Abstract: Norms and transgressions in an artist are not necessarily in diametric opposition. They actually combine in a simultaneous ambivalence. In the light of this observation, we examine the positive aspect of transgression in Malraux’s life and work, in the sense of a drive towards others, along with a tendency to depersonalise himself, in Le Miroir des limbes, in which going beyond the limits of the ego in a drive towards others counters his natural egoism, producing a dynamic and creative tension.
