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

理解「藝術獨立自主性」之范疇的方法有許多。本文主張藝術獨立自主性是以歷史條件為定義的現象。本文把藝術的超然獨立描述為人類活動的特殊場域，以銜接生活實踐的，一切有關此範疇之描述的判斷，都必須以邏輯和歷史來表述和解釋內在於事件本身之矛盾的成效為據。文學的獨立自主性，即是主張切割與宗教、道德、政治和社會事實的終極關係、以便得以直接操弄文學、並因此而不斷增長的獨立性，此一主張相應於嘗試覺察文學本身自我鋪陳的條件、以效果而言、即是文學接授與閱讀之意圖。宣稱文學與作品的獨立自主性的方式有多種，其間究竟可否兼容並蓄，端賴其探討文學對象的方式。確切而言，獨立自主性乃是與現實、與歷史息息相關的，這點顯示作品自我突顯的根基是歷史和論述，並按文學語言的特質、美學的語彙來確認其獨立自主性。二十世紀以來，獨立自主性通常意味不可使用道德或倫理的語彙來表述文藝作品。不少作家，例如賽林(Céline)和其著作的特殊案例，卻導引我們質疑這種排除性的意義、獨立自主性的界域、以及文藝價值的條件。在法國文學史中，賽林是與普魯斯特(Proust)同為二十世紀上半頁最重要的二位小說家之一。他改變了當代小說的進展路線，除了風格上的主要貢獻外，更被奉為對法國文學的革命有決定性的貢獻。他移置藝術與非藝術、文學與超文學之間的界域，把俚語、行話和口語都引入文學之中。1932年出版《暗夜盡頭的旅程》，那時他是個醫生，拒絕把自己界定為作家。他以醫生的身份、到世界各地旅行、研究工廠勞工的疾病、為窮人服務。1940到1950年代間，賽林蜚聲國際，不僅因為他的小說，也因為他在1930年代末期所寫的反猶太的小冊。本文試圖針對想像的創作以及糾結於文學與藝術中的人性論、或反道德主義的惱人問題作個闡述與釐清。

關鍵字

藝術獨立自主性的原則；現代文藝的處境；文藝與倫理難題；作者的自我認同；路易•費迪南•賽林

並列摘要

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 Céline'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, Céline 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.