Authors
Emine Hande Tuna
University of California, Santa Cruz
Abstract
Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's works of genius do not fall within either of these categories. The distinguishing features of these works, namely, originality and exemplarity, become unrecognizable on these interpretations because originality and exemplarity lie in the work's ability to exceed one's expectations concerning its form and content. They contribute to artistic beauty through alternative transformation methods distinct from that of abstraction, namely, concept expansion and repudiation. These additional accounts of transformation lead to a rather surprising outcome: works of genius turn out to be paradigm cases where one can and indeed ought to form informed pure judgments of taste.
Keywords Immanuel Kant  Aesthetic judgment  Informed aesthetic judgment  Genius  Exemplarity  Originality  Adherent Beauty  Dependent Beauty  Free Beauty  Informed pure judgments of taste
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DOI 10.1111/jaac.12455
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References found in this work BETA

Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
The Art Instinct: Beauty, Pleasure, and Human Evolution.Mara Miller - 2009 - Journal of Aesthetics and Art Criticism 67 (3):333-336.
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Citations of this work BETA

Kant and Recent Philosophies of Art.João Lemos - 2021 - Kantian Review 26 (4):567-582.
Aesthetic Autonomy and Norms of Exposure.Samantha Matherne - 2021 - Pacific Philosophical Quarterly 102 (4):686-711.
Kant-Bibliographie 2018.Margit Ruffing - 2020 - Kant-Studien 111 (4):647-702.

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