Abstract

My intention in this paper is to present a schema for understanding �sthetic transactions. (By '�sthetic transactions' I mean to refer to the artist's creation of a work of art and the audience's appreciation of it). For Kant a schema was a rule or principle that enables the under- standing to apply its categories. I am using this term in a narrower sense but in the same spirit : The schema to be considered is to serve as a principle which will allow us to grasp in a definitive fashion the special character of �sthetic transactions.