for a book, though, you have to admit, I would buy that book off the new book table. 28 tweets. I would. I would buy that. Yeah, I do think. Well, I think it goes both ways. I think it goes both ways. I somewhat famously said this about Sally Rooney that like she her books have no craft. The craft is bad. And I do think like there are writers who only have craft, who are able to sort of create these wonderfully structured books and to sort of deploy these beautiful techniques. And those books are absolutely dead. There's just like nothing in them because they have nothing to say. There's just like nothing to be said about any of that. And on the other hand, you have these books that are full of feelings that like would be better had someone taught that person about structure or form or had they sort of had like a rigorous thing. And I would say that like both of those are probably bad, like depending on who you are, you find one more like, like easier to deal with than the other. I do think that like part of why there's such an emphasis on craft is because not to sort of bring capitalism back in but you can monetize craft, you know what I mean? Like, craft is one of those things that is like readily monetizable. Like, if I'm a writer, and I would like to make money, and I can't sell a novel, I can tell people like, oh, how to craft a perfect opening, how to create a novel opening that will make agents pick it up and that will make editors say yes, but like what the sort of promise of craft is that you can finish a thing, but not that it is good, as you say, there's no guarantor. Whereas you know, like it's harder to monetize someone's soul, or like, it's harder to monetize like the sort of random happenstance of just like a writer's voice sort of emerging from from whatever, like you can't turn that into profit. But you can turn into profit, let me help you craft your voice. So it's very grind set, I think craft has a tendency to sort of skew toward the grind set and toward people trying to make money from, from writing when they can't sell a book, you know. Henry: Let's play a game. Brandon: Oh dear.Henry: I say the name of a writer. You give us like the 30 second Brandon Taylor opinion of that writer.Brandon: Okay. Yeah.Henry: Jonathan Franzen.Brandon: Thomas Mann, but like, slightly more boring, I think.Henry: Iris Murdoch.Brandon: A friend of mine calls her a modern calls her the sort of pre Sally Rooney, Sally Rooney. And I agree with that.Henry: When I'm at parties, I try and sell her to people where I say she's post-war Sally Rooney.Brandon: Yes, yes. And like, and like all that that entails, and so many delightful, I read all these like incredible sort of mid century reviews of her novels, and like the men, the male critics, like the Bernard Breganzis of the world being like, why is there so much sex in this book? It's amazing. Please go look up those like mid-century reviews of Iris Murdoch. They were losing their minds. Henry: Chekhov.Brandon: Perfect, iconic, baby girl, angel, legend. Can't get enough. 10 out of 10.Henry: Evelyn Waugh.Brandon: So Catholic, real Catholic vibes. But like, scabrously funny. And like, perhaps the last writer to write about life as though it had meaning. Hot take, but I'll, I stand by it.Henry: Yeah, well, him and Murdoch. But yeah, no, I think I think there's a lot in that. C.V. Wedgwood.Brandon: Oh, my gosh. The best, a titan, a master of history. Like, oh, my God. I would not be the same without Wedgwood.Henry: Tell us which one we should read.Brandon: Oh, the 30 Years War. What are you talking about?Henry: Well, I think her books on the English Civil War… I'm a parochial Brit.Brandon: Oh, see, I don't, not that I don't, I will go read those. But her book on the 30 Years War is so incredible. It's, it's amazing. It's second to like, Froissart's Chronicles for like, sort of history, history books for me.Henry: Northrop Frye.Brandon: My father. I, Northrop Frye taught me so much about how to see and how to think. Just amazing, a true thinker in a mind. Henry: Which book? Brandon: Oh, Anatomy of Criticism is fantastic. But Fearful Symmetry is just, it will blow your head off. Just amazing. But if you're looking for like, to have your, your mind gently remapped, then Anatomy of Criticism.Henry: Emma Cline.Brandon: A throwback. I think she's, I think she's Anne Beattie meets John Cheever for a new era. And I think she's amazing. She's perfect. Don't love her first novel. I think her stories are better. She's a short story writer. And she should stay that way.Henry: Okay, now I want you to rank Jane Austen's novels.Brandon: Wait, okay. So like, by my preference, or by like, what I think is the best?Henry: You can do both.Brandon: Okay. So in terms, my favorite, Persuasion. Then Mansfield Park. Sense and Sensibility. Pride and Prejudice. And then Emma, then Northanger Abbey. Okay.Henry: Now, how about for which ones are the best?Brandon: Persuasion. Pride and Prejudice. Mansfield Park. Emma,.Sense and Sensibility. Northanger Abbey.Henry: Why do people not like Fanny Price? And what is wrong with them?Brandon: Fanny Price is perfect. Fanny Price, I was just talking to someone about this last night at dinner. Fanny Price, she's perfect. First of all, she is, I don't know why people don't like her. She's like a chronically ill girl who's hot for her cousin and like, has deep thoughts. It seems like she would be the icon of literary Twitter for like a certain kind of person, you know? And I don't know why they don't like her. I think I'm, I am becoming the loudest Mansfield Park apologist on the internet. I think that people don't like Fanny because she's less vivacious than Mary Crawford. And I think that people are afraid to see themselves in Fanny because she seems like she's unfun or whatever. But what they don't realize is that like Fanny Price, Fanny Price has like a moral intelligence and like a moral consciousness. And like Fanny Price is one of the few Austen characters who actually argues directly and literally about the way the world is. Like with multiple people, like the whole, the whole novel is her sort of arguing about, well, cities are this and the country is this. And like, we need Parsons as much as we need party boys. Like, like she's arguing not just about, not just about these things like through the lens of like marriage or like the sort of marriage economy, but like in literal terms, I mean, she is so, she's like a moral philosopher. I love Fanny Price and she's so smart and so sensitive and so, and I guess like maybe it's just that people don't like a character who's kind of at the mercy of others and they view her as passive. When in fact, like a young woman arguing about the way the world should be, like Mary Crawford's, Mary Crawford's like kind of doing the above, not really, not like Fanny. But yeah, I love her. She's amazing. I love Fanny Price. And I also think that people love Margaret Hale from North and South. And I think that when people are saying they hate Fanny Price, what they're picturing is actually how Margaret Hale is. Margaret Hale is one of the worst heroines of a novel. She's so insufferable. She's so rude. She's so condescending. And like, she does get her comeuppance and like Gaskell does sort of bring about a transformation where she's actually able to sort of like see poor people as people first and not like subjects of sympathy. But Margaret is what people imagine Fanny is, I think. And we should, we should start a Fanny Price, like booster club. Henry, should we? Let's do it. It begins here. I just feel so strongly about her. I feel, I love, I love Fanny.Henry: She's my favorite of Austen's characters. And I think she is the most representative Austen character. She's the most Austen of all of them, right?Brandon: Yeah, I mean, that makes great deal of sense to me. She's just so wonderful. Like she's so funny and so observant. And she's like this quiet little girl who's like kind of sickly and people don't really like her. And she's kind of maybe I'm just like, maybe I just like see myself in her. And I don't mind being a sort of annoying little person who's going around the world.Henry: What are some good principles for naming literary characters?Brandon: Ooh, I have a lot of strong feelings about this. I think that names should be memorable. They should have like, like an aura of sort of literariness about them. I don't mean, I mean, taken to like hilarious extremes. It's like Henry James. Catherine Goodwood, Isabelle Archer, Ralph Touchett, like, you know, Henry had a stack pole. So like, not like that. But I mean, that could be fun in a modern way. But I think there's like an aura of like, it's a name that you might hear in real life, but it sort of add or remove, it's sort of charged and elevated, sort of like with dialogue. And that it's like a memorable thing that sort of like, you know, it's like, you know, memorable thing that sort of sticks in the reader's mind. It is both a name, a literary, a good literary name is both a part of this world and not of this world, I think. And, yeah, and I love that. I think like, don't give your character a name like you hear all the time. Like, Tyler is a terrible literary name. Like, no novel has ever, no good novel has ever had a really important character named Tyler in it. It just hasn't. Ryan? What makes a good sentence? Well, my sort of like, live and let live answer is that a good sentence is a sentence that is perfectly suited to the purpose it has. But I don't know, I like a clear sentence, regardless of length or lyric intensity, but just like a clear sentence that articulates something. I like a sentence with motion, a sense of rhythm, a sense of feel without any bad words in it. And I don't mean like curse words, I mean like words that shouldn't be in literature. Like, there's some words that just like don't belong in novels.Henry: Like what?Brandon: Squelch. Like, I don't think the word squelch should be in a novel. That's a gross word and it doesn't sound literary to me. I don't want to see it.Henry: I wouldn't be surprised if it was in Ulysses.Brandon: Well, yes.Henry: I have no idea, but I'm sure, I'm sure.Brandon: But so few of us are James Joyce. And that novel is like a thousand bodily functions per page. But don't love it. Don't love it.Henry: You don't love Ulysses?Brandon: No, I don't… Listen, I don't have a strong opinion, but you're not going to get me cancelled about Ulysses. I'm not Virginia Woolf.Henry: We're happy to have opinions of that nature here. That's fine.Brandon: You know, I don't have a strong feeling about it, actually. Some parts of it that I've read are really wonderful. And some parts of it that I have read are really dense and confusing to me. I haven't sort of given it the time it needs or deserves. What did you learn from reading Toni Morris? What did I learn? I think I learned a lot about the moral force of melodrama. I think that she shows us a lot about the uses of melodrama and how it isn't just like a lesion of realism, that it isn't just a sort of malfunctioning realism, but that there are certain experiences and certain lives and certain things that require and necessitate melodrama. And when deployed, it's not tacky or distasteful that it actually is like deeply necessary. And also just like the joy of access and language, like the sort of... Her language is so towering. I don't know, whenever I'm being really shy about a sentence being too vivid or too much, I'm like, well, Toni Morrison would just go for it. And I am not Toni Morrison, but she has given me the courage to try.Henry: What did you like about the Annette Benning film of The Seagull?Brandon: The moment when Annette Benning sings Dark Eyes is so good. It's so good. I think about it all the time. And indeed, I stole that moment for a short story that I wrote. And I liked that part of it. I liked the set design. I think also Saoirse Ronan, when she gives that speech as Nina, where she's like, you know, where the guy's like, what do you want from, you know, what do you want? Why do you want to be an actress? And she's like, I want fame. You know, like, I want to be totally adored. And I'm just like, yeah, that's so real. That's so, that is so real. Like Chekhov has understood something so deep, so deep about the nature of commerce and art there. And I think Saoirse is really wonderful in that movie. It's a not, it's not a good movie. It's maybe not even a good adaptation of The Seagull. But I really enjoyed it. I saw it like five times in a theater in Iowa City.Henry: I don't know if it's a bad adaptation of The Seagull, because it's one of the, it's one of the Chekhov's I've seen that actually understands that, like, the tragic and the and the comic are not meant to be easily distinguishable in his work. And it does have all this lightheartedness. And it is quite funny. And I was like, well, at least someone's doing that because I'm so sick of, like, gloomy Chekhov. You know what I mean? Like, oh, the clouds and the misery. Like, no, he wants you, he wants you to laugh and then be like, I shouldn't laugh because it's kind of tragic, but it's also just funny.Brandon: Yeah. Yes, I mean, all the moments were like, like Annette Bening's characters, like endless stories, like she's just like constantly unfurling a story and a story and a story and a story. Every scene kind of was like, she's in the middle of telling another interminable anecdote. And of course, the sort of big tragic turn at the end is like, where like, Kostya kills himself. And she's like, in the middle of like, another really long anecdote while they're in the other room playing cards. Like, it's so, it's so good. So I love that. I enjoy watching that movie. I still think it's maybe not. It's a little wooden, like as a movie, like it's a little, it's a little rickety.Henry: Oh, sure, sure, sure, sure. But for someone looking to like, get a handle on Chekhov, it's actually a good place to go. What is the best make of Fountain Pen?Brandon: That's a really good, that's a really, really, really good question. Like, what's your Desert Island Fountain Pen? My Desert Island Fountain Pen. Right now, it's an Esterbrook Estee with a needlepoint nib. It's like, so, I can use that pen for hours and hours and hours and hours. I think my favorite Fountain Pen, though, is probably the Pilot Custom 743. It's a really good pen, not too big, not too small. It can hold a ton of ink, really wonderful. I use, I think, like a Soft Fine nib, incredible nib, so smooth. Like, I, you could cap it and then uncap it a month later, and it just like starts immediately. It's amazing. And it's not too expensive.Henry: Brandon Taylor, thank you very much.Brandon: Thanks for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Matt McManus and Daniel Tutt join Ben Burgis to talk about Marxist theoretician Georg Lukács's analysis of right-wing thought in his book, "The Destruction of Reason."Preorder Ben's pamphlet "Four Essays on Palestine" from Everyday Analysis:https://everyday-analysis.sellfy.store/p/four-essays-on-palestine-by-ben-burgis-print-and-digital-edition/Read Daniel's article on Lukács:https://cosmonautmag.com/2022/02/the-question-of-worldview-and-class-struggle-in-philosophy-on-the-relevance-of-lukacss-worldview-marxism-and-the-destruction-of-reason/Read Matt's article on Lukács:https://jacobin.com/2023/09/georg-lukacs-irrationalism-right-wing-thought-philosophyFollow Matt on Twitter: @MattPolProfFollow Daniel on Twitter: @DanielTuttFollow Ben on Twitter: @BenBurgisFollow GTAA on Twitter: @Gtaa_ShowBecome a GTAA Patron and receive numerous benefits ranging from patron-exclusive postgames every Monday night to our undying love and gratitude for helping us keep this thing going:patreon.com/benburgisRead the weekly philosophy Substack:benburgis.substack.comVisit benburgis.com

Wer unsere Arbeit mit einer Spende unterstützen will, kann dies per PayPal tun: paypal.me/hellepanke Likes, Abos und ein Besuch auf www.helle-panke.de unterstützen uns ebenso. Den Newsletter mit unserem Wochenprogramm gibt es hier: www.helle-panke.de/de/topic/22.newsletter.html Aufzeichnung vom 18. Oktober 2023, aus der Kopenhagener Str. 9 in Berlin 1. Tag der Konferenz "1923 – Sattelzeit der Revolution. Umbrüche in Politik, Kultur und radikaler Gesellschaftskritik" (3 Panels) 3. Panel. 100 Jahre Geschichte und Klassenbewußtsein. Zum Werk Begrüßung: Dimitra Alifieraki Diskussion: Dr. Karl Lauschke und Dr. Rüdiger Dannemann Vor hundert Jahren, 1923, veröffentlichte Georg Lukács sein epochales Werk "Geschichte und Klassenbewußtsein". 2023 publizierte Karl Lauschke eine umfangreiche Monographie zu Georg Lukács, Titel: „Die Gegenwart als Werden erfassen“. Inhalt, politischer Kontext und Rezeption von Georg Lukács´ Geschichte und Klassenbewusstsein“. Seine von der Sorgfalt des Historikers geprägte Studie verdient aus unterschiedlichen Gründen unsere Aufmerksamkeit. Zunächst: Manche glauben, die Geschichte von „Geschichte und Klassenbewußtsein“ sei inzwischen auserzählt. Karl Lauschkes Studie beweist das Gegenteil. Im Gespräch mit dem Philosophen Rüdiger Dannemann, dem Vorsitzenden der Internationalen Georg Lukács Gesellschaft, soll in einem "Werkstattgespräch" ausgelotet werden, welche Engführungen und Irrtümer die bisherige Wirkungsgeschichte aufweist und welche neuen Wege die Lukács-Rezeption in Zukunft gehen sollte. Dr. Karl Lauschke, Privatdozent am Otto-Suhr-Institut der Freien Universität Berlin, Lehrstuhlvertretungen in Münster, Göttingen Dortmund, heute freiberuflicher Historiker. 2023 publizierte er die umfangreiche Monographie zu Georg Lukács „Die Gegenwart als Werden erfassen“. Inhalt, politischer Kontext und Rezeption von Georg Lukács´"Geschichte und Klassenbewusstsein“. Dr. Rüdiger Dannemann, Vorsitzender der Internationalen Georg-Lukács-Gesellschaft und Herausgeber des Lukács-Jahrbuchs sowie der Lukács-Werkausgabe in Einzelbänden. Aktuelle Veröffentlichungen: (zusammen mit Axel Honneth), Ästhetik, Marxismus, Ontologie. Ausgewählte Texte, 2021; Georg Lukács, Geschichte und Klassenbewußtsein. Faksimile des Arbeitsexemplars. Mit Transkriptionen und Erläuterungen der Lukács-Marginalien von Rüdiger Dannemann, 2023; Georg Lukács, Zur Ontologie des gesellschaftlichen Seins. Die Entfremdung, 2024. Moderation: Dimitra Alifieraki

Wer unsere Arbeit mit einer Spende unterstützen will, kann dies per PayPal tun: paypal.me/hellepanke Likes, Abos und ein Besuch auf www.helle-panke.de unterstützen uns ebenso. Den Newsletter mit unserem Wochenprogramm gibt es hier: www.helle-panke.de/de/topic/22.newsletter.html Aufzeichnung vom 18. Oktober 2023, aus der Kopenhagener Str. 9 in Berlin 1. Tag der Konferenz "1923 – Sattelzeit der Revolution. Umbrüche in Politik, Kultur und radikaler Gesellschaftskritik" (3 Panels) 2. Panel:Die Marxistische Arbeitswoche Begrüßung: Peter Schulz Vorträge: Prof. Dr. Michael Buckmiller und Judy Slivi Die Marxistische Arbeitswoche war ein Treffen von Marxist_innen und Kommunist_innen, die sich Pfingsten 1923 in Geraberg bei Ilmenau trafen, um zu diskutieren, wie eine kritische Theorie der Gesellschaft aussehen könnte. Angesichts der Welle revolutionärer Erhebungen von 1917 bis 1923 in Europa, aber auch der zunehmenden Verringerung der Möglichkeit, Theorie frei innerhalb der kommunistischen Partei zu diskutieren, trafen sich die Anwesenden – unter ihnen Fukumoto Kazou, Karl Korsch, Georg Lukács, Friedrich Pollock, Felix Weil und Richard Sorge – und diskutierten die gerade erschienenen Schriften Lukács und Korschs. Seit 2022 beschäftigt sich damit das Projekt #100MAW von Arbeit und Leben Thüringen sowie der Rosa-Luxemburg-Stiftung Thüringen u.a. durch Veranstaltungen und mit einer von Michael Buckmiller konzipierten Ausstellung über Karl Korsch. Im Gespräch mit Volker Hinck (RLS Thüringen) führt Prof. Dr. Michael Buckmiller in die Marxistische Arbeitswoche ein, während Judy Slivi (Arbeit und Leben Thüringen) einen Blick auf die Biographien der dort anwesenden Frauen und ihre Arbeit wirft. Prof. Dr. Michael Buckmiller ist Politologe und lehrte bis 2008 am Institut für Politische Wissenschaft an der Universität Hannover. Er ist Herausgeber der historisch-kritischen Gesamtausgabe von Karl Korsch und der Gesammelten Schriften von Wolfgang Abendroth. Im Ruhestand widmete er sich seinen eigenen Forschungsprojekten sowie der Leitung des von ihm gegründeten Offizin-Verlages. Dort erschien – herausgegeben von ihm - im Januar 2023 die Erneuerung des Marxismus. Karl Korsch 1886-1961 u.a. mit Beiträgen aus dem Projekt #100JahreMAW. Judy Slivi wurde 1977 in Gotha geboren. Nach dem Studium der Soziologie in Jena, einem weiterem Studium der Archäologie in Halle/Saale und mehreren Auslandsaufenthalten kehrte sie 2010 nach Gotha zurück. Derzeit arbeitet sie als Projektleiterin bei Arbeit und Leben Thüringen e.V., einem der Träger von #100JahreMAW. Moderation: Peter Schulz

Not unlike the Paris Commune, the Hungarian Soviet Republic, which held power in that country for 133 heroic days in 1919, exerted influence through example in greater measure than its brief lease on life would suggest. Not only did it raise the profile and recast the soul of Georg Lukács, but in its own time, it was recognized as a failed example of communist revolution worth learning from. Soviet communism came to Hungary in the golden hour between the Bolshevik success, and that moment expectation of World Revolution was fully extinguished in the minds of communists everywhere. The Marxist politics of Hungary 1919 is our subject in this episode.

A relação dos filósofos com a política é muitas vezes complicada. Sócrates foi condenado à morte pelo júri de sua própria cidade; Platão se envolveu em várias intrigas ao tentar trazer à realidade seu Estado ideal; Guilherme de Ockham, na Idade Média, teve que buscar asilo político em Munique para ser protegido do poder papal; Georg Lukács chegou a ser preso por um breve período na URSS, e Martin Heidegger infelizmente aderiu ao nazismo.Curso "Introdução à filosofia - dos pré-socráticos a Sartre": https://www.udemy.com/course/introducao-a-filosofia-dos-pre-socraticos-a-sartre/?referralCode=51CAB762A412100AFD38Curso "A filosofia de Karl Marx - uma introdução": https://www.udemy.com/course/a-filosofia-de-karl-marx-uma-introducao/?referralCode=D0A85790C60A2D047A37Clube de leitura: https://www.youtube.com/watch?v=WWEjNgKjqqIApoia.se: seja um de nossos apoiadores e mantenha este trabalho no ar: https://apoia.se/filosofiavermelhaNossa chave PIX: filosofiavermelha@gmail.comAdquira meu livro: https://www.almarevolucionaria.com/product-page/pr%C3%A9-venda-duvidar-de-tudo-ensaios-sobre-filosofia-e-psican%C3%A1liseMeu site: https://www.filosofiaepsicanalise.orgEsta complicada relação não se deve às idiossincrasias dos filósofos. A própria natureza da atividade filosófica propicia este conflito com a política, e este é o tema deste episódio. As reflexões que apresentaremos baseiam-se nas elaborações de Hannah Arendt em seu texto Filosofia e Política, o qual é a terceira parte de uma palestra proferida em1954 sobre os problemas da teoria e da prática após a Revolução Francesa. Neste texto, Arendt reflete sobre a relação entre filosofia e política na Grécia antiga e também considera o papel aí ocupado pelo filósofo. Hosted on Acast. See acast.com/privacy for more information.

Auf der Weltklimakonferenz in Dubai wird nichts weniger verhandelt, als die Zukunft unseres Planeten. Das ist der Ausgangspunkt für Markus Lanz und Richard David Precht in dieser Folge, um dann gemeinsam zu überlegen, wie Menschen vor 100 Jahren in die Zukunft blickten. Richard David Precht berichtet, wie die Philosophie mit dem Veränderungsdruck der Vergangenheit umging, von Martin Heidegger bis Georg Lukács, der meinte: „Wir leben in einer transzendentalen Obdachlosigkeit.“ Ein Satz, der bis heute aktuell ist. Zum Schluss verrät Precht, ob er eher optimistisch oder pessimistisch in die Zukunft blickt.

Neste episódio apresentamos alguns dos principais temas da obra História e consciência de classe, de Georg Lukács (1885-1971). Publicada em 1923, a obra celebrou seu primeiro centenário em 2023, e nos ajuda a compreender questões fundamentais não apenas do nosso cotidiano, mas também dos últimos séculos.Curso "Introdução à filosofia - dos pré-socráticos a Sartre": https://www.udemy.com/course/introducao-a-filosofia-dos-pre-socraticos-a-sartre/?referralCode=51CAB762A412100AFD38Curso "A filosofia de Karl Marx - uma introdução": https://www.udemy.com/course/a-filosofia-de-karl-marx-uma-introducao/?referralCode=D0A85790C60A2D047A37Clube de leitura: https://www.youtube.com/watch?v=WWEjNgKjqqIApoia.se: seja um de nossos apoiadores e mantenha este trabalho no ar: https://apoia.se/filosofiavermelhaNossa chave PIX: filosofiavermelha@gmail.comAdquira meu livro: https://www.almarevolucionaria.com/product-page/pr%C3%A9-venda-duvidar-de-tudo-ensaios-sobre-filosofia-e-psican%C3%A1liseMeu site: https://www.filosofiaepsicanalise.orgPor que as ciências, por exemplo, investigam fatias cada vez mais estreitas do real, perdendo a visão da totalidade? Ou qual a relação entre a burocracia – seja estatal ou corporativa – e o capitalismo? Quem nunca passou pela experiência de ser tratado como um número por um órgão do governo ou por um serviço de telemarketing? Tais aspectos podem ser explicados pela categoria de reificação, uma das principais tratadas nesta obra.Neste episódio vamos apresentar inicialmente um breve esboço biográfico de Lukács, e em seguida abordaremos alguns dos principais temas de sua obra, a saber: marxismo ortodoxo, consciência de classe e reificação. Hosted on Acast. See acast.com/privacy for more information.

Daniel Tutt looks to the philosophy of Georg Lukács and his critique of bourgeois irrationalism to explicate the role of intellectuals and worldviews in the class struggle. Read By: Allen Lanterman Intro Music: ворожное озеро Гроза vwqp remix Outro Music: We are Friends Forever performed by Felix Dzerzhinsky Guards Regiment.

In this episode Pamela and Laurie discuss the Trump indictment, DeSantis, and the conservative “resolution” to the crisis of neoliberalism through the Culture Wars. In our main segment, Platypus members from Vienna, Berlin, Melbourne and Chicago reflect on the Platypus panel, "A Century of Critical Theory: The Legacy of György Lukács,” (April 1st, 2023), the closing plenary of the 15th Platypus International Convention. The centenary marking the publication of his magnum opus, History and Class Consciousness: Studies in Marxist Dialectics (1923), offers the occasion to ask: What is the meaning of Lukács and HCC today? Over the last 100 years, various claims have been made of HCC. On the one hand, it is said to have inaugurated “Western Marxism” and set the foundation for the Critical Theory of the Frankfurt School. On the other, people have accused it of giving philosophical justifications for terroristic or opportunistic tendencies within Marxism–Leninism. We asked our panelists to consider the following: What is the relationship between political practice and theory that Lukács articulated in the revolutionary period of 1919–1925, based on his close reading of Lenin and Luxemburg? What in his critique of reification and defense of Marxist orthodoxy did the later Lukács disavow? What can we make of Lukács's legacy today? How have we received his investigation and elaboration of the problematic of Marxism? What are the essential issues raised for our time? "A Century of Critical Theory: The Legacy of György Lukács" Platypus 15th annual international Convention. Feat. Chris Cutrone, Andrew Feenberg, Mike Macnair Recording: https://youtu.be/K9Zfn2CZz_Y "The Politics of Critical Theory,” December 3rd, 2021, hosted by the New York City chapters of the Platypus Affiliated Society, feat. Jay Bernstein (New School); Jonathon Catlin (PhD student in history at Princeton University); Erin Hagood (Platypus Affiliated Society) https://www.youtube.com/live/pXgFDfJbgdM?feature=share “The Politics of Critical Theory,” April 3, 2021, Platypus Affiliated Society International Convention, with Chris Cutrone (Platypus Affiliated Society), Dennis Graemer (Association for the Design of History), Douglas Kellner (UCLA, author of Herbert Marcuse and the Crisis of Marxism), and Doug Lain (Zer0 Books). https://platypus1917.org/2021/10/01/the-politics-of-critical-theory-2/ “The Politics Of Critical Theory,” University of Vienna, 3rd annual Platypus European Conference, feat. Chris Cutrone(Platypus Affiliated Society); Martin Suchanek (Workers Power, Berlin); Haziran Zeller (Berlin) https://archive.org/details/platypus_politicscriticaltheoryeuroconferencevienna021717_2/platypus_politicscriticaltheoryeuroconferencevienna021717_1.MP3 “The Politics of Critical Theory,” Third Annual Platypus International Convention with Chris Cutrone, Andrew Feenberg, Richard Westerman, and Nicholas Brown (Platypus Review 37, July 2011). Edited transcript: https://platypus1917.org/2011/07/09/the-politics-of-critical-theory/ “Lukács' Marxism” a panel discussion organized by the Platypus Affiliated Society, held on March 19, 2011, at Left Forum, Pace University. https://www.youtube.com/watch?v=9164kAaFTPI&ab_channel=PlatypusAffiliatedSociety Marco Torres, “Politics as a Form of Knowledge: A Brief Introduction to Georg Lukács” Platypus Review #1 (November 2007) https://platypus1917.org/2007/11/01/politics-as-a-form-of-knowledge-a-brief-introduction-to-georg-lukacs/ SPS on Spotify: open.spotify.com/show/4ftkDeIALI2l8k2A49OVcs on Apple Podcasts: podcasts.apple.com/us/podcast/sps/id1305502112 on Soundcloud: @platypus-affiliated-society on IG: @shitplatypussays SPS is hosted by Andreas W. & Pamela N., with original tracks by Tamas Vilaghy, and editing assistance by Michael Woodson and Tamas Vilaghy. Our Sh-t Platypus Does team is Lisa M. and Rebekah P. To learn more about Platypus, go to platypus1917.org

O mês de junho de 2013 foi, sem dúvida, um dos mais significativos da história política recente do Brasil. Uma onda de manifestações se espalhou por diversas cidades do País, levando centenas de milhares de pessoas às ruas. Dentre as diversas reivindicações apresentadas, destacaram-se aquelas por melhorias no transporte público, na educação, no sistema de saúde e por mais segurança.Curso "A filosofia de Karl Marx - uma introdução": https://www.udemy.com/course/a-filosofia-de-karl-marx-uma-introducao/?referralCode=D0A85790C60A2D047A37Curso "Introdução à filosofia - dos pré-socráticos a Sartre": https://www.udemy.com/course/introducao-a-filosofia-dos-pre-socraticos-a-sartre/?referralCode=51CAB762A412100AFD38Clube de leitura: https://www.youtube.com/watch?v=WWEjNgKjqqIApoia.se: seja um de nossos apoiadores e mantenha este trabalho no ar: https://apoia.se/filosofiavermelhaNossa chave PIX: filosofiavermelha@gmail.comAdquira meu livro: https://www.almarevolucionaria.com/product-page/pr%C3%A9-venda-duvidar-de-tudo-ensaios-sobre-filosofia-e-psican%C3%A1liseA reflexão que apresentamos neste episódio é baseada em um artigo de minha autoria e publicada no livro O que resta das jornadas de junho?, o qual pode ser encontrado gratuitamente na internet. Nosso aporte teórico conta com autores como Karl Marx, Friedrich Engels, Vladimir Lênin, Georg Lukács e Sigmund Freud. Vamos analisar como uma falsa consciência se manifestou nas jornadas de junho e fomentou todo o processo. Hosted on Acast. See acast.com/privacy for more information.

Wer unsere Arbeit mit einer Spende unterstützen will, kann dies per PayPal tun: paypal.me/hellepanke Likes, Abos und ein Besuch auf www.helle-panke.de helfen uns ebenso. Vielen Dank! Aufzeichnung vom 23. Februar 2023 100 Jahre "Geschichte und Klassenbewußtsein" Georg Lukács‘ schwieriges Verhältnis zu seinem philosophischen Meisterwerk. Rüdiger Dannemann im Gespräch mit Patrick Eiden-Offe Gleich nach seinem Erscheinen im Frühjahr 1923 sorgt Geschichte und Klassenbewußtsein für reichlich Unruhe und Debatte, es wird Inspirationsquelle im Umfeld kritisch-revolutionärer Theorie, zum Hassobjekt dogmatischer Orthodoxie. Heute ist es unbestritten ein Klassiker des 20. Jahrhunderts. Bis zu seinem Lebensende ringt der Autor um eine angemessene Positionierung zu seinem wirkungsmächtigsten Werk. Die jetzt erstmals in einer Faksimileausgabe des Originals publizierten Marginalien und Notizen sind Lukács‘ letzter Versuch einer Standortbestimmung, nicht aber das letzte Wort in der durch Geschichte und Klassenbewußtsein angestoßenen Debatte. Rüdiger Dannemann wird Lukács Anmerkungen und Notizen, seine verschiedenen Selbstkritiken und sein lebenslanges Ringen mit dem Werk vorstellen, anschließend gibt es ein Gespräch mit Patrick Eiden-Offe, der an einer Lukács Biographie arbeitet. Dr. Rüdiger Dannemann ist Mitbegründer und Vorsitzender der Internationalen Georg Lukács-Gesellschaft sowie Herausgeber des Lukács-Jahrbuchs und der Georg Lukács Werkauswahl in Einzelbänden, Georg Lukács, Ästhetik, Marxismus, Ontologie. Ausgewählte Texte. Frankfurt/M.: Suhrkamp 2021 (mit Axel Honneth). Im Februar 2023 gibt er Geschichte und Klassenbewußtsein als Faksimile des Hand- und Arbeitsexemplars von Georg Lukács heraus. PD. Dr. Patrick Eiden-Offe arbeitet am Leibniz Zentrum für Literatur- und Kulturforschung, hat 2017 Poesie der Klasse. Romantischer Antikapitalismus und die Erfindung des Proletariats und 2021 Hegels „Logik“ lesen: ein Selbstversuch veröffentlicht und arbeitet zurzeit an einer großen Lukács Biographie. Moderation: Dr. Frank Engster

Ein Jahrhundertbuch, das die «Philosophie der Praxis» tiefgreifend beeinflusste und einen Grundstein für den «westlichen Marxismus» (Perry Anderson) legte. Lukács publizierte die Aufsatzsammlung 1923, viele der Überlegungen des Buches wurden über die Jahrzehnte immer wieder aufgegriffen und von Autoren wie Jürgen Habermas oder Louis Althusser kritisch diskutiert. Es steht am Schnittpunkt von politischen Erfahrungen in der Rätebewegung Ungarns, Lukács´ Exil in Wien und Berlin und seiner langjährigen Arbeit als Literaturkritiker und Philosoph, der mit Georg Simmel, Max Weber oder Ernst Bloch bekannt war. Er nimmt Bezug auf Marx und Luxemburg aber auch auf Kant, Fichte oder Hegel; politische Themen wie Organisation und Klassenbewusstsein sind ebenso wichtig wie philosophische Begriffe wie Totalität, Dialektik oder Verdinglichung. Theoretisch ist für Lukács das Ziel, zu einer anspruchsvollen marxistischen Philosophie beizutragen, die er im Materialismus seiner Zeit nur unzulänglich ausgearbeitet findet. Politisch-philosophisch ist sein Ziel die klassenlose Gesellschaft. Dieses Ziel sieht er im Proletariat verkörpert. Es tritt die Nachfolge der bürgerlichen Klasse an und verwirklicht die große klassische Philosophie. Möglich ist dies, weil das Proletariat aufgrund der Tatsache, dass es mit seiner Arbeit die gegenständliche Welt erzeugt, die Möglichkeit hat, sie sich mit Bewusstsein anzueignen. Dem Proletariat kann gelingen, woran das Bürgertum scheitern muss: den Fetischcharakter der Waren- und Gegenständlichkeitsform zu durchdringen und die gesellschaftlichen Verhältnisse in ihrer Vermittlung und als Totalität zu erkennen. Handeln auf dem Niveau der Totalität stellt für Lukács die nächste Stufe in der Entwicklung der Menschheit dar. Grundlage ist die umfassende Erkenntnis all der gesellschaftlichen Vermittlungen und deren bewusste Gestaltung. Gesprächsgast ist in dieser Folge Rüdiger Dannemann. Er ist Mitbegründer und Vorsitzender der Internationalen Georg-Lukács-Gesellschaft und Autor zahlreicher Publikationen über Georg Lukács. Grafik: Porträt von Georg Lukács, @www.zersetzer.com

Se somos da posição de que o mundo precisa ser transformado, isso significa que chegamos a esta conclusão através de uma análise da presente situação e também das condições de possibilidade de tal mudança. Como levar, no entanto, a teoria à prática sem degenerar em pseudo-atividades políticas? Curso "A filosofia de Karl Marx - uma introdução": https://www.udemy.com/course/a-filosofia-de-karl-marx-uma-introducao/?referralCode=D0A85790C60A2D047A37Faça sua inscrição em nosso curso de introdução à filosofia: https://www.udemy.com/course/introducao-a-filosofia-dos-pre-socraticos-a-sartre/?referralCode=51CAB762A412100AFD38Clube de leitura: https://www.youtube.com/watch?v=WWEjNgKjqqIApoia.se: seja um de nossos apoiadores e mantenha este trabalho no ar: https://apoia.se/filosofiavermelhaNossa chave PIX: filosofiavermelha@gmail.comAdquira meu livro: https://www.almarevolucionaria.com/product-page/pr%C3%A9-venda-duvidar-de-tudo-ensaios-sobre-filosofia-e-psican%C3%A1liseUnir teoria e prática seria tão simples quanto seguir uma receita culinária? Existe um ponto em que a teoria se torna um entrave à prática? Ou pelo contrário, haveria também um ponto em que a prática é um entrave à teoria? Nossa reflexão contará com o aporte teórico de Karl Marx, Georg Lukács e Theodor Adorno. Hosted on Acast. See acast.com/privacy for more information.

Dr. Kókai Károly 1959-ben Budapesten született és tatabányán érettségizett. 1978-1981 között térképészként dolgozott. 1981 óta él Ausztriában. 1983-1988 között filozófiát és művészettörténetet tanult a Bécsi Egyetemen. 1988-1991 között Doktori tanulmányokat végzett a Bécsi Egyetemen. 1993 óta műkritikus osztrák és magyar folyóiratok számára. 1993-1997 Galerie Knoll munkatarsa. 1997-1999 között kutatási projektje: Georg Lukács und Wien 2002-2015 között dolgozott a Der Wiener Kreis Intézetben, a Bécsi Egyetem Finnugor Tanszék oktatója. 2004 óta vendégprofesszor a kolozsvári, Tartui, jyväskyläi, hamburgi és újvidéki egyetemeken. 2014-ben magyarságtudományi habilitálás a Bécsi Egyetemen. #oktató #Bécs #Ausztria #podcast 2010 Ausztriai Magyar kutató intézet alelnöke: https://oeius.univie.ac.at/m_veranst.html 2017. Nopress Kiadó megalapítása: http://nopress.at/umfeld http://nopress.at/ungarn/ https://www.szenttamas.rs/kontaktzona_2017_apr_12.html https://homepage.univie.ac.at/karoly.kokai/kokai_ll.html https://www.facebook.com/finnougristik http://www.nopress.at/wkwg20221020_21.pdf?fbclid=IwAR1MRIt6SDqB8JMsGYqsy1HUhd2qLujxE0o8nf79y7so3SWsOu8inQEGm4o https://www.youtube.com/watch?v=xIaK6eo6bZg https://www.youtube.com/watch?v=DO79aS5LzJY https://zkm.de/de/media/video/der-wiener-kreis-karoly-kokai 2023 január - február https://www.oeaw.ac.at/ikt/detail/events/jour-fixe-kulturwissenschaften-4 https://www.wienmuseum.at/de/veranstaltungen/veranstaltung/angelika-schnell-und-karoly-kokai-hrsg-bauhaus-und-wiener-kreis-24-01-2023-1830 https://ufind.univie.ac.at/de/search.html?filter=all&query=kokai --------

website en kaarten: www.felix-en-sofie.nl Emma Young is PhD studente aan de Rijksuniversiteit Groningen. Daarvoor behaalde ze haar bachelor taal en cultuurstudies aan de Universiteit Utrecht en een research master filosofie in Groningen. Ze schrijft haar proefschrift over de Hongaarse marxistische filosoof Georg Lukács en feminist standpoint theory. Verder is ze gespecialiseerd op het gebied van marxistische en feministische epistemologie, standpoint theory en epistemic injustice. Daarnaast brengt Young socialistische filosofie in de praktijk als lid van de internationale socialisten en door vakbondswerk aan de faculteit. Ook was ze betrokken bij studentenprotesten in Groningen voor de huisvesting van dakloze internationale studenten. Programma en redactie: Justin Klinkenberg.

Tanto Beethoven quanto Hegel nasceram no ano de 1770. Ambos compartilharam o mesmo Zeitgeist, e Georg Lukács afirma que, no período do idealismo alemão, a dialética “estava no ar”. Não é nenhuma coincidência, portanto, que a dialética marque presença também na estrutura das próprias músicas de Beethoven.Faça sua inscrição em nosso curso de introdução à filosofia: https://www.udemy.com/course/introducao-a-filosofia-dos-pre-socraticos-a-sartre/?referralCode=51CAB762A412100AFD38Apoia.se: seja um de nossos apoiadores e mantenha este trabalho no ar: https://apoia.se/filosofiavermelhaNossa chave PIX: filosofiavermelha@gmail.comAdquira meu livro: https://www.almarevolucionaria.com/product-page/pr%C3%A9-venda-duvidar-de-tudo-ensaios-sobre-filosofia-e-psican%C3%A1liseLudwig van Beethoven nasceu em 17 de dezembro de 1770, na cidade de Bonn, Reino da Prússia (atual Renânia do Norte, na Alemanha), na segunda metade de um século conturbado e de grandes transformações. Karl Marx afirma que nem sempre os períodos de grande florescimento artístico estão conformes ao desenvolvimento geral da sociedade, mas a época em que Beethoven desenvolveu seu trabalho foi testemunha de grandes revoluções também no campo social, e isso aparece refletido em sua obra. Hosted on Acast. See acast.com/privacy for more information.

György oder Georg, Luukatsch oder Lukaaaasch? Einigkeit über die Aussprache des aus Ungarn stammenden gleichnamigen Philosophen und Literaturwissenschaftlers konnte im akademischen Diskurs nie so recht hergestellt werden. Inhaltlich ist die Sache sehr viel klarer: Der Namensträger gilt als einer der wichtigsten und vor allem wirkmächtigsten marxistischen Denker des 20. Jahrhunderts, der die ästhetischen Aufbrüche der literarischen Avantgarden mit ihren formalen Experimenten vehement bekämpfte und seine marxistische Theorie des Realismus – Ironie der Geschichte! – ausgerechnet am Ideal des bürgerlichen Romans entwickelte. Für den feinsinnigen Psychologismus eines Arthur Schnitzler hatte die von ihm geprägte (in der sowjetischen Hemisphäre dereinst außerordentlich einflussreiche) Denkschule, wie für die gesamte Literatur des Fin de siècle, naturgemäß wenig übrig und lehnte dessen Werk mit der großen Geste ideologischer Selbstgewissheit als dekadent ab. Der Gruß, den Luukatsch – oder Lukaaaasch – dem international gefeierten Jubilar Schnitzler zum sechzigsten Geburtstag in der Roten Fahne vom 14. Mai 1922 nach Wien sandte, fällt denn auch wenig freundlich aus. Frank Riede liest ihn uns trotzdem vor.

Neste episódio fazemos uma breve crítica do filme Não olhe para cima (Don't look up), do diretor Adam McKay e com Leonardo DiCaprio no elenco. A obra coloca em debate principalmente a questão do negacionismo científico, mas não é este aspecto que mais nos interessa aqui. Queremos fazer uma meta-análise deste tipo de filme em geral, pois Don't look up é mais uma daquelas obras que têm como pano de fundo a destruição do planeta, uma catástrofe que acaba com a Terra ou que leva a sociedade atual à barbárie.Nossa pergunta então é: por que é mais fácil imaginar o fim do mundo do que o fim do capitalismo?Faça sua inscrição em nosso curso de introdução à filosofia: https://www.udemy.com/course/introducao-a-filosofia-dos-pre-socraticos-a-sartre/?referralCode=51CAB762A412100AFD38Ajude a manter este trabalho: https://apoia.se/filosofiavermelhaTrazemos em nossa reflexão o conceito de realismo capitalista, de Mark Fisher, e algumas contribuições de Georg Lukács e Theodor Adorno. See acast.com/privacy for privacy and opt-out information.

There is no more contentious and perennial issue in the history of modern Western thought than the vexed relationship between the genesis of an idea and its claim to validity beyond it. Can ideas or values transcend their temporal origins and overcome the sin of their original context, and in so doing earn abiding respect for their intrinsic merit? Or do they inevitably reflect them in ways that undermine their universal aspirations? Are discrete contexts so incommensurable and unique that the smooth passage of ideas from one to the other is impossible? Are we always trapped by the limits of our own cultural standpoints and partial perspectives, or can we somehow escape their constraints and enter into a fruitful dialogue with others? These persistent questions are at the heart of the discipline known as intellectual history, which deals not only with ideas, but also with the men and women who generate, disseminate, and criticize them. The essays collected in Genesis and Validity: The Theory and Practice of Intellectual History (University of Pennsylvania Press, 2021), by Martin Jay, one of the most recognized figures in the field, address them through engagement with leading intellectual historians—Hans Blumenberg, Quentin Skinner, Hayden White, Isaiah Berlin, Frank Ankersmit—as well other giants of modern thought—Max Weber, Emile Durkheim, Georg Simmel, Walter Benjamin, Theodor Adorno, and Georg Lukács. They touch on a wide variety of related topics, ranging from the heroism of modern life to the ability of photographs to lie. In addition, they explore the fraught connections between philosophy and theory, the truth of history and the truthfulness of historians, and the weaponization of free speech for other purposes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

There is no more contentious and perennial issue in the history of modern Western thought than the vexed relationship between the genesis of an idea and its claim to validity beyond it. Can ideas or values transcend their temporal origins and overcome the sin of their original context, and in so doing earn abiding respect for their intrinsic merit? Or do they inevitably reflect them in ways that undermine their universal aspirations? Are discrete contexts so incommensurable and unique that the smooth passage of ideas from one to the other is impossible? Are we always trapped by the limits of our own cultural standpoints and partial perspectives, or can we somehow escape their constraints and enter into a fruitful dialogue with others? These persistent questions are at the heart of the discipline known as intellectual history, which deals not only with ideas, but also with the men and women who generate, disseminate, and criticize them. The essays collected in Genesis and Validity: The Theory and Practice of Intellectual History (University of Pennsylvania Press, 2021), by Martin Jay, one of the most recognized figures in the field, address them through engagement with leading intellectual historians—Hans Blumenberg, Quentin Skinner, Hayden White, Isaiah Berlin, Frank Ankersmit—as well other giants of modern thought—Max Weber, Emile Durkheim, Georg Simmel, Walter Benjamin, Theodor Adorno, and Georg Lukács. They touch on a wide variety of related topics, ranging from the heroism of modern life to the ability of photographs to lie. In addition, they explore the fraught connections between philosophy and theory, the truth of history and the truthfulness of historians, and the weaponization of free speech for other purposes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

There is no more contentious and perennial issue in the history of modern Western thought than the vexed relationship between the genesis of an idea and its claim to validity beyond it. Can ideas or values transcend their temporal origins and overcome the sin of their original context, and in so doing earn abiding respect for their intrinsic merit? Or do they inevitably reflect them in ways that undermine their universal aspirations? Are discrete contexts so incommensurable and unique that the smooth passage of ideas from one to the other is impossible? Are we always trapped by the limits of our own cultural standpoints and partial perspectives, or can we somehow escape their constraints and enter into a fruitful dialogue with others? These persistent questions are at the heart of the discipline known as intellectual history, which deals not only with ideas, but also with the men and women who generate, disseminate, and criticize them. The essays collected in Genesis and Validity: The Theory and Practice of Intellectual History (University of Pennsylvania Press, 2021), by Martin Jay, one of the most recognized figures in the field, address them through engagement with leading intellectual historians—Hans Blumenberg, Quentin Skinner, Hayden White, Isaiah Berlin, Frank Ankersmit—as well other giants of modern thought—Max Weber, Emile Durkheim, Georg Simmel, Walter Benjamin, Theodor Adorno, and Georg Lukács. They touch on a wide variety of related topics, ranging from the heroism of modern life to the ability of photographs to lie. In addition, they explore the fraught connections between philosophy and theory, the truth of history and the truthfulness of historians, and the weaponization of free speech for other purposes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

A análise de Karl Marx sobre o fetichismo da mercadoria é uma das passagens de maior relevância filosófica em O capital. Esta reflexão se encontra na última seção do primeiro capítulo, sob o título de "O caráter fetichista da mercadoria e seu segredo".Faça sua inscrição em nosso curso de introdução à filosofia: https://www.udemy.com/course/introducao-a-filosofia-dos-pre-socraticos-a-sartre/?referralCode=51CAB762A412100AFD38Ajude a manter este podcast: https://apoia.se/filosofiavermelhaTomando este trecho como ponto de partida, Georg Lukács desenvolveu o conceito de "reificação", e a partir deste conceito surgiu o marxismo ocidental e a escola de Frankfurt.Para Marx, o misterioso caráter da forma-mercadoria consiste "simplesmente no fato de que a mercadoria reflete as características sociais do próprio trabalho dos homens como características objetivas dos próprios produtos do trabalho." Ela também reflete a relação social entre os produtores e a soma total de trabalho (Gesamtarbeit) como uma relação entre coisas, fora das relações sociais existentes. See acast.com/privacy for privacy and opt-out information.

Hey comrades! We're back with more swears, random Frankfurt School references, and messy book takes. In our Season 5 opener, UChicago PhD candidate, friend of the pod, and union organizer Josh Stadtner talks with us about Frank Norris's McTeague (1899), which is about an amateur dentist and his obsession with a concertina. We establish that Frank Norris was a frat douche and social Darwinist (yeesh), and that his having written in the late 19th/early 20th century is still not the slightest excuse for this. We talk about the scene in which a lady has some steamy naked times with a pile of money. This really happens in the novel and we did not make it up. We talk about teeth, money, the terrifying desert, and Freudian forms. We read the Norton Critical Edition with an introduction by Donald Pizer. We recommend you go back to a classic and read Georg Lukács's 1936 essay “Narrate or Describe?” to bone up on your “is naturalism good?” takes. Find us on Twitter, Instagram, and Facebook @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Josh on Twitter @joshstadtner, Tristan @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus.

Andreas Hardhaug Olsen is a writer, visiting The Cave to talk about the connection between Social Justice activism and «Critical Theory», an intellectual product of The Frankfurt School. He sits down with Tuv to discuss what happens to culture when «objectivity» is deemed an oppressive tool, and dissent is fiercely attacked - or at best dismissed as «false consciousness». «Wokeness» being a major threat to «creative freedom», knowledge of its principles and origin is fundamental to survival. Olsen also delves into the thinkers who originated this mentality, and how it is being employed. Hardhaug Olsen's Reading list: * Herbert Marcuse, Repressive Tolerance: https://www.marcuse.org/herbert/publications/1960s/1965-repressive-tolerance-fulltext.html * Herbert Marcuse, One-Dimenstional Man: https://www.akademika.no/one-dimensional-man/marcuse-herbert/9780415289771 * Georg Lukács, History and Class Consciousness: https://www.bokkilden.no/sosial-og-kulturhistorie/history-and-class-consciousness-georg-lukacs/produkt.do?produktId=2250341 * Martin Jay, The Dialectical Imagination: https://www.bokklubben.no/moderne-filosofi-etter-1800/the-dialectical-imagination-martin-jay/produkt.do?produktId=424096 * Thomas Sowell, The Quest for Cosmic Justice: https://www.adlibris.com/no/bok/the-quest-for-cosmic-justice-9780684864631 * F. A. Hayek, The Mirage of Social Justice: https://press.uchicago.edu/ucp/books/book/chicago/L/bo5970048.html * Helen Pluckrose & James Lindsay, Cynical Theories: https://www.tanum.no/_cynical-theories-helen-pluckrose-james-lindsay-9781800750043 The conversation was produced by Bork S. Nerdrum, with assistance from Sebastian Salvo. The centerpiece was a reproduction of Thomas Cole's painting "The Course of Empire - Destruction". SHOUTOUT to our TOP SPONSORS! Dean Anthony Fergus Ryan Anders Berge Christensen Stacey Evangelista Alastair Blain Shaun Roberts Michael Irish Sofia Xiang Peter Asinger Herman Borge Jack Entz Warner Tonelise Rugaas Yngve Hellan Would you like to get previews, bonus material and other benefits? Become a patron: https://patreon.com/caveofapelles/ Subscribe to our newsletter. It is the only way to make sure that you receive content from us on a regular basis: https://bit.ly/2L8qCNn Check out our other channels: https://www.youtube.com/c/SchoolofApelles https://www.youtube.com/c/CultureWarsNow Podcast available on SoundCloud, iTunes, and Spotify: https://soundcloud.com/caveofapelles https://spoti.fi/2AVDkcT https://apple.co/2QAcXD6 Visit our facebook page: https://www.facebook.com/caveofapelles Make sure to subscribe to our channel over at BitChute: https://www.bitchute.com/channel/caveofapelles/ For inquiries — talk@caveofapelles.com

Karl Marx e Friedrich Engels demonstram, em "A ideologia alemã", que o homem não pensa para depois entrar ou viver no mundo. Ele primeiro está no mundo, vivo, e só depois disso é que pensa. Neste episódio vamos apresentar algumas das ideias fundamentais dos autores sobre este revolucionário método de investigação e transformação da realidade que recebeu posteriormente o nome de "materialismo histórico".Faça sua inscrição em nosso curso de introdução à filosofia: https://www.udemy.com/course/introducao-a-filosofia-dos-pre-socraticos-a-sartre/?referralCode=51CAB762A412100AFD38Ajude a manter este podcast: https://apoia.se/filosofiavermelhaO filósofo húngaro Georg Lukács, em seu artigo "A mudança de função do materialismo histórico" (1919) na obra "História e consciência de classe", reflete sobre a função do materialismo histórico sob o socialismo. Até a revolução este era uma arma espiritual com a qual o proletariado sustentou sua luta, um método científico para compreender os acontecimentos do passado em sua essência verdadeira. Depois da vitória, no entanto, era necessário investigar sobre seu papel na nova sociedade.A tarefa principal do materialismo histórico é formular um juízo preciso sobre a ordem social capitalista e desvelar sua essência, não enquanto apenas teoria, mas também como ato, como um instrumento de luta a partir do qual o conhecimento da verdadeira essência da organização social capitalista leva o proletariado a agir de acordo com seus interesses de classe.Lukács define o materialismo histórico, em sua forma clássica, como "o autoconhecimento da sociedade capitalista", uma teoria da sociedade burguesa e de sua estrutura econômica. See acast.com/privacy for privacy and opt-out information.

Detta avsnitt av Radio Arbetarbildning utgår från Georg Lukács bok Förnuftets banemän och diskuterar den irrationalistiska världsåskådningen eller filosofin: från Nietzsche till nazismen och dagens postmodernism.   http://arbetarbildning.se/

After the deaths of Marx and Engels, socialists began taking up the important task of summarizing their work for popularization. In 1919, for example, Georg Lukács, the Hungarian Marxist, argued that the essence of Marx’s project is not the correctness or incorrectness of his many theses, but rather, his dialectical method. Stressing the significance of Marx’s method Lukács notes that it is a “weapon” of the proletariat and “an instrument of war” (1919/1971, 224). Marx never wrote a text on dialectics or even used the term “dialectical materialism,” and so articulating Marx’s dialectic was left to Engels and those who followed. There are, as a result, a great many debates about what exactly dialectical materialism is. There has also been a tendency to oversimplify dialectical materialism into a mechanical and deterministic dogma. This article outlines Marx’s method, dialectical materialism, a theory and manner of understanding change. It is a theory that grasps how many of the competing social forces driving the movement of society are often hidden or mystified, and that gives us a way of uncovering them. It is a method that understands that unveiling social forces must be done in such a way as to foster class-for-self-consciousness within the working class as a revolutionary force. Toward these ends this article introduces the major components of dialectical materialism, including the negation of the negation, sublation, the unity of opposites, and the transformation of quantity into quality. Read the full article: https://liberationschool.org/what-is-dialectical-materialism-an-introduction/

In this episode, Craig, Adam, Matt, and Will examine an early writing of Friedrich Engels entitled "Outlines of a Critique of Political Economy". How can we interpret the evidently moralistic language in Engels' work in light of the anti-moralism which characterizes his later writings with Marx, namely within "The German Ideology". In "Outlines", Engels offers a succinct but brilliant rendering of how the division of capital and labor precipitate other kinds of contradictions under the capitalist system.  Also, the cast identifies potentially problematic formulations within the text seem to fall outside Engels' intended methodology.  Other figures mentioned include Spinoza, Hegel, Feuerbach, Stirner, Smith, Ricardo, Malthus, Foucault, Deleuze and Guattari. Radical Reprints: https://radicalreprints.neocities.org/History and Class Consciousness by Georg Lukács:https://www.amazon.com/gp/product/2229555618/ref=ppx_yo_dt_b_asin_title_o00_s00?ie=UTF8&psc=1Contribute to Acid Horizon: https://www.patreon.com/acidhorizonpodcastSubscribe to us on Apple Podcasts: https://tinyurl.com/169wvvhi Happy Hour at Hippel's (Adam’s blog): https://happyhourathippels.wordpress.comNew Revolts (Matt’s Blog): https://newrevolts.com/​Revolting Bodies (Will's Blog): https://revoltingbodies.com​Split Infinities (Craig’s Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/​Merch Store: http://www.crit-drip.com

Von Budapest aus nahm Georg Lukács großen Einfluss auf die Neue Linke. Das sowjetische Modell des Kommunismus lehnte er ab. Nach seinem Tod im Jahr 1971 wurde in seiner Wohnung ein Archiv eingerichtet, dass der Orbán-Regierung nicht passt. Von Anat Kalman www.deutschlandfunkkultur.de, Sein und Streit Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

“Mientras las primeras narraciones en las novelas policíacas se apoyaban en la ideología de la seguridad y eran la glorificación de la omnisciencia de los personajes encargados de velar por la seguridad de la vida burguesa, en las novelas policíacas actuales priva la angustia, la inseguridad de la existencia, la posibilidad de que el espanto irrumpa en cualquier momento en esta vida que transcurre aparentemente fuera de todo peligro, y que sólo por una feliz casualidad puede estar protegida”. Georg Lukács. La literatura policíaca se ha ido convirtiendo, con el correr de los años, en un acontecimiento cultural, como lo prueba su creciente difusión y la estimable calidad literaria de algunos autores que la han cultivado. La popularidad de que goza este género debe mucho a los ingredientes que a menudo lo constituyen: una mezcla de juego adivinatorio, acción, intriga, suspense, violencia, sexo, humor….; todos ellos, en dosis variables, conforman una literatura que, en definitiva, recurre con frecuencia al sensacionalismo de que sus detractores la acusan. Pero sin duda hay algo más que todo eso en un género en el que deben inscribirse, en más de siglo y medio de existencia, miles y miles de títulos de muy variado valor y significación. En este y en próximos programas conoceremos algunos hitos fundamentales de este género literario, al que también podríamos denominar de varias maneras: novela negra, novela criminal, novela de suspende, de intriga, detectivesca, etc. En principio, y aunque hay quién ve rasgos del género policial en obras tan heterogéneas y remotas como “Las mil y una noches”, “Edipo rey” de Sófocles o “Zadig” de Voltaire, la crítica especializada sólo coincide en señalar como antecedentes inmediatos a la novela inglesa de terror o gótica del siglo XVIII, “Caleb Williams”, novela escrita por W. Godwin en 1.794, las “Memorias” de 1.828, de E.F. Vidocq, legendario ladrón convertido más tarde en el jefe de la “Sûreté” (policía francesa), y finalmente, algunos escritores del siglo XIX que, utilizando la técnica del folletín, describieron los bajos fondos de las grandes ciudades, como es el caso de Balzac, Dumas, Sue o Dostoievski. Esta primera etapa se caracteriza porque en ella el crimen es una forma de protesta social y el criminal un héroe o una víctima de las injusticias de la sociedad. Pero es bien sabido que el género cristalizó, sobre todo, gracias a los cuentos de Edgar Allan Poe, que tienen como protagonista al primer detective literario de la historia, el caballero Auguste Dupin. En ellos se encuentran todos aquellos elementos constitutivos del género que habían permanecido dispersos en obras y épocas anteriores. Que el resurgimiento del género policial se produzca justamente en el siglo XIX debe atribuirse a varios factores, entre los que cabría destacar el aumento de la criminalidad a causa de las aglomeraciones urbanas; la creación y organización sistemática de la policía; el espectacular avance de la ciencia, que comportó el consiguiente desarrollo de nuevas técnicas en el análisis de huellas y fisonomías; y, por último, el auge del folletín y la prensa sensacionalista, gracias a su gran número de lectores. En este contexto, es probable que Poe, inspirándose en la tradición popular de las “causas judiciales célebres” de su época, viera en el crimen una forma de misterio que podía resolverse mediante un método basado en el positivismo científico, en el que los fenómenos se relacionan mediante nexos lógicos, y en el determinismo filosófico, según el cual los actos humanos obedecen a leyes previsibles. Este método, aplicado a la narrativa, dará pie a obras, como “Los crímenes de la calle Morgue” entre otras, con las que se origina el relato policial. En sus cuentos, además, Poe creará la mayoría de las convenciones del género. El camino iniciado por Poe, sin embargo, no tuvo continuidad hasta que E. Gaboriau, con “El caso Lerouge” de 1.863, y W. Wilkie Collins, con “La piedra lunar” de 1.868, mostraron de manera casi simultánea las pautas por las que iba a discurrir el género en Francia y Gran Bretaña, respectivamente. El mérito de ambos autores consiste en sustituir la figura del detective aficionado por la de un eficaz detective profesional. Tanto Gaboriau como Collins se valen de la aventura para plantear y resolver el misterio. Al primero se le considera el iniciador de la novela policíaca francesa, el llamado “polar”. Su novela antes citada “El caso Lerouge” es la primera novela verdaderamente larga del género, a diferencia de lo anteriormente publicado que no dejaban de ser relatos cortos. De Wilkie Collins habría que destacar, además de su innegable talento para la creación de personajes prototípicos de la sociedad victoriana y del carácter ejemplar o moralizador de la mayoría de sus obras, su extraordinaria capacidad para construir una trama ingeniosa, inspirada tanto en delitos como en hechos misteriosos, y su rigor en la captación de aspectos médicos y legales. Su sargento Cuff, por otro lado, será un claro antecesor de Sherlock Holmes. Con ser decisiva la aportación de estos dos grandes precursores para el desarrollo del género, es muy probable que éste no hubiera triunfado de no contar con un público lector más amplio, gracias a las mejoras introducidas en educación, y con unos medios apropiados para difundirlo, fruto de las nuevas técnicas de impresión. Surgen así, a mediados del siglo XIX, las publicaciones periódicas sensacionalistas de bajo precio, que abordan las preocupaciones de la vida en las grandes ciudades. Su nombre y formato variarán según el país donde se editen. Y en una de ellas, una “dime-novel”, o novela de diez céntimos, aparecerá en 1.884 el detective Nick Carter, concebido y desarrollado por un equipo de autores. Este justiciero guardián del orden consagra su vida a la lucha contra el crimen tras el asesinato de sus padres por unos gángsters. Sus hazañas están repletas de acción, por lo que es considerado hoy como un precursor de la novela negra. Los “pulp” eran el soporte donde aparece este nuevo género policial; eran novelas baratas, debido a la escasa calidad de la pasta de papel hecho con pulpa, de donde sacan su nombre, y eran un típico producto de narrativa de evasión para consumo de masas. Solían editar varios relatos por número y se caracterizaban por sus portadas llamativas y sugerentes llenas de color, y por especializarse en cada uno de los diferentes géneros de literatura popular: misterio, terror, aventuras, ciencia ficción, etc. con un lenguaje sencillo y directo, algunas veces obsceno, con la única intención de entretener y provocar sensacionalismo. La consolidación del género policial comienza de la mano de Arthur Conan Doyle, nacido en 1.839 y fallecido en 1.930, y, en otra de esas publicaciones populares (The Strand Magazine) donde se dará a conocer el más famoso detective de todos los tiempos: Sherlock Holmes, en los años ochenta del siglo XIX. El triunfo de Holmes fue de tal magnitud que eclipsó a su autor. Innumerables lectores llegaron a considerarlo un personaje de carne y hueso. Al propio creador, Conan Doyle, oscurecido y esclavizado por su criatura, llegó a molestarle tanto este encumbramiento que intentó eliminarle en el relato “El problema final”, cuando Holmes y su acérrimo enemigo, Moriarty, caen en mortal abrazo por las cataratas de Reichenbach. Afortunadamente, las presiones de la madre del autor, el unánime enfado de sus lectores y las compensaciones económicas que el personaje le proporcionaba impidieron que ese “asesinato” fuera definitivo, y se produjo, por tanto, la deseada resurrección del héroe. Acaso contribuyó no poco a esta multitudinaria acogida el hecho de que Holmes, según comenta el propio autor, estuviera inspirado en un ser real: el cirujano Joseph Bell, antiguo profesor suyo, de quién toma sus rasgos físicos (figura delgada, rostro aguileño, mirada irónica) así como las observaciones y deducciones que distinguen el método del genial detective. Del mismo modo, el no menos popular Dr. Watson parece ser un retrato caricaturesco del propio Conan Doyle. Gran parte del atractivo de Holmes, reside a su inmunidad frente a las debilidades y pasiones del hombre corriente. Está, además, su compleja y controvertida personalidad (egocéntrico, vanidoso, adicto a la cocaína, misógino etc.), su característico atuendo (abrigo, gorra, lupa y cachimba) y sus dotes excepcionales, como su virtuosismo con el violín, la maestría en el disfraz, en el boxeo, en la esgrima y una extensa cultura en áreas relacionadas con el crimen. Lo auténticamente innovador de Conan Doyle estriba en dotar a su personaje de un implacable rigor en su método de trabajo, a pesar de que entonces apenas existían libros de criminología. El método de investigación de Holmes llega a ser tan esencial que condiciona la estructura del relato. Así, la narración, llevada a cabo por Watson, suele comenzar con una entrevista al posible cliente y con una serie de deducciones que Holmes realiza a partir de la simple observación del visitante. Esta entrevista sirve para presentar el enigma. Acto seguido, se pone en marcha la investigación (búsqueda de indicios y formulación de hipótesis), que obliga a salir a nuestros héroes de sus habitaciones en busca de la aventura. Una vez verificadas sus teorías y resuelto el caso, tras rocambolescas peripecias, Holmes explica brillantemente el misterio ante un Watson atónito, que es el reflejo del deslumbramiento del propio lector. Holmes inaugura una tradición de brillantes detectives privados, todos con curiosas excentricidades, que se creen superiores a la policía y que tendrán su propio código de justicia. Con él culmina cierta manera de entender el género, caracterizada por un equilibrio entre aventura y enigma. La semilla sembrada por Arthur Conan Doyle, verdadero impulsor del género, iba a resultar extremadamente fructífera, pues dará lugar a dos tendencias: la de aventuras criminales, protagonizada por superdetectives o genios del mal, y la que considera el crimen como algo que hay que estudiar con técnicas de laboratorio, la novela criminal científica. En fin amigos, así terminamos con la 1ª parte, de la novela policial; en el próximo programa continuaremos con la historia, y sus protagonistas, de este género literario tan apasionante. AMBIENTACIÓN MUSICAL 1. They Already Knew – Artista - Eoin Mantell 2. Isotopes 1 – Artista - August Wilhelmsson 3. Make No Mistakes – Artista - Hector Posser 4. The Miner – Artista - Both Are Infinite 5. Impasse – Artista - Silver Maple 6. Salvation Is Coming – Artista - Eoin Mantell 7. Superior – Artista - Silver Maple 8. Homestead – Artista - Robert Ruth 9. Nemesis – Artista - Alec Slayne 10. Confidential Reports – Artista - Alec Slayne

Anya and Alan talk about the award-winning German-language thriller “The Lives of Others”. We loved this tightly plotted story about Art and Fascism in the 1980s. It resonated with the politics of our time, the fights over the importance of storytelling in culture, and why the truth is worth standing up for.Measures of Truth is a podcast about His Dark Materials- both the novels and the BBC TV show.What are the “Stasi”?Socialism has been co-opted by political operators that are not interested in the values that define the ideology. Freedom and independence for working class people, with no central authority that owns property. Most of what has been called Socialism has either been Fascism or Social Democracy.Vladimir Lenin was a hero to the East German government officials, and would have been lionized in bad plays like Weisler’s.Lenin’s quote about ‘Appassionanata’ was given second-hand years after the fact and might not be true at all. Here is the full quote as related by Maxim Gorky in Georg Lukács' "Lenin - Theoretician of Practice": “I know the Appassionata inside out and yet I am willing to listen to it every day. It is wonderful, ethereal music. On hearing it I proudly, maybe somewhat naively, think: See! people are able to produce such marvels!” He then winked, laughed and added sadly: “I’m often unable to listen to music, it gets on my nerves, I would like to stroke my fellow beings and whisper sweet nothings in their ears for being able to produce such beautiful things in spite of the abominable hell they are living in. However, today one shouldn’t caress anybody - for people will only bite off your hand; strike, without pity, although theoretically we are against any kind of violence. Umph, it is, in fact, an infernally difficult task!”The history of Prostitution in the German Democratic Republic.What’s a Toxic Masculinity?Bertolt Brecht had certain qualities in common with the playwright in the film. He was a playwright who was a loyal Marxist in East Germany who lived with his lead actress, Marianne Zoff.“The Power of the Powerless” was written by playwright Václav Havel about the USSR in Poland during the 1970s. Alan brought this essay up in the fifth episode of Measures of Truth’s coverage of ‘The Golden Compass’ which was about Chapters 18-20.What is Post Truth?“Man” as a gender-neutral word.You have to give your ID to buy allergy medicine?Haiku:Susan-You’re a fan like us,Locke- Buffy- Chidi- Lyra,So many stories…Sarah-Storms broke over us,We fought all broken-hearted,He Rā Ki TuaIf you would like a haiku, please leave a review on Apple Podcast!Next time we are watching The Mexican.Our theme song is Background Blues Guitar by Blowball Music.Please visit our website to find out what we will be talking about in the future. If you would like to give us feedback, please email us: contact@hallowedgroundmedia.comFollow the podcast on Twitter @HGStoryCast, follow Anya @StrangelyLiterl

Zur Aktualität eines verdrängten Marxisten Mitschnitt einer Veranstaltung in der Reihe „Philosophische Gespräche“ vom 27. Oktober 2015 Referent: Dr. Christoph Jünke (arbeitet als Historiker an der Fern-Universität Hagen, Vorsitzender der Leo Kofler-Gesellschaft, im März 2015 erschien sein jüngstes Werk: Leo Koflers Philosophie der Praxis. Eine Einführung im Laika-Verlag). Kennen Sie Kofler? Der deutsch-österreichische Gesellschaftstheoretiker und Sozialphilosoph Leo Kofler (1907-1995) war ein herausragender Vertreter des deutschen Nachkriegsmarxismus. Mit seinem Versuch, die marxistische Theorie den Erfahrungen des 20. Jahrhunderts entsprechend weiterzuentwickeln und die sozialistische Bewegung auf die Höhe der neokapitalistischen Zeit zu heben, machte sich der an Max Adler und Georg Lukács geschulte „heimatlose Linke“ seit den 1950er Jahren zu einem wichtigen Vermittler von alter Arbeiterbewegung und Neuer Linker, bevor er Anfang 1991 schwer erkrankte und 1995 in seiner Wahlheimat Köln starb. Der Autor und Kofler-Biograf Christoph Jünke nähert sich in seinem Vortrag der anhaltenden Aktualität dieses sozialistischen Humanisten, verdeutlicht die Konturen seiner Philosophie der Praxis und spannt dabei einen Bogen von der sozialistischen Klassik bis zum Postmodernismus.

This lecture on the crisis of bourgeois ideology, from Nietzsche to Heidegger, is a pre-history of today’s culture wars. It explores the broad sweep and trajectory of modernist culture, from the mid nineteenth century through to the interwar years of the 20th century.LECTURERDr Tim Black, books and essays editor, Spiked.TALKING POINTS IN THIS PODCASTWhy growing disillusion of Europe’s bourgeois intellectual elite with the values of progress, liberalism and democracy that had been so important in bringing meaning to society.The crisis of meaning that fed the Great War as a vitalistic renewal of the German state and the disenchanted bourgeois world of the Anglo-French axis.Societal insecurity in Europe after WWI and fatal break by intellectuals with the moralistic guises of the pre-war view of the world and enter a deep mode of self-questioning.BIBLIOGRAPHYRites of Spring: The Great War and the Birth of the Modern Age, Modris Eksteins, Houghton Mifflin, 1999The Destruction of Reason, Georg Lukács , 1962 (republished Aakar Books, 2016)Modernism as a Philosophical Problem: On the Dissatisfactions of European High Culture, Robert B Pippin, Wiley-Blackwell, 1999THE ACADEMY 2019In the context of today’s instrumental approaches to knowledge, The Academy summer school is a modest attempt to demonstrate the value of scholarship, and of the worth of the university as a place of free enquiry dedicated to the pursuit of truth.IDEAS MATTER PODCASTIdeas Matter is a podcast that takes the most important issues of our times and explores the ideas and intellectual trends that have shaped where we are today.You can subscribe and listen to Ideas Matter on iTunes, Podbean or SoundCloud. For full details of all episodes, visit the podcast page on our websiteKeep up-to-date with Ideas Matter and all the initiatives organised by the Battle of Ideas charity by following us on Twitter (@theboi_uk) and on Facebook (battleofideas).Email us at info@theboi.co.uk

Nach dem Ende des Zweiten Weltkrieges entwickelte sich in der Sowjetischen Besatzungszone bzw. jungen DDR eine Philosophielandschaft, die zunächst recht wenig mit der späteren Legitimationswissenschaft zu tun hatte. In dieser Zeit herrschte Aufbaustimmung, getrieben von einer hohen Dynamik, geprägt von unorthodoxen Köpfen. In den ersten Jahren nach dem Kriegsende wurden „bürgerliche“ Philosophen wie z.B . Hans-Georg Gadamer, Paul F. Linke oder Günther Jacoby geduldet, viele jedoch verließen den kleineren Teil Deutschlands. Die SED versuchte in den 50er Jahren, die Philosophie unter Parteilinie zu stellen, dies glückte zunächst, aber nur bedingt und provozierte vielmehr Diskussionen. Genannt seien nur die Debatten um Hegel und um die Logik, in denen die Intellektuellen ihre Positionen gegen die Partei durchsetzen konnten. Philosophen wie Ernst Bloch oder Wolfgang Harich wollten einen anderen Marxismus als den der SED-„Schmalspurphilosophen“. 1956/57 setzten sich die Dogmatiker unter Ulbricht durch, disziplinierten die kritischen Köpfe, sperrten sie ein, verdrängten sie von den Universitäten und aus den Zeitschriften, beendete die Debatten. Die undogmatische DDR-Philosophie fand schon 33 Jahre vor der DDR ihr Ende. In der Veranstaltung wollen wir die Jahre bis 1957 rekapitulieren und anhand von drei Protagonisten, Ernst Bloch, Wolfgang Harich und Georg Klaus, die Diskrepanzen mit der Partei und die Denkpotentiale für einen unorthodoxen Marxismus rekapitulieren. Hans-Christoph Rauh, der Ideengeber der Veranstaltung, wird den Abend moderieren. Der Austausch mit dem Publikum soll einen breiten Raum einnehmen. Mitschnitt einer Veranstaltung in der Reihe „Literatur und Gesellschaft“ vom 12. Mai 2017 Teil 1. Prof. Dr. Hans-Christoph Rauh: Einführung Teil 2. Dr. Alexander Amberger: Bloch in der DDR – politische Angepasstheit und ideologische Diskrepanz Teil 3. Dr. Andreas Heyer: Harich – zwischen Nicolai Hartmann und Georg Lukács

0.00 - Front page: Against Johnson and Trump: Fight for a socialist Europe 8.00 - Corrections 8.50 - News: Sudan: the uprising regroups 20.06 - Climate news: Boris Johnson, climate denier 26.30 - News: General strike in Brazil 29.25 - News: Behind the US-Iran tension 33.19 - Antidoto: Hong Kong: a Yankee plot? 37.39 - Workers' Liberty Summer Camp 38.47 - Letters: Limits of observation 40.53 - Letters: Who to be expelled? 45.38 - What we say: Build for 20 July anti-Brexit march 48.29 - Workers' Liberty's finances and fundraising 51.07 - Feature: The Labour Party's new rules 1.06.11 - Feature: The life and works of Georg Lukács 1.14.08 - Feature: Brexit and the Tory schisms 1.25.00 - Feature: Stonewall and the early days 1.39.32 - Feature: Not the worst kind of renegade 1.54.51 - Feature: Zionism and the left, from Arendt to Chomsky 2.15.22 - Review: Edge of democracy 2.17.22 - Printing schedule 2.17.53 - Reports: NEU lets down Harbinger 2.23.24 - Reports: Fat-cat college threatens to sink pension scheme 2.26.15 - Reports: TDL couriers turn tide 2.28.23 - Reports: Outsourced workers' strikes 2.31.41 - Reports: New guards' strikes up the ante 2.32.50 - Reports: Unison clash over tests boycott 2.35.54 - Reports: NEU can win yes for school boycott action 2.38.43 - Online Videos 2.39.54 - Back page: Ford: build the fightback! 2.44.14 - End of Solidarity 511

In the first episode of Know Thy Shelf we (Andrew Jones, Laura Moore, Jordan Nusbaum, and Chris Vandenberg) discover the Lukacs's understanding of the novel as an artwork of the modern age, while at the same time enjoy homebrewed wine.

John and myself(Chris) continue our exploration of Southern California Culture with Ehrhard Bahr. "Professor Bahr received his Ph.D. from UC Berkeley and has been a member of the UCLA faculty since 1966. He is an internationally distinguished expert on Goethe, and specializes not only in 18th- century German Literature, but also in 20th-century literature and Critical Theory. Professor Bahr has published over 200 scholarly articles and reviews, as well as books on Goethe, the Marxist theoretician Georg Lukács, the philosopher Ernst Bloch, and the poet Nelly Sachs. He has also produced editions of Goetheâ??sWilhelm Meister novels (1982) and a three-volume history of German literature (1987-88). His co-edited volume on the French Revolution, The Internalized Revolution, appeared in 1992. He is a past President of the interdisciplinary German Studies Association and of the Goethe Society of North America. An additional special interest of Ted Bahrâ??s is German exile culture in Los Angeles between 1933 and 1955. Besides authoring scholarly studies in this area, he recently served as a consultant to the exhibition "Degenerate Art": The Fate of the Avant-Garde in Nazi Germany at the Los Angeles County Museum of Art, at the Smithsonian Institute in Washington, and at the Altes Museum in Berlin. Professor Bahr was also a consultant for the exhibitionExiles and Ã?migrés at LACMA in 1997." hoaxbusterscall.com