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ESTETICA – M-FIL/04ANNO ACCADEMICO 2018-2019Docente: Stefano VELOTTI Codice insegnamento: Semestre ILivello LM (EN) Crediti 12 Annualità IOrario Lezioni: Da compilare in seguitoOrario ricevimento: Kant’s “aesthetic ideas” and their relevance for understanding contemporary arts.This seminar, held in English, is focused on Kant’s “aesthetic ideas”, which are one of the most innovative and fecund notions of the Critique of the Faculty of Judgment. The seminar is organized in three interconnected parts: a) a detailed analysis of the relevant Kantian texts, not limited to the sections where Kant deals explicitly with “aesthetic ideas”; b) the contemporary philosophical debate about them; c) their relevance for understanding contemporary arts (literature, music, and visual arts, with a particular focus on photography). We will discuss specific examples of contemporary artworks.Please consider that this is not a frontal lectures course but a seminar, and as such it requires students’ active participation in class.Objectives (EN)1) Learning to analyze a complex philosophical text;2) Understanding Kant’s aesthetic thought;3) Discussing divergent interpretations of a philosophical text;3) Learning to use philosophical thinking in relation to works of art and contemporary culture.Prerequisites: Philosophical and linguistic competence acquired during the first level ‘laurea’ course.Didactic methods: The course has a seminar format and it requires students’ active participation in class.The seminar is articulated as follows:Introductory lectures to the texts to be discussed.Discussion of philosophical texts and artworks in class.Students are invited to choose a text from the course list and give a presentation of it. Presentations should be about 20 minutes long and will be discussed in class.Attendance: Attendance is strongly encouraged. Students who miss more than 30% of the class without justification are considered as not attending the class.Evaluation methods:Students who attend the class will be evaluated as follows: 1/3 for participation and discussion in class; 1/3 for the oral presentation in class; 1/3 for the final paper (about 30.000 characters/5000 words). There will not be an oral exam. Presentations and final papers will be evaluated according to the following criteria: capacity to use Kant’s and Kantian secondary literature technical language; capacity to reformulate one’s own arguments also in non-technical language; reasons for the significance of the chosen issues; possible objections raised against one’s own arguments; possible consequences of one’s own thesis.Students who cannot attend the class are required to talk to the professor before studying for the exam in order to determine the topic for their paper (about 40.000 characters/7000 words long). The evaluation of the paper makes 1/2 of the final grade. They are required to give an oral exam (1/2 of the final grade).Texts:I will make available to the students a reader with texts centered on the topics of the course: I. Kant, Critique of the Power of Judgment (with a focus on §49; and other texts), Cambridge UP (suggested edition)Possible texts to be discussed:Allison, Kant’s Theory of Taste, chapters 12 Chignall, Kant on the Normativity of Taste: The Role of Aesthetic Ideas, Australasian Journal of Philosophy, 85:3, 2007Cohen, The Inexplicable: Some Thoughts after Kant, in B. Gaut & P. Livingston (eds.) The Creation of Art New Essays in Philosophical Aesthetics. Costello, Kant after LeWitt: Towards an Aesthetics of Conceptual Art, P. Goldie & E. Schellekens (eds.) Philosophy and Conceptual Art, Oxford: Oxford University Press, 2007. Costello, Kant and the Problem of Strong Non-Perceptual Art, BJA (53.3) July 2013 Crawford Kant’s Theory of Creative Imagination, in Cohen & Guyer, eds., Essays in Kant's Aesthetics. Crawford, Kant’s Aesthetic Theory, chapter 8 Crowther, Beyond Formalism: Kant's Theory of Art, in Critical Aesthetics and Postmodernism. Desmond, Kant and the Terror of Genius: Between Enlightenment and Romanticism. Elliott, The Unity of Kant’s Critique of Aesthetic Judgement, Kant. Critical Assessments IV. Garroni, Image, Language, Figure [to be published, but available as pdf through prof. Velotti]Gotshalk Form and Expression in Kant’s Aesthetics, in Kant. Critical Assessments: Vol. IV. Guyer Formalism and Theory of Expression in Kant’s Aesthetics, in Kant Studien 68. Guyer, Exemplary Originality: Genius, Universality and Individuality, in Guyer, Values of Beauty. Guyer, Kant and the Claim of Taste, chapters 12 Kemal, The Production of Fine Art, Kant and Fine Art, chapter 2. Makkreel, Imagination and Interpretation in Kant. Makkreel, On Sublimity, Genius and the Explication of Aesthetic ideas, H. Parrett, ed., Kants ?esthetik. Matherne, The Inclusive Interpretation of Kant’s Aesthetic Ideas, BJA, 53:1, January 2013 Nuyen, The Kantian Theory of Metaphor, Philosophy and Rhetoric 22, 1989, pp. 95-109. Pillow, Form and Content in Kant’s Aesthetics: Locating Beauty and the Sublime in the Work of Art, Journal of the History of Philosophy, Vol. 32., No. 3, July 1994. Pillow Jupiter’s Eagle and the Despot’s Hand Mill: Two Views of Metaphor in Kant, Journal of Aesthetics and Art Criticism, Vol. 59, No. 2, Spring 2001. Rancière, The pensive imageRogerson. Sassen, Artistic Genius and the Question of Creativity, in P. Guyer (ed.) Kant’s Critique of the Power of Judgement. Stadler, The Idea of Art and its Criticism: A Rational Reconstruction of a Kantian Doctrine, in Cohen and Guyer (eds.) Essays in Kant’s Aesthetics. Wenzel, An Introduction to Kant’s Aesthetics, chapter 5 Wenzel, Beauty, Genius and Mathematics: Why did Kant Change his Mind, History of Philosophy Quarterly, 18:4, October 2001. Zuidervaart. “Aesthetic Ideas” and the Role of Art in Kant’s Ethical Hermenutics. ................
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