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Cultural conservatives who demand that a work of art should say something, join forces with their political opponents against atelic, hermetic works of art.

known in Russian catechisms as formalism

Lukács's neo-naivety does not even call a halt before Thomas Mann, whom he plays off against Joyce in a fulsome flattery which would have nauseated the great chronicler of decay.

The stentorian voice of manly conviction which Lukács employs to assert in good Hegelian fashion the primacy of the substantial universal over the specious

points in its negativity to despair, to an uncontrollable Weltschmerz and to love