Abstract
Lukács was the first heir of his early works, and in particular The Theory of the Novel. This is evidenced by the “resumption” of his works on the novel during the 1930s when he stayed in Moscow, where he described the novel as a bourgeois epic. This resumption shows the continuity of his reflection and at the same time constitutes a decisive reformulation within the framework of “great realism” which is closely linked to an ontological perspective opened by the discovery and reading of Marx's Manuscripts of 1844. In the plurality of his figurations, the hero is also a herald, antique or romantic hero, revolutionary proletariat and peculiarity (Besonderheit). It embodies the power of subversion of the reification of the world, which allows a rapprochement with Pasolini, especially Teorema.
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