NOTE 99 after its stabilisation between 1962 and 1988 simultaneously satisfying demands of reform, changes within the versions of planning and also initiating processes antagonistic to the earlier: centralisation of power, concentration of economic units.3 After completing his studies in the University of Eotvos Lorand in Budapest at the end of the 1950s, Feher taught in a 'gimnazium', a Hungarianhigh school. In the 1960s he became a part of the internal circle of Lukacs' students. This coincided with the theoretical enterprise, which Lukacs designated 'The Renaissance of Marxism'. The projectwas directed atbridging the gap between the great tradition of Marxism and the problems of the contemporary, the interrelationship of everyday life, art and aesthetics as Lukacs formulated it, to create the ontological basis for Marxism.4 In the 1960s Feher also started to be known as a critic of great independence for the writer's ideological or political stand he wrote about his contemporaries such as Tibor Dery and Gyorgy Konrad, about the poems of Sandor Weores and Janos Pilinszky, and the films of Miklos Jancso. His independent position as a critic and philosopher ready to freshly examine accepted philosophical and ideological tenets contributed to the cultural ferment which took place in the 1960s in Eastern Europe. By the 1960s the closest circle of Lukacs' students like Feher, Heller, Markus and Vajda - had produced works concentrating on a theory of praxis. Gyorgy Markus' study The Epistemological Views of the Young Marx and Agnes Heller's essays on ethics, which are both Marxist investigations of specialised disciplines stand out. Feher also explored a similar area in the article The Alliance of Bela Baldzs and Gyorgy Lukacs upto the time of the Revolution5, published in the later 60s. In this paper he analysed Bela Balazs' (poet and writer, who became a theoretician of filrfi in the Soviet Union, where he lived in exile till 1945) and Gyorgy Lukacs' critique of conventional ethics in human relationships in the essays of the Soul and Forms and in Balazs' poems and tales. Both of them expressed a Utopian desire for the restoration of unity between subject and object, a romantic protest against alienation in human relationship. Feher investigated what the Utopia of identity of subject and object led to in the aesthetic framework of Balazs' works and pointed to the special experience of time and the naivety of the form. Connecting an area of private life and aesthetics to political radicalisation Feher was able to show the relationship between these three areas. The 1960s witnessed the upheaval of leftist movements both in the East and West of Europe even though, depending on the conditions the movements took different shapes. Some of these movements were committed to romantic maoism or guevarism. Simultaneously, theoretical groups, like the Praxis-circle in Yugoslavia or the Lukacs School in Hungary were critical of both capitalism and bureaucratic state socialism. Lukacs also spelt out (- in the article Democratisation Today and Tomorrow6, written in 1968 but published in Hungarian only in 1988 -) that both bourgeois democracy and Stalinism marginalised political participation. Lukacs expected the renewal of democracy as the result of de-Stalinisation. He also claimed that genuine reform should support the producers participation in the process of production and