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課程大綱 ---- 有同學需要 所以公佈上來 !!

文章pacific » 2004-07-09, 23:26

Tainan National College of the Arts-Graduate Seminar:
Histories of Aesthetics and the Arts
Instructor: Leo C. Chen, Spring 2004
This graduate seminar surveys the developments of aesthetics in the variegated histories of the arts, which include painting, architecture, music, theater and performance, literature, philosophy and film. Paying equal attention to the conditions of technology and culture, production and consumption, the concrete and the abstract, this seminar connects and explores the theoretical discourses thus generated from the histories of arts with an attempt to provide a framework that allow both theory and history of aesthetics be discussed, analyzed and understood against the backdrop of the issues of styles and interpretation between aesthetics and the histories of the arts. By looking at both the theory and history of aesthetics together, this seminar explores the development of the ways in which arts, through out ages and across geographic borders, are produced and consumed. Beyond the economic structures that are treated with careful contextualization when needed, this seminar situates aesthetics by the ways meanings are assigned and interpretations achieved which can in turn constitute therefore an important chapter in human intellectual history in general and a history of aesthetics in particular.
Structure of the seminar is tripartite. Although generally following a chronologically linear manner, this seminar’s tripartite structure deliberately emulates the formal design of a triptych- three pieces of painting on wood blocks connected by two axils. Divided first by the mode of presentation conditioned by technology, the seminar consists of three major parts and they are respectively: 1. Traditional Aesthetics; 2. Contemporary Theories of Aesthetics; 3. Histories of the Arts.
The scope and depth of the covered materials are necessarily broad and deep at the same time, as it is generally considered mandatory requirement for a comprehensive education of aesthetics. The students are expected to immerse themselves, both horizontally and vertically, within the most bounty and rich realm of cultural representations and resources in the history and theory of aesthetics. Upon completion of the class, the students are expected to be equipped with the necessary knowledge and tool for critical thinking for them to embark onto each and everyone’s journey into the world of the beautiful.
Seminar Requirements include: Mandatory class participation and discussion. Weekly reports. Mid-term exam. Mid-term paper. (2000 words) Final paper/project. (9000-10000 words). No pre-requisite required, but love of the arts a plus.



Tentative Syllabus for Histories of Aesthetics and the Arts
Week 1. Introduction
Week 2. At the Beginning- Drama, Tragedy and the Senses
Plato, Republic,
Aristotle, Poetics
Clive Bell
Noel Carrol
Nietzsche

Week 3. Aesthetics of Gardens
History of Western Garden
Chinese Garden
Screening: Draughtsman’s Contract

Week 4. And then there were some: Continental and Empirical Philosophy.
David Hume,
Mary Mothersill, “Hume and the Paradox of Taste”.
Immanuel Kant, “A Theory of Aesthetic Judgment”.
Ted Cohen &Paul Guyer, “Intro to Kant’s Aesthetics”.

Week 5. Aesthetics of Food I
Carolyn Korsmeyer, Making Sense of Taste: Food and Philosophy, (Ithaca, NY: Cornell UP, 1999), Chapters 2, 4 &5, respectively “Philosophies of Taste: Aesthetic and Nonaesthetic Senses”, “The Meaning of Taste and the Taste of Meaning”, “The Visual Appetite: Representing Taste and Food”.
Allen Weiss, “Tractatus Logico-Gastronomicus” in French Food, On the Table, On the Page, and in French Culture, eds., Lawrence Schehr & Allen Weiss, (London: Routledge, 2001).
Screening: Good Enough to Eat

Week 6. Aesthetics of Food II
Thomas M. Kavanagh, “Diderot and the Epicurian Moment”, in Esthetics of the Moment: Literature and Art in the French Enlightenment, (Philadelphia: University of Pennsylvania Press, 1996), pp.45-57.
Louis Marin, Food For Thought, (Baltimore: Johns Hopkins UP, 1989), pp 117-125: “Theoretical Aperitif”, pp 148-174: “Recipes of Power” and “Stew and Roast, or the Mastery of Discourse and the Illusions of Eros”.
Screening: The Cook, the Thief, the Wife, Her Lover
Week 7. Contemporary Aestheticians I
E.H. Gombrich, “The Renaissance Conception of Artistic Progress and its Consequences”, in Norm and Form- Studies in the Arts of the Renaissance, (London: 1966), pp. 1-10, 137-140.
M. Barasch, “Pathos Formulae: Some Reflections on the Structure of a Concept”, in Imago Hominis- Studies in the Language of Arts, (Vienna: 1991), pp.119-127.
G. Vasari, Lives of the Artists, (pp. 272-277: “Life of Giorgione” and pp. 443-462: “Description of the Works of Titian”.)

Week 8. Aesthetics of the Sartorial- Beyond the Tactility of Fashion
Jukka Gronow, “Taste and Fashion” pp 74-130 in The Sociology of Taste, (London: Routledge, 1997).
Paul Smith the photographer
Screening: Orlando

Week 9. Contemporary Aestheticians II
Leontief Alpers, “Ekphrasis and Aesthetic Attitude in Vasari’s Lives”, in Journal of the Warburg and Courtauld Institutes, 23 (1960), pp. 190-215.
A.O. Lovejoy, Essays in the History of Ideas, (New York: 1948/1960), pp.99-135: “The Chinese Origin of a Romanticism” and pp136-165: “The First Gothic Revival”.
Alex Potts, Winckelmann and the Origins of Art History, (New Haven: Yale UP, 1994), pp67-101.
W. Worringer, Form in Gothic, (London: 1957), pp38-45, 141-151.

Week 10. Fragrance and Fragments: olfactory aesthetics and the Aesthetica Erotica
Walter Benjamin, Selected Writings I-IV, (Cambridge: Harvard UP, 1996-2003). Selections.
Novels:
Marcel Proust, Recherche du temp perdu, (Remembrance of Things Past). Selection
Peter Suskind, Perfume
Discussion Topic: Pornography, Helmut Newton, Scale and False Perspective
Screening: Eyes Wide Shut, Lord of the Ring

Week 11. Art and Science
P. Feyerabend, “Science as Art: An Attempt to Apply Riegl’s Theory of Art to the Sciences”, Art+Text, 12-13 (1983) pp16-46.
Martin Kemp, Visualization, (Berkeley: U of California Press, 2001), Selections.
Charles Baudelaire, Curioites Esthetiques-L’Art Romantique, (Paris: 1962), pp 110-130, 209-240.

Week 12. Surrealism in painting and film
Films by Luis Bunuel and Salvador Dali
Stanley Cavell, “Sight and Sound” in The World Viewed (Cambridge: Harvard UP)
Stanley Bates, “Movies Viewed: Cavell on Medium and Motion picture”.
Screening: Suspicion, Belle de jour

Week 13. Aesthetic of Music and Dance
T.W. Adorno, Aesthetic Theory, Minima Moralia and Philosophy of Modern Music.
Edward Said, Musical Explorations.
Peter Kivy.
Monroe Beardsley, “What is going on in a dance?”

Week 14. Aesthetic of Objects, Crafts
James Clifford, On Collecting Art and Culture, in During, pp57-76.
---------------, Traveling Cultures, in Grossberg et al, PP 96-116.
Ian Hunter, Aesthetics and Cultural Studies, in Grossberg et al., pp347-372.
Janet Wolff, Excess and Inhibition: Interdisciplinarity in the Study of Arts, in Grossberg et al., pp. 706-718.
Screening: Angels and Insects (1996) dir. Philip Haas,
Possession, (2002) dir. Neil LaBute,
Adaptation (2002) dir. Spike Jonze
Novels: A.S. Byatt, Possession: A Romance (New York: Vintage, 1991),
Portraits in Fiction (New York: Vintage, 2002),
Angels and Insects: Two Novella (New York: Vintage, 1994)
Guide: Catherine Burgass, A.S. Byatt’s Possession: A Reader’s Guide, (New York: Continuum, 2002).
Topics of Discussion: Collector, Museum, Archive, theories of Creation, adaptation.

Week 15. Time: Aesthetics of Painting and Photography
Thomas M. Kavanagh, “Watteau’s Incarnate Moment”, in Esthetics of the Moment: Literature and Art in the French Enlightenment, (Philadelphia: University of Pennsylvania Press, 1996), pp.164-183.
Walter Benjamin, A Short History of Photography

Week 16. Aesthetics of Architecture and Sculpture
Rosalind Krauss, The Originality of Avant Garde
-----, Passage of Sculpture
----, The Optical Unconscious
Foucault, Space, Power and Knowledge, in During, pp134-141.
Ackbar Abbas, Building on Disappearance: Hong Kong architecture and colonial space, pp146-166.
Screening: Russian Arc (2002) dir. Alexandre Sokurov
Topics of Discussion: Postmodernity from Jenckins, Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Jean Nouvel, Bernard Tschumi, Rem Koolhaas, Dominique Perrault.

Week 17. Double Vision
William Blake,
Northrop Frye, The Double Vision: Language and Meaning in Religion,
pacific
 
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註冊時間: 2004-03-16, 08:57

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註冊時間: 2009-10-09, 22:19
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