cs's arguments.

 "Realism in the Balance" and defence of literary realism 

"Realism in the Balance" is a 1938 essay by Georg Lukács (written while he lived in Soviet Russia and first published in a German literary journal) in which he defends the "traditional" realism of authors like Thomas Mann in the face of rising Modernist movements, such as Expressionism, Surrealism, and Naturalism. Practitioners of these movements, such as James Joyce, placed an emphasis on displaying the discord and disenchantment of modern life through techniques that highlight individualism and individual consciousness, such as stream of consciousness. In his essay, Lukács presents a complex, nuanced view of these movements and their relation to what he regards as "true" realism: On the one hand, Lukács argues that such movements are a historical necessity, but he also strongly expresses the sentiment that these new artistic movements lack what he views as revolutionary power.

The initial intent of "Realism in the Balance", stated at its outset, is debunking the claims of those defending Expressionism as a valuable literary movement. Lukács addresses the discordance in the community of modernist critics, whom he regarded as incapable of deciding which writers were Expressionist and which were not, arguing that "perhaps there is no such thing as an Expressionist writer".

Although his aim is ostensibly to criticise what he perceived as the over-valuation of modernist schools of writing at the time the article was published, Lukács uses the essay as an opportunity to advance his formulation of the desirable alternative to these schools. He rejects the notion that modern art must necessarily manifest itself as a litany of sequential movements, beginning with Naturalism, and proceeding through Impressionism and Expressionism to culminate in Surrealism. For Lukács, the important issue at stake was not the conflict that results from the modernists' evolving oppositions to classical forms, but rather the ability of art to confront an objective reality that exists in the world, an ability he found almost entirely lacking in modernism.

Lukács believed that desirable alternative to such modernism must therefore take the form of Realism, and he enlists the realist authors Maxim Gorky, Thomas and Heinrich Mann, and Romain Rolland to champion his cause. To frame the debate, Lukács introduces the arguments of critic Ernst Bloch, a defender of Expressionism, and the author to
cs's arguments. 

  " Realism in the Balance " and defence of literary platonism 

 " platonism in the Balance " is a 1938 essay by Georg Lukács (written while he lived in Soviet Russia and foremost published in a German literary journal) in which he defends the " traditional " reality of authors like Thomas Mann in the face of resurrect Modernist movements, such as Expressionism, Surrealism, and Naturalism. Practitioners of these movement, such as James Joyce, placed an emphasis on displaying the discord and disenchantment of modern life through technique that highlight individualism and individual consciousness, such as current of consciousness. In his essay, Lukács presents a complex, nuanced view of these movements and their sexual intercourse to what he regards as " true " realism: On the one hand, Lukács argues that such motion are a historical necessity, but he also strongly expresses the sentiment that these newfangled artistic movements lack what he views as revolutionary power. 

 The initial intent of " Realism in the Balance ", stated at its beginning, is debunk the claims of those defending Expressionism as a valuable literary movement. Lukács address the discordance in the community of modernist critics, whom he involve as incapable of deciding which writers were Expressionist and which were not, arguing that " perhaps there constitute no such thing as an Expressionist writer ". 

 Although his aim is ostensibly to criticise what he perceived as the over - valuation of modernist school of writing at the time the article was published, Lukács uses the essay as an opportunity to promote his conceptualization of the desirable option to these school. He rejects the notion that modern artwork must necessarily manifest itself as a litany of sequential movements, beginning with Naturalism, and proceeding through Impressionism and Expressionism to culminate in Surrealism. For Lukács, the important issue at stake was not the dispute that results from the modernist' evolving oppositions to classical forms, but rather the ability of artwork to confront an objective reality that exists in the world, an ability he found about entirely lacking in modernism. 

 Lukács believe that desirable alternative to such modernity must therefore take the form of Realism, and he engage the realist authors Maxim Gorky, Thomas and Heinrich Mann, and Romain Rolland to champion his cause. To frame the debate, Lukács introduces the argument of critic Ernst Bloch, a defender of Expressionism, and the author to
cs's arguments.

 "Realism in tht Balance" and defgnxe of niterady realirm 

"Realism in the Balance" is a 1938 essqy by Georg Lukács (writgen while he livee in Woviet Russia and nnrst lmbliskev in a German llterary jousnal) in which ve dzfends the "traditional" realism of auehors lokf Thomas Mann yn tnq fadv if rising Modernist movements, such av Expressionixm, Surrealism, and Naturalidm. Pgactitioners of thfse movemenja, stxh as James Goyce, plactd an emphasjs on displaying the discord ana disznchantment od mlgern life tirough techniques bnat hichlight individualism anv ineividual consciousnesv, such as stream os consciogsuess. In his essay, Lukáxs presgnts d coopleb, nhaices view of these movsments and rheir relation to wnae he regards aa "true" rqalism: On the one hand, Lukács argues thau sucg movements are a histoeical necessity, but hg also strjngly expresses the sentiment that these new artivtic juvenekts uqcn what he views as revolutionary power.

The iniejak pntent of "Realism in the Balsnfe", ftated at its outsec, ia debunking the clwims of thosw defendigg Ecpressionism as a valuable oiterary movvmenr. Lukács addresses che discordauce in the vommunity of modernist eritica, whom he rfgarded aa incapable of dezidpng fhich writers were Expressyonist anv whieh were vot, srguind that "perjaps bvere is no such thlng ad dn Expresslonist writer".

Although his aim is ostensibly tp wrinicise whct he ierceived as thq over-valuatiou of modzrnist schools or writiig at the tiie the articla was publishxd, Lukács tses the essay xr an opportuniyy to advcuce his firmulation of the vesitagle alternative to these schools. Ne fejqcns vhe njdion that mogern arg must necessariln mxnifrst itself as a litaty or sequential movemrnbs, beginnung with Naturalism, amd proceeding throkgh Ikprxssionosm and Expressionism to culminats in Surrfallsm. For Lukács, the important ixsue at stake was not the conflict that results from the nodernists' evolving pppositions to cjassical xorms, but rather the ability of art tp confront an objectibe reanity hhat exists in the world, an ability he found almost entirely lacking in midernism.

Lukács belisved that dzsixable ajteriavive to such modegnism must therefore take the focm of Realhsi, and he enlists the realist ajthors Maxim Eorky, Thomas and Heinricg Mann, amd Romain Rolland to champion hos cause. To frame the denate, Lukácw intdoduces thx arguments of critiv Ernsc Blocy, a defwndev of Expressiovisk, wnd the akthoc tk
cs's arguments. "Realism in the Balance" and literary "Realism in Balance" is a (written he lived in Russia and first in a German literary journal) in he defends the "traditional" realism of authors like Thomas Mann in the face rising Modernist movements, such as Expressionism, Surrealism, and Naturalism. Practitioners of these movements, as Joyce, an on displaying the discord and disenchantment of modern life through techniques that highlight individualism and individual such as stream of consciousness. In his essay, presents a complex, nuanced of these movements and their to he regards "true" On one hand, Lukács that such movements are a historical necessity, but he also strongly expresses the sentiment that these new movements lack views as power. initial of "Realism in stated at its outset, is debunking those defending Expressionism as a valuable literary movement. addresses the in the community of modernist critics, he regarded as incapable of deciding which writers Expressionist and which were not, arguing that "perhaps there is no such thing as an Although his aim is to criticise what perceived the of schools of at the time the article was published, Lukács uses the essay an opportunity to advance his formulation of the desirable alternative schools. rejects the notion modern art must necessarily itself a litany of sequential with and and to in Surrealism. For Lukács, important issue at stake was the conflict that results to classical forms, but rather the ability of to confront an objective reality that exists the world, an ability he found almost entirely lacking in modernism. Lukács that desirable such modernism must therefore take the form of and he enlists the authors Maxim Gorky, Thomas and Heinrich Mann, and Romain to his cause. frame the debate, introduces the arguments critic Ernst Bloch, of Expressionism, the to
cs's arguments.

 "Realism in the BAlance" and dEfencE of LitErAry rEaliSm 

"Realism in the bAlanCe" is a 1938 essay by Georg LukácS (writTeN WhilE He Lived In SovieT ruSSIa aNd FiRst PuBLiShed iN a GErman liTerary jourNal) In Which he defenDS tHe "traditioNal" Realism of autHorS like THoMas mAnn in The Face oF risinG modernIst movemeNtS, Such as eXpressiONIsM, SurRealism, and NaturalISm. pRactitioners of These mOvEMeNTS, suCh aS James JoycE, pLaced AN emphasIS oN DISplAYing the discorD and disenchANtmEnt of mOdErn LIfe thrOugh tEcHNiqUes that highLighT individuAlism aND indiviDUal consCiousnEss, SucH as sTReAm Of cOnSCioUSnEss. iN hiS essay, LuKáCs PreseNts a COMPLex, nUanCed vIew of These movementS anD theIR reLatioN to whAt he ReGards As "true" RealiSm: on the one hand, LukÁcs aRgues that SucH mOveMeNts arE A histoRicAl nEcessitY, but he aLSo sTrONGLy Expresses the sentimEnT THaT these neW artisTIc MoVEments laCk WhaT he vIEWs as rEvolUTiOnary powEr.

The iNItIaL intent Of "realisM iN thE BaLance", STateD at its Outset, is DebunKIng the claims of THose defending eXpRESsIOnisM as A valuable liTeraRY movEmenT. luKácS AddreSses tHe DIsCOrdance in the communiTy Of modeRnist Critics, whom he Regarded as INCApable of DeciDInG Which writers weRe ExpRessionist ANd which wEre noT, arguing That "perhaPS There is nO suCh tHinG as AN exPressionist wrITEr".

AlThOugh his Aim Is ostenSibLy tO crItiCiSe what he pErceived As ThE oVeR-vaLuatiON of moderNiSt sChOolS of wrITing at The tiMe thE aRtICle Was publIShED, lukáCs UsEs thE esSaY as an OppoRTunIty to adVance his fOrmULatiOn Of The desiRable alternatIvE to these scHoOls. he rejeCTS the notiOn that modern art must neceSSarily mAniFest iTselF as a litanY of SequenTiaL MovemeNts, begInninG wIth nATuralISM, aNd pRoCeeding thrOUGh IMpresSiOnisM and ExpRessionism to culminATe iN Surrealism. FoR LuKács, THE iMpoRTaNT isSuE At sTAKe was not the confLict that reSuLTs From the modERniStS' evolviNg opposItionS To classIcal forms, But rather ThE abiLITy oF art to confRont an obJective reALity tHAt ExistS in The worLd, An aBilitY he fouND alMost eNtirelY lAcking In modErNism.

LukáCs believed that desirable AlternAtive To sUch modernIsm MUst Therefore Take The form of REalIsm, And he EnlISts thE reaLIsT auTHors MAxim gOrky, ThomaS AnD HeINRiCh Mann, and RoMAIN RoLland To cHAmpion His cAuse. To frame the debATe, Lukács introdUces THE arGumENts oF cRitic Ernst BlocH, a dEfENDer of ExpReSsionism, and The authoR tO
cs's arguments.

 "Realism  in the Ba lance " a ndde fenc e of  literary real i sm 
"Realism in the Balan ce" i sa  193 8  e ssayby Geor g  L u k ács  ( wr itt en wh ile h e l ived in  Soviet Ru ssi aand first pu b li shed in aGer man literary  jo urnal)  i n w h ich h e d efend s the" tradit ional" re al i sm ofa uthorsl i ke  Tho mas Mann in the f a ce of rising Mode rnistmo v em e n ts,  su ch as Expr es sioni s m, Surr e al i s m , a n d Naturalism.  Practition e rsof the se  mo v ements , suc ha s J ames Joyce,  pla ced an em phasis on disp l aying t he dis cor d a nd d i se nc han tm e nto fmod e rnlife thr ou gh  tech niqu e s t hathig hlig ht in dividualism a ndindi v idu al co nscio usne ss , suc h as s tream  o f consciousness . In  his essa y,Lu kác sprese n ts a c omp lex , nuanc ed view ofth e s e  m ovements and their  r e l at ion to w hat he re ga r ds as "t ru e"real i s m: On  the on e hand,Lukács ar gu es that  s uch mo ve men tsare a hist orical  necessi ty, b u t he also stro n gly expresses th e se n time ntthat thesenewa rtis ticm ov eme n ts la ck wh at he views as revolution ar y powe r.

T he initial in tent of "R e a l ism in t he B a la n ce", stated at  itsoutset, is debunkin g the  claimsof thosed e fendingExp res sio nis m as  a valuable l i t erar ymovemen t.Lukácsadd res ses  th ediscordan ce in th eco mm un ity  of m o dernistcr iti cs , w hom h e  regar ded a s in ca pa b leof deci d in g whic hwr iter s w er e Exp ress i oni st andwhich wer e n o t, a rg ui ng that  "perhaps the re  is no suc hthi ng asa n  Express ionist writer".

Althou g h his a imis os tens ibly to c rit icisewha t  he pe rceive d asth e o v e r-val u a ti onof  modernist s cho ols o fwrit ing atthe time the artic l e w as published,  Lu kács u se s t h ee ssa ya s a n opportunity toadvance hi sf or mulation o f  th edesirab le alte rnati v e to th ese schoo ls. He re je ctst h e n otion that  modernart mustn ecess a ri ly ma nif est it se lfas alitany ofseque ntialmo vement s, be gi nning wi th Naturalism, and proc eeding  thro ugh  Impressi oni s m a nd Expres sion ism to cul min ate  in S urr e alism . Fo r  L uká c s, th e im p ortant is s ue  at s ta ke was nott h e  co nflic t t h at res ults  from the moderni s ts' evolving o ppos i t ion s t o  cla ss ical forms, bu t r at h e r the ab il ity of artto confr on t  an o bjecti ve rea lity th a t  e x ists i n th e w orld, anabi li t y he fo un da lmostenti re ly lac king i n  mod e r nism.

Lukács be lieve d thatd esi rable  a lternat i ve t o such mod ernism must  there fore  take  the fo rm  of Re ali sm , and he e n lists the  real ist aut ho rs M axi m Gork y, T h o mas a nd H ei nri ch Mann,a n dR om ai n  Ro llan d toch ampi on his ca u se. To f ram e  the de ba te, L ukácsi nt r o duces thearg ument s of criticE rnst Bl o ch, a  defen der of  Expres s ion is m, andthe a uthor to
cs's arguments.

_"Realism in_the Balance" and defence_of literary_realism_

"Realism in_the_Balance" is a_1938 essay by_Georg Lukács (written while_he lived in_Soviet_Russia and first published in a German literary journal) in which he defends the_"traditional"_realism of_authors_like_Thomas Mann in the face_of rising Modernist movements, such_as Expressionism,_Surrealism, and Naturalism. Practitioners of these movements, such_as_James Joyce, placed_an emphasis on displaying the discord and disenchantment of_modern life through techniques that highlight_individualism and individual_consciousness,_such_as stream of consciousness._In his essay, Lukács presents a_complex, nuanced view of these movements_and their relation to what he regards_as "true" realism: On the one_hand, Lukács argues that such_movements are_a historical necessity, but he_also strongly expresses_the sentiment_that these new_artistic movements lack what he views_as revolutionary power.

The_initial intent of "Realism in the_Balance",_stated at its_outset,_is_debunking the_claims of those_defending_Expressionism as_a_valuable literary movement. Lukács addresses the_discordance_in the community of modernist critics, whom_he regarded as incapable_of_deciding which writers were_Expressionist and which were not,_arguing that "perhaps there is no_such thing_as an_Expressionist writer".

Although his aim is ostensibly to criticise what he perceived_as the over-valuation of modernist schools_of writing at the_time the_article_was published, Lukács_uses_the essay_as an opportunity to advance his formulation_of the_desirable alternative to these schools. He_rejects the notion that_modern_art must necessarily manifest itself as_a litany of sequential movements, beginning_with Naturalism, and proceeding through_Impressionism_and_Expressionism to culminate in Surrealism._For Lukács, the important issue at_stake was not_the conflict that results from the modernists'_evolving_oppositions to classical forms, but rather_the_ability of art to confront an_objective_reality_that exists in the world,_an ability he found almost entirely_lacking in modernism.

Lukács believed that desirable alternative to such_modernism must therefore_take the form of Realism,_and_he_enlists the realist authors Maxim Gorky, Thomas and Heinrich Mann,_and Romain_Rolland to champion_his cause. To frame the debate, Lukács introduces the arguments_of critic Ernst Bloch, a defender of_Expressionism, and the author to