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Wyszukujesz frazę "André Malraux" wg kryterium: Wszystkie pola


Wyświetlanie 1-2 z 2
Tytuł:
La Révolution comme catastrophe chez André Malraux et Georges Bataille
Revolution as Catastrophe in the Work of André Malraux and Georges Bataille
Autorzy:
Bowd, Gavin
Powiązania:
https://bibliotekanauki.pl/articles/2020937.pdf
Data publikacji:
2020
Wydawca:
Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
Tematy:
communism
fascism
revolution
sacred
Opis:
In his review of La Condition humaine, Georges Bataille asserts that André Malraux’s novel shows how revolutionary power is based, in its psychological structure, on a catastrophe, on the lasting consciousness of a catastrophe upon which has depended the fate of multitudes. From this reading of Malraux, we will explore the catastrophic vision of Bataille himself in his novel Le Bleu du ciel and his essays for Contre-Attaque, written in the course of the 1930s, but, in the case of Le Bleu du ciel, only published more than twenty years afterwards. In the face of a “rising tide of murder” that seems to make the triumph of fascism and war inevitable, the failure of his dream of a “Popular Front in the street” is embodied in the political and erotic impotence of the troubling character of Henri Troppmann. Bataille’s dead-end contrasts brutally with the publicly committed work of Malraux, who seems to offer an alternative vision of revolutionary fate. But are there similarities between the “committed” novelist Malraux and the “shameful” one that is Bataille? Both writers show a profound interest in the sacred, which transcends a narrowly political frame.
Źródło:
Academic Journal of Modern Philology; 2020, 9; 245-254
2299-7164
2353-3218
Pojawia się w:
Academic Journal of Modern Philology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czapskiego czytanie André Malraux.
Czapski reads André Malraux.
Autorzy:
Jarosz, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/560213.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Józef Czapski
André Malraux
Opis:
Józef Czapski’s readings the texts by André Malraux (1901–1977) on aesthetics and art history are among the most important ones. It ef- fected from his physical presence in the Polish artist’s biography. “Reading” Malraux’s works has a very personal explanation. They were both of the same generation – a Polish artist and soldier, and a French writer and politician met in crucial periods of the most modern his- tory of Europe. These personal contacts allowed Czapski to comprehend better Malraux’s views, especially his aesthetic polytheism and a concept of “museum of imagination”. The first meeting of Czapski with Malraux took place in Paris in 1924. Later on, after the war had finished, and Czapski had been sent to Paris by General Władysław Anders, he made a report to Malraux on his knowledge of Soviet Russia. When in 1946 the painter settled down in France, Malraux made big efforts to publish Na nieludzkiej ziemi [The Inhuman Land] in France. He also supported the cause of the endangered seat of Parisian “Kultura” [Culture] monthly in Maisons-Laffitte by writing an open letter concerning the matter in 1954. Their direct contacts were also related with artistic life. In 1952 Malraux visited Czapski’s painting exhibition, and in 1958 he conducted an interview with the artist. Czapski in turn used to read carefully Malraux’s books, paying attention to both literary and cognitive values in the area of thought on arts, noticing at the same time that the latter was adding fiction to reality. Malraux’s quasi-methodological vision of art, his style, as well as cultural and political activity, provoked Czapski in 1952 to write an essay Głosy milczenia [The Voices of Silence] – a sort of polemics with Malraux’s book Les Voix du silence. Just like many other readers Czapski noticed a typical for the Frenchman combination of a novel-like form with an essay or an impression on art and a total departure from an academic discourse. He also noted down the most important issues: Malraux’s contradiction between “the world of quest” and “the world of affirmation” and perceiving an artist as conscious of his starting point, method, will and direction of acting – the force which enables to win historical determinism. Czapski was able to estimate the social aspect of Malraux’s works in the time of the unfinished political and epistemological disputes. The biggest value in the vast considerations of the French writer was, according to the Polish painter, his intui- tive search for truth and its revelations in painting. Czapski however, treated in a rather ambiguous way Malraux’s position as “a demiurge” who decides valuation and applies reproduction – being a forerunner of digital iconography and virtual museum spaces. Malraux with his concepts keeps coming back till presence – in a performance and a film by Dennis Adams (2012), among others.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2013, 2(28); 88-103
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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