Degree | Type | Year |
---|---|---|
Philosophy | FB | 1 |
You can view this information at the end of this document.
There are no further requirements apart from the common access requirements for the Philosophy BA.
The course aims to immerse students in the Philosophy of Art and, from there, in Philosophy in general, and a first familiarization with the vocabulary, the argument, the texts, the creative processes from a hybridization of discourses and practices. The field is that of applied aesthetics, in an effort for professionalization in philosophical-artistic projects with an impact in the public sphere.
Objectives
The general objective of the subject is that the student knows and is passionate about the area of intersection between art and philosophy, that is: to discover the philosophical potential of the arts, as well as the transitivity between the discourse on these and the creative activity, which we will name poiesis: a doing from the discourse, and a discourse from the practice. It is for this reason that the subject belongs vocationally to applied aesthetics.
The specific objectives of the subject are:
The subject is presented in sixteen units in three thematic modules. There are sexteen compulsory readings, one per week. Their extension is usually limited.
Basic information about the subject will be found on the virtual campus. However, the subject materials and detailed information will be found at: http://greta.cat/grau
MODULE I. Aesthetic practices and the origin of philosophy
1. Ignorance as a philosophical requirement [* 1 RANCIÈRE, J., El maestro ignorante, chap. one]
2. From Androgen to the deconstruction of gender [* 2 PLATO, Symposium: the "Androgen Myth"]
3. The desire for beauty and its subversive capacity: appearance, presence, event [* 3 PLATO, Symposium: "Discourse of Diotima"; ** 2 Desire in times of war: PICASSO, The desire caught by the tail] / Theater and philosophy: poiesis and catharsis; Clashes of genres and roles [** 1 ARISTÓFANES, Lysistrata]
4. The dialogical creativity [*4 PLATO, Hipias mayor]
5. Friendship [* 5 ARISTOTLE, book VIII of Nicomachean Ethics]
6. Aesthetic practices and discursive practices: ecosystems and ethologies
MODULE II. The aesthetic practices and the late Enlightenment
7. Sapere aude and the hegemony of the imagination [* 6 KANT, I., What is the Enlightenment?; ** 3 SWIFT, J., Gulliver's Travels; **4 VALLE INCLÁN, Luces de Bohemia]
8. The encyclopedic project. Taste as the faculty of judgment [**5 VOLTAIRE, "Taste", Encyclopédie; **6 D'ALEMBERT, J. l R., "Preliminary Speech to the Encyclopedia]
9. The political foundation of aesthetics [*7 KANT, I., Critique of the judgment § 40 i 60; *8 JAQUES, J. The aesthetic sense; **7 DELFOE, D., Robinson Crusoe]
10. One's own life as a political creative project. The origin of the activist manifestos [* 9 Olympe de Gouges, Declaration of the rights of women and citizens; ** 8 Wollstonecraft, M., Vindication of women's rights]
11. Art and Revolution. Freedom, Equality, Fraternity. Aesthetic ideas and the faculties for creativity [* 10 KANT, I., Critique of judgment §§ 46-49]
MODULE III. Aesthetic practices and contemporaneity
12. Inexhaustibility, creativity, ritual and failure [* 11 BALZAC, H., The unknown Masterpiece; ** 9 VALÉRY, P., Eupalinos or the architect]
13. Otherness. [** 10 SARTRE, J-P., Huis clos; * 12 FOUCAULT, M., Heterotopies i el Cuerpo utópico; * 13 of BEAUVOIR, S., The second sex]
14. The embodiedment of Philosophy [* Bardet, Pensar con la cara]
15. Creative agents: emancipation, enactivism and indiscipline [* 14 RANCIÈRE, J. The emancipated spectator cap. 1; ** 13 NOË, A., Strange Tools]
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Lectures, seminars, individual tutorials, small group teaching sessions | 60 | 2.4 | 2, 9, 10, 7, 18, 12, 16, 4, 17 |
Type: Supervised | |||
Artistic practice workshops, exhibition visits, artistic events, exams and participation in seminars | 52.5 | 2.1 | |
Type: Autonomous | |||
Readings, study of contents | 28.5 | 1.14 | 3, 12, 11 |
The methodology is neo-Socratic, that is: the generation and transfer of knowledge from the claim of the formative potential of both students and teachers in a dynamic of reverse teaching. This methodology will be developed both in the classroom and in the Peripatetics, a teaching innovation project that consists of routes around the UAB campus where we will discuss the texts of the week. Classes in the classroom and the Peripatetics will alternate according to the Teaching Calendar, which will be presented at the beginning of the course.
The directed activities consist of teaching sessions (in the classroom and in the Peripatetics) with a high incentive for participation.
The supervised activities are formed by the exercise of the aesthetic sense. Likewise, contributions to the written tests and podcasts will be supervised activities, as well as visits to museums and art centers recommended at the beginning of the course and in the attempt for the discursive praxis to accompany a creative praxis according to the procedures of applied aesthetics. Also for a tutoring program in microgroups and individuals.
The autonomous activities have as their essential reference the reading of and the conceptual and application work on the evaluable texts.
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 | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
exercices 1 and 2 | 60% | 6.5 | 0.26 | 1, 2, 3, 6, 5, 8, 9, 10, 18, 12, 13, 14, 17 |
Third exam | 40 % | 2.5 | 0.1 | 2, 3, 6, 5, 8, 9, 10, 7, 12, 11, 16, 13, 15, 4, 14 |
The Department of Philosophy agreed that the first-semester students would have two periods dedicated to assessment activities and one week during which students could specifically prepare for the exams, in the format that each instructor will specify at the beginning of the course. The dates for the review week and the assessment periods are:
1. Compulsory readings [marked * in the program]
[1] RANCIÈRE, J., El maestro ignorante. Barcelona, Laertes, 2003 (Le maître ignorant 1987, Cap 1)
[2] PLATÓ, Banquet. Barcelona, Ed. 62, 1998, “Mite de l’Andrògin” (189e-193e)
[3] PLATÓ, Banquet. Barcelona, Ed. 62, 1998, el “Discurs de Diotima” (201d-212 b).
[4] PLATÓ, Hipias Major. Madrid, Gredos.
[5] ARISTÒTIL, llibre VIII de l’Ètica nicomaquea, Fundació Bernat Metge.
[6] KANT, I., ¿Qué es la Ilustración?. Barcelona, Paidós, 1989 (Beantwortung der Frage: Was ist Aufklärung?(1784)
[7] JAQUES, Jèssica., "El sentit estètic", Disturbis 8. http://www.disturbis.esteticauab.org/Disturbis234/Jaques.html
[8] KANT, I., Crítica de la facultat de jutjar, §§ 40 i 60. Barcelona, Ed. 62., 2004 (Kritik der Urteilskraft, 1790).
[9] Olympe de GOUGES, Declaració dels drets de la dona i de la ciutadana (1791). <http://www.culturamas.es/blog/2012/09/07/declaracion-de-los-derechos-de-la-mujer-y-de-la-ciudadana-1791-por-olympe-de-gouges/>
[10] KANT, I., Crítica de la facultat de jutjar, §§ 46-49. Barcelona, Ed. 62., 2004 (Kritik der Urteilskraft, 1790).
[11] BALZAC, H., L'obra mestre desconeguda . Barcelona, Quaderns Crema, 2018. (Le chef d'oeuvre inconnu, 1831)
[12] FOUCAULT, M. "¿Qué es la Ilustración?" Daimon. Revista de Filosofia 1993, n 7, 5-18
[13] HARAWAY, Donna, Cuando las especies se encuentran (When Species meet). Tabula Rasa, 31, 23-75
[14] de BEAUVOIR, Simone, El segundo sexo. Madrid,Diálogo, 2012 [Le deuxième sexe. 1941]
[15] BARDET, Marie., Perder la cara. México, Cactus, 2021.
[16] RANCIÈRE, J. El espectador emancipado.Barcelona, Ed. Ellago, 2010 [Le spectateur émancipé, 2008]
2. Highly Recommended Readings [marked ** in the program]
ARISTÒFANES, Lisístrata. Fundació Bernat Metge. (Trad. Josep Montserrat)
PICASSO, El desig atrapat per la cua. Barcelona–Madrid, Museu Picasso de Barcelona–La Fábrica, 2018. (Trad. Jèssica Jaques; Le désir attrapé par la queue, 1944)
PLATÓ, Hipias major. Fundació bernat Metge.
SWIFT, J., Els viatges de Gulliver. Galaxia Gütemberg, 2006 [Gulliver’s Travels, 1726]
[6] VALLE INCLÁN, Luces de Bohemia, Madrid, Austral, 2010.
VOLTAIRE, Jean Françoisois-Marie Arouet de Voltaire, « Goût ». "Taste." In The Encyclopedia of Diderot & d'Alembert, Collaborative Translation Project. Translated by Thomas Cassirer. Ann Arbor: University of Michigan Library, 2003. Originally published as"Goût," Encyclopédie ou Dictionnaire raisonnedes sciences, des arts et des metiers(Paris 1757, Vol. 7. pp. 761-77). <https://fr.wikisource.org/wiki/L%E2%80%99Encyclop%C3%A9die/1re_%C3%A9dition/GOUT>
D'ALEMBERT, J. l R., "Discours préliminaire" à l'Encyclopédie <https://fr.wikisource.org/wiki/L%E2%80%99Encyclop%C3%A9die/1re_%C3%A9dition/Discours_pr%C3%A9liminaire>
JAQUES, Jèssica. "El sentit estètic". Disturbis 3, http://www.disturbis.esteticauab.org/Disturbis234/Jaques.html
DELFOE, D., Robinson Crusoe. Barcelona, La Galera, 2009 [1719]
WOLLSTONECRAFT, Marie, Vindicación de los derechos de la mujer.Madrid,Akal, 2014 [Vindication of the Rights of Women, 1792]
VALÉRY, P., Eupalinos o l’arquitecte.Barcelona, Quaderns Crema, 1983 [Eupalinos ou l’architecte, 1921).
FOUCAULT, "Topologías", Fractal 2006 [1967]. y FLUSSER, V. Hacía una filosofía de la fotografía. Méjico D.F., Sigma, 1990.
[14] de BEAUVOIR, Simone, El segundo sexo. Madrid, Diálogo, 2012 [Le deuxième sexe. 1941]
[15] NOË, A.,StrangeTools.<http://www.alvanoe.com/strange-tools/>
3. Further Readings
NIETZSCHE, F.,El naixement de la Tragèdia. Madrid, Alianza Editorial, 1995(DieGeburd der Tragödie 1872).
REZA, Yazmina, Arte. Anagrama 1999 (Art, 1994)
YOURCENAR, Marguerite, Memòries d’Adrià. Barcelona, ed. 62, 2007 (Mémoires d’Hadrien, 1951)
WILDE, O.El retrato de Dorian Grey. Imaginador,Buenos Aires (The Picture of Doran Grey)1890).
4. Selected secondary bibliography
ARNHEIM, R., Arte y percepción visual, Alianza Forma, Madrid, 2002
BARASCH, Moshe, Teorías del Arte: De Platón a Winckelmann, Alianza, Madrid, 1991; Modern Theories of Art, 1: From Winckelmann to Baudelaire, New York
University Press, New York, 1990; Modern Theories of Art, 2: From Impressionism to Kandinsky,New York University press, New York and London, 1998.
BOZAL, Valeriano, Historia de las ideas estéticas I i II, Historia 16, Madrid 1998; (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, Arthur C., El abuso de la belleza. La estética y elconcepto del arte. Paidós, Barcelona, 2005.
DANTO,A., “Laobra de arte y el futuro histórico”, La madonna del futuro. Paidós, Barcelona, 2003(2000).
DANTO, Artur, Las transfiguraciones del lugar común.Barcelona, Paidós 2002
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).
GOMBRICH, E. H., Art and Illusion. London, Phaidon Press (1985). Chapters 3 and 10.
GUASCH, Anna Maria (coord.), La crítica de arte, Ediciones del Serbal, Barcelona, 2003.
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.
KIERAN, M., (ed.), ContemporyDebates in Aesthetics and Philosophy of Art. Blackwell, 2006.
KRIS, E. i KURZ, O., La Leyenda del artista, EnsayosArte 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, Sobrela belleza. Anaya, Madrid, 1999.
LEVINSON, J.,Oxford Handbook ofAesthetics. 2003.
LORCA, F. G. Piero Menarini, ed. El maleficio de la mariposa. Cátedra, Madrid, 2003.
MURRAY, Chris, Key Writers on art: From Antiquity to the Ninetenth Century, Routledge,Londonand new York, 2003; Pensadores clave sobre el arte:el siglo XX. Ensayos arteCátedra, Madrid 2006.
SHINER, Larry, La invención del arte, Paidós Estética 36, Barcelona, 2004.
RAMIREZ, Juan Antonio, Ecosistema y explosión de las artes. Anagrama, Barcelona 1994.
TATARKIEWICZ, E., Historia de seis ideas. Madid, Taurus, 1987 (1976)
VALVERDE, J. M., Breve historia y antología de la estética, Barcelona, Ariel.
VILAR, G., Las razones del arte. Madrid, Antonio Machado, 2005.
5. Online sources
greta.cat/grau
https://vimeo.com/instituthumanitatsbcn
www.centrepompidou.fr
www.palaisdetokyo.com
https://www.edx.org/
http://www.canal-u.tv/producteurs/universite_de_tous_les_savoirs
https://www.franceculture.fr/
https://fr.wikipedia.org/wiki/Arte
No software is needed.
Please note that this information is provisional until 30 November 2025. You can check it through this link. To consult the language you will need to enter the CODE of the subject.
Name | Group | Language | Semester | Turn |
---|---|---|---|---|
(PAUL) Classroom practices | 1 | Catalan/Spanish | first semester | morning-mixed |
(TE) Theory | 1 | Catalan/Spanish | first semester | morning-mixed |