本文以卢卡奇的早期文艺思想为研究对象，将其早年时期定义为，从开始撰写第一部理论著作的1906年到加入匈牙利共产党的1918年这段时间内。论文具体考察的理论文本主要包括《现代戏剧发展史》《心灵与形式》《论文学史理论》《艺术哲学》《海德堡美学》《审美文化》《论精神的贫困》《小说理论》等文艺美学论著。 在早年时期，卢卡奇对自己家庭感到厌弃，并对当时的匈牙利文化生活充满绝望，因此而开启了不断探求真正理想文化的一生。作为其思想理论来源的德国文化传统，对青年卢卡奇有着极其重要的影响。他在理论生涯伊始就受惠于德国生命哲学、文化哲学、新康德主义、德国早期浪漫派等思想流派。虽然卢卡奇早期受多位思想家的影响，其早期思想看上去跳跃多变，但事实上不是表面上所呈现出来的“混乱”。相反，毋宁说他是转益多师，贯穿其思考嬗变背后的是宏大的问题意识，即为克服欧洲文化危机找寻出路，为重构总体性文化提出解决方案。 论文依次考察了卢卡奇早期著作中的“形式”观念、卢卡奇与德国浪漫派的复杂关系、卢卡奇积极探求文化重建的目的和策略及其加入匈牙利共产党前后对伦理问题的思考。论文得出以下研究结论：一，在其理论前后期，卢卡奇有着理论问题意识和思考上的内在连续性和一贯性，这包括他1918年政治信仰上发生的重要转变；二，我们不仅不应该将卢卡奇早期思想视为一团混沌而丢弃，也不应该对复杂的早期思想一分为二或者一分为多，而是要将其视为一个有机的思想整体；三，无论是赋予混乱的日常生活以“形式”，还是以伦理的考量进入政治实践，这些都与青年卢卡奇一直关注的焦点问题密切相关，即追求圆融、和谐、有机、统一的总体性文化。 论文的研究试图描绘出一幅洞悉欧洲现时代文化危机并寻求拯救之策的青年卢卡奇的思想画像。他面对“西方的没落”、总体性的丧失，并没有像狄尔泰、西美尔、韦伯等略早于他的思想家那样消极退守，而是通过对文学、艺术、美学等问题的思考，积极思考在“绝对罪恶时代”中人类生活的普遍现状，由此出发而重新寻求生活的意义和价值。

The dissertation examines Gy?rgy Lukács’ literary thoughts during his early period, defined as that from 1906, when he began writing his first theoretical work, to 1918, when he joined the Hungarian Communist Party. The theoretical texts studied in the dissertation include Lukács’ writings on literature and aesthetics such as History of the Modern Drama, Soul and Form, “Remarks on the Theory of Literary History,” Philosophy of Art, Heidelberg Aesthetics, “Aesthetic Culture,” “On Poverty of the Spirit,” and Theory of the Novel. In his early period, Lukács, felt dissatisfied with the life of his family, despaired of the Hungarian cultural life of his time, and thus initiated his life search for a truly ideal social culture. The German cultural tradition—the source of his theoretical thought—had an extremely significant inspiration to the early Lukács. From the very beginning of his theoretical thinking, he benefited from various schools of German thoughts, including German philosophy of life, philosophy of culture, neo-Kantianism, and early German Romanticism. Influenced by a number of thinkers in his early years, Lukács appears to be dramatically fluid in his early thinking, and it is not “chaotic” that it seems to be. Rather, it is the case that he learned from many of them. Underlying the transformations of his thinking was a constant attempt to conceptualize the general crisis of European culture, of finding alternatives through theoretical thinking, and ultimately of proposing possibilities for the reconstruction of a totalizing culture. The dissertation studies Lukács’ concept of “form” in his early writings, his complicated theoretical relation with the German Romantics, his active intellectual pursuits for the purpose of cultural reconstruction, and his thinking on ethical issues before and after joining the Hungarian Communist Party. The following conclusions are drawn: first, there exists an coherent consistency and continuity in Lukács’ theoretical consciousness and conceptualization of theoretical issues in his early and late period, including the very important shift in his political beliefs in 1918; second, we should not take the thoughts of the early Lukács as disorganized, nor should we separate it into two or many sections, but rather, we should consider the early Lukács as an organic theoretical totality; third, whether it is to give “form” to his contemporary European everyday life or to participate into actual political practice with his serious ethical considerations, all of these closely relate to the theoretical thinking of the early Lukács, which is the pursuit of a rounded, harmonious, organic, and unified totalizing culture. The research of the dissertation tries to paint an intellectual picture of the early Lukács, who understood clearly the European cultural crisis of his contemporary age and therefore sought for political and cultural alternatives. Faced with the “decline of the West” and the loss of totality, Lukács did not take any conservative political and cultural stance as Wilhelm Dilthey, Georg Simmel, Max Weber, and other thinkers who preceded him did. Instead, he thought deeply about the universal situation of human life in the “age of absolute evil” through his works on literature, art, and aesthetics, and from there, he presented possibilities of looking for the meaning and value of life.