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JOHN CABOT UNIVERSITY

COURSE CODE: "PH 304"
COURSE NAME: "Philosophy of Art and Beauty"
SEMESTER & YEAR: Spring 2015
SYLLABUS

INSTRUCTOR: Brunella Antomarini
EMAIL: [email protected]
HOURS: TTH 11:30 AM 12:45 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisites: One previous philosophy course or Junior Standing Co-requisites: EN 110; Recommended Junior Standing
OFFICE HOURS:

COURSE DESCRIPTION:
This course is a survey of classical and modern theories on the appreciation of art and beauty. Attention will be given to the analysis of perception and the aesthetic experience in their interaction with language and culture. Special consideration will be given to contemporary visual arts and poetry.
SUMMARY OF COURSE CONTENT:

Lectures and seminars will serve the purpose to analyze chosen topics (focused on visual art, with a look at theatre, poetry, music and dance). Power Point projections of classical and contemporary artworks are shown and discussed. A few guest lectures and films may be included in the program.

 

EXCERPTS FROM TEXTS TO BE EXAMINED IN DEPTH (in any good editions or online, or in books on reserve in the library):

 

W.Benjamin, The Work of Art in the Age if its Mechanical Reproduction 

G. Careri. Flights of Love.

A.Danto, The Abuse of Beauty

M. Duchamp, The Creative Act

P. Florensky, Inverted Perspective

F.Hegel, Lectures on Aesthetics 

H. Focillon, The Life of Forms

L. Henderson, Duchamp in Context

W. Kandinsky, The Spiritual in Art

I.Kant, Critique of Judgement

N. Luhmann, Art as a Social System

B. Newman, The Sublime is Now

E. Panofsky, Perspective as Symbolic Form

Plato, Republic X, Phaedrus, Symposium

Ramachandran, The Science of Art

 

 

 

REFERENCE TEXT:

L. Shiner, The Invention of Art

 

EXCERPTS FROM FILMS:

 

Luis Bunuel and Salvador Dalì, Un chien andalou

Salvador Dalì and Walt Disney, Destino

Germain Dulac and Antonin Artaud, La coquille et le clergyman

Glitch music (Autechre: https://www.youtube.com/watch?v=acuwRHIWL_o)

Theo Jansen, Animaris

William Kentridge, Automatic Writing

The painter in Teorema by P.P.Pasolini

Lars von Trier,  5 Obstructions                 

Bill Vorn, Le Procés

 

 

SET. 1

Introduction

3

From primitive to contemporary art

8

Plato on beauty and perception (aisthesis)

10

Florensky and icon painting

15

Linear Perspective and Panofsky

17

Baroque (Careri)

22

Kant on the sublime

24

Reading Kant

29

Hegel and the end of art

OCT. 1

Reading Hegel

6

Ramachandran: biological universals

8

Kandinsky

13

Duchamp, Wahrol and Newman

15

MID-TERM EXAMINATION

20

Films: Bunuel, Dalì; Dulac, Artaud.

22

Barnet Newman's sublime

27

Lyotard's sublime

29

Reading Lyotard

NOV. 3

Andy Warhol + DANTO

5

Benjamin and the loss of aura

10

Reading Benjamin

12

Focillon on form 

17

Luhmann on art as a social system

19

Luhmann's text 

24

Lars von Trier, 5 Obstructions

26

Comment on film

DEC. 1

Seminar

3

Review

6-12

FINAL EXAMINATION

 

LEARNING OUTCOMES:

Students will be able to understand modern art and to master art history from a theoretical perspective. Different theories of art explain different aspects of its practices, but are irreducible to one another. The study of the role contingency plays in the arts will constitute the core argument. The issues at stake will make students aware of the necessity to be critical and analytic in their evaluations of both philosophical arguments and art productions.

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
 - Mid-term exam (25% of the final grade) - Final exam (40% of the final grade) - In-class presentation + paper, attendance and participation (35% of the final grade)  
   
papers and participation, midterm exam, final exam 35%, 25%, 40%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:

Students should plan to regularly attend the class, since we will often broaden the topics contained in the texts to contemporary issues, and since this class is mainly intended to the rousing of students’ personal thoughts and ideas.

Please refer to the university catalog for the attendance and absence policy.

Academic honesty:

As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course.

 

It is forbidden to use the computer in class.

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE


 

Sept. 1

Introduction

3

From primitive to contemporary art

8

Plato on beauty and perception (aisthesis), Republic X, Phaedrus

10

Florensky and icon painting

15

Alberti and his modern critics: Panofsky

17

Kant on beauty

22

Kant on the sublime

24

Hegel and the end of art

29

Ramachandran: biological universality of beauty

Oct. 1

Kandinsky

6

Portmann: evolution and forms

8

Focillon on form

13

Duchamp, Wahrol and Newman (Henderson)

15

MID-TERM EXAMINATION

20

Films: Bunuel, Dalì; Dulac, Artaud.

22

Barnet Newman

27

Andy Warhol

29

Benjamin and the loss of aura

Nov 3

Danto's text

5

Danto and Hegel

10

Luhmann on art as a social need

12

Luhmann's text (The painter in Teorema by Pasolini)

17

Lars von Trier, 5 Obstructions

19

Comment on film

24

Virilio

26

Seminar

Dec 1

Seminar

3

Review

6-12

FINAL EXAMINATION