Abstract

Understand the "art of independence," There are many ways of areas. This claim is based on historical conditions of artistic independence as defined phenomenon. This paper describes the art of transcendental and independent of human activities, special Field to link the practice of life, all aspects of the description about the judgments must be based on logic and history to express and explain the contradictions inherent in the effectiveness of the event itself is far . The independence of literature that advocates cutting and religious, moral, political and social reality of the ultimate relationship to literature can be directly manipulated, and thus increasing the independence of the corresponding try this idea of self-awareness literature itself lay out the conditions to effect is concerned, that is granted access to read the literary intent. Declared the independence of literature and works in different ways, during what could inclusive, depends on the object of its study literary way. To be sure, but independence and the reality, and history are closely related, this show highlights the works of self is the foundation of history and discourse, according to the nature of literary language, aesthetic vocabulary to confirm their independence. Twentieth century, independence usually means not using the vocabulary of moral or ethical to express literary and artistic works. Many writers, such as race Lin and the special case of his book, but guide us to question the significance of this exclusion, independent of the bounded domain, and the literary value of the condition. In French literary history, the game is Proust Lin with half of the twentieth century, the most important page one of two novelists. He changed the course of progress of contemporary fiction, in addition to the main contribution to the style, but also to be regarded as a revolution in the French literature, have a decisive contribution. He relocated art and non-art, literature and the boundary between the super-literary domain, the slang, jargon, and oral literature are introduced into. Published in 1932, "Night at the end of the journey," when he was a doctor, refused to define themselves as writers. The identity of his doctors, to travel the world to study the factory workers of the disease, for the poor. 1940-1950 years, the forest race renowned, not only because of his novel, but also because he wrote in the late 1930s anti-Semitic booklet. This article attempts to address the creative imagination, and entangled in the literature and art in the theory of human nature, or anti-moralism as a set of annoying problems and clarify. 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 century, the autonomy usually meant that the literary work could not be addressed anymore in moral or ethical terms. Some exemplary cases of writers 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' , 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