Degree | Type | Year | Semester |
---|---|---|---|
2500246 Philosophy | OB | 2 | 1 |
There are no special prerequirements.
The general objectives of the course are:
The specific objectives of the subject are:
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Lectures, seminars, small-group and individual tutorials | 60 | 2.4 | 4, 10, 12, 17, 20, 21, 22, 3 |
Type: Supervised | |||
Exhibition visits, artistic events, tests, participation in seminars | 30 | 1.2 | 8, 2, 11, 6, 15, 14, 24, 7 |
Type: Autonomous | |||
Individual and group readings, making of conceptual and evolutive maps | 52 | 2.08 | 2, 11, 18, 5, 15, 24, 7, 23 |
There will be three compulsory assessment tests. The evaluation will be:
(a) A visual presentation, either a power point or video in which you present the main arguments supporting what you mean by sensible thought (33%).
b) The writing of an essay agreed with the teacher at the student's proposal, the length of which may not be less than 1,000 words or more than 2,000 words, in which he/she analyses one of the fundamental transformations of aesthetics in accordance with the theoretical framework worked on in class (33%).
c) The production of an 8-minute audio, as if it were a podcast for a radio programme devoted to reflections on contemporary art, in which a work by an artist working on one of the declinations of the thought of difference will be commented on. This activity will be carried out in groups of 3 members (33%).
The exact dates of the deliveries will be announced in the first days of class, in order to be able to coordinate it with the other subjects of the Department.
Recovery
Students who have failed one, two or all three tests may sit a re-evaluation and recovery the test or tests they have failed. In order to be re-evaluated, it will be necessary to have taken at least two of the three tests.
If a student has not taken any of the tests, or has only taken one of the tests, he/she will be considered "not evaluable".
All three tests must be passed in order to pass the course. The final mark will be the average mark of the three tests.
In the event that the student makes any irregularity that may lead to a significant variation in the grade of an evaluation act, this evaluation act will be graded with 0, regardless of the learning process that may be instructed. In case of several irregularities in the assessment acts of the same subject, the final grade of this subject will be 0.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Logbook | 66 % | 4.5 | 0.18 | 4, 16, 8, 1, 10, 11, 12, 13, 14, 17, 19, 20, 21, 22, 23, 3 |
Third exercice (paper) | 33% | 3.5 | 0.14 | 4, 8, 2, 1, 9, 11, 18, 12, 5, 6, 15, 13, 14, 17, 24, 20, 7, 21, 22, 23, 3 |
1. Compulsory readings
Plato, Book X, The Republic 400c-401d; Phaedrus 243e-251a; Timaeus 28a; Hippias Major 286d.
Aristotle, The Poetics [selected fragments].
Immanuel Kant, Critique of Judgement, Oxford University Press, [1790] 2008, [selected fragments].
G.W.F Hegel, Lectures on Aesthetics, [selected fragments].
Friedrich Nietzsche, The Birth of Tragedy, Penguin, 1993,
Konrad Paul Liessmann, Philosophie der modernen Kunst : eine Einführung, Wien : WUV-Universitätsverlag, 1993.
Walter Benjamin, "The Work of Art in theAge of Mechanical Reproduction” [1935]; Surrealism, [1929], [selected fragments].
Jacques Rancière, The Distribution of the Sensible: Politics and Aesthetics, [selected fragments].
Martin Heidegger, "The Origin of the Work of Ar", [selected fragments].
Gilles Deleuze, Francis Bacon The Logic of Sensation [selected fragments].
Griselda Pollock, Vision and Difference: Femininity, Feminism and Histories of Art, [selected fragments].
María Laura Rosa, Legacies of Freedom. Feminist art in the democratic effervescence, [selected fragments].
2. Secondary Bibliography
ARNHEIM, R., Arte y percepción visual, Alianza Forma, Madrid, 2002
BARASCH, M., Teorías del Arte: De Platón a Winckelmann, Alianza, Madrid, 1991; Modern Theories of Art, 1: From Winckelmann to Baudelaire, New York UniversityPress, New York, 1990; Modern Theories of Art, 2: From Impressionism to Kandinsky, New York University press, New York andLondon, 1998.
BOZAL, V., Historia de lasideas estéticas I iII, Historia 16, Madrid1998; (ed.), Historia de las ideas estéticas y de las teorías artísticas contemporáneas. Visor, Madrid, 1996.
CARROLL, N., Philosophy of Art. Routledge, 1999.
CASACUBERTA, D., “Nueve escollos para entender la cultura digital”. Enrahonar: Quaderns de filosofía, ISSN 0211-402X, Nº 32-33, 2001, pags. 235-244
DAVIS, S., The Philosophy of Art. Blackwell, 2006.
DANTO, A. C., El abuso de la belleza. La estética y el concepto del arte. Paidós, Barcelona, 2005.
DANTO, A., “La obra de arte y el futuro histórico”, La madonna del futuro. Paidós, Barcelona, 2003 (2000).
FISHER, E., La necesidad del arte. Barcelona, Nexos, 1993 (1959)
GAUT, B.; LOPES, D. (eds.), The Routledge Companion to Aesthetics.Second Edition, Routledge, 2005.
GOMBRICH, E. H., Breve historia de la cultura, Ediciones Península, Barcelona, 2004.
GOMBRICH, E. H., La historia del arte. Madrid, Phaidon (1950).
GUASCH, Anna Maria (coord.), La crítica de arte, Ediciones del Serbal, Barcelona, 2003.
JAQUES, J.,“El sentido estético”, Disturbis 3 <http://www.disturbis.esteticauab.org/Disturbis234/Disturbis_3.html>
JAQUES, J., , “Ernst Cassirer y la urdimbredelamemoria simbólica”, Er 33, pp. 59-73,2004.
JAQUES, J., “Neokantisme i neokantians”, Enrahonar 23, 1995, 35-69.
JAQUES, J., “Notícia d’Ernst Cassirer”, Enrahonar 24, 199.
JAQUES, J., “Friendships are not in heaven. The Genealogy between Aristotle’s Philia and Kant’s Aesthetic Disinterestedness”. Revista de Filosofía, Vol. 37, n. 2 (2012): 55-68.
JAQUES, J. (ed.), “Pels camins de la raó crítica”, 36 (2004), número extraordinari sobre Kant en el segon centenari.
JAUSS, H. R., Pequeña apología de la experiencia estética. Barcelona, Paidós, 2002 (1972)
JIMENEZ, M., ¿Qué es la estética?, Barcelona, Idea Books, 1999.
JIMÉNEZ, J., Teoría del Arte, Tecnos, Madrid, 2002.
KELLY, M., (ed.), Oxford Enciclopedia of Aesthetics, 1998. 2a edició, 2014. (Especialment recomanat)
KIERAN, M., (ed.), Contempory Debates in Aesthetics and Philosophy of Art. Blackwell, 2006.
KRIS, E. i KURZ, O., La Leyenda del artista, Ensayos Arte Cátedra, Madrid, 1982.
LAMARQUE, P., – H. OLSEN, H., (eds.), Aesthetics and the Philosophy of Art. The Analytic Tradition. An Anthology. Oxford, Blackwell, 2004.
LYNCH, Enrique, Sobre la belleza,Anaya, Madrid, 1999.
LEVINSON, J., Oxford Handbook of Aesthetics, 2003.
MURRAY, Chris, Key Writers on art: From Antiquity to the Ninetenth Century, Routledge, London and new York, 2003; Pensadores clave sobre el arte: elsiglo XX. Ensayosarte Cátedra, Madrid 2006.
NIETZSCHE, F., El naixement de la Tragèdia. Madrid,Alianza Editorial, 1995 (1872).
RAMIREZ,J.A. Ecosistema y explosión de las artes. Anagrama, Barcelona 1994. (Especialmentrecomanat)
SHINER, Larry,La invención del arte, Paidós Estética 36, Barcelona, 2004.
TATARKIEWICZ, e., Historia de seis idees. Madid, Taurus, 1987 (1976). (Especialment recomanat)
VALVERDE, J. M., Breve historia y antología de la estética, Barcelona, Ariel. (Especialment recomanat)
VILAR, G., Las razones del arte. Madrid, Antonio Machado, 2005.
VILAR, G., La desartización del arte. Universidad de Salamanca, 2012.
C. Online sources
http://esteticauab.org/home.html
https://vimeo.com/instituthumanitatsbcn
https://www.moma.org/calendar/exhibitions/history
https://www.edx.org/
http://www.canal-u.tv/producteurs/universite_de_tous_les_savoirs
No especific software is needed