David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Kantian Review 17 (1):75-107 (2012)
In this essay, I argue that a genius's creation consists of a special unity of free human activity and nature, whereby ‘nature’ signifies not just another aspect of, but rather something that transcends, creative subjectivity. This interpretation of a genius's creative process throws a new light on a special normative status of a genius's rule, i.e. its originality and exemplarity. With respect to the former, I demonstrate that because the organizing principle of the works of genius remains inscrutable to our limited human understanding, a work of genius appears to the observer's limited cognitive capacities as undetermined and, hence, as contingent and original. With respect to the latter, I show how a genius must evolve within the context of her own tradition and how this ‘humbleness’ of a genius still allows for a multiplicity of co-existent schools or genres with their own distinct standards of excellence. http://journals.cambridge.org/abstract_S1369415411000343
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References found in this work BETA
Martin Gammon (1997). "Exemplary Originality": Kant on Genius and Imitation. Journal of the History of Philosophy 35 (4):563-592.
Piero Giordanetti (1995). Das Verhältnis von Genie, Künstler und Wissenschaftler in der Kantischen Philosophie. Kant-Studien 86 (4):406-430.
Paul Guyer (1983). Autonomy and Integrity in Kant's Aesthetics. The Monist 66 (2):167-188.
Paul Guyer (2008). Back to Truth: Knowledge and Pleasure in the Aesthetics of Schopenhauer. European Journal of Philosophy 16 (2):164-178.
Paul Guyer (2005). Values of Beauty: Historical Essays in Aesthetics. Cambridge University Press.
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