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The Sociology of Literature : Georg Lukács

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The Sociology of Literature : Georg Lukács KENNETH O'BRIEN B.A. (Honours) Social Sciences, University of Leicester, England, 1968. A THESIS SUBKITTED IN PAFtTIAL FULFILMENT OF THE REQUIREEl?f;;NTSFOR THE DEGREE OF MASTER OF ARTS in the Department Political Science, Sociology and Anthropology @ KENNETH OVBRIEN 1969 SIMON FRASER UNIVERSITY Novenber, 1969 EXAMINING COMMITTEE APPROVAL DAVID BETTI SON Senior Supervisor JOHN MILLS Examining Committee JERALD ZASLOVE Examining Comit tee iii ABSTRACT ~ukscslwritings on the sociology of literature are presented and examined; and his theory that there is a direct relation between the "dialectic movement of history and the great genres of literature which portray the totality of history.n This definition of the literary process is acce~ted as an hypothesis. &The sociology of literature in North America and Europe is examined in the context of Lukbcsr ideas. It is concluded that the positivism of North American sociology of literature ignores the historical specificity of contemporary literary forms. Part of the explanation for the perspective of Kenneth Burke and Hugh Duncan is shown to derive from partial elements of the epistemology of the Classical Greeks and Hegelianism. Similarly Luk;csr philosophy of literary criticism are shown to be modifications on a rigidly Marxist econoniic determinism as well as Hegelian idealism. ~ukgcs'concept of literary realism -- in contemporary society as those forms of the novel which portray the specific problems of individuals and classes and the resolution of social contradictions within the "totality of the movement of historyn-- is examined in relation to the pracesses of capitalist development in Europe. It is zrgued that literature provides more than nextensions of social realityv, as Burke and Duncan imply. Some of the implications of ~ukics'formulations for a sociological conception of 'social realityr are discussed throughout the thesis. The purpose of this discussion is to suggest the significance of a sociological concept of the individual as varying with the political and economic transformat ions of society. In conclusion, it is suggested that ~uka'cs' sociol- ogical formulations on literature though going beyond those of the symbolists, was inadequately used by him in his attempt to analyse twentieth century literature; and some of the sig- nificant aspects of the work of novelists such as Kafka, Camus and Ellison are suggested. The importance of the vindividualismll of these novelists are related to wider problems of philosophy and the "one dimensionality" of contemporary society. CONTENTS INTRODUCTION 1 Chapter ONE: HISTORICAL FRECEDENTS: CLASSICAL GREEK EPISTENOLOGY FROM PLAT0 TO PLOTINUS TWO: 1. HISTORICAL PRECEDENTS: THE HEGELIAN DIALECTIC 24 2. HegelTs Philosophy In Relation to Art 27 THREE: LITERATURE IN AMZRICAN CONTINENTAL SOCIOLOGY 51 FOUR: GEORG LUKAICS AND THE PHILOSOPHY OF LITERARY CRITICISM 77 1. Realism and ~ukscs'Concept of Totality 114 2. The Totality of History and Historical Movement 120 3. The Totality of Philosophical and Concrete Existence 136 4. The Theory of the Historical Kovel 145 SIX: FROM THE HISTORICAL TO THE CONTEMPORARY NOVEL 1. The Problem of the Bourgeois Novel 174 2. Literary Philosophy and Social Change: Marcuse's One Dimensional Society 177 3. The Concept of Individual and Contemporary Literature 192 4. Summary Remarks 199 CONCLUSION 206 BIBLIOGRAPHY 216 I would like to express my gratitude to those who supervised my work and guided me to its conclusions: David Bettison for his helpful insights which clarified my understanding of the sociology of literature: John Mills for his help in clarifying my ideas on the contemporary novel: and Hari Sharma for his general assistance. INTRODUCTION Criticism is interesting, after all, only to the extent that it is viable, and much of what is published today is less pertinent than literary scholarship or the historical consciousness of those who-guard a literary tradition.1 In his polemics against the mono-causally oriented Marxists of his own day, that is to say, the economic determinists, On the one hand, and the"positivistic sociolgists;' on the othcr hand, Georg ~uk6csdeveloped a philosophy of literary criticism and elements of sociological epistemology, which retain their importance today, partly because of our ignorance (sociolqgistsT) of it; but mostly because of its profound significance for a critical sociology, In an analogous criticism of sociological specialization and scientific objectivity, John Horton, made a strong plea for s sociological realism, almost eeual in its force to ~ukscsfplea for critical realism in literature. Both pleas were specific and general. HortonTs plea concentrated on the paradoxical later dehumanization and reification of the concept of alienation and anomie: a dehumanization which obscures the radical criti- cism of nineteenth century industrial society, in which the / status of those ccncepts were weapons, as it were.* Georg Lukacs, Uses the critical literature of novelists from the time of Walter Scott, Balzac; through the nineteenth century novelists of the periods of Leo Tolstoy. He continues with novelists of the early twentieth century to reinforce his perspective that the modern contemporary literature such as the novel and the drama, should not be reified by either modern creative writers or critics. Rather these critics and writers can transform the past literary traditions, and re-establish the novel as a critical weapon against modern capitalism. In doing this they will be continuing the traditions of Western literature. 3 The really great novelists are in this respect always true born sons of Homer. True the world of objects and the relationships between them has changed, has become more intricate, less spontaneously poetic. But the art of the great novelists manifests itself precisely in the ability to overcome the unpoetic nature of the world, through sharing and experiencing the life and evolution of the society they lived in. It is by sending out their spontaneously typical heroes to fulfil their inherently necessary destinies that the great writers have mastered with such sovereign power the changeful texture of the ext ern?-1 and int erdal , great and little moments that make up life.4 For ~ukscs then,the modern novel is only significant if it carries on the epic and dramatic tradition of the Western literature. And the novel Is realist in so far as the principal characters and the typical situations in which they act concen- trate all the forces of change at a particular timei forces of change that are historically present in a given society., Realism as conceived by ~ukzcsmust necessarily be in conflict with capitalism as "realityf1. The great conflicts of the time, must come to dramatic consciousness in the typical hero in any narrative. Stating this position in an earlier work, ~ukzcs expounds his philosophy of literature .thus: Since human nature is not finally separable from social reality, each narrative detail will be significant to the extent that it expresses the dialectic between man as individual and man as social being.5 The implicit plea for a critical sociology against modern indus- trial capitalism in John HortonTs work, is made explicit in Lukics' philosophy of literary criticism. It is a plea directed against philosophy, sociology and creative writing, thus: .. It is these tensions and contradictions both within the individual, and underly- ing the individual's relation to his fellow human beings -- all of which tensions increase in intensity with the evolution of capitalism -- that must form the subject matter of contem- porary realism.6 What is significant in ~ukscs~work is the unique nature of his Marxist perspective. It provides insight on two levels of analysis. 'On the first levelare the questions in sociology of the relations between the -- individual- and society, character--_. ___ and social structure, objectivity and subjectivity ., in the social sciences and the nature of social reality. On t~e?secondlevel of analysis, ~ukacsattacks positivistic treatment of literature in sociology with his articulation of aesthetics. IIe does this by a somewhat unique presentation of changes in art form by historical period. ~ukzcsviews the Simple, formal historical categorization of (changes in art form) genres in art history, as sterile and meaningless. He drgues that leads to a mystification of art forms, on the Part of literary critics. As an alternative, LU~~CSpresents an analysis of aesthetics as culturally relative phenomena , that is dependent on the nature and constellation of social forces, at any given period in a society's development, and the artist's in~olvementin this milieu. In addition, the modes and means of conceptualizing 'social realityT, are viewed by Lukzcs as being dependent on the particular literary tradition existing in a society. It is the artist's understanding of these, his philosophical and historical analysis of these forces, which determines what and how the art produces. In ~ukicssystem, the means by which the literary critic/sociologist can analyse literature is to use the dialectic to understand the relation between past, present and future, and the manner in which these are characterized in typical situations and characters. The novelists develop these situations in fiction by sharing and experiencing the 'lifeT and evolution of the society they live in* These situations are presented as charged with the forces of change. at a / Particular time. The characters are typical, Lukacs asserts when
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