A Defence of History and Class Consciousness: tailism and by Slavoj Zizek, Georg Lukács, Georg Lukacs, Slovoj Zizek, John
By Slavoj Zizek, Georg Lukács, Georg Lukacs, Slovoj Zizek, John Rees, Esther Leslie
Georg Lukacs used to be dubbed "the thinker of the October Revolution" and his masterpiece heritage and sophistication awareness (1923) is often held to be the foundational textual content for the culture often called "Western Marxism" together with the paintings of Theodor Adorno, Walter Benjamin, Ernst Bloch, Max Horkheimer, and Herbert Marcuse. in spite of the fact that, because the releasing energies of the Russian Revolution have been sapped via Stalinism, Lukacs used to be subjected to ferocious assault for "deviations" from the "party line". within the mid-1920s, Lukacs wrote a sustained and passionate reaction to this onslaught. Unpublished on the time, Lukacs himself concept the textual content have been destroyed. although, a bunch of researchers lately chanced on the manuscript amassing dirt within the newly opened data of the CPSU in Moscow. Now, for the 1st time, this attention-grabbing, polemical and severe textual content comes in English. it's a the most important a part of a hidden highbrow historical past and should remodel interpretations of Lukacs's oeuvre.
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The body is vile, stinking, and withered. 26 These lines from the late twelfth-century Verses on Death make no obvious distinction between body and flesh: the two are rendered virtually synonymous by the corrosive presence of sin. Written by a Cistercian monk, Hélinand of Froimont, the Verses are reminiscent in tone and imagery of Bernard of Clairvaux’s meditations on sin and mortality. 27 The mortification of the flesh, as the body of sin, is one of the most enduring images of medieval Christianity.
6 I will say more about the mechanics of ocular desire later. The point I want to emphasise here is that both Augustine and Peter describe this carnal awakening as a consequence of sin. 7 In fact, most medieval commentaries on the fall—whether iconographic or textual—highlighted an earlier visual moment: Eve’s desiring, indeed ‘devouring’ gaze at the fruit. 9 In illustration of the more prosaic dangers, for his readers, of watching the bustling world outside the anchorhold windows, the author of this handbook writes: Of Eve, our first mother, it is recorded that at the very beginning of her sin its entry was through her eyes .
82 Behind this allegory of harmonious union, however, is the Eve who offered the forbidden fruit; the archetype of seductive and disobedient femininity. Thus we find Bacchilatria, one of the daughters of Idolatry in The Plaint of Nature, ‘robbing her lover of his little spark of reason, [and] expos[ing] him to the darkness of brutish sensuality . ’83 Augustine’s image of lovingly ‘breaking-in’ the flesh so as to restore marital harmony between body and soul suggests a reversal of the fall. ’84 Arguably, however, the text encourages a more equivocal interpretation of the allegorical alliances between woman and body/flesh.