Origens do realismo na teoria estética marxista do entreguerra

Abstract

The aim of this article is to point out how different intellectual paths throughout the first half of the twentieth century took important names of aesthetic theory to a common Marxist method, incorporated into literary discussions in the interwar period. In this sense, we seek to demonstrate how the more idealistic formative period of the Bakhtin Circle and the Russian formalists, as well of György Lukács and Walter Benjamin, did not prevent that these works culminated in a more dialectical and historicized notion about realism’s aesthetic concept. Thus, we will seek to emphasize that the idea of a non-mechanical condensation of reality in artistic form is the central base of all these authors, and is what ultimately unifies rather than separates their different theories.