卢卡契开始是视现代主义为大谬不然的。他不仅认为现代主义文艺创作都是反现实主义的,而且斥之充满着“所有反动偏见”,“是资产阶级艺术的死之舞蹈”,甚至是法西斯主义的思想土壤。可是物态化了的文艺创作又是一种社会存在,具有不以个体评论者主观好恶为转移的客观内容;它的正价值与负价值都会在历史的前行中得到验证。相当一部分现代主义文艺创作正是在这个过程中显示出不容否认的巨大的认识价值与审美价值。卢卡契到底是马克思主义文艺批评家,在历史所显示的事实面前,他逐步修正了自己的偏见;虽然看不到他对现代主义文艺创作有宏观上的肯定论述,但是他的由攻击布莱希特到赞扬其伟大,尤其是他对卡夫卡作出的评价,足以显示出他对 Lukacs began as the modernism is wrong. He not only considered modernist literary and artistic creations as both anti-realist but also replete with “all reactionary prejudices”, “a dance of death of bourgeois art,” and even the soil of fascism. However, the materialized literary and artistic creation is a kind of social existence with the objective content that is not shifted by the subjective likes and dislikes of individual commentators. Its positive value and negative value are verified in the course of history. It is in this process that a considerable part of modernist literature and art creation shows a huge recognition value and aesthetic value that can not be denied. In the end, Lukacs, a Marxist literary critic, gradually corrected his own prejudices in the face of the facts revealed by history. Although he can not see his macroscopic affirmation of the creation of modernist literature and art, Lechter to praise its greatness, especially his evaluation of Kafka, enough to show that he