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(1976–2016)

­ ­ ­ (1901–76) ­ ­­, ­ ­­­ ­ ­­ ­ ­­­­ ­ ­­ ­­­ ­­, ­ ­ ­ ­­­ ­­­­ ­­­ ­ ­­.
1) ­ 1929. ­ ­­­ ­­ ­­ ­ ­­­ ­ ­­­ ­­ ­ , ­­ ­­­­ ­­­, ­ ­­­ ­­ ­­­­ ­­ ­­ ­­ (­­ IV . . . VI . . .). ­ ­­ ­ ­ ­­ ­­, ­ ­­ ­.
­ ­ ­ ­ ­ 1933. ­ ­ ­­ ­ ­­­ ­­.
II . ­ ­­ ­­­­ ­­­ ­­­ ­, ­ ­ ­­ ­, 1936. ­­­­ ­­­ ­­­­ ­­­­ (­ ­ ­­). ­ II . ­ ­­ ­­­, ­ ­­ ­­. ­ ­ ­­ ­­ ­­­­ ­­ ­­ ­­.
2) ­ II . ­ ­­­ 1945–60. ­ ­ ­­­ ­­­­ ­­­­ ­­. ­­­ ­­, ­ II . ­ ­­­ ­ ­­­ ­­­ ­­ (1951), ­ , ­ ­­ ­. ­ II . ­ ­ ­ ­ ­ ­­ ­ ( ­­ ­ ­ ­ ­­­­ ­ ­­­) ­ ­­­­ ­­. ­ ­­ ­­1 ­ ­ ­ ­­ ­ ­­ ­ ­­­­ ­­. ­ ­ – ­ ­ ­­ ­­ – ­­­ ­ ­ ­­ (Le Mu­see Ima­gi­na­i­re de la sculp­tu­re mon­di­a­le, 1952–54) ­­­­ ­­ (La Me­ta­morp­ho­se des di­e­ux, 1957–76). ­ ­­­ ­­ ­­, ­, ­­x ­, ­ ­­ ­­ ­­­ ­­­ ­­. ­ ­­ ­­­ ­­­­ ­­ ­ ­­ ­­ ­ ­­.
­­­­­ ­­ "­ ­­­­" 1950. ­­ ­­, ­­­ ­ ­. ­­ ­­­ ­­­ (1909–78), ­­ ­­ ­­­ ­­ ­, ­­­ ­ ­­­­ ­. ­­­­­ ­­­ ­­­ ­­ ­­­, ­ ­­ ­­­ " ­­­­ ­ ­­ ­ ­ ­ ­­­ \­".
­­ "­ ­­­­" ­­ ­ 1959–69. – ­­ ­­ ­­. ­ ­­­ ­­ ­ ­­, ­ ­ ­ 1996, ­, ­­ – ­­­ ­­ ­­­ ­­ – ­­ ­­ ­ ­­ ­ ( 23 ­­, 1976).
3) ­ "­­­ ­­­ ­", ­ 1956. ­­ ­­ ­, ­­ ­­­­ "­­­­" 1960. ­­. ­ ­­ ­­ ­ ­­­­ ­ ­ ­, ­­ ­­ ­­ ­­. ­ ­­ ­ ­ ­ ­ (1901–1976), ­ ­ ­ ­: ­­ ­­ (Les vo­ix du si­len­ce). ­ ­ ­ ­ ­ ­ ­­ ­ ­­ ­ ­, ­ ­.
­ ­ ­ ­­­ ­­ ­­, ­ ­­­­ ­­ ­­­ ­­­ ­ ­ ­ ­, ­ ­­ ­ ­ ­ ­­, ­ ­­ ­­ ­. ­. ­ ­­ ­ ­­­­ ­­­ ­­ ­­ ­­ ­­­ ­­ ­­ ­, ­ ­ ­­­ ­­ ­­ ­ ­­­ ­­ ­ ­ ­­­ ­-­­ ­­ ­­ ­ – ­­ ­­­ ­ ­­ ­ ­­ ­... ­­ ­­ ­­ ­ ­­­ ­ ­­­­ ­ ­ ­­­. ­ ­­­ ­ ­ ­ ­­ ­, ­ ­ ­ ­ (...) ­­­ ­­ ­ ­­ ­ ­­­ ­­ ­­­ ­­. (...) ­ ­­ ­­ ­­ ­­­­ ­­ ­ ­ ­ ­­ ­ ­ ­ ­ ­ ­ ­! ­­ ­ ­ ­­ ­­­ ­ ­, ­­ ­­, ­­­ ­ ­­ ­, ­ ­ ­­ ­­ ­­ ­ ­­ ­­. (...) ­­ ­ ­­­ ­ ­ ­, ­ ­­ ­ ­­ ­­ ­ ­ ­­­ ­ ­, ­­­ ­­­ ­­. (...) ­, ­ ­­­­ ­ ­­­ ­­­­ ­­, ­­ ­ ­­­­­ ­, ­ ­­­ ­­­ ­ ­ – ­ ­­ (­, . 574-5, Malroux 1951: 639–1978: 641).
­­ (­ ­­ ­­) ­ ­ ­­­ ­, ­ ­ ­ ­­­ ­­ "1935–51" – ­ ­ ­­­ , ­­­, ­­ ­­ ­ ­­­, . ­­­­ ­ ­ ­­, ­­ 16 ­­.


­­­ ­ţ

­­­ ­ ­­ ­­ ­­­ ­­ ­.
­ ­­ ­­­ ­­, ­ ­­­­­ ­­, . ­ ­ ­­­ ­­­ ­ ­­ ­­­ ­­­, ­­­­ ­. ­ ­ ­­ ­­­ ­­­ ­­, ­­ ­­­­ ­ ­­­ ­­ ­­ ­ "­­­ ­­­".
­ ­ ­ ­­ ­­­ ­­­­, ­­ ­­ ­ ­ ­­ ­­ ­. ­ ­ ­­­­ ­­-­­­­ ­­­­. ­ ­, ­­ ­­ ­ ­­­ ­ ­­ ­­ ­ ­­­ ­­­.
1) ­­­ ­­ ­­­ ­­, ­­ ­­, ­­­ ­ ­­ ­­­ (­­­­) ­ ­­ ­­­­, ­ ­­ ­ ( ­ ­­­ ­. ­, 1960, . 71) ­­ ­­ ­.
"­ ­­ ­ ­­­ ­, ­­­­ ­­ ­­­­, ­ ­ ­­­ ­­ ­ ­­ ­­. ­ ­ ­ ­ ­­­ ­ ­, ­­­­ ­­ ­­­ ­ ­ ­".
­ ­ ­­ ­ ­­­ ­­ ­­­, ­­ ­­, ­ ­­ ­ ­. ­ ­­ ­­­ ­ ­ "­­­ ­" (mu­see ima­gi­na­i­re), "­ ­­", ­­ ­­ ­­, ­­ ­­­.
2) ­ ­ ­­­ ­ ­­­ ­, ­ ­­­­, . ­ ­­ ­­, ­ ­­ ­­­ ­ (­­­) ­­ ­­ ­­­, ­­, ­­, ­ .
­, ­ ­ ­­­­ ( ­­­­), ­ ­ ­ ­­, ­­ ­­ ­­­ ­­­ ­­­ ­­ – ­­ ­ ­ ­­ ­ ­­ ­­ ­­­ ­­ ­­­­ ­. ­­ ­­­ ­ ­­­ ­ ­­­­. ­­ ­ ­­­ ­­­­ (­­­­ ­ ­­­) ­­ ­­ ­­ ­ ­­ ­­ ­­­, ­­ ­­­­ ­ ­ ­­, ­ ­­­ ­­­­.
3) ­­ ­­­ ­­ ­­­­ ­­­ ­­ ­­­ ­­­ "­­-­­", (. ­­­­). ­:
" ­­ ­­ ­ ­­ ­­ ­ ­, ­ ­ ­­­­ ­­, ­ ­­. ­ ­­ ­­ ­ XII ­, ­­­­ ­ X ­" (­­x, 1978: 608 – ­, 1960: 272).
"­ ­ ­­­­ ­­­­­ ­­­­ ­­ ­­­­­, ­ ­ ­­ ­­­­ ­, ­­ ­­ ­­ ­­ ­­ ­­­" (alraux, 1978: 624).2
­ ­ ­­ ­­ ­­­ ­­ ( ­­ ­­­) ­ ­­­ ­­­­ ­ ­ ­­­­­ ­­­­ ­ ­­, ­­ ­­­­ ­­­ ­ ­ ­ ­­. ­ ­ ­­ ­ ­­­ – ­­­ ­­­ ­­ ­­­ ­­ ­ "­­­ ­­­", ­­ ­­­­­­.
" XII ­ ­ ­ ­­­ ­ ­­ ­­­ , ­­ ­­ ­­­. ­ ­ , ­ ­­­ ­. ­ ­, X ­ ­ ­ ­­­ ­ ­­­ ­­­ ­, ­­ ­­­ ­ ­ ­ ’­­­ ­­ ­.’ (...) ­­ ­­­ ­­-­­ ­­ ­­­ ­­ ­ ­­­­, ­ ­­ ­­ ­ ­ ­­ ­... ­­ ­ ­ ­ ­­ ­­ ­ ­­­­ ­ ­­ ­. ­ ­ ­ ­ ­ ­­ ’­­’, ­­ ­­ ­­­ ­ ­­ ­­ ­ ­, . ­ ­­, ­ ­ ­­­ ­ ­ ­ ­ ­­. ­ ­ ­­ ­­­­­ ­ ­ ­ ­­­ ­" (alraux, 1978: 610).
4) ­ ­­ ­ ­ ­ ­­ ­ ­­ ­ ­ ­­ ­­ ­­ ­­. ­ ­­ ­ ­­ ­­ ­ ­­­, ­­ ­ ­ ­ ­­­­ ­­ ­­­. ­­ ­ ­­­ ­. , ­ ­­ ­ ­ ­­­ ­­­­, ­­ ­ ­ ­­ ­­­ ­ ­.
" ­­­ ­ ­ ­­, ­­ ­­. ­­ ­ ­­ ­­ ­ ­, ­ ­ ­ ­ ­­, ­­­, ­ ­­­­ ­ ­­ ­ ­ ­­­ ­ ­­, ­­ ­ ­­­­ ­­ ­­. ­, ­ ­­­ ­­, ­­­­ ­­­­, ­ ­ ­­ ­­­, ­ ­ ­­ ­ ­ ­­, ­­ ­­ ­­ ­ ­ ­ ­. ­ ­­­-­­­­ ­ ­­­­ ­ ­­­, ­ ­ ­­ ­ ­­­­ ­­­­ ­­ ’­­ ­­,’ ­ ­ ­ ­­­­" (alraux, 1978: 64–5).
5) ­ ­ ­­ (. ­­ 1985–92) ­­­­ ­­­ ­­­ ­ ­­­ ­­ ­ ­ ­­­. ­­­­ ­­­ "­ ­­" ­ ­­­, ­ ­­ ­­ ­­ ­­ ­­, ­­ ( ­ ­) ­­ ­­ "­­ ­­," ­ ­­­ ­, ­ (­ 7 ­­ – 1985–92), ­­ ( 30 ­­), ­ ­­­­­ ­­ ­, ­­, ­­, ­­, ­­, ­­, ­­, ­ ­ ­­.


­­­ ­­­

­ ­ ­­­ ­­­, ­ ­­ ­­ ­ ­­, ­­ ­ ­­.
"­ ­­ ­­, ­­­ ­ ­ ­ ­ ­­ ­ ­ ­­ ­ ­­ ­... ­ ­­­ ­­, ­ ­­­, ­­­, ­­­ ­ ­­­ ­­ ­ ­­­ ­... ­ ­­­ ­­ ­­­ ­, ­­ ­ ­­ ­­ ­­­, ­ ­­­­ ­ ­­ ­ . (...) ­­­ ­ ­ ­ ­­­­ ­­­ ­ ­­­ ­, ­­­­ ­ ­­­­ ­­ ­­­­ ­­­ ­­ ­ ­­­ ­­­ ­­­ ­­" (alraux, 1978: 639).
­ ­­ ­­ ­ ­ ­­ ­ ­­ ­­ ­ ­.
"­ ­ ­­­ ­­ ­­ ­­ ­­, ­ ­ ­ ­ ­­­­ ­­, ­ ­­ ­, ­­­, ­­ ­ ­ ­­­­ ­­­ ­­. (...) ­ ­­ ­­­ ­, ­­ ­­ ­­ ­ ­­ ­ ­­­ ­ ­­... ­ ­­­ ­ ­, ­ ­ ­ ­ ­. ­ ­­ ­ ­­­, ­­­­, ­ ­ ­­ ­, ­ ­. , ­ ­, ­­ ­ ­­­ ­­­ ­­ ­ ­­­ ­­­ ­­­­ ­ ­. ­, ­ ­­ ­, ­ ­ ­­­ ­­ ­ ­­­­ ­­ ­­­ ­­" (­­x, 1978: 598).
­­­ ­­­­ ­ ­ ­ ­­ ­­, ­­ ­­ ­­ ­ ­­ ­ ­ ­­­ ­­­­­­ ­. ­­, ­ ­­ ­­.
­ ­: "­­ ­­ – ­­ – ­ ­ ­­­ ­. ­­­­ ­ ­­ ­­ ­ ­­­, ­­ ­ ­­. ­ ­ ­­ ­­ ­­­­ ­­ ­­ (­­­), ­­ ­, ­ ­ ­­­­­ ­­­­ ­ ­­ ­­­ (­ ­ X­ ­, ­ ­ ­­, ­­ ­­­ , ­ ­ ­­ ­­ ­­ ­, ­ ­­ ­­) ­­­ ­ ­ ­ ­­ ­ ­­ ­­ ­­." (alraux, 1978: 631)
­ ­ ­­­­ ­­­, ­ ­ ­­ ­ ­­ ­ ­­ , ­­ ­­­ ­­­ ­­­ ­­­ ­­ ­ ­­ ­.
"­ ­­... ­­ ­­ ­­­­­ ­­­ ­ ­­ ­­, ­­ ­­­ ­­, ­­­ ­­ ­­ ­ ­­. ­ ­ ­ ­­­ ­­­­: ­ ­­­, ­­ ­­­ ­ ­ ­ ­­ ­­ ­­ ­­ ­­ ­ ­­­ ­­­­: ­­ ­­, ­­ ­­ ­ ­­, ­­­ ­ ­­­ ­­: ­­­, ­, ­­ ­ ­­ ­ ­­ ­ ­ ­­ ­ ­, ­­­: ­ ­ ­ ­" (alraux, 1978: 631).


"­­­" ­­­

­ ­­ ­­­­ ­­­ ­ ­­ ­­­­ ­­ ­­ ­­. ­ ­ ­ ­ ­ ­ ­­­.
­ ­ – ­ – ­ ­­ XX ­, ­­­­ ­­ ­­­, ­ ­ ­­ "­ ­," ­ ­­ ­ XVII ­, ­­­­­­ ­­­ ­­, ­ ­­­­ ­­­ ­. ­ ­­ "­­­ ­­­" (la mon­na­ie de l’ab­so­lu), ­ ­­ ­­ ­­.
"­ 1670 ­ ­, ­ ­ ­ ­ ­. (...) ­ ­­­ ­­­ ­ X ­, ­ ­­­­ ­ ­­. ­ ­­­ ­ ­­­, ­­ ­ ­ ­­­ ­ ­­­ ­ ­. ­ ­ ­­­, ­­­ ­­­ ­ ­ ­­, ­­­ ­­ ­­­ ­ ­ ­­. , ­­ ­­ ­ ­ ­­ ­ ­­­­ ­­­ ­­, ­ ­­ ­­­. (...) ­ ­­ ­­ ­­ ­­, ­­ ­ ­ ­­­ ­­­. (...) ­­ ­­ ­ ­­­­ ­ ­ ­ ­ ­ ­­ ­ ­­ ­ ­ – ­ ­­ ­­­­ ­ – ­ ­ ­ ­­ ­­ ­ ­ ­­ ­­ ­­: ­ ­­­­­ ­­­ ­­. ­­­ ­­ ­ ­­. (...) ­ ­ ­­­ ­ ­ ­­ ­­ ­ ­­ ­­ ­­ ­­ ­. (...) ­ ­­ ­­­ ­ ­ ­­­ ­ ­ ­­­, ­­ ­­ ­ ­­, . ­ ­ ­. ­ ­­­ ­ ­ ­­ ­­­ ­­ ­ ­ ­ ­ ­, ­­­ ­ ­­" (alraux, 1978: 480).
"­­ ­­, ­ ­­­ ­­ ­­ ­ ­­, ­­ ­­ ­­ ­ ­­ ­­­­ ­­ ­­ ­­, ­ ­­­ ­­ ­ ­­­ ­ ­­ ­, ­­­­ ­ ­­­ ­­­ ­­, ­­­ ­­ ­­­ ­­ – ­­­­ – ­ ­ ­­­" (alraux, 1978: 609).
, ­­ (­) ­­­ ­­­, ­­ ­, ­­­­ ­­ ­­­ ­­­­ ­, ­­ ­, ­­ ­­­ ­­ ­­­­­. ­­­ ­­­ ­­ ­­­ ­­ ­­­­.
­ ­ ­­ ­ ­ ­ ­­­ ­­­­­­. ­­­ ­, ­­­ ­­ ­ ­­­ ­, ­ ­ ­­ ­­­ ­­ – ­ ­­ ­ – ­­­ ­­­ ­­­­­­. , ­­ ­­­­ (­ ­­ ­­ ­­) ­ ­­­ (­­) ­­­ ­ ­­­­ ­­, . ­ ­­ -­­­­­­.


­ ­­

­ ­, ­ ­ ­­­ ­­ ­­­ ­ ­­­­, ­­ ­­ ­ – ­­­­ ­­ ­­­ ­­ ­­­.
­ ­ ­ ­­ ­­ ­ ­­­ ­­­­ ­­ ­­ ­ ­ ­­­­. ­ ­­­ ­­ ­­ ­­ ­.
" ­ ­, ­­­ ­­ ­­, ­­­ ­­ ­­­... ­ ­ ­ ­ ­ ­ ­ ­­­ ­ ­ ­­­ , ­, ­ ­ ­. ­­ ­­­­­ ­ ­­­ ­ ­­­ ­­ ­ ­ ­­ ­ ­­ ­­, ­ ­­ ­­ ­ ­­ ­­­, ­ ­­ ­­­ ­ ­­­ ­­­ ­­­ ­ ­ ­­­" (alraux, 1978: 631).
­­ ­­ ­ ­­­ ­ ­ ­ ­­ ­­, ­­­ ­­­ ­ ­­ ­ ­ ­ ­­, ­ ­ ­­­ ­­ 1933. ­­ ­ ­, ­ ­­ ­­ ­ ­­­ ­ ­­­, ­ ­ ­ ­­, ­. ­ ­­ ­ ­­ ­­ ­.
"­ ­ ­­, ­ ­­­ ­­, ­ ­­ ­ ­­ ­. ­­­ ­ ­­ ­­ ­ ­ ­­, ­ ­ ­­ ­, ­­ ­ ­ ­ ( ­ ­). , ­ ­-­, ­­­ ­­, ­­ ­ ­­ ­ ­­ ­­. ­­ ­­ ­ ­­­ ­­ ­ ­­ ­ ­­ ­­ ­ ­­­ ­ ­­, ­­­ ­­ ­­ ­­­ ­­­­ ­­ ­­­­­ ­ ­­" (alraux, 1978: 630).
­ ­­ ­ ­­­ ­­ ­­ ­­ ­­, ­­ ­­­ ­­ ­ ­­, ­­­­­ ­­ ­ ­­.
" ­ ­ ­ ­­­ ­­­­ ­­ ­ ­, ­ ­ ­­ ­­­­ ­­ ­­, ­ ­ ­­­­­ ­ ­ ­­ ­­­­ ­­ ­­­, ­ ­­­­­ " (­x, 1978: 631).
"... ­­ ­ , ­­ ­­­ ­ ­ ­ ­­­­­ (­­­). (...) ­­ ­ ­ ­ ­­. ­ ­, ­­ ­, ­ ­­ ­­ ­­ ­ ­­­ ­­ ­­ ­­ ( ­ ­), ­­­­ ­­ ­ ­­" (alraux, 1978: 630).
"­ ­-­ ­­ ­­­ ­, ­­ ­­­ ­­ ­­ ­­­­ ­­ ­­­ ­ ­­­, ­ ­­ ­­ ­­­ ­­ ­­, ­­­­ ­ ­­ ­­ ­ ­­. ­ ­ ­ ­ ­­" (Malraux, 1978: 639).


­­­­ ­

­ ­, ­ ­ ­­­ ­ ­ ­­­ . ­­­, ­­­ ­­­­­­ ­ ­­­ ­­­. ­ ­ ­­ ­­ ­ ­ 1910, "­­­ ­ ­­ ­­ ­­." ­­, ­ – ­­ ­ – ­ ­­ ­­­ ­ ­­­­­ ­­­ ­­­­ ­ ". , ­­­­ " ­­ ­­­­ ­­ ­­ ­ ­­ ­­ "­­ ­­­". ­ ­­ ­ ­­­ ­­­ ­­­­, ­­ ­­ ­­­ ­­­, ­ (­, 1974), ­­­­ ­ , ­­­ ­­ ­­­ ­­­.
­­­ ­­ ­­­ ­­ ­ ­:
"­ ­­ ­ ­­ ­ ­, ­­­­ ­­ ­ ­­­­ – ­, ­ ­ ­­. ­­ ­­­­ – ­­ ­ ­­­ ­ ­ ­ ­­­ ’­­ ­’ (­­­ ­ ­­­), ­­ ­­ ­ ­­ ­ ­­­­. ­ ­ ­­­ ­ ­­­. ­­­ ­ ­­ ­ ­­ ­ ­ ­­­. ­­ ­ ­­­. ­­ ­­ ­­ ­­­ ­­ ­ ­­ ­­ ­­. ­ ­ ­ ­­ ­ ­­­­­ ­­ ­­ ­­ ­­ ­­ ­ ­­ ­­­­ ­­, ­­­­­ -­­­ ­­­ ­ ­­­­­ ­ ­­­ ­ ­­, ­ ­ ­­ ­­ ­­ ­­­ ­ ­ ­­ ­­ ­­. ­­ ­ ­ ­ ­­ ­­ ­ ­­ ­­, ­ ­ ­­ ­­ ­ ­­, ­ ­ ­ ­ ­ ­ ’­­­’ ­­­­ ­­­. (...) ­ ­ – ­ ­­­ ­ – ­­ ­­ ­ ­­ ­ ­­. ­ ­­­ ­­ ­ ­­ ­­ ­­, ­­? ­ ­­ ­ ­­ ­­­ ­­. ­­ ­­­­ ­­ ­ ­ ­­ ­­ ­ ­­, . ­ ­­ ­­­ ­­­­­.
­­ ­­­ ­ ­ ­­­ ­ ­­ ­­­­, ­­­­ ­ ­­ ­­­, ­­ ­ ­­ ­­­ ­­ ­ ­ ( ­­­) ­ ­­­­" (alraux, 1978: 418–20).


­­ ­­­­ ­

1) ­­ ­­­­ ­ ­­­ ­, ­ 20- ­­ 20. ­, ­ ­­ ­­ ­­­ ­­ ­­ ­ ­­ ­­ ­ . ­, ­ ­ ­ ­ ­ . ­, ­ ­ ­­ ­­­­­ ­, ­­­ ­­ ­­ ­ ­­ ­­, ­­­ ­­­­, ­­ ­­­ ­­­ ­­­. ­ ­­­­­­ ­­ Ӽ­­­ ­­, ­ ­­­­ ­­ ­ ­­­, ­­ ­­.
­ ­ ­­­­ ­, ­­ ­­, ­­ – 20. . 10. . 1946. ­ ­­ ­ ­­. ­­ ( ­­) ­ 70. ­­­ ­ ­­­ ­­­­ ­ – ­­ ­ ­­ ­­­ ­­­ ­­ ­­.
2) ­-, ­­, 23. ­­ 1996. ­­ ­­ ­­­ 20. ­­­ ­ ­ ­ ­­ ­­ ­. ­­ ­­­ ­­­ ­-, ­­ ­­ (Janicot) ­­ ­ ­ ­ 1936, ­­ ­­­ ­­ ­­, ­­­­ ­­ ­ ­­­­­, ­ ­ ­­ 1946. ­: " ­ ­­ ­­ ­­­, ­ ­­ ­-­ ­­­­ ­, ­ ­­ ­- : ­­ ­ ­­ ­­".
­­­ ­ ­ ­­ ­­ ­­ ­­ ­­­ ­­­­, . ­­­­ ­­­ ­­­ ­­ ­ ­­ ­.
3) ­ 1972. ­­ ­­­­ ­­­ ­­ ­ ­­ ­­ ­­, ­ ­ ­­­ 644 ­­, 162 ­­ 24 ­­ ­­­ ­­­ ­ ­.
­, ­­ ­­, ­­ ­ ­­­ ( 1979), ­­­ ( 1986), 2004–6. ­­: ­­, ­ ­­­­, ­­­ ­­­­ ­­. ­­ ( ) ­­ ­ 1988., ­ ­­­­ ­, ­­ ­ ­ ­­.
­ ­ ­­­ ­­­ ­, ­­­ ­­ ­ – ­­­ ­­ ­ ­­­ ­­­­ ­­­ ­ ­­­­ ­. ­­ ­ ­­­ ­ 2001. ­ ­ ­­­­ ­­ ­­­­, ­ ­­ ­­­ ­ ­­­ ­­ ­­­, ­­ ­­ ­ ­­­ ­ ­.
­­­­ ­­­­ ­­ ­­ ­­­­­ ­­ ­ ­­­­, ­­ ­­ (­­ – ­ 2005), 100 ­­­ ­, ­ . ­­ ­­ ­ ­­ ­ ­­ ­­­ ­ ­­­, ­ ­­­, ­­, ­­­­­ ­­.
4) ­­­ ­ ­­ ­ ­-­ ­­, ­­ ­­­ ­­­ ­. ­ ­­­ ­­­­ 2001. ­­ ­­­ ­­ ­, ­­ ­ ­­­ ­, ­ ­­ ­­ ­ ­, ­­.
­­ ­­ ­ ­ ­­ ­ ­­ ­­­ ­­­ 2002. , ­­ ­ ­­­. ­ ­­ ­ ­­ ­­­ – ­ 2004. ­ ­ ­­­ ­ ­, ­ ­ ­­ ­, ­ ­ ­ ­ ­ ­­ -­­. 1999–2004. ­­ 112 ­­­ ­­, ­­ ­ 2004. ­­ 30 ­­ 800 ­ ­ ( 4000 ­ ­ ­­). ­­­ ­­ ­ – . ­­­ ­­ – ­ ­­ ­­ ­­ ­­ ­­ ­­ ­­­ ­­, ­­ ­­ ­­ ­­­ ­­.
­ ­ ­­­ ­­­­ ­­­ ­, 2006. ­­.
­ ­, . 2 – ­­ 2006. – ­­­­ ­­­ ­
­­­­ ­­ ­­, ­­­ ­­­ ­­­­ ­­­. ­­­ ­ 2004. ­­­ ­ ­­ ­ ­­­­ ­ ­­­. ­, ­ ­ ­­ ­­ ­ ­­­ . ­ ­­ ­ ­­­ ­ ­­­. ­­ ­­, ­, ­ ­­­ ­­ ­­­­ ­­ ­. ­­ ­ ­­ ­­ ­­ ­­ ­ ­­ ­­­ ­ ­­ ­ ­­­­ ­­.



­­­­­
– Ga­e­tan, P. (1960): ­­­ ­­­ ­, ­­: ­
– Mal­ra­ux, A. (1947–1950): Psycho­lo­gie de l’ art, Pa­ris: Gal­li­mard
– Mal­ra­ux, A. (1951): Les Vo­ix du si­len­ce, Pa­ris: Gal­li­mard
– Mal­ra­ux, A. (1952–54): Le Mu­see Ima­gi­na­i­re de la sculp­tu­re mon­di­a­le, Pa­ris: Gal­li­mard
– Mal­ra­ux, A. (1957–76): La Me­ta­morp­ho­se des di­e­ux, Pa­ris: Gal­li­mard
– Mal­ra­ux, A. (1978): The Vo­i­ces of Si­len­ce, Prin­ce­ton: Univ. Press
– Ne­u­mann, E. (1974): Art and the Cre­a­ti­ve Un­con­sci­o­us, Prin­ce­ton: Univ. Press
 
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