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Sztuka w muzeum wyobraźni

100%
Hańderek J.
Estetyka i Krytyka
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2011
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issue 2(21)
61-75
EN
The article attempts to reconstruct the aesthetical category of imaginarium by Andre Malraux. Malraux approached it on various levels: imaginative space of culture participant, artistic creation, museum a set of meanings, cultural codes and symbols. The category is a key to perception of the world where meanings and senses are both interpreted and constituted. The metaphor of imaginarium allows the French thinker to trace the way culture develops its meanings and senses as well as gives opportunity for an analysis of interactions between cutures. It is by imaginarium, its symbolic and meanings cutures develop as well as contact each other, leading to birth of new meanings and symbols.
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De la Fin de l’art au Musée Imaginaire: Malraux lecteur de Hegel

89%
Voldřichová Beránková E.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
|
2022
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vol. 32
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issue Special Issue
68-77
EN
The article summarizes the major topoi of Hegelianism that Malraux adopts in his texts on art (The Voices of Silence, The Imaginary Museum and The Metamorphosis of the Gods), before focusing, in particular, on Malrucian interpretation of the end of art and on the links that the latter has with his own concept of the imaginary museum. According to some of Hegel’s exegetes (Bernard Bosanquet, Martin Heidegger, Jean-Luc Nancy, Thierry de Duve, but also Theodor Adorno, Arthur Danto, Joseph Kosuth, Rainer Rochlitz or Jan Patočka), the end of traditional art paves the way for its retrospective conceptualization, its reconfiguration in the public space, as well as for very exciting debates on the nature of contemporary art, post-religious, post-national, post-historical in a way. The article illustrates the original place that Malraux occupies within this “positive” and creative interpretation of the end of art.
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