SCIENZE DELLA FORMAZIONEPedagogical sciences and educational planningAcademic Year 2022/2023
1000173 - ESTETICA
Teacher: CHIARA MILITELLO
Expected Learning Outcomes
This
course explores the history of aesthetic to the present day. The course is
designed to provide students with an introduction to the discipline of
aesthetics and philosophy of art, with particular reference to the historical
development of the subject and its relation to the arts, literature, music,
cinema and photography. At the end of the course, students are expected to demonstrate
an understanding of basic concepts and methods of aesthetics and philosophy of
art. Students will gain an understanding of the nature of beauty, art, and philosophy;
they will also be introduced to the central questions of aesthetics.
Course Structure
The
teaching will be carried out through lectures, a method that will ensure the
transmission of contents and methods. In order to achieve the objectives
relating to learning and communication skills, questions for clarification and
deepening by the students will be encouraged during the lessons.
Required Prerequisites
No
prior knowledge is required.
Attendance of Lessons
Class
attendance is strongly recommended, because the exposition of philosophical theories
by the professor greatly facilitates the acquisition of the contents by the
students.
Detailed Course Content
The
aesthetic experience. Aesthetic evaluation. The relationships between
aesthetics and literary and artistic criticism. Physical beauty and divine
beauty. Harmonious beauty and Dionysian beauty. Monstrosity. The harmony of the
heavenly spheres. The “je ne sais quoi.” Beauty as artifice, joke, quotation in
the twentieth century. Beauty in the history of art and aesthetics.
Textbook Information
1. Paolo D’Angelo, Estetica, Laterza 2011, ISBN 9788842096061, 244 pp.
2. Umberto Eco, History of Beauty, Rizzoli 2010, ISBN 0847835308, 444 pp.
Author | Title | Publisher | Year | ISBN |
Paolo
D’Angelo | Estetica | Laterza | 2011 | 9788842096061 |
Umberto
Eco | Storia
della bellezza | Bompiani | 2018 | 9788845298318 |
Course Planning
| Subjects | Text References |
1 | The
definition of aesthetics | 1 (chapter
1) |
2 | Aesthetic
predicates | 1 (chapter
2) |
3 | Aesthetic
evaluation | 1 (chapter
3) |
4 | The
aesthetic experience | 1 (chapter
4) |
5 | The
origin of art | 1 (chapter
5) |
6 | Subjectivity,
objectivity, intersubjectivity of aesthetic judgment | 1 (chapter
6) |
7 | Aesthetics
as a theory of beauty and its modern overcoming | 1 (chapter
7) |
8 | Ontology
of art | 1 (chapter
8) |
9 | The
classification of the arts | 1 (chapter
9) |
10 | Autonomy
and heteronomy of art | 1 (chapter 10) |
11 | The
future of art | 1 (chapter
11) |
12 | Art
history | 2
(introduction) |
13 | The
aesthetic ideal in ancient Greece | 2 (chapter
1) |
14 | Beauty
as proportion and harmony | 2 (chapter
3) |
15 | Apollonian
and Dionysiac | 2 (chapter
2) |
16 | The beauty
of monsters | 2 (chapter
5) |
17 | Light
and Colour in the Middle Ages | 2 (chapter
4) |
18 | From
the pastourelle to the donna angelicata | 2 (chapter
6) |
19 | Magic
beauty between the fifteenth and the sixteenth centuries | 2 (chapter
7) |
20 | Ladies
and heroes | 2 (chapter
8) |
21 | From
grace to disquieting beauty | 2 (chapter
9) |
22 | Reason
and beauty | 2 (chapter 10) |
23 | The
sublime | 2 (chapter
11) |
24 | Romantic
beauty | 2 (chapter
12) |
25 | The
religion of beauty | 2 (chapter
13) |
26 | The
new object | 2 (chapter
14) |
27 | The
beauty of machines | 2 (chapter
15) |
28 | From
abstract forms to the depths of material | 2 (chapter
16) |
29 | The
beauty of the media | 2 (chapter
17) |
Learning Assessment
Learning Assessment Procedures
Oral
examination, assessed on the basis of the following elements: relevance of the
answers to the questions asked (necessary to pass the exam); content quality,
ability to connect the various parts of the course, proper philosophical
language, overall expressive skills (all these elements contribute to the final
evaluation, provided that the answers are relevant).
Examples of frequently asked questions and / or exercises
In what sense is the aesthetic experience always an experience of choice?
In what sense is art autonomous?
Why is beauty not a timeless value?
Why has beauty often been quotation in the twentieth century?
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