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Zur Philosophie von Hans Heinz Holz

, 319,35-320,1. 53 »Kant’s discovery of a theoretical basis for a dialectical picture of the history of art and culture is at odds with his own characteristically eighteenth‐century inclination to a mo- re stable or at best unidirectional picture of the flow of this history, and he attempts to satisfy this inclination by fiat, simply awarding the palm to the faculty of taste as the representative of integrity rather than to originality as the emblem of individual auto- nomy. But as with his other efforts to defuse the incendiary implications of his theory of aesthetic