Tyrus Miller is professor of Art History and English at University of California, Irvine. He is the author of Modernism and the Frankfurt School (EUP, 2014); Singular Examples: Artistic Politics and the Neo-Avant-Garde (Northwestern University Press, 2009); Late Modernism: Politics, Fiction, and the Arts Between the World Wars (University of California Press, 1999). He edited the (Cambridge University Press, 2016) and was editor and translator of Georg Lukács’s post-World War II essays in Hungarian, The Culture of People’s Democracy: Hungarian Essays on Literature, Art, and Democratic Transition, 1945-1948 (Brill, 2013).

[Miller] comes neither to bury Lukács nor to praise him, but to broaden and enrich our view of his oeuvre. As he concludes: ‘No ultimate verdict has been pronounced either about Lukács himself or about the position he might hold for a future critical theory that for many decades has mostly sought to monumentalize him or keep him discreetly out of sight’ (p. 261). The intellectual historian Martin Jay, in his blurb for the back of the book, calls the work a collection of ‘sprightly essays’, and that is certainly a good way to approach a series of arguments that, at their best, are erudite, informative, surprising, and well-written.

• AcknowledgementsIntroductionChapter 1: Georg Lukács and Critical Theory: The Long GoodbyeGeorg LukácsChapter 2: Matthew, Mark, Lukács, and Bloch: From Aesthetic Utopianism to Religious Messianism Chapter 3: Lukács's Theatres of History: Drama, Action, and Historical AgencyChapter 4: The Non-Contemporaneity of Lukács and Lukács: Cold War Contradictions and the Aesthetics of Visual ArtTheodor W. Adorno　Chapter 5: Adorno and/or Avantgarde: Looking Back at SurrealismChapter 6: Avantgarde and Kitsch, or, Teddy the Musical!Chapter 7: Remediating Opera: Media and Musical Drama in Adorno and KlugeCritical TheoryChapter 8: Perversion and Utopia: Sade, Fourier, and Critical TheoryChapter 9: Interdisciplinary Legacies: Critical Theory and Authoritarian CultureChapter 10: Prophecies of Mass Deception: Dewey, Trotsky, and the Moscow Show-TrialsConclusionChapter 11: Tell-Trials, or, Gyuri the Radio-Play

Tyrus Miller is professor of Art History and English at University of California, Irvine. He is the author of Modernism and the Frankfurt School (EUP, 2014); Singular Examples: Artistic Politics and the Neo-Avant-Garde (Northwestern University Press, 2009); Late Modernism: Politics, Fiction, and the Arts Between the World Wars (University of California Press, 1999). He edited the (Cambridge University Press, 2016) and was editor and translator of Georg Lukács’s post-World War II essays in Hungarian, The Culture of People’s Democracy: Hungarian Essays on Literature, Art, and Democratic Transition, 1945-1948 (Brill, 2013).

[Miller] comes neither to bury Lukács nor to praise him, but to broaden and enrich our view of his oeuvre. As he concludes: ‘No ultimate verdict has been pronounced either about Lukács himself or about the position he might hold for a future critical theory that for many decades has mostly sought to monumentalize him or keep him discreetly out of sight’ (p. 261). The intellectual historian Martin Jay, in his blurb for the back of the book, calls the work a collection of ‘sprightly essays’, and that is certainly a good way to approach a series of arguments that, at their best, are erudite, informative, surprising, and well-written.

• AcknowledgementsIntroductionChapter 1: Georg Lukács and Critical Theory: The Long GoodbyeGeorg LukácsChapter 2: Matthew, Mark, Lukács, and Bloch: From Aesthetic Utopianism to Religious Messianism Chapter 3: Lukács's Theatres of History: Drama, Action, and Historical AgencyChapter 4: The Non-Contemporaneity of Lukács and Lukács: Cold War Contradictions and the Aesthetics of Visual ArtTheodor W. Adorno　Chapter 5: Adorno and/or Avantgarde: Looking Back at SurrealismChapter 6: Avantgarde and Kitsch, or, Teddy the Musical!Chapter 7: Remediating Opera: Media and Musical Drama in Adorno and KlugeCritical TheoryChapter 8: Perversion and Utopia: Sade, Fourier, and Critical TheoryChapter 9: Interdisciplinary Legacies: Critical Theory and Authoritarian CultureChapter 10: Prophecies of Mass Deception: Dewey, Trotsky, and the Moscow Show-TrialsConclusionChapter 11: Tell-Trials, or, Gyuri the Radio-Play

Tyrus Miller is professor of Art History and English at University of California, Irvine. He is the author of Modernism and the Frankfurt School (EUP, 2014); Singular Examples: Artistic Politics and the Neo-Avant-Garde (Northwestern University Press, 2009); Late Modernism: Politics, Fiction, and the Arts Between the World Wars (University of California Press, 1999). He edited the (Cambridge University Press, 2016) and was editor and translator of Georg Lukács’s post-World War II essays in Hungarian, The Culture of People’s Democracy: Hungarian Essays on Literature, Art, and Democratic Transition, 1945-1948 (Brill, 2013).

[Miller] comes neither to bury Lukács nor to praise him, but to broaden and enrich our view of his oeuvre. As he concludes: ‘No ultimate verdict has been pronounced either about Lukács himself or about the position he might hold for a future critical theory that for many decades has mostly sought to monumentalize him or keep him discreetly out of sight’ (p. 261). The intellectual historian Martin Jay, in his blurb for the back of the book, calls the work a collection of ‘sprightly essays’, and that is certainly a good way to approach a series of arguments that, at their best, are erudite, informative, surprising, and well-written.

• AcknowledgementsIntroductionChapter 1: Georg Lukács and Critical Theory: The Long GoodbyeGeorg LukácsChapter 2: Matthew, Mark, Lukács, and Bloch: From Aesthetic Utopianism to Religious Messianism Chapter 3: Lukács's Theatres of History: Drama, Action, and Historical AgencyChapter 4: The Non-Contemporaneity of Lukács and Lukács: Cold War Contradictions and the Aesthetics of Visual ArtTheodor W. Adorno　Chapter 5: Adorno and/or Avantgarde: Looking Back at SurrealismChapter 6: Avantgarde and Kitsch, or, Teddy the Musical!Chapter 7: Remediating Opera: Media and Musical Drama in Adorno and KlugeCritical TheoryChapter 8: Perversion and Utopia: Sade, Fourier, and Critical TheoryChapter 9: Interdisciplinary Legacies: Critical Theory and Authoritarian CultureChapter 10: Prophecies of Mass Deception: Dewey, Trotsky, and the Moscow Show-TrialsConclusionChapter 11: Tell-Trials, or, Gyuri the Radio-Play