Abstract

Kant’s notion of genius and the related idea of exemplary originality in the Critique of Judgment have been read by Paul Guyer and Timothy Gould as implying azero-sum game in which all creative artists are willy-nilly patricidal in relation to their predecessors and suicidal in relation to their successors. By way of challenging this interesting but ultimately repugnant reading, and especially its modernist and postmodernist frame of reference, this essay takes a close look at Kant’s sustained interest in the monumental change of English garden design in the early eighteenth century and at the provocative implication of this hitherto generally overlooked interest for a radically different reading of Kant’s thoughts on the exemplary originality of genius.