Abstract

The conventions of perceiving art have been substantially linked to the appreciation of beauty as an end to the causality of pleasure. The perception of society has always been influenced by constructs of norms, mores, and ultimately, conventions, where a certain premium on pure reason and rationality is given. As such, the affective and emotive factor as a means for appreciation of what is pleasurable seems to be diminishing and thus subjugated to the principles of stern rationality. In this view, Korsmeyer detests the convention by giving premium to the emotive will of the core of the human entity. Thus, the principles of the Ego and Id, where it is psychological in nature as patterned in the theoretical ideas of Jacques Lacan and Sigmund Freud, have been the approach of overarching the rationality conventions. This opus qualifies Korsemeyer’s approach on discrediting the pure rational convention and have accused such as patriarchal in nature. In the same view, Korsmeyer uses the psycho – philosophical principles of emotion and passion. However, the reinforcement of this position endangers the argument to be more supportive of the subject which Feminist Aesthetics itself seeks to discredit, - the canonical conventions of Aesthetics. This opus shall determine the probable misgivings or interpretation of Korsmeyer’s position on the involvement of Psychoanalysis, where the latter, instead of serving as a counterargument becomes a supporting premise to the conventions. Thus, creating a scaffold involving existentialism and metaphysics as a tool to bring about Transcendental Appreciation of a subject . Keywords: Feminist Aesthetics, Korsmeyer, Pleasure, Transcendental Appreciation.