Results for 'Andr�� Malraux'

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  1.  2
    André Malraux’s Comparative Theory of Art.Žilvinė Gaižutytė-Filipavičienė - 2020 - Dialogue and Universalism 30 (3):263-280.
    The article deals with André Malraux’s 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 (...)
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  2.  33
    Has André Malraux’s Imaginary Museum Come Into its Own?Derek Allan - 2020 - Apollo, an International Art Magazine.
    A brief discussion of André Malraux's concept of the musée imaginaire (Imaginary Museum or Museum without Walls) and a comment on the neglect of Malraux's theory of art. (Link provided).
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  3.  17
    André Malraux and Art: An Intellectual Revolution.Derek Allan - 2021 - New York: Peter Lang.
    This study provides a step by step explanation of André Malraux’s theory of art. Drawing on his major works, such as "The Voices of Silence" and "The Metamorphosis of the Gods," it examines topics such as the nature of artistic creation, the psychology of our response to art, the birth of the notion of “art” itself and its transformation after Manet, the birth and death of the idea of beauty, the neglected question of the relationship between art and the (...)
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  4.  6
    André Malraux et l’Art : Une Révolution Intellectuelle.Derek Allan - 2021 - New York, NY, USA: Peter Lang.
    Cette étude présente une explication systématique des éléments clés de la théorie de l’art d’André Malraux. Se basant sur des œuvres telles que Les Voix du silence, Le Surnaturel, L’Irréel et L’Intemporel, elle aborde des sujets cruciaux comme la nature de la création artistique, la psychologie de notre réaction à l’art, la naissance de la notion d’« art » et sa transformation après Manet, la naissance et la mort de l’idée de beauté, la question cruellement négligée de la relation (...)
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  5.  8
    André Malraux Beyond His Anti-Memoir.Nacho Duque García - 2015 - Co-herencia 12 (22):97-114.
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  6.  36
    André Malraux: The Commitment to Action in 'La Condition Humaine'.Derek Allan - 1988 - In Harold Bloom (ed.), André Malraux's Man's Fate. Chelsea House.
    Discusses the function of action in Malraux's third and most famous novel.
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  7. André Malraux.Derek Allan - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). pp. 239-243 (Vol 4).
    An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.
     
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  8.  2
    André Malraux Más Allá de Su Antimemoria.Nacho Duque García - 2015 - Co-herencia 12 (22):97-114.
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  9. André Malraux and the Challenge to Aesthetics.Derek Allan - 2003 - Journal of European Studies 33 (128): 23-40.
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  10.  33
    Andre Malraux and the Modern, Transcultural Concept of Art.Derek Allan - 2005 - Literature & Aesthetics 15 (1):79-98.
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  11. Creation Ex Nihilo: André Malraux and the Concept of Artistic Creation.Derek Allan - manuscript
    One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...)
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  12.  84
    “Reckless Inaccuracies Abounding”: André Malraux and the Birth of a Myth.Derek Allan - 2009 - Journal of Aesthetics and Art Criticism 67 (2):147-158..
    After an initial period of popularity in the 1960s and 1970s, André Malraux’s works on the theory of art, "The Voices of Silence" and "The Metamorphosis of the Gods", lapsed into relative obscurity. A major factor in this fall from grace was the frosty reception given to these works by a number of leading art historians, including E.H. Gombrich, who accused Malraux of an irresponsible approach to art history and of "reckless inaccuracies". This essay examines a representative sample (...)
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  13. An Intellectual Revolution: André Malraux and the Temporal Nature of Art.Derek Allan - 2009 - Journal of European Studies 39 (2):198-224.
    Very little has been written in recent decades about the temporal nature of art. The two principal explanations provided by our Western cultural tradition are that art is timeless (`eternal') or that it belongs within the world of historical change. Neither account offers a plausible explanation of the world of art as we know it today, which contains large numbers of works which are self-evidently not timeless because they have been resurrected after long periods of oblivion with significances quite different (...)
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  14.  12
    Les politiques culturelles d'André Malraux à Jack Lang : histoire d'une modernisation.Augustin Girard - 1996 - Hermes 20:27.
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  15. 'Les Liaisons Dangereuses' Through the Eyes of André Malraux.Derek Allan - 2012 - Journal of European Studies 42 (2):123-139.
    Choderlos de Laclos’s novel 'Les Liaisons dangereuses', first published in 1782, is regarded as one of the outstanding works of French literature. This article concerns a well known commentary by the twentieth-century writer André Malraux which, though often mentioned by critics, has seldom been studied in detail. The article argues that, while Malraux endorses the favourable modern assessments of 'Les Liaisons dangereuses', his analysis diverges in important respects from prevailing critical opinion. In particular, he regards the work as (...)
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  16.  60
    The Death of Beauty: Goya's Etchings and Black Paintings Through the Eyes of André Malraux.Derek Allan - 2016 - History of European Ideas 42 (7):965-980.
    Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of his times. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the humanist artistic tradition that began with the Renaissance - a tradition founded (...)
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  17. "The Rhetorical Hero. An Essay on the Aesthetics of André Malraux": William Righter. [REVIEW]R. G. Saisselin - 1965 - British Journal of Aesthetics 5 (1):94.
     
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  18. Ni histoire de l'art ni esthétique: Les écrits sur l'art d'André Malraux.Derek Allan - 2009 - In André Malraux 13, Malraux et la question des genres littéraires. La Revue des Lettres Modernes Série André Malraux. 14000 Caen, France:
    Examines Malraux's theory of art and argues that it is neither aesthetics (philosophy of art) in the traditional sense, or history of art.
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  19. Literature of the Graveyard: Jean-Paul Sartre, François Mauriac, André Malraux, Arthur Koestler.Roger Garaudy & Joseph M. Bernstein - 1948 - International Publishers.
     
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  20. The Creative Process: An Aspect of André Malraux’s Theory of Art.Derek Allan - 2010 - Revue/Malraux/Review 37:66-84.
    Examines Malraux's account of the creative process in art, discusses a misreading of Malraux by Merleau-Ponty, and highlights shortcomings in certain "analytic aesthetics" accounts of the creative process.
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  21. Art and the Human Adventure: André Malraux's Theory of Art.Derek Allan - 2009 - Rodopi.
    " Suitable for both newcomers to Malraux and more advanced students, the study also examines critical responses to these works by figures such as Maurice ...
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  22. “Une création sans précédent”: "Les Liaisons dangereuses" à travers les yeux d’André Malraux.Derek Allan - 2020 - In Dialogues littéraires et philosophiques. Paris, France: pp. 93-108.
    Critics often situate "Les Liaisons dangereuses" within the tradition of the novel of libertinage. Many consider it to be superior to its predecessors but argue nonetheless that it is part of an established tradition, not the beginning of something new. Malraux demurs. While noting similarities with the novel of libertinage, he contends that Laclos’ novel links up much more significantly with the novel of the future, its descendants including Julien Sorel and even Raskolnikov.
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  23. “L’Art, le temps et la métamorphose : Un aspect révolutionnaire de la théorie de l'art d’André Malraux”.Derek Allan - 2017 - Frankofoni 30 (Feb/March):135-146.
    Explains a key aspect of Malraux's theory of art – his explanation of the nature of artistic creation. The question is widely neglected in modern aesthetics.
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  24.  29
    Art as Anti-Destiny: Foundations of André Malraux’s Theory of Art.Derek Allan - 2003 - Literature and Aesthetics 13 (2):7-16.
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  25. Art: A Rival World - An Aspect of André Malraux's Theory of Art.Derek Allan - 2010 - In Jan Lloyd Jones & Julian Lamb (eds.), Art and Authenticity. Australian Scholarly Publishing.
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  26. The Rhetorical Hero. An Essay on the Aesthetics of André Malraux.William Righter - 1966 - Philosophy 41 (156):185-186.
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  27.  13
    The Rhetorical Hero. An Essay on the Aesthetics of André Malraux. By William Righter. (Routledge and Kegan Paul, 1964. Pp. Ix and 92.). [REVIEW]Cyril Barrett - 1966 - Philosophy 41 (156):185-.
  28.  6
    L'Absolu Et la Forme: L'esthetique d'Andre Malraux.Stefan Morawski & Yolande Lamy-Grum - 1974 - Journal of Aesthetics and Art Criticism 32 (3):427-427.
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  29.  7
    Une vie dans le siècle, de André Malraux.Paulo Emilio Salles Gomes - 1976 - Discurso 7 (7):161-168.
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  30.  4
    The Voices of Silence.André Malraux - 1953 - Princeton University Press.
    Annotation: This is a comprehensive and psychological history of art from a variety of cultures by one of the eminent thinkers of the twentieth century.
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  31.  17
    Museum Without Walls.André Malraux - 1965 - London: Secker & Warburg.
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  32. The Metamorphosis of the Gods.André Malraux - 1960 - Garden City, N.Y., Doubleday.
  33. The Psychology of Art.André Malraux - 1949 - London: A. Zwemmer.
    1. Museum without walls.--2. The creative act. -- 3. The Aftermath of the Absolute.
     
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  34. Malraux, Camus, Sartre, Bernanos l'Espoir des Désespérés.Emmanuel Mounier - 1970 - Éditions du Seuil.
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  35. Malraux, l’art et le temps : Un défi à l’esthétique traditionnelle.Derek Allan - 2018 - In Évelyne Lantonnet (ed.), Malraux et le temps, La Revue des lettres modernes. Série: André Malraux, n° 14,. Paris: Garnier. pp. 99-111.
    One of the most remarkable contributions André Malraux makes to the theory of art is his explanation of the relationship between art and time: his argument that art transcends time through a process of metamorphosis. This proposition, which replaces the traditional belief that art resists time because it is eternal or immortal, poses a major challenge to traditional aesthetics. This article examines the notion of metamorphosis and the challenge it represents.
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  36.  33
    Vanquishing Temporal Distance: Malraux, Art and Metamorphosis.Derek Allan - 2016 - Australian Journal of French Studies 53 (1-2):136-148.
    How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...)
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  37.  1
    Memoirs: Fifty Years of Political Reflection.Raymond Aron - 1990 - Holmes & Meier.
    Aron reflects with simplicity and depth on industrial society, communism, the future of democracy, peace and war, the nuclear age, and also Charles de Gaulle, Jean-Paul Sartre, Andre Malraux, Henry Kissinger and others.
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  38. Why Art is Never Representation - Even When It Represents.Derek Allan - manuscript
    The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".
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  39.  40
    Art and Time.Derek Allan - 2013 - Cambridge Scholars Press.
    A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art museums. (...)
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  40. Parasacrality: The Humanities in the Age of Postmodernism.Victor E. Taylor - 1995 - Dissertation, Syracuse University
    The dissertation is an interdisciplinary study of the dismantling effects postmodern discourses have within the humanities. Postmodernism's anti-foundationalism, I argue, can only take shape around questions of ultimacy and sacrality in human existence. The dissertation explores the emergence, persistence and metamorphosis of the ultimate and the sacred in art history, modern literature, continental philosophy, and religion. Central figures studied in the work include Mircea Eliade, Gilles Deleuze, Jacques Derrida, Andre Malraux, Friedrich Nietzsche, and Ludwig Wittgenstein.
     
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  41.  7
    Literary Criticism and Its Discontents.Geoffrey Hartman - 1976 - Critical Inquiry 3 (2):203-220.
    Literary criticism is neither more nor less important today than it has been since the becoming an accepted activity in the Renaissance. The humanists of the sixteenth and seventeenth centuries created the institution of criticism as we know it: the recovery and analysis of works of art. They printed, edited, and interpreted texts that dated from antiquity and which had been lost or disheveled. Evangelical in their fervor, avid in their search for lost or buried riches, they also put into (...)
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  42.  54
    The Future of the Novel [1957].René Girard & Robert Doran - 2012 - Contagion: Journal of Violence, Mimesis, and Culture 19:1-8.
    I now come to an idea that is important to me and that I address in an article from 1957 entitled “Où va le roman?” Both André Malraux and Jean-Paul Sartre made use of the novel early in their careers before abandoning it. Is this development inevitable? Against the naturalist novel, which eliminates the subject in favor of the object, we see the rise, after the Second World War, of the metaphysical novel, which will, on the contrary, gradually destroy (...)
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  43. Ever Present Origin: Part One: Foundations of the Aperspectival World.Jean Gebser, Noel Barstad & Algis Mickunas - 1986 - Ohio University Press.
    Born in Posen in 1905, Jean Gebser came from an old Franconian family domiciled in Thuringia since 1236. A nephew of German chancellor von Bethmann-Hollweg, he was a descendant on his mother's side of Luther's friend Melanchthon. He was educated in Breslau, Konigsberg, Rossleben, and at the University of Berlin. In 1929 Gebser emigrated to Italy and subsequently lived in Spain where he was attached to the Ministry of Education of the Spanish Republic. From 1937-1939 he lived in Paris in (...)
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  44. L’Album de L’Art À L’Époque du "Musée Imaginaire".Georges Didi-Huberman - 2013 - Musée du Louvre.
    Sur quels critères Malraux a-t-il bâti ses associations d'oeuvre de cultures différentes dans son "Musée imaginaire"? Une question d'actualité à l'heure où les musées mêlent oeuvres occidentales et arts primitifs ou arts contemporains et arts anciens dans une même présentation. Georges Didi-Huberman, philosophe et historien de l'art, enseigne actuellement à l'École des hautes études en sciences sociales de Paris. Avec plus d'une trentaine de livres publiés depuis 1982, il est aujourd'hui l'un des théoriciens les plus actifs dans le paysage (...)
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  45.  5
    Globalna etika na temelju tradicija židovstva, kršćanstva ter islama.Krunoslav Pranjić - 2006 - Filozofska Istrazivanja 26 (4):879-890.
    Izraelit, André Chouraqui, rođen u Alžiru , pravnik sa Sorbone, hebraist, orijentalist, ekumenist, beletrist, suosnivač »Abrahamovskoga bratstva«, prevođen na 20 europskih i 3 dalekoistočna jezika; za njegove prijevode kapitalnih sakralnih knjiga imenjak mu Malraux rekao da su »grandiozna avantura duha«… U svojoj respektivnoj knjizi Chouraqui promatra jednu za drugom Deset zapovijedi u svima trima monoteističkim vjerama sve do u naše dane. Iz poglavlja u poglavlje, vodeći računa o evoluciji običaja, društva, znanosti i tehnike, autor nam nudi nov pogled na (...)
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  46. The Photographic Paradigm.Annette W. Balkema & Henk Slager (eds.) - 1997 - Brill | Rodopi.
    This issue investigates the meaning of photographic image for contemporary art. In Malraux' dream, photography offers the ultimate guarantee for a coherent presentation of art. However, as Douglas Crimp has stated, the appearance and enhancement of photography as a form of art among other art forms disrupted the center of the art world. What does this mean for art and philosophy in our time? Various artists and theorists will delve into that question: Christian Boltanski, Benjamin H.D. Buchloh, Jean-François Chevrier, (...)
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  47. L'espoir des Désespérés.Emmanuel Mounier - 1953 - Éditions du Seuil.
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  48. André Mercier, Physicien Et Métaphysicien.André Mercier, Maja Svilar & A. Held - 1983 - Institut des Sciences Exactes de l'Université de Berne.
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  49.  27
    André Berger, de la Théorie Astronomique au Réchauffement Global Et au Développement Durable.André Berger, Jacques-Louis de Beaulieu & Claude Millier - 2012 - Natures Sciences Sociétés 20 (3):343-352.
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  50.  35
    PADOUX, André, Vac, the Concept of the Word in Selected Hindu TantrasPADOUX, André, Vac, the Concept of the Word in Selected Hindu Tantras.André Couture - 1993 - Laval Théologique et Philosophique 49 (1):168-169.
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