André Malraux más allá de su antimemoria
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2015-06-01
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Universidad EAFIT
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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.
Two hypotheses about the autobiographical genre –as well as about the self-portrait– seem to perfectly fit Malraux’s Antimémoires: first, that it is sterile to develop an interpretation based on the distinction between ‘truth’ and ‘fiction’ and, second, that any autobiography reflects a social and individual vision of the temporality, so that it thrives in contexts more susceptible to be historically considered as “new” -- Malraux, as revealed by his Antimémoires, is an enigma that feeds off itself, the intertwined fragments of his life and the passages from his works -- To try to unravel his mystery we will resort to three different perspectives on what we might consider “a possible Malrauxian theory about the three Malraux” -- Besides that, we will turn to some writings in which self-reference is less evident and where Malraux proposed a peculiar vision of art and life, perhaps because he concealed exactly there the keys to the best approach to the sense of his career and thought.
Two hypotheses about the autobiographical genre –as well as about the self-portrait– seem to perfectly fit Malraux’s Antimémoires: first, that it is sterile to develop an interpretation based on the distinction between ‘truth’ and ‘fiction’ and, second, that any autobiography reflects a social and individual vision of the temporality, so that it thrives in contexts more susceptible to be historically considered as “new” -- Malraux, as revealed by his Antimémoires, is an enigma that feeds off itself, the intertwined fragments of his life and the passages from his works -- To try to unravel his mystery we will resort to three different perspectives on what we might consider “a possible Malrauxian theory about the three Malraux” -- Besides that, we will turn to some writings in which self-reference is less evident and where Malraux proposed a peculiar vision of art and life, perhaps because he concealed exactly there the keys to the best approach to the sense of his career and thought.
Palabras clave
Malraux, André, 1901 - 1976, Sujeto