By J. M. Bernstein
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Extra info for The Philosophy of the Novel: Lukács, Marxism and the Dialectics of Form
And, of course, that meaning is historical; it is the meaning of history, the best sense which can be made of present social processes, but only for now. It is at thisjuncture that a difficulty in Lukacs's analysis arises in the form of an unresolved tension between objective and subjective accounts of proletarian class consciousness. The dualism Lukacs was attempting to overcome can be easily stated: Is the proletariat to be defined in terms of its being or in From Contemplation to Praxis 29 terms of its praxis?
Kant's theory provides a vision of a rational and active human subjectivity, while depriving that subjectivity of a world in which to act. ' 19 The terms for a resolution of the antinomies are thus set: freedom must be able to determine the objective world, and the material substratum of that world must be determinable through practice. Indeed, Lukacs goes so far as to say that 'the essence of praxis consists in annulling that indifference of form (subjectivity) towards content' (126). 20 First, the dualism between judgement (knowledge) and action must be overcome through the recognition that the unity and intelligibility of the world is the unity of action and deed as opposed to judgement.
Such a thorough-going rejection of trans-historical touchstones for 'truth' raises two interlocking difficulties; on the one hand, it appears to open all theory to the charge of relativism; 24 The Philosophy of the Novel on the other hand, since it discounts the possibility of a priori and trans-historical reflection on human thought and action, it appears to eliminate the possibility of philosophical thought as traditionally conceived, and tacitly urges a replacement of philosophy by sociology, above all by the sociology of knowledge.