Towards a Sociological Aesthetic

The brutal and tragic end writings Goldmann, just when people were still expecting that theoretical synthesis that he was one day planning to publish, necessitates a return to disparate texts asking aesthetic questions in order to seize outlines a firm theory concerning quality artistic works. The absence a theoretical formulation by Goldmann himself immediately creates difficulties. The most fruitful source we may tap indeed remains article L'esthbtique du jeune Lukics, which appeared in Meditations in 1961 and was reprinted in Marxisme et sciences humaines. For in this essay where he examines first three works Lukacs1, Goldmann immediately presents problem essay as a genre as it is developed by Lukics beginning in 1910. In this mirror through which he meditates, Goldmann questions himself about his own work and informs us about status his own discourse. Speaking Lukacs' aesthetics, he defines his own in so far as it is true that the essay remains an intermediary form to extent that it only presents its problems a particular reality. Thus it is always a work with two dimensions. That object it refers to and that problem it raises.2 That Goldmann preferred to enunciate problems a sociological aesthetic which is his own because of aesthetics Lukics rather than to present an autonomous theoretical exposition in itself defines one dimensions this aesthetic. The aesthetic does not possess theoretical autonomy, it can only be object a particular science

Aesthetics · Art · Autonomy · Epistemology · Exposition (narrative) · Linguistics · Literature · Object (grammar) · Order (exchange) · Political science · Reflexive pronoun · Sociology · French Historical and Cultural Studies · Law · Philosophy