Academic literature on the topic 'André Malraux'
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Journal articles on the topic "André Malraux"
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De Saint-Cheron, François. "André Malraux." Revue d'histoire littéraire de la France 104, no. 2 (2004): 459. http://dx.doi.org/10.3917/rhlf.042.0459.
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Harris, Geoffrey. "ThePanthéonisationof André Malraux." Modern & Contemporary France 6, no. 4 (November 1998): 530–35. http://dx.doi.org/10.1080/09639489808456458.
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Barkate, Jonathan. "André Malraux at the Heart of Romain Gary’s Imaginary Museum." Literatūra 64, no. 4 (October 29, 2022): 106–22. http://dx.doi.org/10.15388/litera.2022.64.4.7.
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Malraux is in the center of Gary’s imaginary museum. His name and thought are regularly quoted in Gary’s work. When the author of Pour Sganarelle, La Promesse de l’aube and La Danse de Gengis Cohn refers to the metamorphosis and the museum without walls – two concepts Malraux invented –, he uses Malraux’s image and writings to reveal how himself sees the world and the artist’s role. To analyse those quotes leads to reading Gary’s work through the lens of Malraux’s. It also shows how Gary portrays himself as a « conqueror of the impossible » while making his model embody his own aesthetic and ethical aspirations. His selfportrait as a jumping jack makes Gary follow the path of his friend, who elevated Man by softening his condition.
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Hangouët, Jean-François. "Two Forms of Humanism: André Malraux and Romain Gary." Literatūra 64, no. 4 (October 29, 2022): 25–48. http://dx.doi.org/10.15388/litera.2022.64.4.2.
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This article purposes to shed a mutual light on André Malraux’s humanism on the one hand, and on Romain Gary’s on the other hand. Our approach consists in juxtaposing their views on some of those faculties which, in the interaction of the living with the world, seem specific to mankind: the collective faculties of fraternity, culture, and science, the metaphysical abilities to ponder death, cosmos, and evolution.Malraux views fraternity as a “virile” instinct that best manifests itself during warfare, and Gary makes it feminine and akin to “universal love”. While Malraux, most classically, opposes culture to nature, Gary, in an original perspective, sees culture as a new “nurturing environment”. Malraux does not believe in science as a metaphysical incentive, but Gary finds its results stimulating. Malraux tends to think (somewhat paradoxically) about “man’s fate” (at an ontological level) through the (sole) metamorphosis of the works of art as produced in the historic period up to his days. In a broader perspective, Gary considers the biological evolution of mankind over geological ages, methodically starting with the late Devonian when lungless creatures crept up from sea to land, and hopefully envisioning the end result of the twenty thousand years to come. Malraux’s cosmos is a rival to mankind, while Gary sees humanity at home in the universe. Malraux is obsessed with individual death to the point of concluding that any meaning assigned to human lives is nothing but aleatory. Gary has faith instead in the “joy of being” during one’s lifetime, and in the continuous progress of humanity as a species.In such mutual lights, it appears that Malraux’s humanism, not unlike the most melancholic currents of romanticism, is tragic indeed, as many critics have already noted: desolate (man is alone) and devastated (devoid of meaning). As to Gary’s humanism, it comes out as relatable to Julian Huxley’s evolutionary humanism, and no longer as desperate as a certain, inexplicably vivacious, academic tradition still claims it to be. By contrast with Malraux’s, it appears to be actually full of consideration for a wide variety of human interests, yearnings and dreams. It is tactfully expressed in a way that stimulates hope. And its fictionalized form is masterly, not only in terms of novel-writing (Gary’s books being so unlike thesis novels) but also in terms of analytical thinking and philosophical foundation.
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Duque García, Nacho. "André Malraux más allá de su antimemoria." Co-herencia 12, no. 22 (June 2015): 97–114. http://dx.doi.org/10.17230/co-herencia.12.22.5.
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Dos hipótesis sobre el género autobiográfico –e incluso sobre el autorretrato– parecen ceñirse perfectamente a las Antimémoires de Malraux: en primer lugar, que resulta estéril elaborar una interpretación a partir de una distinción entre ‘verdad’ y ‘ficción’ y, en segundo lugar, que toda autobiografía refleja una visión social e individual de la temporalidad, y ésta prolifera en los contextos más susceptibles de ser considerados históricamente ‘nuevos’. Malraux, como revelan sus Antimémoires, es un enigma que se alimenta de sí mismo, de los fragmentos de su vida y de los pasajes de sus obras. Para intentar desentrañarlo recurriremos a tres perspectivas diversas en lo que podríamos considerar una “presunta teoría malrauxiana de los tres Malraux” y, paralelamente, acudiremos a ciertos escritos en los que la autorreferencialidad resulta menos evidente y con los que Malraux propuso una visión del arte y de la vida sumamente particulares, acaso porque fue allí donde depositó las claves con las que poder acercarse a su trayectoria y a su pensamiento.
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Venkatesh, Dr Jyothi. "André Malraux : Rediscovering India through Nehru." Indian Journal of Applied Research 3, no. 11 (October 1, 2011): 262–63. http://dx.doi.org/10.15373/2249555x/nov2013/86.
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Brown, John L., and Curtis Cate. "André Malraux: A Biography." World Literature Today 70, no. 3 (1996): 658. http://dx.doi.org/10.2307/40042141.
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Becker, Lucille F., and Olivier Todd. "André Malraux: Une vie." World Literature Today 76, no. 2 (2002): 181. http://dx.doi.org/10.2307/40157388.
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Terrón Barbosa, Lourdes de los Ángeles. "André Malraux's journey to China: antimémoires." HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 11, Monográfico (December 27, 2022): 1–10. http://dx.doi.org/10.37467/revhuman.v11.4354.
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Malraux's writing forcefully poses the problem of the relations between the real and the imaginary, between action and its representation, between poetry and truth. As this article will show, André Malraux found in his trip to China the inspiration for a new process of artistic creation that culminates in his work Antimémoires, where action and history build the guiding thread of a metaphysical and mythological travel story. Our analysis will show how his life and his work, deeply united, are the two forms of an intense organization of himself, life constructed as work and work narrated as life.
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Gaižutytė-Filipavičienė, Žilvinė. "André Malraux’s Comparative Theory of Art." Dialogue and Universalism 30, no. 3 (2020): 263–80. http://dx.doi.org/10.5840/du202030346.
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The article deals with André Malraux’s (1901–1976) comparative theory of art. He, a French intellectual, novelist, and philosopher developed an original philosophical approach to art works and their transformations in time which has still a significant impact to contemporary comparative studies of art. The idea of metamorphosis expresses Malraux’s radical turn from classical academic aesthetics and his closeness to existential philosophical and aesthetical thinking. It reinforces the concept of the imaginary museum and provides a more philosophical background. Each culture perceives and accepts the art of other cultures according to its own viewpoints in a process which is defined by Malraux as metamorphosis. The full significance of metamorphosis appeared in modern civilisation—the first which collected art forms from any period and place. The work of art lives its own life deliberated from history and its consequential postulation of human permanence. The metamorphosis is the key to Malraux’s humanist metaphysics of art.
Dissertations / Theses on the topic "André Malraux"
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Trécourt, François, and André Malraux. "André Malraux romancier : l'exemple de L'Espoir." Paris 4, 1991. http://www.theses.fr/1991PA040011.
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Ce travail est essentiellement une Edition critique de L'Espoir, comprenant le texte du roman avec renvoi à l'apparat critique (t. I), les variantes (t. II) et les notes (t. III). Elle est complété par l’édition de fragments inédits constituant un projet de second roman sur la guerre civile et deux versions du film Sierra de Teruel: le t. IV contient, outre la totalité des notices, une bibliographie et une table des matières. Cette étude démonte les mécanismes de la création: chez Malraux, le roman nait de scènes autonomes, rédigées séparément, puis dactylographiées avec une pagination propre; ces unités narratives sont ensuite montées comme un film, avec adjonction d'enchainements et unification du système des personnages. En dehors de la vie de l'escadrille internationale et de quelques observations directes, le roman a été écrit à partir de matériaux de seconde main: témoignages de camarades de combat, coupures de presse, premiers livres sur la guerre. La recherche historique s'efforce de faire le point sur le rôle réel de Malraux et de son escadrille dans la guerre d’Espagne et d'apporter le maximum de renseignements sur les personnes et les évènements évoqués par le roman. L'ensemble des documents édités avec L'Espoir complète l'information du lecteur en lui proposant la totalité de la production artistique de Malraux pendant la guerre civile espagnoleThis piece of work mainly of a critical edition of L'Espoir (man's hope), which includes the text of the novel with cross-references (first volume), the variants (second volume) and the notes (third volume). In addition, several unpublished fragments of a second novel about the Spanish civil war are edited, as well as two versions of the film Sierra de Teruel: the fourth volume contains the editor's notes, the bibliography and a table of contents. This study shows how is made a novel by Malraux: it arises from independent sequences, separately written and types and paginated; the narrative units are then edited and linked like a film while like a film the system of characters is unified. Apart from episodes taken from the of the international air squadron and some firsthand observations, the novel was written from second hand materiel such as eyewitnesses' accounts, press cuttings or books. The historical research investigates into the part played by Malraux and his team in the Spanish civil war tries to bring most data about people and events mentioned in the novel. The collection of documents around the novel is intended to complete the reader's information with the publication of Malraux’s whole artistic production during that war
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Lemière, Nathalie. "André Malraux et Thomas Edward Lawrence." Paris 4, 2003. http://www.theses.fr/2003PA040124.
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Il n'est pas rare que l'on mette en valeur ce qui rapproche Malraux de Lawrence; la jeunesse de l'un évoque en effet irrésistiblement celle de l'autre. La révolte arabe n'a cependant pas d'équivalent dans l'existence malrucienne: ni en Chine, ni en Indochine, Malraux ne fut un militant nationaliste. La littérature rapproche davantage les deux auteurs que la perspective biographique. Malraux mit en scène des aventuriers qui choisissaient de s'expatrier en Orient. La conception même de ces personnages emprunte aux Sept Piliers de la Sagesse et renouvelle profondément le type littéraire de l'aventurier. Après 1940, Malraux décida d'écrire une biographie de T. E. Lawrence. Ce texte, publié seulement en 1996, demeure partiellement inachevé, mais suffisamment complet pour être significatif. L'analyse du Démon de l'Absolu montre néanmoins que Malraux fut déçu, par son personnage d'une part, par sa biographie-essai d'autre part. Lawrence d'Arabie disparut alors définitivement de ses écritsIt is not unusual to emphasize what Malraux and Lawrence have in common; the youth of one is deeply reminiscent of the other's. However the Arabian rebellion has no equivalent in the life of Malraux : Malraux never fought as a nationalist whether in China or in Indo-china. It is literature rather than biography that relate Malraux to Lawrence. Malraux depicted adventurers that chose to settle in the East. The very conception of Malraux's characters borrows from The Seven Pillars of Wisdom and renews the literary character of the adventurer. After 1940, Malraux decided to write a biography of T. E. Lawrence. This text, only published in 1996, remains unfinished but is complete enough to be significant. The analysis of Le Démon de l'Absolu shows that Malraux was disappointed by his character on the one hand but also by his biography. Lawrence of Arabia then definitively disappeared from his writing
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Cruz, Richard A. (Richard Alan). "André Malraux: the Anticolonial and Antifascist Years." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277996/.
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This dissertation provides an explanation of how André Malraux, a man of great influence on twentieth century European culture, developed his political ideology, first as an anticolonial social reformer in the 1920s, then as an antifascist militant in the 1930s. Almost all of the previous studies of Malraux have focused on his literary life, and most of them are rife with errors. This dissertation focuses on the facts of his life, rather than on a fanciful recreation from his fiction. The major sources consulted are government documents, such as police reports and dispatches, the newspapers that Malraux founded with Paul Monin, other Indochinese and Parisian newspapers, and Malraux's speeches and interviews. Other sources include the memoirs of Clara Malraux, as well as other memoirs and reminiscences from people who knew Andre Malraux during the 1920s and the 1930s. The dissertation begins with a survey of Malraux's early years, followed by a detailed account of his experiences in Indochina. Then there is a survey of the period from 1926 to 1933, when Malraux won renown as a novelist and as a man with special insight into Asian affairs. The dissertation then focuses on Malraux's career as a militant antifascist during the 1930s, including an analysis of Malraux's organization of an air squadron for the Spanish Republic, and his trip to North America to raise funds. The dissertation concludes with an analysis of Malraux's evolution from an apolitical, virtually unknown writer into a committed anticolonial social reformer and an antifascist militant. The man and his political ideology were intricately interwoven. His brief career as a political journalist in Saigon was crucial in his transformation from an apolitical Parisian dandy into a political activist. Because he regarded fascism as a dire threat to European civilization, Malraux gave his full support to the Soviet Union and the Spanish Republic during the 1930s.
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Zhang, Xun. "L'image de la Chine chez André Malraux." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL117.
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Le mythe de la Chine est particulier chez Malraux, car il conçoit la Chine de la même façon que ce pays construit sa propre image : sans focalisation, ou selon des focalisations multiples en conservant des « zones de brouillard ». Il ne cherche pas à rendre la Chine « cohérente » ou « coordonnée », mais la maintient dans son état de confusion et de contrastes. Quant aux pensées chinoises, Malraux perçoit avant tout les intentions cachées des propositions confucianistes ou taoïstes. Cependant, il refuse de « tirer des leçons » de la philosophie chinoise. Malraux reconstruit la pensée chinoise en recourant à la même méthode avec laquelle il conçoit l’image générale de la Chine, en s’appuyant toujours sur sa technique symboliste de reproduction à l’aide de déductions et de caractérisations et en pliant l’objet concret au mythe malrucien. De part et d’autre de la « communication » entre Malraux et la Chine, certaines actions trahissent les intentions initiales de chaque partie : Malraux cherche un moyen de réprimer la tendance égocentrique de l’humanisme mais, irrité par les pensées chinoises non-humanistes, il s’en détourne pour souligner l’importance de l’homme et de l’individu ; et si les Chinois sont tentés de procéder à « l’autocritique » de leur propre civilisation, ils défendent instinctivement leurs idées de la définition de l’homme face aux critiques malruciennes concernant l’ignorance de l’individuWhat makes Malraux’s Chinese myth so special is that he used exactly the same method to create an image of China as China itself to build its own: without a focal point or with multiple focal points while retaining some "grey areas". He never sought to make China "consistent" or "coordinated”, but left it in its own state of confusion and contrast. Concerning Chinese thoughts, Malraux was especially able to perceive the hidden intentions of Confucian or Taoist proposals. However, he refused to "learn lessons" from Chinese philosophy. Malraux reconstructed Chinese thoughts by employing exactly the same method as for constructing a general image of China, relying on his Symbolist technique of reproducing, making deductions and characterizations, and bending the concrete object within the framework of “Malraux’s myth”. Furthermore, some actions on each side of the "communication" between Malraux and China betray their initial intentions: while Malraux initially sought a way to suppress the egocentric tendency of humanism, he was irritated by Chinese non-humanism and turned intimately to emphasizing the importance of man (especially of individual); on the other side, it seems that even though Chinese people were tempted to "criticize their own civilization", they were instinctively opposed to Malraux’s criticisms of their ignorance of individuality and always defended their intrinsic conception of man
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Oliveira, Clarissa Laus Pereira. "A condição crítica de André Malraux no Brasil e na Espanha : recepção crítica das obras La condition humaine, L'espoir e Antimémoires." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7605.
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O presente trabalho trata da recepção crítica, no Brasil e na Espanha, de três obras do escritor francês André Malraux - La Condition humaine, L’Espoir e Antimémoires. A análise fundamenta-se em alguns princípios teóricos da Literatura Comparada e utiliza noções básicas da Estética da Recepção, da Crítica Literária e da Tradução. O estudo reúne e analisa textos publicados em jornais e revistas, literários e jornalísticos, no período compreendido entre 1933, ano da publicação de La Condition humaine e 2001, ano do centenário de nascimento do escritor. Compõem também o corpus alguns textos produzidos em momentos de especial interesse da biografia do autor (participação na Guerra Civil Espanhola, visita ao Brasil, falecimento e transferência das cinzas para o Panthéon parisiense). Além da pesquisa em jornais e revistas, a Internet foi também uma fonte importante de informações. O estudo mostra que Malraux despertou inicialmente a atenção dos críticos e leitores com seus romances ideológicos, participativos e até revolucionários, adequados ao horizonte de expectativa dos leitores da época, dominada então pela política e pela ideologia, assim como revela que o interesse das gerações pós-guerra por Malraux se justifica pelo valor estético de suas obras. A pesquisa evidencia uma diferença significativa entre o Brasil e a Espanha no que se refere, de um lado, ao número de edições das obras traduzidas e, de outro, ao momento em que ocorreram as traduções. Na Espanha, a tradução começou somente a partir da década de 60, enquanto que no Brasil, de 1933 a 1973, registrou-se uma edição em português a cada década, fato que se repetiu na década de 90 e em 2001. Conta-se um total de 36 edições na Espanha e de apenas 7 edições no Brasil das três obras estudadas. Estes dados são apresentados em gráficos nos anexos da tese, assim como quatro tabelas com as máximas malrucianas, as edições das traduções brasileiras e espanholas das obras, a malruciana brasileira e a malruciana espanhola. Nos anexos, pode-se ler também o discurso pronunciado por Malraux em Madri, no dia 7 de julho de 1937 e, a título de ilustração, seguem-se fotos de Barcelona durante a Guerra Civil, com referências aos locais feitas por Malraux em L’Espoir. A bibliografia comporta, em diferentes itens, referências a textos das críticas brasileira e espanhola, a textos encontrados na Internet e às obras consultadas para a fundamentação teórica da pesquisa.
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Hiati, Rachid. "André Malraux, lecteur de Nietzsche et de Dostoi͏̈evski." Lille 3, 2001. http://www.theses.fr/2001LIL30005.
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"Nombre de critiques ont souligné le rôle capital joué par Nietzsche et Dostoi͏̈evski dans la formation d'André Malraux. Le sujet est vaste et complexe. Car, outre la dette contractée par Malraux vis-à-vis de chacun de ses deux illustres prédécesseurs, il faut tenir compte de l'interpénétration, à plusieurs endroits de son oeuvre, de leur influence. Comme il faut par ailleurs tenir compte du discours critique de quelques intermédiaires qui ont contribué à déterminer, chacun à sa manière, la forme de l'accueil qu'il a réservée à Nietzsche et à Dostoi͏̈evski. Deux thèmes importants, qui ne sont pas sans lien avec ses propres obsessions intellectuelles, dominent le rapport qu'il prétend établir entre eux-et avec eux : l'irrationnel, le tragique. Chez le philosophe de l'éternel retour, Malraux cherche fréquemment à nous persuader qu'il admire moins le prédicateur que l'écrivain Nietzsche. De même, il donne à entendre qu'il n'approuve la "prédication" "pathétique" du romancier russe que dans la mesure où elle se mue en oeuvre d'art. Mais il est tout à fait imprudent de prendre de telles déclarations au pied de la lettre, si l'on veut établir sur des données cohérentes les rapports qu'il entretient avec les deux écrivains. Bien souvent, quand il commente le création littéraire de Dostoi͏̈evski, Malraux lui applique une approche qui doit beaucoup aux considérations esthétiques de Nietzsche. La démarche inverse est tout aussi valable. Rien n'est plus illustratif à ce propos que son recours, dans La Condition humaine, à l'explication métaphysique de Kirilov, figure centrale des Possédés, pour définir le concept nietzchéen de la volonté de puissance. Ainsi, si l'héritage intellectuel du philosophe permet d'éclairer l'art du romancier, il en va de même de l'action qu'exercent les idées de celui-ci sur Malraux : elle permet de déterminer le type d'approche qu'il applique à la pensée nietzschéenne. Il convient de souligner encore que la meilleure façon d'interroger peut-être l'agnosticisme malrucien, ce serait de le situer entre ces deux courants d'influence. Lire avec Malraux, Nietzsche et Dostoi͏̈evski, c'est aussi se mettre à l'écoute d'un dialogue fait à la fois de rencontres et de ruptures, d'un dialogue à demi-mots ou riche en suggestions, un dialogue à travers lequel on voit se confirmer, à mesure que les données de son héritage se métamorphosent, la personnalité de l'écrivain français et l'originalité de son oeuvre"
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Hamza, Jabur Abbas. "Malraux ou la tentation de l'orient. Etude sur la conception de l'orient dans la pensee d'andre malraux." Paris 3, 1986. http://www.theses.fr/1986PA030137.
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These de doctorat (nouveau regime) destinee essentiellement a elucider la place qu'occupe l'element oriental au sein des attitudes, des visions, et des convictions de malraux. L'etude est divisee en trois parties dependant retrospectivement de la chronologie de l'evolution de l'ideal chez l'ecrivain. La premiere partie debute par une breve etude concernant ce qu'on appelle communement "le declin de l'occident" et la crise de la pensee occidentale apparue sous sa forme de malaise culturel. On y discute les interpretations les plus repandues. On y trouve egalement une exposition sur les livres et articles traitant ce probleme, tel que le fameux livre d'oswald spengler le declin de l'occident, certaines idees de nietzsche, de valery, de marcel arland, daniel rops, a. D. Alberes. Le deuxieme chapitre intitule "vers l'orient" traite des circonstances qui ont gouverne le premier contact de l'orient. Nous avons aiguille notre etude sous l'angle de la notion d'aventure d'abord personnelle puis romanesque. Le chapitre tient entre autre a elucider certains concepts tels que l'exotisme, le vrai et le faux dans l'aventure du temple khmer. C'est autant la notion de tentation qu'a la conception de confrontation entre valeurs heterogenes que ce chapitre se livre, pour donner finalement une idee sur la somme de la premiere experience orientale chez a. Malraux. La deuxieme partie est totalement consacree a la presence de la revolution chinoise dans l'oeuvre romanesque de malraux. Ainsi l'affinite entre nietzsche et malraux nous apparait profonde lorsqu'il s'agit de leur refus mutuel vis-a-vis du rationnalisme morne du xixe siecle occidental, ainsi que ce monisme occidental envers l'histoire et la genealogie des valeurs. Le deuxieme chapitre suit minutieusement l'evolution politique de malraux des sa deuxieme experience extreme-orientale et ses convictions sur l'evolution du statu-quo socio-politique et du conflit inter-colonial en orient. Si la notion de confrontation entre valeurs heterogenes fut l'epilogue de la pensee de malraux en ce domaine du debat orient-occident, les grands ecrits sur l'art n'echappent pas, a leur tour, a cette regle generale entre l'heritage grec antique, et celui du bouddhisme. Malraux etablit un debat qui date des annees trente. Le dialogue bouddha-appolon est le sujet du quatrieme chapitre. L'histoire de l'art hindou avant l'intrusion d'elements grecs, comme celui de l'art grec depuis l'etape archaique jusqu'a phidias, l'intervention de l'element grec avec l'evasion alexandrine dans la vallee de l'indus et l'evolution du genre artistique de gandara, nous conduit a etablir une esquisse sur les convictions malruciennes les plus profondes vis-a-vis de ce mariage artistiqueDoctorate thesis (new regime) essentialy intended to elucidate the place occupied by the "oriental" within the attitudes, the visions, and the convictions of malraux. The study is divided in three parts depending retrospectively on the chronologie of the writer ideals evolution. The first part begans on a brief study concerning what we usually name "the occident declin", the occidental attitude of mind appeared under a cultural indisposition form. Thus its interpretation discussion is more spread. We will also find an exposition on books and articles treating problems such as the famous oswald spengler's book, the occident declin, the nietzsche, valery, marcel arland, daniel rops and a. D alberes ideas. The second chapter entitled : "forward orient" treats about the circumstances which had governed the first oriental contacts. We also incide in our study a personal and then a romantic adventure. This chapter is trying to illucidate some consepts, such as exotisme, heroisme and the right and the wrong in the khmer temple. The second part is totaly consecrate to the presence of the chinese revolution in the malraux's romantic works. Thus the affinity between nietzsche and malraux appears deep to us about their unusual refusal on the dejected rationnalisme of the occidental xix century as for the occidental deject against the history and as for the genealogy of values. The second chapter is following scrupulously the malraux's political evolution from his first far east experience and his conviction on the socio-political statusquo and the inter-colonial conflict. If the heterogeneous values confrontation notion has been the epilogue of malraux's thought, the grand scriptures on art are not breaking free from the east-west debate between the greek inheritance and those of the bouddhisme. Malraux is establishing a debate dating 1930. The dialogue between bouddha and appolon is the subject of the fourth chapter. The hindu's art history before the greek elements intrusion ; the archaical step of the greek art till phidias, the intervention of the greek element with alexandrisme into the indus valley and the artistical genus of gandara, have brings us to establish an esquisse on the esquisse on the malraux's convictions, the deepest on this subject
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Liu, Haiqing. "L'imaginaire de l'écriture : esthétique et stylistique romanesque d'André Malraux." Paris 4, 2006. http://www.theses.fr/2006PA040164.
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André Malraux a donné à la création romanesque du XXe siècle une définition toute nouvelle, soit « l’imaginaire de l’écriture ». Nous tenons à poser l’hypothèse que l’imaginaire de l’écriture des romans malruciens relève étroitement de son Musée-Bibliothèque imaginaire. C’est justement dans cet univers de formes littéraire, artistique et culturelle, que Malraux a élaboré les nouveaux procédés créateurs pour réaliser son imaginaire romanesque. Dans la conquête d’un style concis, visuel, et significatif, il est fasciné par toutes les formes d’art et de culture qu’il ne pratique pas lui-même, peinture, cinéma, musique etc. A travers les liens profonds et subtils qui unissent ses essais esthétiques et ses œuvres romanesques, nous nous pencherons sur les éléments fictifs, narratifs et textuels de l’écriture malrucienne, et grâce auxquels, Malraux établit, par le truchement des schèmes récurrents, un domaine commun où création et réflexion, verbal et artistique, échangent leurs termes, réalisant ainsi l’unité de l’œuvre au niveau de ses structures imaginaires profondesAndre Malraux furnished a new definition for the creation of novels in the 21st century, termed as Imagination of Writing. In the present study, it is hypothesized that Malraux’s novel creation originated from his Imaginary Museum-Library. In such a miscellaneous amalgam of literary, art and cultural forms, Malraux established unique ways of creation to realize an extraordinary novelistic imagination. Subject to influences of paintings, films, music and modern literary creation theories, the author’s Pen of Imagination is not only embodied in the poetic textual structure and consistent allusions to artistic imagination; it also refers to a mechanism through which meanings and values are actualized. Through the profound and subtle ties that unite Malraux’s art treatises and his novels, this paper focuses on how the author contrived thematic, narrative and rhetorical elements in a recurring fashion to realize exchanges of aesthetic creation and philosophic reflection, verbal forms and other artistic forms, and how he finally attained unification of all works in a profoundly imaginary structure
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El, Jari Habib. "Les idees politiques d'andre malraux." Paris 4, 1986. http://www.theses.fr/1986PA040090.
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La these consiste dans l'analyse de quelques problemes que pose le politique et les solutions qu'a tente d'apporter l'auteur a ces questions. Ainsi, nous avons voulu demontrer dans le premier chapitre que le probleme de la recherche d'une nature humaine au-dela des civilisations et des cultures entraine l'auteur a etablir une notion de l'homme delimitee metaphysiquement parlant aux simples actions humaines reduisant ainsi l'homme a sa simple qualite d'homo-faber. Dans le second chapitre l'analyse du couple individu societe entraine l'auteur a poser l'individu comme une entite particuliere se suffisant a elle-meme qui lui interdit ainsi d'echapper a "l'individualisme" qui n'a cesse, pourtant, tout au long de son oeuvre, de le condamner le troisieme chapitre essaie de demontrer que l'existentialo-marxisme de malraux n'est qu'une forme deguisee du materialisme quant au quatrieme chapitre l'analyse porte sur la signification et la fonction du politique et comment malraux, comme tous les modernes voit dans l'activite politique une simple coexistence sociale imposee par les interets d'un ensemble d'hommes alors que dans la tradition l'activite politique definit la nature meme de l'homme puisque c'est grace a elle que l'homme accomplit son humanite. L'appendice, a travers l'analyse des memoires de l'auteur tente de demontrer que des premisses de changements fondamentaux sont apparues dans l'attitude negative de l'auteur vis a vis de l'activite politiqueThis thesis try to explain the problems and the political solutions of malraux. The first chapter want to prove many contradictions about the them of human nature. When we speak about human nature out of culture and civilisation we are contrained to found it on only the nothingness of man. So another solution is developped by the the writer. He says we must speak no about the essence of human being but about his capacity in doing actions. But the problem is that definition reduce the quality of human being on just his quality of "homo-faber" and forget his especially of human being able to think. The second chapetr try to explain the different problems of the them of individu and society. The problem is not very good resolved by the writer we cannot speak about individu like an independant entity the third chapetr try to prove that the "existentialo-marxisme" of malraux is simply another form of materialism. The chapter number for try to explain how malraux like all athor moder writers take the human society like an industrial society and no like the element where the human being become more human being. The appendice speak about the relation of malraux with the historic personnality
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Sunnen, Myriam. "Dialogue d'un agnostique avec le christianisme : l'exemple d'André Malraux." Paris 3, 2004. http://www.theses.fr/2004PA030025.
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Une étude chronologique des récits de Malraux fait apparaître une évolution qui, à l'égard du christianisme, le conduit de l'hostilité à une forme d'admiration. L'art chrétien, lui, l'a toujours fasciné par son refus de l'individualisme et de l'illusionnisme. S'interrogeant incessamment sur les liens entre foi religieuse et création artistique, cet agnostique partage avec certains auteurs et artistes chrétiens l'angoisse métaphysique mais aussi la recherche d'une certaine "densité" qui s'exprime avant tout par le refus du récit linéaire, de la psychologie traditionnelle et d'un certain type de réalisme. Qu'il s'agisse des figures christiques qui émaillent La Condition humaine et L'Espoir ou de l'accord entre l'homme et l'univers, la réflexion de Malraux sur le christianisme permet ainsi de mettre en évidence les liens qui unissent ses récits aux écrits esthétiques et aux divers articles, discours et préfacesA chronological study of Malraux's works reveals his evolution from an anti-Christian position to a certain admiration for some aspects of Christianity. Malraux seemed to be drawn to Christian art because of its rejection of subjective individualism and artistic illusionism. Malraux was always intrigued by the relationship between religious faith and artistic creation. In spite of being an agnostic writer, he not only experienced the metaphysical anguish of certain Christian writers and artists, but also the search for what he defined as "density" - which above all involved a rejection of "linear narrative," "traditional psychology;" and a certain type of realism. Whether one looks at the Christ-like figures scattered throughout La Condition humaine and L'Espoir or the accord between man and universe, to reflect on Christianity in Malraux's novels is to uncover a link to his works on aesthetics, diverse articles, discourses and prefaces
Books on the topic "André Malraux"
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Ponge, Leroy Christine Francis, Winter, Suzanne de. Alexis Curvers., and Winter, Noël de. Alexis Curvers., eds. André Malraux. Bruxelles: Didier Hatier, 1986.
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Henri, Godard, and Arland Marcel 1899-, eds. L' amitié André Malraux. Paris: Gallimard, 2001.
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Dominique, Hervier, and France. Ministère de la culture et de la communication. Comité d'histoire., eds. André Malraux et l'architecture. Paris: Moniteur, 2008.
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Salazar, María José, and Fernando Sánchez Rau. André Malraux y España. Paris: Casa de España, Centre culturel espagnol, 1989.
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Dominique, Hervier, and France. Ministère de la culture et de la communication. Comité d'histoire., eds. André Malraux et l'architecture. Paris: Moniteur, 2008.
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Wild, Gerhard. "Malraux, André." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13009-1.
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Botond, Anneliese, and KLL. "Malraux, André: L'espoir." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13013-1.
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Botond, Anneliese, and KLL. "Malraux, André: Les conquérants." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13010-1.
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Thomas, Manuel, and KLL. "Malraux, André: La voie royale." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13011-1.
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Herhaus, Ernst, and KLL. "Malraux, André: La condition humaine." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13012-1.
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Salonia, Matteo, and Christian Mueller. "The Challenge of Curiosity During the Cold War: Representations of Asia Between Politics and Consumerism and the Reflections of Goffredo Parise in the 1960s." In Palgrave Series in Asia and Pacific Studies, 261–90. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0124-9_10.
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AbstractThe article investigates multiform perceptions of Asia during the Cold War in the 1960s through the lenses of politics, tourism and curious travellers. The article shows how in a turn towards the criticism of mechanical modernity, the variety of images and perceptions of Asia diversified into extreme positions. Our contribution places travel writer politicians like André Malraux and literary figures like Goffredo Parise alike into a framework in which individualized notions of Asia as a plurality of geopolitical, ideological, regional and local spaces emerged. In combination with the intra-Asian reorientation of tourist images, this chapter argues for a broad spectrum of Asian travel images beyond a clear dichotomy of authentic observations versus colonial gazes under the auspices of Cold War ideology.
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"André Malraux." In Bildtheorien aus Frankreich, 265–75. Wilhelm Fink Verlag, 2011. http://dx.doi.org/10.30965/9783846750131_024.
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"André Malraux." In Cultural Criticism in the Netherlands, 1933-1940, 33–34. Brill | Rodopi, 2020. http://dx.doi.org/10.1163/9789004426627_005.
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Hagelstein, Maud. "MALRAUX, André." In Les théoriciens de l'art, 442–43. Presses Universitaires de France, 2017. http://dx.doi.org/10.3917/puf.talon.2017.03.0442.
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McCormick, John. "André Malraux." In Fiction as Knowledge, 132–54. Routledge, 2018. http://dx.doi.org/10.4324/9781351310963-6.
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