"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)

Science is fundamentally devoted to generating original knowledge, and therefore concepts of scientific originality are keys to understanding its very essence. Scientific originality has long been thought of as discovery, but new studies of the humanities and social sciences have shown that other, discipline-specific concepts of originality are used in these fields of study. Does this finding also hold for disciplines in the natural science, medicine, and engineering? Are concepts of originality scientifically grounded or do they (...) instead reflect extrascientific modes of originality? These questions lie at the heart of research proposals responding to an initiative explicitly calling for original scientific projects. The proposals undergo a two-step analysis based on grounded theory[Per style, reference citation is not allowed in abstract section. Hence, we have deleted Charmaz, 2006. Please approve.]. First, three empirically identified modes of scientific originality are described: temporal, partially different, and revolutionary. The three modes of originality are consistent with extrascientific ones such as those in art and fashion. Second, six disciplines—two each in the natural science, medical, and engineering—are analyzed for ways the three modes of originality are used and for their associated disciplinary characteristics in order to identify discipline-specific concepts of originality. (shrink)

This article contributes to the emerging literature about ungrading within Higher Education across disciplines in the anglosphere. The piece offers a critical take on the apparent originality of ungrading practices. Such practices appear on a spectrum, from minor adjustments to summative grades by alternating the numerical with the alphabetized form or vice versa, to replacing grades on a module via oral and/or written feedback. Whilst ungrading may prima facie appear original, contrary to the claims of many of its contemporary (...) proponents, this critical discussion argues that it does not involve sufficient reflection upon the telic aims of the university apparatus; namely, in the awarding of a classified degree or Grade Point Average, nor upon the implicated role of the educator, in a manner befitting genuinely transgressive practice. To supplement the growing research on ungrading, this article argues that adopting game theory may help sharpen future ungrading practices to be more critically reflective, and perhaps original. (shrink)

What might it mean to think of philosophy as being in the condition of modernism -- in which its relation to its own past, and hence its sense of its own future, has become an undismissable problem? If philosophy's hitherto-defining conventions can neither be taken for granted nor rejected, they must be put in question -- which menans re-evealuating the relation between the form and content of philosophical writing, rethinking the demands that such writing must place on its readers, and (...) reconceiving the nature of philosophy itself. Inheritance and Originality argues that the writings of Wittgenstein, Heidegger, and Kierkegaard are best understood as responsive to such questions, and as driven in consequence to strikingly similar reconceptions of language, reason, and understanding, doubt and scepticism, morality, and the structure of selfhood. Through detailed re-readings of these authors' most influential texts, as attentive to their specificity as to their family resemblances, Stephen Mulhall reorients our sense of the philosophical work each text aims to accomplish, to engender a critical dialogue betweeen them from which the elements of a new conception of philosophy might emerge, and to uncover that conception's indebtedness to certain fundamental theological preoccupations. (shrink)

O texto busca compreender e avaliar as influências das filosofias políticas de Rousseau e Kant no pensamento habermasiano. Ele se atém sobretudo à ideia fundamental de Direito e democracia, segundo a qual há uma cooriginariedade lógica entre direitos humanos, interpretados como direitos fundamentais de liberdade individual, e a soberania popular, interpretada como direitos políticos de participação e comunicação, no processo de formação pública da opinião e vontade. Defende-se que a crítica habermasiana a Rousseau e a Kant se deve ao projeto (...) de radicalização da democracia, para o qual as contribuições dos dois filósofos apresentam ainda alguns obstáculos. Porém, ao mesmo tempo, pode-se dizer que, segundo Habermas, a contribuição de um serve para sanar os problemas presentes na contribuição do outro. This text analyzes and evaluates the influence of the political philosophies of Rousseau and Kant in Habermasian thought. It stresses the fundamental idea of Faktizität und Geltung, according to which there is a logical co-originality of human rights, interpreted as fundamental rights of individual liberty, and popular sovereignty, understood as political rights of participation and communication in the process of public formation opinion and will. It is argued that Habermas' critique of Rousseau and Kant is due to Habermas' project of the radicalization of democracy, to which the contributions of the two philosophers present some obstacles. Nevertheless, it may be said that, according to Habermas, the contribution of each one serves to solve the problems in the contribution of the other. (shrink)

This paper argues that Neil Walker’s analysis of the complementary relationship between democracy and constitutionalism remains one-sided. It focuses only on the incompleteness of democracy and the democracy-realizing function of constitutionalism rather than also taking into account the reverse complementary and constitution-realizing function of democracy. In this paper, I defend a fuller account that takes into account this mutual complementarity between democracy and constitutionalism. Such an alternative approach is consequential for Walker’s argument in two respects. In terms of the general (...) analysis of the relationship between democracy and constitutionalism, my adjusted approach leads to a defence of the Habermasian thesis of the co-originality of constitutionalism and democracy which is too quickly dismissed by Walker himself. A fuller appreciation of this co-originality suggests that the relationship between constitutionalism and democracy is perhaps, after all, more singularly complementary than Walker recognizes. In terms of the more specific analysis of the impact of globalization, this adjusted approach tilts the argument in favour of the critics of current practices of postnational constitutionalism. Without complementary postnational democratic structures, this constitutionalism remains problematic and potentially oppressive. (shrink)

The actual originality and radicalism of Canetti's mass psychology provides a comprehensive picture of humanity and society which could also accommodate a naturalized political domain. Proceeding according to a deliberate plan, Canetti discusses four “purely” political complexes on the basis of his mass‐psychological conception. These four complexes are completed, architecturally as it were, by the Schreber Case, the keystone, which legitimately unites and synthesizes the political and psychological domains in terms of power. His strategy does not involve the projection (...) of already available psychological explanatory patterns onto the political subject‐matter. He chooses rather a political subject‐matter in the analysis of which the already elaborated mass‐psychological insights can resurface. The way leads, therefore, not from mass psychology to politics, but from politics to politics seen in a different way—via innovative mass‐psychological insights. The four case‐studies selected by Canetti display remarkable coherence in their conceptual structure. At the same time, they are also astonishingly diverse and variable. The Versaille Case describes a unique act involving the suppression of collective identity, while the Inflation Case captures the possibility of the shocking devaluation of individual and collective identity, a possibility which can in principle always become reality. The approach is yet again different in the Parliamentarianism Case: politics is shown to be wise enough to restrain political struggle by means of a taboo. Finally, for the case of socialism Canetti provides an original concretization and interpretation of a widely shared view, which is nevertheless seldom articulated with the required precision, namely that socialism and human nature run, at least latently, counter to one another, making their incompatibility predetermined. (shrink)

According to some recent empirical studies revealing that creativity is linked to sensorimotor components, the current research was aimed at evaluating whether sensory afferences could modulate originality in drawing of children and adolescents. Sixty-nine children from 1st, 3rd, 6th, and 8th grades were required to produce a man who exists and a man who doesn’t exist with fingers or stylus on a tablet and with a pen on paper. Drawings were assessed with an originality scale comparing original drawings (...) to unoriginal ones. Since, in comparison to drawings made on paper with a pen, drawing with fingers enhances proprioceptive information, this condition was expected, according to cognitive load theory, to favor originality in drawing by reducing cognitive resources devoted to motor control of the graphic gesture. On the contrary, since the use of a stylus involves a proprioceptive loss of information, which enhances intrinsic load by increasing cognitive resources devoted to motor control, it was expected that drawing with a stylus on the tablet would lead to the least original drawings. Results only partially confirmed these hypotheses. While the use of fingers on the tablet led to the highest original scores, using a stylus on the tablet did not impair originality in drawing of children and adolescents. On the opposite, the use of a stylus led 3rd–8th graders to perform better than with pen on paper. This modulation of the tool on originality does not confirm the hypotheses formulated in accordance with the cognitive load framework. However, it could be explained according to an embodied perspective of creativity considering the creative process as relying on a sensorimotor prediction process in which sensory afferences are central to generating and evaluate creative ideas. This research opens new avenues on creativity and proposes to consider the development of predictive motor control as a significant part of creativity development. (shrink)

Our thinking is still the captive of the dichotomy “national/ international.” The reaction to nationalism takes the form of an abstract internationalism, and reaction to internationalism leads to the rebirth of nationalism. However, this dichotomy was only true (and that relatively) in 19th century Europe, or at the latest, at the beginning of the twentieth century, when subnational cultures seemed on the way to disappearing, and everything European was considered “universal” (two hypotheses that the facts prove to be untrue). As (...) H. Frey observes, “Today, the decline or decadence of the West is part of the contemporary view of the world, like the electron or the dinosaur.” The linear outline of progress, with Europe at the head, did not withstand the test of the First World War. The year 1918 marked the beginning of the end of Europeanism. Since then, we have begun to speak of “areas of civilization” (Splengler), “civilizations” (Toynbee), “cultural coalitions” (Lévi-Strauss). The existence of “areas of civilization” (regions) is commonly admitted today; it has entered journalistic language and even the structure of regional commissions and agencies of the United Nations (Europe, Near East, Southern Asia, South-east Asia, and the Far East). New communities have inserted themselves between nations and humanity. What do they represent? Are they something unique, or are they divided into a certain number of types in opposition to each other because of some characteristic? And in what way have they modified our view of universal history? (shrink)

This chapter examines the apparent proximity between Schopenhauer’s and Freud’s views on the nature and importance of what is called, amongst other things, ‘sexuality’, the ‘sexual impulse’, the ‘sexual instinct’ or ‘the ‘sexual drive’. It argues, against the idea that Freud's conception is basically borrowed from Schopenhauer, for the originality of Freud’s early theory of sexuality and suggest that the significance of this theory, apart from its obvious psychiatric and social import, lies in its possible contribution to a philosophical (...) anthropology. The chapter returns to the first, 1905 edition of the Three Essays on the Theory of Sexuality to argue for the originality of Freud’s conception of the sexual drive, in relation to both his philosophical and his psychiatric predecessors. It argues that Freud’s terminological shift in the Three Essays from the Geschlechtstrieb to the Sexualtrieb, both of which Strachey translates as ‘sexual instinct’ is evidence of a theoretical shift. Examining the notion of the Geschlechtstrieb in Freud’s predecessors and its relation to presumptions about the difference between the sexes allows the distinctiveness of Freud’s conception of the Sexualtrieb and thus his theory of sexuality to stand out. After examining the claims in the literature concerning the relation between Schopenhauer and Kant on the question of sexuality, it lays out the conception of the Geschlechtstrieb in Freud’s immediate psychiatric predecessors and its connection to the treatment of the same topic in Kant, Schopenhauer and Hartmann. It then demonstrates, with reference to Freud’s shift to the use of the term Sexualtrieb, how Freud develops a conception of the sexual drive and of sexuality that is quite different to the conception of the Geschlechtstrieb in Schopenhauer et al. The chapter ends by suggesting how Freud’s theory of sexuality is a contribution to a philosophical anthropology based on considerations quite foreign to his predecessors. (shrink)

To the memory of my mother ErnaThe axis on which art creativity revolves is originality. Any genuine piece of art must be original; otherwise, it boils down to a mere replication or imitation and is of little worth. A work is thought to be the more original the newer it is. But what exactly should be new in it and to what extent for it to get sufficient ground to claim originality still remain a riddle.What is meant by (...) the new? Usually, it is construed as what has not existed before and is just brought into the world. In other words, novelty should have no immediate precursor in the past. But such a treatment holds a serious inner contradiction. Where does the new come from if it does not grow out of the old? It... (shrink)

This study points out that families' support of perseverance in creative efforts will increase children's originality of creative drawing through children's persistence in information searching. Data analysis based on 134 Chinese young children's creative drawings and survey supports the above hypothesis. Moreover, children's exposure to COVID-19 pandemic positively moderates the relationship between supporting perseverance and children's search persistence, such that high exposure to COVID-19 pandemic will increase the positive relationship between support of perseverance and search persistence. And children's prosocial (...) motivation inhibits the influence of search persistence on originality. Contributions to the theory of children's creativity are discussed. (shrink)