Abstract

Kant’s theory is especially instructive because he was logically more acute than many of his successors; and his awareness of the difficulties of his position was correspondingly higher. This leads him to a rich and complex theory of aesthetic appreciation which, because of the inherent difficulties in stating an internalist position, has its share of the ambiguities. Kant’s overall framework is so clear, however, that we shall go into some of the crucial ambiguities and argue against his theory under the various resulting interpretations since these seem nearly exhaustive of the possible internalist positions. Ever since Kant presented his theory as overcoming the logical and skeptical difficulties of aesthetics, his position has left us with the myth that an internalist account of aesthetic appreciation and evaluation is philosophically defensible. This myth has been believed by too many theorists of art and aesthetics. One could argue, for example, that the expression theory of art is the progeny of, and dependent upon, Kant’s myth. Obviously then, it is important to re-examine the logic of Kant’s position, for a good bit of subsequent theorizing has been built on the same foundation, though without the care displayed by Kant. Hopefully, some of our arguments against Kant will be equally applicable to Kant’s progeny; therefore, we sometimes consider more than one interpretation of what view Kant might be holding. Our aim is not so much to arrive at the "correct" interpretation of Kant himself as it is to explore the logic of the internalist position.