Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...) an alternative theory of metacriticism, which has the merit of reinstating the centrality of reception value in art critics’ evaluations, but also show that, contrary to a common conception, Kant's aesthetic theory can house a fruitful account of art criticism. The benefit of this hybrid account is that, despite being essentially particularist, it should be appealing even to generalists, including Carroll. (shrink)

This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (shrink)

"Exemplary Originality": Kant on Genius and Imitation MARTIN GAMMON 1. INTRODUCTION ACCORDING TO ERNST CASSIRER, Kant 's discussion of genius in the Third Cri- tique stands "at the crossroads of all aesthetic discussions in the eighteenth century," in that he tries to accommodate the neo-Classical demand that art- works follow determinate rules to the Romantic insistence that aesthetic cre- ativity be free from such rules? In the Third Critique itself, Kant defends both of these criteria through the doctrine of "exemplary (...) originality." For Kant, the genius combines two qualities: on the one hand, "a talent for produc- ing that for which no rule can be given," so that "originality must be its primary property"; however, "since there may also be original nonsense, its products must at the same time be models, i.e., be exemplary; and consequently, though not themselves derived from imitation, they must serve that purpose for oth- ers, i.e., as a standard or rule for estimating."' On the basis of this exemplary originality, then, a genius puts "freedom from constraint of rules so into force in his art, that for art itself a new rule is won -- which is what shows a talent to be exemplary". Recently, some commentators have puzzled over the "air of paradox" sur- rounding Kant 's union of originality and exemplarity in works of genius. "If such works," Timothy Gould conjectures, "make advances on what is familiar and gain new ground, their very. (shrink)

Concerned with topics at the heart of Kant's aesthetics, this provoking reading of The Critique of Judgement focuses on often misunderstood or neglected themes. Starting from the issues of the truth and justifiability of our critical assertions, Anthony Savile develops Kantian theory broadly across the arts, and shows it working with subtlety and rigour in cases as diverse as music and architecture. New light is thrown on the exemplary necessity of our aesthetic pleasures, on the Antimony of Taste, on the (...) distinction between free and dependent beauty, on the supposed idealism of taste, and on the a priori limits of fine art. Eminently subjective material is here given a place in Kant's overall idealism in a sophisticated discussion that will invite the close attention of Kant scholars and aestheticians alike. (shrink)

I interpret Kant's distinction between free and dependent beauty in a way that makes it possible for an object to be judged dependently beautiful without being judged freely beautiful. This is an alternative to the analyses provided by Malcolm Budd and Christopher Janaway, which both face a dilemma because they entail that an object must be judged freely beautiful in order to be judged dependently beautiful. The dilemma is that either the determinant of a judgement of dependent beauty is based (...) upon non-aesthetic criteria (if the object is not freely beautiful), or else the judgement is superfluous for an account of aesthetic value. My analysis of the distinction allows both kinds of beauty to play a meaningful role in a theory of aesthetic value. (shrink)