藝術作品的獨立自主性和文藝價值的極限：以路易•費迪南•賽林(Louis-Ferdinand Céline)為例的研究

Abstract

There are several ways of understanding the category «autonomy of art». The definition of autonomy of art that will underlie my paper sees it as a historical conditioned phenomenon. It describes the detachment of art as a special sphere of human activity from the nexus of the praxis of life. All description of this category must be judged by the extent to which it succeeds in showing and explaining logically and historically the contradictoriness inherent in the thing itself. The autonomy of literature-that is, its increasing independence which is ultimately asserted with regard to religious, moral, political and social facts, which could be taken to be a direct command of literature-corresponds to the attempt to discover the conditions of exposition of literature itself, of bare literature, which are consequently the conditions of perception and of reading literature. The autonomy of the work and of literature can be asserted in many ways, which can eventually be mutually compatible, depending on the way in which they question the literary object. The autonomy is affirmed in relation to reality, to history-it points to the fact that the work stands out against a background of discourse and history-and from the language characterization of literature, in aesthetical terms. All along the 20(superscript th) century, the autonomy usually meant that the literary work could not be addressed anymore in moral or ethical terms. Some exemplary cases of writers (such as Celine's) and works have led to question the very meaning of this exclusion, the boundaries of autonomy and the conditions of the literary value. In the history of French literature, Celine stands with Proust as one of the two main novelists of the first half of the Twentieth century. He changed the course of the modern novel, he made an essential contribution to style and even a decisive contribution to the revival of French literature. He displaced the frontier between art and non art, between the literary and the extraliterary by introducing slang and spoken langage into literature. When he published his first book, 'Journey to the End of the Night' (1932), he was a physician and refused to define himself as a writer. As a physician, he traveled the world, studied the ills of factory workers and worked among the poor. By the 1940s and the 1950s, Celine had achieved an international reputation not only for his novels but also for the antisemitic pamphlets he wrote during the end of the 1930s. This article tries to throw the light on imaginative creation and on the vexed problem of the humaneness or amoralism of art and literature.