Abstract

This essay is divided into two parts. In the first one it aims at showing the relationship that exists between narrative mind, performativity and creativity. The core issues are: in what sense and how does the literary mind express its own creativity, that is, what does it mean for a literary mind to be creative? When is it possible to maintain that a literary mind is creative in a sense that is considered as positive? Usually, when attempting to answer these questions, only the isolated and finished product of the creative act is taken into consideration. Contrariwise, we will here maintain that a literary mind’s creativity, or creativity more generally, should be evaluated by considering also the experiential fulfillment of the aesthetic production, and hence narration as bound not to the intentional transparency of cognitive acts but to their material components. From this standpoint, creativity results as a radically aesthetic competence in its performativity, if not even the very basis of that mind’s extension that is typical at least of human beings.What will hence be introduced in the second part of this essay is a particular paradigm of aesthetic experience. The basic reasons for this proposal will be explained through a paradox that we believe thrives in our present conception of the aesthetic. The general coordinates of the paradigm at issue will then be provided by attempting to highlight, at least in principle, its specific connection with the extended mind model.