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proposition that every work of art belongs to some art kind? Are there counterexamples to this claim? Works belonging to more than one art are not genuine counterexamples. The buck passing theory does not say that every art work belongs to one and only one kind of art. It welcomes works like William Blake’s illustrated poems, which belong to both literature and painting. Whether a theory of literature admits Blake’s Europe as a work of literature or whether a theory of painting admits it as a work of painting, the buck passing theory of art counts it as a work of art

- ary critics, and Chapman reads it as in some significant aspects anticipating their ideas by “sketching out in fictional form a theory of literature rooted in cognitive science,” whose “central premise” is that “cognition is embodied, and therefore so is reading” (227, 234).47 However, I would argue that the interesting question here is not how familiar Powers was with cognitive literary theory when he composed the novel48 but rather his method of turning the findings of cognitive science and neuroscience into metaphors for literary activity, a method that is

unter Mitwirkung von Jean-Jacques Anstett und Hans Eich- ner. [Bisher:] Bd. 1-14, Bd. 16-23. Paderborn u. a.: Schöningh, Zürich: Thomas 1958-1995, Bd. 2, S. 171 (Athenäums-Fragment, Nr. 37). Zur romantischen Konzeption des ›Einfalls‹ vgl. Philippe Lacoue-Labarthe und Jean-Luc Nancy: The Literary Absolute. The Theory of Literature in German Romanticism [1978]. Übers. von Philip Barnard und Cheryl Le- ster. Albany, N.Y.: State University of New York Press 1988 (Intersec- tions: Philosophy and Critical Theory), S. 52-56. 128 Kant: Werke in sechs Bänden (wie Anm. 1