ABSTRACT

Arts and heritage are the two categories essential to the fabric of cultural policies and of public discourses on culture. This paper explores the duality of art and heritage in the work and life of André Malraux in the 1920s and 1930s as a window into one of many distinctive conceptions of culture in France. Art, artists, and art amateurs, are, in Malraux’s conception, the only forces that can challenge the fugacity of time and bring art to a new relevance; heritage and preservation have no such powers. This paper demonstrates Malraux’s conceptions of heritage as standard foundations for areas of French cultural policy by building on his novels and his theoretical writings on heritage in the 1930s, and looking back at his actions in Indochina in 1923, in terms of his illicit acquisition of statues from Central Asia in the 1930s, and his adventures in Djibouti and Yemen in 1934. Malraux’s conception not only gives symbolic authority to arts over heritage, but also negates the plausibility of cultural interpretation outside the world of art. This article concludes by showing how the malrucian conception of culture can help us understand some discourses and contemporary cultural controversies in France.

摘要

艺术和文化遗产是构成文化政策和有关文化的公共话语必不可少的两个类别。本文探讨了安德烈·马尔罗（AndréMalraux）在1920年代和1930年代的工作和生活中艺术与传统的二元性，以此作为了解法国众多独特文化概念之一的窗口。在Malraux的观念中，艺术，艺术家和艺术爱好者是唯一可以挑战时间的流逝并将艺术带入新的关联的力量。遗产和保护没有这种权力。本文通过在1930年代的小说和关于遗产的理论著作的基础上，回顾马尔罗在法国文化政策领域的传统基础，并回顾了他在1923年代在印度支那的行为，包括非法获取雕像，以此来展示马尔罗的文化观念。来自1930年代的中亚，以及他在1934年在吉布提和也门的冒险之旅。马尔罗的构想不仅赋予艺术超越传统的象征权威，而且否定了文化诠释在艺术界之外的合理性。本文的结尾部分说明了马尔鲁斯主义的文化观念如何帮助我们理解法国的某些论述和当代文化争议。