THE THEORY OF ARTS AND AESTHETICS, A REALITY TO CONTEMPORARY SOCIETY: KANTIAN APPROACH
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ABSTRACT
This study explores the theory of arts and aesthetics, a reality to contemporary society: Kantian approach. In doing so, it provides a Kantian answer to the meta-critical question that generated the particularism-generalism divide in the first place, namely whether or not our aesthetic appraisals of artworks are based on natural facts concerning the non-aesthetic properties of those artworks. The Kantian theory of art presented has the advantage of reinstating the centrality of reception value in art critics’ evaluations. Most importantly, we now have an expressivist and particularist theory that provides a satisfactory explanation of the relation between non-aesthetic properties of artworks and aesthetic evaluations of these works. The Kantian theory of art has various advantages over the other particularist accounts. First of all, his expressivism has the advantage of obviating any need for a theory of aesthetic properties. Secondly, given that aesthetic realism requires the acceptance of the acquaintance principle, by rejecting any type of property talk the Kantian account does not entail that first-hand experience of the object is always necessary for aesthetic appreciation. Kant’s rejection of thin aesthetic testimony opens up the possibility that even though it is not possible in every instance to develop an appropriate appreciation of an object on the basis of description, there can be rare instances where one can develop such appreciation. Most importantly, the main merit of the Kantian theory over its realist-particularist alternatives is that it allows aesthetic knowledge to be transmissible because it construes aesthetic knowledge as a summation of attributive good judgments, which do not necessarily involve exercise of taste. This study aimed at assessing the Katian approach to the theory of arts and aesthetics, a reality to contemporary society, highlight weaknesses and shortcomings in the existing establishment, offer solution to the confusion existing in the theory of arts and aesthetics, make certain that propositions are made geared towards ensuring that further improvement can be made to enhance the implementation of the theory of arts and aesthetics over unnecessary issues and reorganize the theory of arts and aesthetics in setting independent argument.
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