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Journal articles on the topic 'André Malraux'

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Published: 4 June 2021
Last updated: 10 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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.
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11

Jeannelle, Jean-Louis, and Jean-Claude Larrat. "Filmer l'art avec André Malraux." Revue d'histoire littéraire de la France 112, no. 1 (2012): 215. http://dx.doi.org/10.3917/rhlf.121.0215.

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12

Myungsook Suh. "André Malraux et la mythomanie." ASSOCIATION CULTURELLE FRANC0-COREENNE ll, no. 25 (November 2012): 279–304. http://dx.doi.org/10.18022/acfco.2012..25.010.

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13

Stéphane, Roger. "André Malraux et le communisme." Commentaire Numéro30, no. 2 (1985): 713. http://dx.doi.org/10.3917/comm.030.0713.

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14

Brown, John L., and Roger Stéphane. "André Malraux; Entretiens et précisions." World Literature Today 59, no. 3 (1985): 400. http://dx.doi.org/10.2307/40140866.

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15

Franc, Claude. "André Malraux et l’esprit guerrier." Revue Défense Nationale N° 836, no. 1 (January 1, 2021): 112–17. http://dx.doi.org/10.3917/rdna.836.0112.

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16

Laurent, Thierry. "ANDRÉ MALRAUX, THÉORICIEN DE L’ART." Literatūra 58, no. 4 (February 27, 2017): 44. http://dx.doi.org/10.15388/litera.2016.4.10456.

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Les livres sur l’art d’A. Malraux, longtemps dédaignés ou jugés peu sérieux, révèlent pourtant une pensée originale qui propose une réflexion philosophique sur le sens de la création artistique et vise à faire dialoguer des oeuvres extrêmement hétérogènes. L’écrivain, dans un style flamboyant, entreprend de démontrer que l’art unit les hommes d’époques différentes, qu’il permet de défier la réalité et le destin et que c’est la métamorphose de notre regard sur les chefs-d’oeuvre du passé qui contribue à les immortaliser dans notre musée imaginaire. Les textes sont accompagnés d’une très riche iconographie ; quoi qu’on puisse penser de leur rigueur ou de leur justesse, ils doivent être appréciés – et analysés – ne serait-ce que sur le plan strictement littéraire.André Malraux (1901-1976), lauréat du prix Goncourt en 1933 pour son roman La Condition humaine, autodidacte, aventurier, homme d’action, engagé à gauche dans sa jeunesse, ministre de la Culture du général de Gaulle dans les années soixante, est un personnage singulier, génie pour les uns, imposteur ou esprit brouillon pour les autres. Il demeure en tout cas une figure majeure de la vie intellectuelle française au vingtième siècle de par son prestige parmi les écrivains et ses liens avec des acteurs importants de la politique nationale et internationale.
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17

Guidotti, Tee L. "André Malraux: A Medical Interpretation." Journal of the Royal Society of Medicine 78, no. 5 (May 1985): 401–6. http://dx.doi.org/10.1177/014107688507800511.

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18

Moatti, Christiane. "André Malraux, écrivain d’art indépendant." L'Esprit Créateur 34, no. 3 (1994): 71–81. http://dx.doi.org/10.1353/esp.1994.0056.

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19

Fernández Cardo, José María. "Presentación." Estudios Humanísticos. Filología, no. 34 (November 19, 2021): 13–14. http://dx.doi.org/10.18002/ehf.v0i34.7128.

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20

Bruna, Rodrigo. "UN ÁLBUM DE CITAS: EL MUSEO IMAGINARIO DE ANDRÉ MALRAUX." Index, revista de arte contemporáneo, no. 12 (November 5, 2021): 91–105. http://dx.doi.org/10.26807/cav.vi12.445.

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En 1947 André Malraux escribió su celebre ensayo Le Musée imaginaire, texto a partir del cual el autor convoca a las personas a crear su propio museo aboliendo las limitaciones espaciales y temporales impuestas por la institución museal tradicional. Mediante esta recolección heterogénea de imágenes, Malraux revisita la historia del arte desde una lógica en la que prima la subjetividad del encuadre fotográfico y el álbum como espacio de encuentro azaroso. Bajo esta premisa, el presente artículo busca reflexionar sobre la cita en el campo de las artes visuales y como esta se vincula a la noción de museo propuesta por André Malraux. Con este fin, proponemos una metodología que aborde el problema enunciado desde el análisis crítico de fuentes escritas y visuales convocadas en este escrito.
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21

Saint-Chéron, François de. "« Cher Malraux ! » Deux lettres de Max Jacob à André Malraux." Les Cahiers Max Jacob 15, no. 1 (2015): 17–24. http://dx.doi.org/10.3406/maxja.2015.1040.

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22

Ly, Mamadou Abdoulaye. "Le discours sur la guerre d'Espagne dans l'espoir d'André Malraux." Estudios Humanísticos. Filología, no. 34 (October 28, 2015): 93. http://dx.doi.org/10.18002/ehf.v0i34.2896.

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La guerra de España ocupa una importancia central en la vida y la obra de André Malraux. Malraux entra como un piloto en las brigadas internacionales de los republicanos españoles. Dedicó varios textos a la guerra de España. Este texto es más bien un poema dedicado a la revolución española. Este tipo de escritura del discurso de Malraux se desarrolla en el tejido ficción a través de la palabra de los personajes y la voz del Narrador. Así, Malraux está en un dilema entre la acción revolucionaria y el culto del arte
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23

Cavalcanti, Ana Maria Tavares. "Malraux diante de Picasso." Alea: Estudos Neolatinos 23, no. 3 (September 2021): 310–16. http://dx.doi.org/10.1590/1517-106x/2021233310316.

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Resumo Uma importante área na produção intelectual de Edson Rosa da Silva foi a tradução. Nessa leitura crítica sobre A cabeça de obsidiana: Malraux diante de Picasso, livro de André Malraux traduzido por Edson Rosa da Silva, destacam-se a atualidade do texto para os estudos da história da arte, assim como a amplitude das ideias e reflexões deflagradas pela obra.
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24

Hérubel, Jean-Pierre V. M., and Edward A. Goedeken. "Metadisciplinarity, Belles Lettres, and André Malraux." Serials Librarian 37, no. 4 (March 28, 2000): 51–68. http://dx.doi.org/10.1300/j123v37n04_04.

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25

Didi-Huberman, Georges. "Experimentieren, um zu sehen." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 2 (2012): 26–43. http://dx.doi.org/10.28937/1000107591.

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Ausgehend vom Standpunkt eines visuellen und kognitiven Experimentierens beschäftigt sich der Beitrag mit der Arbeit André Malraux’ zu den Illustrationen seines Musée imaginaire. Es handelt sich um eine Arbeit, die explizit vom Benjamin der »technischen Reproduzierbarkeit« und des »Autors als Produzenten« inspiriert ist. Studiert wird die Öffnung des imaginären Feldes, wie sie die Praxis des Kunstbuchs – als einem Album, das von einer Art Expressivität der Rahmung, Beleuchtung und Montage getragen wird – bei Malraux nahelegt. Durch diese Praxis der Montage konstruiert Malraux die Autorität seines visuellen Stils und die Schließung seines literarischen Feldes. Vor allem aber setzt sich der Beitrag – auf kritische Weise – mit dem anti-historischen und anti-politischen Zielpunkt seiner Ästhetik auseinander, die von Benjamin weit entfernt zu stehen kommt. Am Schluss steht der Vergleich zwischen zwei zeitgenössischen Werken, Le Musee imaginaire de la sculpture mondiale von Malraux und Les Statues meurent aussi, einem Film von Chris Marker und Alain Resnais.<br><br>Our paper deals with the work of André Malraux on the illustrations for his Musée imaginaire from the point of view of visual and cognitive experimentation. This work is explicitly inspired by the Benjamin of the »technical reproducibility« and the »author as producer.« We examine the opening of the imaginary field, as it is suggested by the praxis of the art book – an album of images that is supported by a certain kind of expressivity of framing, illumination and montage – in Malraux. Through this praxis of montage, Malraux constructs the authority of his visual style and the closure of the literary field. Above all, however, we discuss critically the anti-historical and anti-political destiny of his aesthetics, which in the end is quite far from Benjamin’s, and we conclude with a comparison between two contemporary artworks, namely Malraux’ Le Musee imaginaire de la sculpture mondiale and Les Statues meurent aussi, a film by Chris Marker and Alain Resnais.
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26

Gombrich, Ernst H., and Isabelle Hausser. "André Malraux et la crise de l’expressionnisme." Commentaire Numéro156, no. 4 (2016): 769. http://dx.doi.org/10.3917/comm.156.0769.

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27

Abah Antagana, Joshep. "André Malraux: roman, histoire et quête identitaire." Estudios Humanísticos. Filología, no. 34 (October 28, 2015): 111. http://dx.doi.org/10.18002/ehf.v0i34.2897.

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Las relaciones entre la historia y la creación literaria a menudo han sido difíciles de determinar, ya que ambos tiene siempre se ha interconectado. Habida cuenta de esta convivencia, es importante preguntarse si el novelista-historiador es un historiador. Este ensayo no pretende hacer un estudio comparativo sistemático entre L'Espoir escrito por André Malraux y los hechos históricos, sino centrarse en la influencia de la historia en la novela. El novelista se apodera de la historia a través de diversas técnicas para ofrecer una interpretación personal e Histórica, por lo tanto. En el sentido simbólico y literario que implica su explotación por parte de ficición que es la integración y el uso de estética.
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28

Gardini, Michela. "Dictionnaire André Malraux, éd. Jean-Claude Larrat." Studi Francesi, no. 180 (LX | III) (December 1, 2016): 562. http://dx.doi.org/10.4000/studifrancesi.5423.

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29

Allan, Derek. "André Malraux and the Challenge to Aesthetics." Journal of European Studies 33, no. 1 (March 2003): 23–40. http://dx.doi.org/10.1177/0047244103033001003.

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30

Genovese, Marilena. "André Malraux and Roman Gary’s Italian Reception." Literatūra 64, no. 4 (October 29, 2022): 154–65. http://dx.doi.org/10.15388/litera.2022.64.4.11.

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This study focuses on André Malraux and Romain Gary’s Italian reception from their first introduction in Italy until today. One of the goals of the analysis is to synthesize all the publications devoted to them and to make the results of the identified work available to the readers. The other goal is to measure the interest shown in these two writers (whose existential choice presents many convergences) which has changed during the years because of the different historical contexts in which their writings have been read.
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31

Dieudonné, Julien. "Barthes, leitor de Malraux: uma ocultação terrorista." Alea : Estudos Neolatinos 5, no. 2 (December 2003): 213–23. http://dx.doi.org/10.1590/s1517-106x2003000200005.

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O artigo aborda, através da ocultação que Roland Barthes faz da obra de André Malraux, o desafeto de que goza o autor de Condição humana na França atual. Considerado como um escritor que abandonou sua posição de esquerda ao assumir um cargo político ao lado de De Gaulle, Malraux deixa de ser apreciado como um escritor revolucionário. Barthes quase não cita Malraux ou o cita sempre com o intuito da desmistificação, tanto do escritor quanto do ministro. O artigo tenta, por meio de uma ironia fina, opor-se ao crítico Roland Barthes e resgatar o lugar do romancista dos anos 1930 no panorama da literatura francesa.
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32

Tame, Peter. "The Metamorphosis of Places in André Malraux’s Les Noyers de l’Altenburgand Romain Gary’s Education européenne." Literatūra 64, no. 4 (October 29, 2022): 95–105. http://dx.doi.org/10.15388/litera.2022.64.4.6.

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This article examines the importance of imaginary spaces and places (literary isotopias) in André Malraux’s Les Noyers de l’Altenburg (1943) and Romain Gary’s Education européenne (1945). It analyses the metamorphoses of space and place, together with the relationships between those spaces and the novels’ characters, in order to identify commonality as well as differences between the approaches of the two authors. The roles of nature, art and myth in the two novels are also considered, particularly in the context of war. Moreover, the article takes into account the humanism of both authors against the background of wartime. André Malraux’s crucial concept of metamorphosis finds significant echoes in Romain Gary’s novel Education européenne, particularly in the aspiration to transform the world, change mentalities and remake communities both in the national and international contexts. For both writers, the metaphysical struggle against death is often portrayed as being more important than the military conflict with the enemy. Moreover, the novels of both writers have undergone a number of literary metamorphoses in terms of textual genesis and generation. Although Romain Gary’s work is probably less well known today than that of André Malraux, we may find, in conclusion, that the former’s approach, style and content of thought are actually just as “modern” and appealing to readers nowadays.
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33

Azzi, Christine Ferreira. "A crítica de arte e a arte como crítica: O legado de André Malraux." MOARA – Revista Eletrônica do Programa de Pós-Graduação em Letras ISSN: 0104-0944, no. 39 (April 24, 2014): 175. http://dx.doi.org/10.18542/moara.v0i39.1574.

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O artigo põe em cena a trajetória e o pensamento de André Malraux no âmbito das artes, da cultura e da estética. Malraux, como intelectual do século XX, se dedicou a diversas áreas de ação e de reflexão, tais como a crítica de arte, a história da arte, a política cultural, os museus, a literatura e o patrimônio. No presente estudo, procura-se traçar historicamente os caminhos da crítica de arte, assim como pôr as ideias malrucianas sobre arte e cultura em diálogo com as de outros pensadores, como Walter Benjamin e Michel Déguy.
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34

Gutiérrez Viñayo, Félix César. "André Malraux (1er Novembre 1901-23 Novembre 1976)." Estudios Humanísticos. Filología, no. 34 (November 19, 2021): 15–21. http://dx.doi.org/10.18002/ehf.v0i34.7129.

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André Malraux, dans sa petite ville de Bondy, entre sa mère Berthe et sa grand-mère, Adrienne; son père, son grand héros absent, dans sa petite cuisine, au-dessus de ĺépicerie, au 18 Quai de la Gare, adresse prémonitoire, rêve sans doute à ces grands voyages qu ́il allait entreprendre de par le monde. Il allait devenir cet "homme sans frontières qui voyage beaucoup" comme disait si bien de Gaulle
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35

Kanceff, Emanuele. "André Malraux, Carnet du Front populaire, 1935-1936." Studi Francesi, no. 153 (LI | III) (December 1, 2007): 695–96. http://dx.doi.org/10.4000/studifrancesi.9663.

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36

Rosa Da Silva, Edson. "André Malraux au Brésil : le rôle de l'art." Revue de littérature comparée 316, no. 4 (2005): 443. http://dx.doi.org/10.3917/rlc.316.0443.

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37

Mercier, Christophe. "Marcel Aymé et André Malraux dans la Pléiade." Commentaire Numéro 47, no. 3 (October 1, 1989): 649–51. http://dx.doi.org/10.3917/comm.047.0649.

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38

Didi-Huberman, Georges. "The Album of Images According to André Malraux." Journal of Visual Culture 14, no. 1 (April 2015): 3–20. http://dx.doi.org/10.1177/1470412914562023.

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39

Cizek, Eugen. "Les chênes qu'on abat... André Malraux et Tacite." Bulletin de l'Association Guillaume Budé 1, no. 3 (1998): 272–81. http://dx.doi.org/10.3406/bude.1998.1927.

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40

Ade Ojo, S. "André Malraux et Sembène Ousmane: Peintres du prolétaire." Neohelicon 18, no. 1 (March 1991): 117–54. http://dx.doi.org/10.1007/bf02092525.

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41

Gesso, Guilherme Almeida, and Alexandre Bebiano de Almeida. "Para um estudo da imagem cinematográfica no romance A condição humana, de André Malraux." Raído 16, no. 41 (December 15, 2022): 196–213. http://dx.doi.org/10.30612/raido.v16i41.15902.

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Este artigo tem por objetivo investigar as técnicas cinematográficas presentes no romance A Condição Humana (1933), de André Malraux. Partimos de uma discussão sobre os vínculos entre literatura e cinema para, em seguida, analisar como o estilo ficcional recria verbalmente procedimentos dos filmes contemporâneos ao autor. Os parâmetros levados em conta, decupagem e mise en scène, referem-se, respectivamente, ao agenciamento fragmentário dos pontos de vista e às estratégias de iluminação dos cenários. Por meio desses procedimentos, Malraux constrói uma obra de inequívoca riqueza visual, atenta às novidades estéticas propostas pela arte narrativa mais popular do século XX.
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Schmitz-Emans, Monika. "Das imaginäre Museum als literarischer Bilderkatalog.: Dieter Wellershoff und Michel Butor in den Spuren von André Malraux." Zeitschrift für Germanistik 32, no. 1 (January 1, 2022): 155–72. http://dx.doi.org/10.3726/92171_155.

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Dieter Wellershoff und Michel Butor knüpfen mit rezenten Buchpublikationen an André Malraux’ Konzept des imaginären Museums an. Ihre Bücher sind illustrierte Kataloge von Werken der abendländischen Malereigeschichte, zugleich aber Vermittlungsformen der Poetiken beider Autoren. Indem der Bilderkatalog zum poetologischen Manifest wird, tritt die Prägung von Katalogen durch logoi programmatisch in den Vordergrund; der Bilderkatalog demonstriert sowohl die enge Durchdringung der Bilderwelten mit Wörtern als auch die Effizienz katalogartiger Werke als Medien verbaler Sinnvermittlung, Argumentation und dichterischer Selbstexplikation. In recent book publications, Dieter Wellershoff and Michel Butor take up André Malraux’s concept of the imaginary museum. While being illustrated catalogues of works from the history of Western painting, they are also forms of conveying the poetics of the two authors. By turning the picture catalogue into a meta-poetic manifesto, the imprint of logoi on catalogues comes programmatically to the fore; the picture catalogue demonstrates both the close interpenetration of the pictorial worlds with words and the efficiency of catalogue-like works as media of verbal mediation of meaning, argumentation, and poetic self-explication.
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Botnari, Larisa. "From Conquerors to Enchanters: Ways of Apprehending Reality Through Novelistic Creation." Literatūra 64, no. 4 (October 29, 2022): 144–53. http://dx.doi.org/10.15388/litera.2022.64.4.10.

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Creators of new worlds through their novels, André Malraux and Romain Gary equally reject the real universe – considered as odious, tragic, absurd – as well as any purely mimetic link between this universe and literary creation. But the two novelists translate this opposition into completely different registers. If Malraux’s writing seems to express the desire for a direct confrontation and defiance, Gary’s work is rather characterized by a mocking, disdainful attitude towards reality, which the writer intends to conquer mainly by humor. Our article aims to show that Gary’s literary response, far from being an escape, represents a rebellion that is just as powerful (and, in certain aspects, more relevant for our times) than the commitment and the fight explicitly assumed by Malrucian writing.
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Kanceff, Emanuele. "Abdelaziz Bennis, Carnet bibliographique André Malraux, Critique, 1990-2002." Studi Francesi, no. 147 (XLX | III) (December 1, 2005): 675–76. http://dx.doi.org/10.4000/studifrancesi.33622.

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Allan, Derek. "Les Liaisons dangereuses through the eyes of André Malraux." Journal of European Studies 42, no. 2 (May 29, 2012): 123–39. http://dx.doi.org/10.1177/0047244112436905.

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Freitas, Maria Teresa De. "Literatura e História: O Romance Revolucionário de André Malraux." Revista da Universidade de São Paulo, no. 2 (August 5, 1986): 164. http://dx.doi.org/10.11606/issn.2595-2501.rusp.1986.132125.

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Raymond, Gino. "Review Essay : André Malraux: the invention of a revolutionary." French Cultural Studies 8, no. 22 (February 1997): 137–40. http://dx.doi.org/10.1177/095715589700802213.

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Bajomi, Iván. "A francia kivétel jegyében – az V. Köztársaság kulturális politikáinak sajátosságai (1959–2021)." Kultúra és Közösség 12, no. 4 (2021): 5–18. http://dx.doi.org/10.35402/kek.2021.4.1.

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A szerző először azt mutatja be, hogy 1959-ben miként hozták létre De Gaulle hatalmi megfontolásait is érvényesítve Franciaország első kulturális minisztériumát. Az elemzés ezután azt érzékelteti, hogy az Ötödik Köztársaság első jobboldali kormányai alatt a kulturális politikát hogyan határozta meg a kultúra demokratizálását célzó, eredetileg baloldali törekvés. Ugyancsak kitér a szerző arra, hogy André Malraux író-miniszter kultúrafelfogása miként fejeződött ki a minisztérium egyik emblematikus kezdeményezésében, a kultúra házaiban. Malraux tevékenysége leképezte az államfő túlhatalmán és karizmatikus hatalomgyakorlásán alapuló politikai rendszer fő jellemzőit. E jellemzőket mutatják egyébként az Ötödik Köztársaság egymást követő elnökei által kezdeményezett kulturális nagyberuházások is. Egyes Malraux utódaiként tevékenykedő miniszterek a korábbitól eltérő kultúrafelfogást képviseltek, és ez sok újszerű kezdeményezésben is kifejeződött. Ugyancsak bemutatja a tanulmány, hogy a kultúra egyes részterületein számos olyan megoldás érvényesül, amelyek kapcsán gyakran használják „a francia kivétel” kifejezést. Ez arra utal, hogy más nyugati demokráciákhoz képest Franciaország kulturális életének sok területén erőteljes, a piaci logikákat korlátozó, korrigáló állami beavatkozás jut érvényre.
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Fernandes, Rafaela Alves. "Entre sobrevivências e metamorfoses: a montagem de imagens em Aby Warburg e André Malraux." Rapsódia, no. 14 (December 3, 2020): 165–84. http://dx.doi.org/10.11606/issn.2447-9772.i14p165-184.

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O artigo examina as concepções de história da arte e temporalidade da imagem presentes no Atlas Mnemosyne, de Aby Warburg (1866 – 1929), e no Museu Imaginário, de André Malraux (1901 – 1976). Para tanto, investiga ali os usos da montagem como processualidade visual e como modo de pensamento. Deste modo, constitui foco principal deste estudo os conceitos de sobrevivência e metamorfose. Mostra-se, pois, como Warburg reivindica um tempo anacrônico, que não é o tempo da atualidade histórica ou artística, mas o tempo inatual das sobrevivências dos gestos e das formas, ou então o tempo sempre atual dos sintomas. E mostra-se, por fim, como Malraux, enuncia um tempo fora do Tempo, o tempo das metamorfoses que desafia a natureza biológica da matéria em benefício da imortalidade das obras-primas.
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RECHNIEWSKI, ELIZABETH. "ANDRÉ SUARÈS ET ANDRÉ MALRAUX: DU POÈTE À L'HOMME D'ACTION. UNE ÉTUDE DES CONQUÉRANTS." French Studies XLVI, no. 2 (1992): 160–73. http://dx.doi.org/10.1093/fs/xlvi.2.160.

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