By CELSO FREDERICO: Between the Leninist preference for 19th-century realism and Mayakovsky's “strange and incomprehensible” avant-garde, the Bolshevik paradox emerges: how to build proletarian culture without falling into Bogdanov's “religious atheism” or futurist frivolity?
By CELSO FREDERICO: Russian avant-gardes: when the revolution wanted to forge new languages, art itself became a battlefield
By CELSO FREDERICO: Russia remained without experiencing a bourgeois revolution and the populist movement believed that it was possible to carry out the transition to socialism based on the fraternal and egalitarian society that already existed in the peasant community.
By CELSO FREDERICO: After György Lukács' adherence to Marxism, his passionate and aggressive defense of realism was met with relentless criticism of the artistic manifestations of the avant-garde
By CELSO FREDERICO: Esthetic It is a work of maturity, a safe reference for retrospectively evaluating the steps taken in Lukács's career
By CELSO FREDERICO: The understanding of art as one of the human activities is done within an ontological register, as it “deals with the aesthetic as a moment of being, of social being”
By CELSO FREDERICO: Studying the last works of György Lukács is similar to attempts to unravel Antonio Gramsci's Prison Notebooks
By CELSO FREDERICO: The great literary critic’s tense relationship with Marxism was a remarkable chapter in the history of “Western Marxism”
By CELSO FREDERICO: The changes in Williams' thinking are explained by the evolution of capitalist society and also represent responses to the criticism suffered by his first books
By CELSO FREDERICO: Williams is a materialist, but matter for him is, from the beginning, social matter full of human meanings
By CELSO FREDERICO: Preface to the recently released book, organized by José Paulo Netto
By CELSO FREDERICO:
Unlike Gramsci, Althusser encourages the “war of movement” and the need to destroy the state apparatus
By CELSO FREDERICO:
Considerations on the model of dialectical reflection proposed by the French philosopher
By CELSO FREDERICO:
The Adornian implication with jazz has as a backdrop the criticism of its mercantile character
By CELSO FREDERICO:
Adorno's unsystematically systematic thinking
By CELSO FREDERICO:
The dialectic between the universal and the particular stresses Adorno's analyzes at all times
By CELSO FREDERICO:
The Italian Marxist developed a political conception of ideology, thinking of it as the space in which men become aware of social conflicts and wage their struggles
By CELSO FREDERICO:
When leaning over Croce's work, Gramsci sought to decant ideas that would format the bases of his own conception of the world
By CELSO FREDERICO:
The philosophy of praxis seeks to move away from both vulgar materialism and idealism.
By CELSO FREDERICO:
The Italian thinker saw the dissemination of Bukharin's ideas as a danger to be fought
By CELSO FREDERICO: Between the Leninist preference for 19th-century realism and Mayakovsky's “strange and incomprehensible” avant-garde, the Bolshevik paradox emerges: how to build proletarian culture without falling into Bogdanov's “religious atheism” or futurist frivolity?
By CELSO FREDERICO: Russian avant-gardes: when the revolution wanted to forge new languages, art itself became a battlefield
By CELSO FREDERICO: Russia remained without experiencing a bourgeois revolution and the populist movement believed that it was possible to carry out the transition to socialism based on the fraternal and egalitarian society that already existed in the peasant community.
By CELSO FREDERICO: After György Lukács' adherence to Marxism, his passionate and aggressive defense of realism was met with relentless criticism of the artistic manifestations of the avant-garde
By CELSO FREDERICO: Esthetic It is a work of maturity, a safe reference for retrospectively evaluating the steps taken in Lukács's career
By CELSO FREDERICO: The understanding of art as one of the human activities is done within an ontological register, as it “deals with the aesthetic as a moment of being, of social being”
By CELSO FREDERICO: Studying the last works of György Lukács is similar to attempts to unravel Antonio Gramsci's Prison Notebooks
By CELSO FREDERICO: The great literary critic’s tense relationship with Marxism was a remarkable chapter in the history of “Western Marxism”
By CELSO FREDERICO: The changes in Williams' thinking are explained by the evolution of capitalist society and also represent responses to the criticism suffered by his first books
By CELSO FREDERICO: Williams is a materialist, but matter for him is, from the beginning, social matter full of human meanings
By CELSO FREDERICO: Preface to the recently released book, organized by José Paulo Netto
By CELSO FREDERICO:
Unlike Gramsci, Althusser encourages the “war of movement” and the need to destroy the state apparatus
By CELSO FREDERICO:
Considerations on the model of dialectical reflection proposed by the French philosopher
By CELSO FREDERICO:
The Adornian implication with jazz has as a backdrop the criticism of its mercantile character
By CELSO FREDERICO:
Adorno's unsystematically systematic thinking
By CELSO FREDERICO:
The dialectic between the universal and the particular stresses Adorno's analyzes at all times
By CELSO FREDERICO:
The Italian Marxist developed a political conception of ideology, thinking of it as the space in which men become aware of social conflicts and wage their struggles
By CELSO FREDERICO:
When leaning over Croce's work, Gramsci sought to decant ideas that would format the bases of his own conception of the world
By CELSO FREDERICO:
The philosophy of praxis seeks to move away from both vulgar materialism and idealism.
By CELSO FREDERICO:
The Italian thinker saw the dissemination of Bukharin's ideas as a danger to be fought