Katie Terezakis

_The Immanent Word_ establishes that the philosophical study of language inaugurated in the 1759 works of Hamann and Lessing marks a paradigm shift in modern philosophy; it analyzes the transformation of that shift in works of Herder, Kant, Fichte, Novalis and Schlegel. It contends that recent studies of early linguistic philosophy obscure the most relevant commission of its thinkers, arguing against the theological appropriation of Hamann by John Milbank; against the "expressive" appropriation of Hamann and Herder by Christina Lafont and Charles Taylor; and against Philippe Lacoue-Labarthe and Jean-Luc Nancy’s uncritical championing of Schlegel’s ideological position.

_The Immanent Word_ establishes that the philosophical study of language inaugurated in the 1759 works of Hamann and Lessing marks a paradigm shift in modern philosophy; it analyzes the transformation of that shift in works of Herder, Kant, Fichte, Novalis and Schlegel. It contends that recent studies of early linguistic philosophy obscure the most relevant commission of its thinkers, arguing against the theological appropriation of Hamann by John Milbank; against the "expressive" appropriation of Hamann and Herder by Christina Lafont and Charles Taylor; and against Philippe Lacoue-Labarthe and Jean-Luc Nancy’s uncritical championing of Schlegel’s ideological position.

J.F. Dorahy's The Budapest School: Beyond Marxism (2019) offers contemporary readers a conscientious assessment of the intellectual initiatives of Ágnes Heller, György Márkus, and Ferenc Fehér, both in the years immediately following their apprenticeship with György Lukács, and later, through their independent philosophical endeavours. Dorahy's book also pinpoints the Budapest thinkers' proposal for a radical democratic reckoning, and begins to suggest how that proposal might today bear on global practice and globally-minded theories. The book is an excellent introduction to the ideas of Heller and Márkus. But through them, it is also a striking and thoroughly relevant consideration of the possibilities for an ethics of planetary commitment, and for a critical theory fixed upon incorporating the vigorous rootstock of radical democracy with a multidimensional, pluralistic social order.

ABSTRACT I link the fundamentalist zeal of Trumpism to its romantic anti-capitalist ideology, and I argue that Trumpism and its European counterparts have appropriated the imaginative plot of romantic anti-capitalism from its place in the Leftist lexicon. The creed-makers of Trumpism now announce that the machinery of capital, which was supposed to belong to the common person, is managed by career politicians and over-educated apologists on behalf of a class that will do anything to keep others from its ranks. I make the case that the ideological successes of Trumpism attest to the continued draw of romantic anti-capitalism and to the Left’s mistake of leaving the romantic imagination unfortified by enfranchising political initiatives. I cite a number of recent speeches by right-wing pundits and politicians, and I analyse them as inheritors of an expanding nationalism tied to romantic anti-capitalist ideologies. I turn to Agnes Heller’s approach to assessing populism and romanticism, both as part as her seminal evaluations of modernity and justice, and in the popular opinion pieces, essays, and lectures delivered during the last years of her life.

György Lukács first published the original Hungarian language version of Soul and Form in 1910. It included eight of the ten essays later to be published in subsequent German, Italian, and English editions. This current centennial edition adds to the mix one additional Lukács essay, "On Poverty of Spirit", written at roughly the same time as the others and bearing a vital relationship to them. Finally, in this edition we have added to the Lukács material an important introductory essay by Judith Butler, as well as a concluding essay, by Katie Terezakis, which draws out connections between the Lukácsian concept of form and its elaboration and critique in Lukács’s own work and in works of critical theory and philosophy up to the present.

This study rationally reconstructs Novalis’s linguistic theory. It traces Novalis’s assessment of earlier linguistic debates, illustrates Novalis’s transformation of their central questions and uncovers Novalis’s unique methodological proposal. It argues that in his critical engagement with Idealism, particularly regarding problems of representation and regulative positing, Novalis recognizes the need for both a philosophy of language and the artistic language designed to execute it. The paper contextualizes Novalis’s linguistic appropriation and repudiation of Kant and explains how, even while Novalis’s linguistic theory issues Kantianism such a challenge, it also begins to demonstrate the application of Kantian designs to linguistic philosophy. The modernity and potential of Novalis’s proposal is evaluated and its significance for discussions in linguistic philosophy and aesthetics is advocated

György Lukacs was a Hungarian Marxist philosopher, writer, and literary critic who shaped mainstream European Communist thought. _Soul and Form_ was his first book, published in 1910, and it established his reputation, treating questions of linguistic expressivity and literary style in the works of Plato, Kierkegaard, Novalis, Sterne, and others. By isolating the formal techniques these thinkers developed, Lukács laid the groundwork for his later work in Marxist aesthetics, a field that introduced the historical and political implications of text. For this centennial edition, John T. Sanders and Katie Terezakis add a dialogue entitled "On Poverty of Spirit," which Lukács wrote at the time of _Soul and Form_, and an introduction by Judith Butler, which compares Lukács's key claims to his later work and subsequent movements in literary theory and criticism. In an afterword, Terezakis continues to trace the Lukácsian system within his writing and other fields. These essays explore problems of alienation and isolation and the curative quality of aesthetic form, which communicates both individuality and a shared human condition. They investigate the elements that give rise to form, the history that form implies, and the historicity that form embodies. Taken together, they showcase the breakdown, in modern times, of an objective aesthetics, and the rise of a new art born from lived experience

_The Immanent Word_ establishes that the philosophical study of language inaugurated in the 1759 works of Hamann and Lessing marks a paradigm shift in modern philosophy; it analyzes the transformation of that shift in works of Herder, Kant, Fichte, Novalis and Schlegel. It contends that recent studies of early linguistic philosophy obscure the most relevant commission of its thinkers, arguing against the theological appropriation of Hamann by John Milbank; against the "expressive" appropriation of Hamann and Herder by Christina Lafont and Charles Taylor; and against Philippe Lacoue-Labarthe and Jean-Luc Nancy’s uncritical championing of Schlegel’s ideological position.

In this essay, I reconstruct Heller’s philosophy of history, arguing both that Heller’s position presents a serious intervention into modern theorizing about historical patternicity and that Heller’s position should be understood as a valuable hybrid, uniting her existential, ethical, and pragmatic bodies of work. For Heller, history is implicated indissolubly in the personal and ethical decision-making of individual actors. I conclude that Heller undermines postmodern claims about the relativism of history and scientific progress, notwithstanding initial appearances to the contrary.