György Márkus, as a leading member of the Budapest School led by György Lukács in Hungary, is closely concerned with aesthetics. His final unfinished writings in political exile in Sydney were focused on the question of modern cultural autonomy. From the 1960s to the new century, from Budapest to Sydney in Australia, he established a new form of Neo-Marxist aesthetics on the basis of critical theory drawn from Lukács to the Frankfurt School. His aesthetics includes three dimensions: an aesthetics of (...) praxis, a reconstruction of Lukács’s aesthetics and a theory of aesthetic modernity. His aesthetics is characteristic of analytic philosophy, especially ‘categorical analysis’. It shifts from philosophical aesthetics in the Hungarian period, which is based on an ontological foundation, that is, materialist phenomenology, to social or sociological aesthetics in the Australian period concerning social modernity, institution, constitution, culture, and so on. This is a turn from a philosophical paradigm to a structural one as regards aesthetics, which indicates a break with Lukács’s late return in the early 1960s to Hegelian inspired Ontology of Social Being. Márkus is strictly and essentially an essayist in fragments, who distinguishes himself from the other members of the Budapest School in this way. Ironically, this genre is once again influenced by the young Lukács’s aesthetics. (shrink)

In recent years, a series of key social, political and economic events has placed the critique of capitalism very much on the theoretical agenda. Responding to these developments, many have begun to express the need for a rapprochement between social criticism and the critique of political economy. The present essay represents a contribution to the recovery of the project that was once synonymous with critical theory itself via a critical engagement with the early writings of Jürgen Habermas. Not only is (...) Habermas’ explicit engagement with the critique of political economy among the most substantial to be found within the mainstream tradition of critical theory, his early social-theoretical insights into the emergent ‘primacy of the political’ in late capitalism can be taken as representative of a number of broader trends in late-20th-century thought which sought to go beyond the premises and categories of Marx’s economic works. Simply put, no reappraisal of the relationship between critical theory and the critique of political economy can succeed, I submit, without taking seriously Habermas’s path-breaking and wide-ranging innovations. (shrink)

The critical theory of the Frankfurt School starts with an explanatory-diagnostic analysis of the social pathologies of the present followed by anticipatory-utopian reflection on possible treatments for these disorders. This approach draws extensively on parallels to medicine. I argue that the ideas of social pathology and crisis that pervade the methodological writings of the Frankfurt School help to explain critical theory’s contention that the object of critique identifies itself when social institutions cease to function smoothly. However, in reflecting on the (...) role that reason and self-awareness play in the second stage of social criticism, I contend that this model is actually better conceptualized through the lens of the psychoanalyst rather than the physician. Although the first generation’s explicit commitment to psychoanalysis has dissipated in recent critical theory, faith in a rationalized ‘talking cure’ leading to greater self-awareness of existing pathologies remains at the core of the Frankfurt School. (shrink)

The sociology of art as synthesized by Arnold Hauser is based on a theory of knowledge and articulates the cognitive role of art. In a brief analysis, this paper elaborates on the sources of this epistemological enterprise. The pedigree of Hauser’s main thoughts was oriented towards a Kantian and Marxist framework, respectively. As a Kantian, he tried to take into account the philosophical consequences of two (or even more) different sources of cognition that are equal in value, correlative and necessarily (...) cooperating. Giving exclusive priority to only one of these leads to classical philosophical errors such as psychologism and intellectualism. As a Marxist, Hauser was anti-dogmatic and anti-deterministic, because he adopted an interpretive-hermeneutical meaning of Marxism and considered it an aid against distorting tendencies in our thinking. His basic insight that the different sources of value-equal and cooperating cognitive layers are in an everyday-life perspective intertwined, so that a kind of reservatio mentalis is needed to methodically separate them for the sake of better understanding, makes him a distant relative of classical phenomenology. This web of epistemological investigations is what I call the multilayer theory of knowledge. (shrink)

This research note discusses the text of How Is Critical Economic Theory Possible, seeking to locate it in the moment of its own creation; against the object of its critique, in Das Kapital itself; and to relate it to the moment of the arrival of the Budapest School in Australia and its effects and influence on the emergent journal Thesis Eleven.