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Aesthetics
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Aesthetics
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Anno accademico 2018/2019
- Codice dell'attività didattica
- FIL0178
- Docente
- Alessandro Giovanni Bertinetto (Titolare del corso)
- Corso di studi
- laurea magistrale in Filosofia
- Anno
- 1° anno 2° anno 3° anno
- Tipologia
- Caratterizzante
- Crediti/Valenza
- 6
- SSD dell'attività didattica
- M-FIL/04 - estetica
- Modalità di erogazione
- Tradizionale
- Lingua di insegnamento
- Italiano
- Modalità di frequenza
- Facoltativa
- Tipologia d'esame
- Scritto
- Prerequisiti
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Aver sostenuto un esame di estetica.
A course in Aesthetics.
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Sommario insegnamento
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Obiettivi formativi
Il corso si rivolge a studenti che abbiano già seguito un corso di estetica. Lo scopo è quello di esaminare e discutere i diversi significati dei concetti di autenticità estetica e autenticità artistica.
The course is aimed at students who have already attended a course in aesthetics. The aim is to examine and discuss the different meanings of the concepts of aesthetic authenticity and artistic authenticity.
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Risultati dell'apprendimento attesi
Alla fine del corso gli studenti dovranno:
(1) conoscere e distinguere le pricipali applicazioni del concetto di autenticità in ambito estetico,
(2) poter analizzare e comprendere testi filosofici di argomento estetico,
(3) essere in grado di esporre con chiarezza le diverse posizioni filosofiche.
At the end of the course students will have to;
(1) be acquainted with the main applications of the concept of 'authenticity' in the aesthetic field,
(2) be able to analyze and understand philosophical texts about aesthetics,
(3) clearly explain the different philosophical positions.
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Modalità di insegnamento
Il corso è di 36 ore ed è articolato in una parte introduttiva e in una parte principale. La prima parte del corso (6 ore) ha lo scopo di introdurre gli argomenti in programma e si svolgerà in modalità frontale, anche mediante l'uso di slides. La seconda parte (30 ore) si svolgerà in modo seminariale: i testi in programma verranno discussi a partire dalle relazioni preparate dagli studenti.
The course is in two parts. The first part (6 hours) will introduce the core topics of the course. Lectures will be in frontal mode and slides will be used. In the second part class sessions will take the form of seminar-style group discussions: the texts in the program will be analyzed starting from the reports prepared by students.
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Modalità di verifica dell'apprendimento
(A) Oltre a valutare le presentazioni e le discussioni dei testi in aula, (B) le conoscenze acquisite saranno accertate mediante un esame consistente in una prova scritta della durata di due ore, con domande a risposta aperta, sui testi in programma.
(A) La valutazione dipenderà 1) dal grado comprensione critica dei testi; 2) dalla capacità di esposizione; 3) dalla capacità di porre domande efficaci e pertinenti sui testi in programma.
(B) Mediante l'esame scritto sarà verificato che lo studente sia in possesso di: a) adeguate conoscenze di estetica e capacità di analisi di un testo; b) comprensione degli argomenti filosofici presi in esame; c) capacità di esporre le diverse posizioni filosofiche circa gli argomenti del corso.
Il voto dell'esame è espresso in trentesimi.
(A) Besides evaluating students' presentations and discussions of texts in the classroom, (B) the verification of the acquired knowledge will require a 2 hours examination consisting of a written test (with open-ended questions).
(A) Evaluation will depend on 1) the degree of critical understanding; 2) language appropriateness; 3) the ability to formulate relevant questions.
(B) The written examination will verify: a) the knowledge of aesthetics and the ability to analyze a philosophical text; b) the understanding of the philosophical topics discussed; c) the skill to present different philosophical positions concerning the course's topics.
Evaluation will be expressed in 30/30.
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Programma
Il corso è di 36 ore ed è diviso in due parti. Nella prima parte verranno introdotte alcune tra le principali applicazioni del concetto di autenticità in ambito estetico: in particolare, autenticità storica, genetica, referenziale, espressiva, artistica. Nella seconda parte la nozione di autenticità estetica ed artistica verrà approfondita attraverso la discussione dei testi e le relazioni degli studenti.
The course (36 hours) has two parts. In the first part the main uses of the notion of authenticity in the current aesthetic debate will be introduced: in particular, historical, genetical, referential, expressive, artistic authenticity. In the second part the notion of aesthetic authenticity will be addressed through discussions of texts and student reports.
Testi consigliati e bibliografia
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TESTI DA PORTARE ALL'ESAME
R. Arnheim, "The Two Authenticities of the Photographic Media", The Journal of Aesthetics and Art Criticism, 51 (1993): 537-540.
B. Baugh, "Authenticity Revisited", The Journal of Aesthetics and Art Criticism46 (1988): 477-487.
A. Danto, "Metaphor, Expression, Style" in The Transfiguration of the Commonplace, Harvard University Press, Cambridge Mass 1981.
D. Dutton, "Authenticity in Art", in J. Levinson (ed.), The Oxford Handbook of Aesthetics, New York, Oxford University Press 2003: 324-343.
A. Edidin, "Consequentialism about Historical Authenticity", Performance Practice Review 13 (2008): 1-13.
N. Goodman: "Art and Authenticity", in Languages of Art, Indianapolis, The Bobbs Merrill Company 1968.
S. Kemall, I. Gaskell (eds.), Performance and Authenticity in the Arts, Cambridge and New York, Cambridge University Press 1999: 154-174, 197-214.
W.E. Kennick, "Art and Inauthenticity", The Journal of Aesthetics and Art Criticism 44 (1985): 3-12.
A. Lessing, "What is Wrong with a Forgery?", The Journal of Aesthetics and Art Criticism23 (1965): 461-471.
C. Kosmeyer, "Aesthetic Deception: On Encounters with the Past" The Journal of Aesthetics and Art Criticism, 66, (2008): 117-127.
S. Knaller, "Authenticity as an aesthetic notion", in W. Funk, F. Gross, I. Huber (eds.), The Aesthetics of Authenticity. Medial Constructions of the Real, Bielefeld, Transcript 2012: 22-39.
R. Pippin, "Authenticity in Painting: Remarks on Michael Fried's Art History", Critical Inquiry 31 (2005): 575-598.
M. Sagoff, "On Restoring and Reproducing Art", The Journal of Philosophy 75 (1978): 453-470.
R. Shusterman, "Moving Truth: Affect and Authenticity in Country Musicals", The Journal of Aesthetics and Art Criticism 57 (1999): 221-233.
P.C. Taylor, "Roots and Routes: Disarming Authenticity" in Black is Beautiful, Malden MA, WIley Blackwell 2016: 132-154.
N. Warburton, "Authentic Photographs", British Journal of Aesthetics, 37 (1997): 129-137.
J.O. Young, "Art, Authenticity and Appropriation", Frontiers of Philosophy in China 3 (2006): 455-476.
L. Zuidervaart, "Artistic Truth", Artistic Truth, Cambridge, Cambridge University Press: 118-139.
N.B.: GLI STUDENTI NON FREQUENTANTI DEVONO PORTARE ALL'ESAME ANCHE DUE DEI LIBRI INDICATI NELLA BIBLIOGRAFIA COMPLEMENTARE
BIBLIOGRAFIA COMPLEMENTARE
Libri
W. Benjiamin, The Work of Art in the Age of Mechanical Reproduction, New York, NY, Prism Key Press 2010.
Th.W. Adorno, Aesthetic Theory, Continuum, London 1997 (or other English editions).
A. Ferrara, Reflective Authenticity, Londono & New York, Routledge 1998: 127-147.
S. Kemall, I. Gaskell (eds.), Performance and Authenticity in the Arts, Cambridge and New York, Cambridge University Press 1999.
P. Kivy, Authenticities: Philosophical Reflections on Musical Performance,Ithaca, N.Y., and London: Cornell University Press, 1995.
P. Taylor, The Ethics of Authenticity, Cambridge MA, London, Harvard University Press 1991.
L. Trilling, Sincerity and Authenticity, Cambridge, MA, Harvard University Press 1972.
Articoli
G. Currie, "The Authentic and the Aesthetic", American Philosophical Quarterly, 22, (1985): 153-160.
S. Davies, "Authentic Performances of Musical Works", Teorema 31/3 (2012): 81-88.
J. Dodd, "Performing Works of Music Authentically", European Journal of Philosophy 23 (2015): 485-508.
P.M. Jaworski, "In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates of Paintings Are Just as Good as the Originals", Journal of Value Inquiry 47 (2013): 391-405.
C. Lindholm, "The Rise of Expressive Authenticity", Anthropological Quarterly86 (2013): 361-395.
C. Mills, "Artistic Integrity", Journal of Aesthetics and Art criticism, 76 (2018): 9-20.
A. Moore, "Authenticity as Authentication", Popular Music 21 (2002): 209-223.
F. Perez Carreño, "Sentimentality as an Ethical and Aesthetic Fault", Proceedings of the European Society of Aesthetics, 6 (2014): 286-304.
J. Rudinow, "Race, Ethnicity, Expressive Authenticity: Can White People Sing the Blues?", The Journal of Aesthetics and Art Criticism 52 (1994): 127-137.
M. Sagoff, (2014),'Art and Authenticity: A Reply to Jaworski', Journal of Value Inquiry 48 (2014): 503-515.
L. Shiner, ""Primitive Fakes," "Tourist Art," and the Ideology of Authenticity", The Journal of Aesthetics and Art Criticism 52 (1994): 225-234.
J. O. Young, "Authenticity in Performance", in B. Gaut & D. Lopes (eds.), London, The Routledge Companion to Aesthetics. Routledge (2001).
TEXTS FOR THE EXAMINATION
R. Arnheim, "The Two Authenticities of the Photographic Media", The Journal of Aesthetics and Art Criticism, 51 (1993): 537-540.
B. Baugh, "Authenticity Revisited", The Journal of Aesthetics and Art Criticism46 (1988): 477-487.
A. Danto, "Metaphor, Expression, Style" in The Transfiguration of the Commonplace, Harvard University Press, Cambridge Mass 1981.
D. Dutton, "Authenticity in Art", in J. Levinson (ed.), The Oxford Handbook of Aesthetics, New York, Oxford University Press 2003: 324-343.
A. Edidin, "Consequentialism about Historical Authenticity", Performance Practice Review 13 (2008): 1-13.
N. Goodman: "Art and Authenticity", in Languages of Art, Indianapolis, The Bobbs Merrill Company 1968.
S. Kemall, I. Gaskell (eds.), Performance and Authenticity in the Arts, Cambridge and New York, Cambridge University Press 1999: 154-174, 197-214.
W.E. Kennick, "Art and Inauthenticity", The Journal of Aesthetics and Art Criticism 44 (1985): 3-12.
A. Lessing, "What is Wrong with a Forgery?", The Journal of Aesthetics and Art Criticism23 (1965): 461-471.
C. Kosmeyer, "Aesthetic Deception: On Encounters with the Past" The Journal of Aesthetics and Art Criticism, 66, (2008): 117-127.
S. Knaller, "Authenticity as an aesthetic notion", in W. Funk, F. Gross, I. Huber (eds.), The Aesthetics of Authenticity. Medial Constructions of the Real, Bielefeld, Transcript 2012: 22-39.
R. Pippin, "Authenticity in Painting: Remarks on Michael Fried's Art History", Critical Inquiry 31 (2005): 575-598.
M. Sagoff, "On Restoring and Reproducing Art", The Journal of Philosophy 75 (1978): 453-470.
R. Shusterman, "Moving Truth: Affect and Authenticity in Country Musicals", The Journal of Aesthetics and Art Criticism 57 (1999): 221-233.
P.C. Taylor, "Roots and Routes: Disarming Authenticity" in Black is Beautiful, Malden MA, WIley Blackwell 2016: 132-154.
N. Warburton, "Authentic Photographs", British Journal of Aesthetics, 37 (1997): 129-137.
J.O. Young, "Art, Authenticity and Appropriation", Frontiers of Philosophy in China 3 (2006): 455-476.
L. Zuidervaart, "Artistic Truth", Artistic Truth, Cambridge, Cambridge University Press: 118-139.
N.B. UNATTENDING STUDENTS MUST STUDY ALSO TWO OF THE BOOKS LISTED BELOW AS "FURTHER READINGS"
FURTHER READINGS
Books
W. Benjiamin, The Work of Art in the Age of Mechanical Reproduction, New York, NY, Prism Key Press 2010.
Th.W. Adorno, Aesthetic Theory, Continuum, London 1997 (or other English editions).
A. Ferrara, Reflective Authenticity, Londono & New York, Routledge 1998: 127-147.
S. Kemall, I. Gaskell (eds.), Performance and Authenticity in the Arts, Cambridge and New York, Cambridge University Press 1999.
P. Kivy, Authenticities: Philosophical Reflections on Musical Performance,Ithaca, N.Y., and London: Cornell University Press, 1995.
P. Taylor, The Ethics of Authenticity, Cambridge MA, London, Harvard University Press 1991.
L. Trilling, Sincerity and Authenticity, Cambridge, MA, Harvard University Press 1972.
Papers:
G. Currie, "The Authentic and the Aesthetic", American Philosophical Quarterly, 22, (1985): 153-160.
S. Davies, "Authentic Performances of Musical Works", Teorema 31/3 (2012): 81-88.
J. Dodd, "Performing Works of Music Authentically", European Journal of Philosophy 23 (2015): 485-508.
P.M. Jaworski, "In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates of Paintings Are Just as Good as the Originals", Journal of Value Inquiry 47 (2013): 391-405.
C. Lindholm, "The Rise of Expressive Authenticity", Anthropological Quarterly86 (2013): 361-395.
C. Mills, "Artistic Integrity", Journal of Aesthetics and Art criticism, 76 (2018): 9-20.
A. Moore, "Authenticity as Authentication", Popular Music 21 (2002): 209-223.
F. Perez Carreño, "Sentimentality as an Ethical and Aesthetic Fault", Proceedings of the European Society of Aesthetics, 6 (2014): 286-304.
J. Rudinow, "Race, Ethnicity, Expressive Authenticity: Can White People Sing the Blues?", The Journal of Aesthetics and Art Criticism 52 (1994): 127-137.
M. Sagoff, (2014),'Art and Authenticity: A Reply to Jaworski', Journal of Value Inquiry 48 (2014): 503-515.
L. Shiner, ""Primitive Fakes," "Tourist Art," and the Ideology of Authenticity", The Journal of Aesthetics and Art Criticism 52 (1994): 225-234.
J. O. Young, "Authenticity in Performance", in B. Gaut & D. Lopes (eds.), London, The Routledge Companion to Aesthetics. Routledge (2001).
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