Here is Lukács among friends, lovers, and peers in those important years before 1918, when he converted to Communism and Marxism at the age of 39. Lukács emerges as dramatic and psychologically complex but also as a figure whose dilemmas were echoed in the lives of other radical intellectuals who came of age during the fin de siêcle period.

The end of the Soviet period, the vast expansion in the power and influence of capital, and recent developments in social and aesthetic theory, have made the work of Hungarian Marxist philosopher and social critic Georg Lukács more vital than ever. The very innovations in literary method that, during the 80s and 90s, marginalized him in the West have now made possible new readings of Lukács, less in thrall to the positions taken by Lukács himself on political and aesthetic matters. What these developments amount to, this book argues, is an opportunity to liberate Lukács's thought from its formal and historical limitations, a possibility that was always inherent in Lukács's own thinking about the paradoxes of form. This collection brings together recent work on Lukács from the fields of Philosophy, Social and Political Thought, Literary and Cultural Studies. Against the odds, Lukács's thought has survived: as a critique of late capitalism, as a guide to the contradictions of modernity, and as a model for a temperament that refuses all accommodation with the way things are.

A radical reconceptualization of modernism, this book traces the appearance of the modern artist to the Paris of the 1830s and links the emergence of an enduring modernist aesthetic to the fleeting forms of popular culture. Contrary to conventional views of a private self retreating from history and modernity, Popular Bohemia shows us the modernist as a public persona parodying the stereotypes of commercial mass culture. Here we see how the modern artist—alternately assuming the roles of the melodramatic hero, the urban flâneur, the female hysteric, the tribal primitive—created his own version of an expressive, public modernity in opposition to an increasingly repressive and conformist bourgeois culture. And here we see how a specifically modern aesthetic culture in nineteenth-century Paris came about, not in opposition to commercial popular culture, but in close alliance with it. Popular Bohemia revises dominant historical narratives about modernism from the perspective of a theoretically informed cultural history that spans the period between 1830 and 1914. In doing so, it reconnects the intellectual history of avant-garde art with the cultural history of bohemia and the social history of the urban experience to reveal the circumstances in which a truly modernist culture emerged.

Situating Karl Mannheim in a tradition of critical social philosophy, Iaan Reynolds argues that Mannheim's early explorations in the sociology of knowledge offer a novel approach to this tradition since they emphasize the need for social research to cultivate the critical self-awareness of social researchers.

The Handbook of Social Theory presents an authoritative and panoramic critical survey of the development, achievement and prospects of social theory.

Art historians have been facing the challenge – even from before the advent of globalization – of writing for an international audience and translating their own work into a foreign language – whether forced by exile, voluntary migration, or simply in order to reach wider audiences. Migrating Histories of Art aims to study the biographical and academic impact of these self-translations, and how the adoption and processing of foreign-language texts and their corresponding methodologies have been fundamental to the disciplinary discourse of art history. While often creating distinctly "multifaceted" personal biographies and establishing an international disciplinary discourse, self-translation also fosters the creation of instances of linguistic and methodological hegemony.

German professors and academic intellectuals are often blamed for passivity or complicity in the National Socialist rise to power. Karl Mannheim was a leading representative of a vital minority of university personalities who devoted themselves to making sociology and higher education contribute to democratization. Sociology as Political Education is both an analytical account of Mannheim's efforts as well as an illustration of the application of sociological knowledge to the world of practical action. Together with a second biographical volume by the editors, forthcoming next season, it comprisesa complete record of Karl Mannheim in the university life of the Weimar period. The comparatively new discipline of sociology was looked upon with favor by the Weimar Republic's reformers of higher education. In advancing its methods Mannheim had first to contend first with prominent and influential figures who attacked sociology as a mere political device to undermine cultural and national values for the sake of narrow interests and partisanship. He then had to meet the objections of fellow sociologists who were convinced that the discipline could prosper only as an area of specialized study with no claim to educational goals beyond the technical reproduction. Finally, he had to separate himself from proponents of politicized sociology. Sociological thought should be rigorous, critical, and attentive to evidence, but, Mannheim argued, its system had to be open and congruent with the ultimate responsibility of human beings for their acts. Loader and Kettler supplement Mannheim's groundbreaking volume with previously untranslated Mannheim texts, among them a transcript of his 1930 sociology course in which Mannheim answered his critics and clarified his intentions. Sociology as Political Education is not only of historical significance, but also shows Mannheim's relevance for current discussions of academic integrity and politicization. This volume will be of interest to sociologists, cultural historians, and political scientists.