|Gadamer I 58
Genius/Art/Art/Kant/Gadamer: The irrationality of the genius (...) makes (...) a moment of productive rule creation known, which becomes equally relevant for the creator as well as for the enjoyer. There is no way to grasp the content of a work of fine art other than in the unique form of the work and in the mystery of its impression, which is never completely accessible by any language. The concept of genius therefore corresponds to what Kant regards as the decisive factor in aesthetic taste, namely the facilitated
Gadamer I 59
play of emotions, the increase of the feeling for life, which is created by the combination of imagination and intellect and invites to stay in view of the beautiful. Genius is entirely a manifestation of this invigorating spirit. In contrast to the rigid regularity of the schoolmaster's office, genius proves free swing of invention and thus pattern-forming originality(1).
Gadamer I 59
Taste/Genius: on the relationship between taste and genius: (...) basically taste is on the same footing as genius. The art of genius is to make the free play of the forces of knowledge communicable. The aesthetic ideas that he invents do this. The communicability of the state of mind, the pleasure, but also the aesthetic pleasure of taste. It is a faculty of judgement, that is, a taste of reflection, but what it reflects upon is only that state of mind of the stimulation of the powers of knowledge that is equally at home in the beauty of nature and in the beauty of art. The systematic meaning of the concept of genius, on the other hand, is limited to the special case of artistic beauty; the scope of the concept of taste is universal.
Psychology/Genie/Kant/Gadamer: Kant makes the concept of genius completely at the service of his transcendental question and does not slide into empirical psychology.
Gadamer I 60
Genie/Kant/Gadamer: The genius is a favorite of nature - similar to how natural beauty is considered a favor of nature. Beautiful art must be regarded as nature. Through the genius, nature gives the rule to art. In all these turns(2) the concept of nature is the unchallenged standard. >Aesthetic experience/Kant.
Gadamer I 63
The Kantian phrase "beautiful art
Gadamer I 64
is art of genius" becomes (...) the transcendental principle for aesthetics in general. In the end, aesthetics is only possible as a philosophy of art.
Gadamer I 65
(...) Kant's essential concern to provide an autonomous foundation for aesthetics, freed from the criterion of the concept, and not to pose the question of truth in the field of art at all, but to base aesthetic judgement on the subjective a priori of the attitude to life, the harmony of our capacity for "knowledge in general", which constitutes the common essence of taste and genius, [came] to meet the irrationalism and the cult of genius of the 19th century. Kant's doctrine of the "increase of the sense of life" in aesthetic pleasure promoted the development of the term "genius" into a comprehensive concept of life, especially after Fichte had raised the standpoint of genius and ingenious production to a universal transcendental standpoint. (>Aesthetics/Fichte.) Thus it came about that Neo-Kantianism, in that it sought to derive all representational validity from transcendental subjectivity, used the term
Gadamer I 66
of the experience as the actual fact of consciousness. >Experience/Gadamer.
1. Vgl. Kant, Kritik der Urteilskraft § 46.
2. Ebenda S. 181_____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.
I Günter Schulte Kant Einführung (Campus) Frankfurt 1994
Externe Quellen. ZEIT-Artikel 11/02 (Ludger Heidbrink über Rawls)
Volker Gerhard "Die Frucht der Freiheit" Plädoyer für die Stammzellforschung ZEIT 27.11.03
Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010
H. G. Gadamer
The Relevance of the Beautiful, London 1986
Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977