Lukács contents himself with Schopenhauer's aperçu that

their transition to objectivity remains contemplative and fails to become praxis

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

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

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.

known in Russian catechisms as formalism

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

the economic transactions presented as the machinations rapacious traders are not merely puerile [...] they are also unintelligible by the criteria of even the most primitive economic logic

Tacit acceptance of the claim that one half of the world no longer contains antagonisms is supplemented by jests at everything that belies the official theodicy of the other half

Aporia of this sort multiply until they affect the Brechtian tone itself, the very fibre of his poetic art