Aesthetics and Philosophy of Art Seminar
Code: 100281Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Philosophy | OP | 3 |
Contact lecturer
- Name :
- Jessica Patricia Jaques Pi
- Email :
- jessica.jaques@uab.cat
Teaching staff
- Jessica Patricia Jaques Pi
- Andrea Soto Calderon
- null
Teaching staff (external to UAB)
- Daniela Callejas Aristazabal
Group languages
You can consult this information at the end of the document.
Prerequisites
None
Objectives
The Seminar in Aesthetics and Philosophy of Art has the subtitle: The Critique of judgement after the tercentenary of the birth of Immanuel Kant. The main objective of this seminar is to embody philosophy in art from the systematic and detailed reading of KU and its updating in the consideration of modern and contemporary art and from the fundamental texts of current aesthetics.
The specific objectives are:
1. Knowledge of KU's argument and its impact on Kantian philosophy in general
2. The processes of updating Kantian aesthetics
2. The achievement of an initial degree of experience in philosophy applied to the construction of artistic narratives and its incidence in the corresponding debate forums and in professionalization.
4. The spurring of creativity in the philosophical training of the student
5. Professionalization in the world of creativity from discursive practice
6. Preparation for training in advanced studies on philosophy and creativity.
Learning outcomes
- CM26 (Develop a critical and interdisciplinary understanding of aesthetic discourses and their manifestations in the arts and in contemporary visual culture.) Develop a critical and interdisciplinary understanding of aesthetic discourses and their manifestations in the arts and in contemporary visual culture.
- CM27 (Participate in philosophical debates about art, aesthetics, and visual media, integrating diverse perspectives that include marginalised discursive positions with a reflective, creative, and argumentative attitude.) Participate in philosophical debates about art, aesthetics, and visual media, integrating diverse perspectives that include marginalised discursive positions with a reflective, creative, and argumentative attitude.
- CM28 (Devise a reflective study on the role of art in society, recognising its transformative, expressive and epistemic potential.) Devise a reflective study on the role of art in society, recognising its transformative, expressive and epistemic potential.
- KM29 (Relate the theoretical frameworks that allow for a critical analysis of art, image, cinema and other visual practices from a philosophical perspective.) Relate the theoretical frameworks that allow for a critical analysis of art, image, cinema and other visual practices from a philosophical perspective.
- KM30 (Identify the main concepts, categories and problems of aesthetics and philosophy of art, both in their historical development and in their contemporary projections.) Identify the main concepts, categories and problems of aesthetics and philosophy of art, both in their historical development and in their contemporary projections.
- KM31 (Recognise the role of aesthetics in shaping forms of sensibility, subjectivity, and relationship with the political, the bodily, and the symbolic, considering how gender stereotypes and colonial legacy have influenced the production, interpretation, and valuation of works of art. .) Recognise the role of aesthetics in shaping forms of sensibility, subjectivity, and relationship with the political, the bodily, and the symbolic, considering how gender stereotypes and colonial legacy have influenced the production, interpretation, and valuation of works of art. .
- KM47 (Accurately describe the artistic object with the language of art criticism.) Accurately describe the artistic object with the language of art criticism.
- SM30 (Relate philosophical discourses and cultural productions, recognising their ethical, social, and political implications.) Relate philosophical discourses and cultural productions, recognising their ethical, social, and political implications.
- SM31 (Interpret philosophical texts and artistic works with conceptual precision, attention to context and critical sensitivity.) Interpret philosophical texts and artistic works with conceptual precision, attention to context and critical sensitivity.
- SM32 (Develop solid and original arguments on aesthetic issues, both in written works and in oral presentations.) Develop solid and original arguments on aesthetic issues, both in written works and in oral presentations.
Contents
Following the Tercentenary of the birth of Immanuel Kant, the Seminar on Aesthetics and Art Theory will dedicate the 2025-2026 academic year to the systematic reading of the entirety of the Critique of the Faculty of Judgment, adding other brief Kantian texts and contemporary texts that update it. We will defend the discursive position that Kant's relevance lies in the fact that he founded the epistemic regime of uncertainty, and that it is in the KU where the conditions of possibility are wielded that opened the philosophical spaces necessary for the emergence of this regime.
Syllabus
BLOCK I 1. The place of KU in Kantian production: the way back. 2. 2. Reading of the Appendix to KrV's Transcendental Dialectic: \"The regulatory use of ideas\" KrV A 641-669 / B669-697. 3. KU or the hegemony of as if, imagination and reflective judgment. 4. The link between the first and second parts of KU: the critical priority of the final cause. 5. Reading of the Analytics of Beauty, 1st definition (§§ 1-5) and 3rd (§§ 10-17): the Aristotelian anchoring of aesthetic disinterest. 6. Reading of the Analytica del Bell, 2nd definition (§§6-9) and 4ª (§§ 18-22). The condition of possibility that grounds uncertainty: the epistemology of the ability to judge reflectively. 7. Update: Rancière and the discomfort with aesthetics 8. Reading of the First Introduction to KU (I–IX). 9. Aesthetic ideas, the key to the epistemology of uncertainty. Reading of: Epistemic Grounds for a Deduction (§§ 30-38); the transmutation of common sense (§§ 39-42); the birth of the notion of art and artist (§§43-54).
Block II 1. Reading of the Analytics of the Sublime (§§23-29). Update: Lyotard and the link between sublimity and reflection. 2. Transitivity between art and nature. Reading §§ 55-58 3. Reading §§ 59-60 Ethics, politics, aesthetics. 4. Update: Hannah Arendt and the possibility of a political reading of KU. 5. KU and the ideals of the late Enlightenment: Freedom, Equality, Fraternity in vulnerability. 6. Update: Rancière and the aesthetic revolution 7. Reading of the second part ofKU distributed among the students and assimilated to the proposals of the previous points. §§ 61-91. >8. Update: the deconstruction of teleology. Spivak and the critique of decolonial reason.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Lectures, seminars, small-group and individual tutorials | 60 | 2.4 | |
| readings and conceptual work on the texts, work on images | 52.5 | 2.1 | |
| Workshops on aesthetic practices, exhibition visits, artistic events, tests, participation in seminars | 30 | 1.2 |
The methodology is neo-Socratic, that is: the generation and transfer of knowledge from the claim of the formative potential of the students. What is intended is:
_ Participatory learning and shared construction of knowledge
– Pedagogical flexibility and incorporation of emerging interests
_ The progressive development of reflective skills
_ The critical and responsible use of learning support tools
Professor Jèssica Jaques and Professor Gerard Vilar will usually be present simultaneously in the sessions.
The guided activities consist of classes and discussion seminars with a high incentive for participation, as well as a program of tutorials in microgroups and individuals
The supervised activities are formed by the contributions to the seminars and the contributions to the tests.
The autonomous activities have as their essential reference the reading of and the conceptual and application work on the texts and images that can be evaluated.
In this subject, the use of Artificial Intelligence (AI) technologies is allowed as an integral part of the development of the work, provided that the final result reflects a significant contribution by the student in the analysis and personal reflection. The student must clearly identify which parts have been generated with this technology, specify the tools used, and include a critical reflection on how these have influenced the process and the final result of the activity. Non-transparency in the use of AI will be considered a lack of academic honesty and may lead to a penalty in the grade of the activity, or greater sanctions in serious cases.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Third exercice (paper) | 40% | 3 | 0.12 | CM26, CM27, CM28, KM29, KM30, KM31, KM47, SM30, SM31, SM32 |
| First and second exams | 60 % | 4.5 | 0.18 | CM26, CM27, CM28, KM29, KM30, KM31, KM47, SM30, SM31, SM32 |
Tests 1 and 2. Two 2000-word essays written at home and delivered digitally from the student's institutional email, as if it were an article for a dedicated specialized magazine. They will consist of applying the syllabus of Block I and Block II respectively to a creative practice that the student will maintain in all tests. The student will have to declare whether or not AI is used and, if so, will have to present, in addition to the 2000 words, the list of questions that have led to the first results of the AI adapting to the syllabus and focus of the subject and what the student has accepted, what he has rejected and what he has added of his own authorship. Test 3. A podcast of one of the topics of the program agreed upon with the group of students, so that a task is carried out that will have collaborative results once the evaluation is complete. All exercises will be submitted to <anuntarakant@gmail.com>.
There will be no average between the three tests, but a personalized monitoring of each student's process.
On a voluntary basis, the student may choose to include their own aesthetic practices that are linked to their writing (photography, music, dance, illustration, painting, etc.: any creative practice), without this having any impact on the grade.
Tests calendar:
The Department of Philosophy agreed that the first-semester students would have two periods dedicated to assessment activities and one week during which students could specifically prepare for the exams, in the format that each instructor will specify at the beginning of the course. The dates for the review week and the assessment periods are:
This subject foresees a single assessment system, which will be organised with the delivery of the three tests on the same day. The evidence of each test is as follows:
. Test 1: 30% final grade; Test 2: 30% final grade. Test 3: 40%of the final grade.
The recovery, with a date and place set by the Faculty, is reserved for students who have not appeared for one of the three tests (being mandatory to appear for 2/3) or who do not have a final grade of 5. The work to be done by each student for the recovery will be tutored.
The student's grade will be non-evaluable when at the end of the evaluation process they have not appeared for one, two or three of the tests.
The evaluation rubrics are:
Relevant selection of the topics to be discussed in the presentation of the main questions of the philosophy of art based on a work or other aesthetic referent, 2 points
Demonstration of understanding of the contents worked on in the sessions and of the mandatory readings, 2 points
Argumentative clarity and coherence, 1 point
Adequate use of the specific vocabulary linked to the subject, 1 point
Correction of written and oral expression in the podcast., 1 point
Ability to discuss with the group about the texts worked on or other forms of participation agreed at the beginning of the course, 1 point
Audacity in the appropriation of the contents (sapere aude), understood as the capacity to make them one's own and to develop, from them, a critical reflection and situated in the exercise of philosophy as an activity, 2 points
TOTAL 10 points
The assessment will be continuous, processual and formative. Beyond the result of each test considered in isolation, special attention will be paid to intellectual evolution, the capacity for integrating content and the progressive development of critical thinking throughout the semester.
On a voluntary basis, the student may choose to include their own aesthetic practices that are linked to their writing (photography, music, dance, illustration, painting, etc.: any creative practice), without this having any impact on the grade.
The three tests will be given on the virtual campus.
Assignment of competences, knowledge and skills to the assessment activities
Test 1. Philosophical essay (Block I)
Main competences
CM26. Develop a critical and interdisciplinary understanding of aesthetic discourses and their manifestations in the arts and contemporary visual culture.
CM28. Devise a reflective study on the role of art in society and recognize its transformative, expressive and epistemic potential.
Main knowledge
KM29. Relate the theoretical frameworks that allow for the critical analysis of art, image, cinema and other visual practices from a philosophical perspective.
KM30. Identify the main concepts, categories and problems of aesthetics and the philosophy of art.
KM47. Describe the artistic object precisely with the language of art criticism.
Main skills
SM30. Relate philosophical discourses and cultural productions and recognize their ethical, social and political implications.
SM31. Interpret philosophical texts and artistic works with conceptual precision, attention to context and critical sensitivity.
SM32. Develop solid and original arguments on aesthetic issues.
Test 2. Philosophical essay (Block II)
Main skills
CM26
CM28
Main knowledge
KM29
KM30
KM31
Main skills
SM30
SM31
SM32
Test 3. Collaborative podcast
Main skills
CM27.
CM28.
Main knowledge
KM30
KM31
Main skills
SM30
SM32
Erasmus students who request to advance an exam must present the teacher with a written document from their home university justifying their request.
All important instructions will be written in Moodle, in order to leave a public written record.
This subject does not provide for the single assessment system.
Bibliography
Texts to work on in class
KANT, I., Crítica de la facultat de jutjar. Traducció i edición de Jèssica Jaques, 2004. [Kritik der Urteilskraft (KU). Vol. V of Kants gesammelte Schriften. Königlich Preussischen Akademie der Wissenschaften (AA.). Berlin, Walter de Gruyter, pp. 165–485. Edited by Wilhelm Windelband.
KANT, I., Crítica de la razón pura. Traducció i edició Miquel Montserrat. Barcelona, edicions de la UB, 2024 [Kritik der reinen Vernunft. AA. III]
KANT, I. Prolegòmens a tota metafísica futura que pugui presentar-se com a ciència. Trad. Gerard Vilar, Ed. Pere Lluís Font, Barcelona, Ed. 62, 1996.
KANT, I., Fonamentació de la metafísica dels costums. Trad. Joan Leita, Ed. Pere Lluís Font. Barcelona, Laia, 1984.
KANT, I., Crítica de la raó pràctica. Barcelona, edicions 62, “Textos Filosòficos” 93, 2003.
KANT, I., Briefwechsel, AA. X. English translation by Arnulf Zweig, Correspondence. Cambridge, Cambridge University Press, 1999.
KANT, I., “On Friendship” and “On Enmity”, in Vorlesungen (Collins’s lecture notes), AA. XXVII, pp. 423-432. English translation cited in this article by Peter Heath, Lectures on Ethics. Cambridge, Cambridge University Press, 2005.
Secondary bibliography
ARENDT, Hannah, Conferencias sobre la filosofía política de Kant (Lectures on Kant's Political Philosophy). Barcelona, Paidós, 2003 [1999].
LYOTARD, Jean-François, Lecciones sobre la Analítica de lo sublime [Leçons sur l’Analytique du sublime, 1991]. Ciudad de Méjico, LOM ediciones, 2020.
RANCIÈRE, Jacques, El malestar en la estética (Malaise dans l'esthttiéque, . Buenos Aires, Captital Intelectual, 2011.
RANCIÈRE, Jacques, “La revolución estética y sus resultados”.
SPIVAK, Gayatri Chakravorty, A critique of postcolonial reason : toward a history of the
vanishing present. Harvard, 1999.
Additional Bibliography
lexical repertoires
CAYGILL, H., A Kant Dictionary., Oxford, Blackwell, 1995.
EISLER, R., Kant–Lexicon, Hildesheim, Georg Olms, 1984.
General Bibliography
BIRD, G. (ed.), A Companion to Kant, Blackwell, 2010.
CASSIRER, E,. Das Erkenntnisproblem in der Philosophie und Wissenschaft der neueren Zei (1906)t . Vol. II Hidesheim: Georg Olms Verlag.. Hi ha traducció castellana, El problema del conocimiento en la filosofía y en las ciencias modernas. Vol., II. México: Fondo de Cultura Económica 1986 (1953).
--- ,Kants Leben und Lehre. Darmstadt: Wissenschafliche Buchgesellschaft.Hi ha traducció castellana: Kant, vida y doctrina. Mèxico: Fondo de Cultura Económica, 1979 (primera edició de 1948). 1918 (1975).
--- ,«Kant». A Encyclopaedia of the Social Sciences, vol. 8, 1932: 538-42. New York: Macmillan.
COLOMER, E., El pensamiento alemán de Kant a Heidegger, I: La filosofía transcendental: Kant.Barcelona,Herder, 1986.
DELEUZE, G., La philosophie critique de Kant. París, PUF, 1971 (trad. cast. a Spinoza, Kant, Nietzsche, Barcelona, Labor, 1974).
GUYER, P. (Ed.), The Cambridge Companion to Kant, Cambridge, Cambridge University Press, 1992.
HERNÁNDEZ, J., “La raó en el gir estètic de la filosofia (La racionalitat kantiana)”, Enrahonar 32/33, . 81–150.
Höffe, O., Immanuel Kant, Barcelona, Herder, 1986.
KUEHN, M., Kant. A Biography. Cambridge, Cambridge University Press, 2001. Hi ha traducció castellana: Trad. cast.: Madrid, Acento Editorial, 2004).
RENAUT, A., Kant ajourd’hui. Paris, Aubier, 1997; reed. “Champs–Flammarion”, 1999.
SCRUTON, R., Kant, Oxford University Presss, 2001.
ENRAHONAR, 36 (2004), número extraordinari sobre Kant en el segon centenari.
Bibliography on KU
ARENDT, H., Das Urteilen. Texte zu Kants Polistischer Philosophie, München / Zurich, 1998.
ChÉdin, O., Sur l'esthétique de Kant et la théorie critique de la représentation. Paris, Vrin, 1982.
Cohen, T. amb Guyer, p. (ed.) Essays in Kant's Aesthetics. Chicago & London, University of Chicago Press, 1982.
CRAWFORD, P., The kantian Sublime. From Morality to Art. Oxford – New York, 1989.
DUFFLO, C., La finalité dans la nature. De Descartes a Kant. París, PUF, 1996.
DUMOUCHEL, D., Kant et la genèse de la subjectivité esthétique. Esthétique et philosophie avant la critique de la faculté de juger. Paris, Vrin, 1999.
GIBBONS, S. Kant's Theory of Imagination. Bridging Gaps in Judgement and Experience. Oxford, Clarendon Press, 1994.
GINSBORG, H., The Role of Taste in Kant’s Theory of Cognition. New York – London, Garland, 1990.
Guillermit, L., L'élucidation critique du jugement de goût selon Kant. Paris, Éditions du Centre National de la Recherche Scientifique, 1986.
GUYER, P.(ed.), Essays in Kant’s Aesthetics. Chicago, Chicago University Press, 1982.
GUYER, P. Kant and the Claims of Taste. Cambridge Mass., – London, Harvard University Press, 1979.
GUYER, P., Kant and the Experience of Freedom. Essays on Aesthetics and Morality. Cambridge, Cambridge University Press, 1993.
JAQUES, J., “Introducció” a KU. Barcelona, Edicions 62, 2004.
“Sobre latraducció del terme Urteilskraft ”, Enrahonar 36. Bicentenari de la mort d’Immanuel Kant. Pels camins de la raó crítica. (127–138), 2004. UAB, Servei de Publicacions
--- , “Memoria de una traducción. Sobre la versión catalana de la Kritik der Urteilskraft de Immanuel Kant ”. Ontology Studies, 2006, pp. 249–257
--- , “El sentido estético”, Disturbis 3 http://www.disturbis.net, 2008.
--- , “Kant’s Aesthetic Reading of Aristotle’s Philia: Disinterestedness and the Mood of the Late Enlightenment”. Revista de FilosofiaVI, pp.57-68, 2012. http://revistas.ucm.es/index.php/RESF/article/view /41068
KEMAL, S., Kant and Fine Art. Essays on Kant and the Philosophy of Fine Art and Culture. Oxford, Clarendon Press, 1986.
KERN, A., Schöne Lust. Eine Theorie der ästhetischen Erfahrung nach Kant. Suhrkamp Taschenbuch Wissenshaft, Berlin 1998.
KERSZBERG, P., Kant et la nature. La nature à l’épreuve de la critique. París, Les Belles Lettres, 1999.
KOGAN, J., La estética de Kant y sus fundamentos metafísicos. Buenos Aires, EUDEBA, 1965.
KULEMKAMPF, J., Kants Logik des ästhetischen Urteils. Frankfurt am main, Vittorio Klostermann, 1994.
KULEMKAMPF, J. (ed.), Materialen zu “Kants Kritik der Urteilskraft”, Frankfurt am Main,Suhrkamp, 1974.
LEBRUN, G., Kant et la mort de la métaphisique (Essai sur la “Critique de la faculté de juger”). Paris, Armand Collin, 1970.
LÓPEZ MOLINA, A. M., Razón pura y juicio reflexionante en Kant. Madrid, Universidad Complutense, 1983.
MAKKREEL, R. A., Imagination and interpretation in Kant. The Hermeneutical Import of the Critique of Judgement. Chicago –London, The University of Chicago Press, 1990.
McCLOSKEY, M., Kant’s Aesthetics. New York, Macmillan, 1987.
McMILLAN, R. A. C., The Crowing Phase of the Critical Philosophy (A Study in Kant’s “Critique of Judgement”). New York, Garland, 1970.
MartÍnez Marzoa, F., Desconocida raíz común. Estudio sobre la teoría kantiana de lo bello, Madrid, Visor, 1987.
MUMBRÚ, Àlex, Esquema, símbolo, tipo. Barcelona, ed. Comares, 2022.
PARRET, H. (ed.), Kants Ästhetik / Kant’s Aesthetics / L’esthétique de Kant. Berlin, Walter de Gruyter, 1998.
PavÓn, M., Objetividad y juicio en la crítica de Kant. Sevilla, Servicio de publicaciones de la Universidad, 1988.
Rind, M., “The Concept of Disinterestedness in Eighteenth-Century British Aesthetics”. Journal of the History of Philosophy, vol. 40, no. 1 (2002), pp. 67-87.
RODRÍGUEZ ARAMAYO, R., y VILAR, G. (ed.), En la cumbre del criticismo (Simposio sobre la “Crítica del Juicio”de Kant), Barcelona, Anthropos, 1992.
Schaper, E. Studies in Kant's Aesthetics. Edinburg, Edinburgh University Press, 1979.
SOURIAU, M., Le jugement refléchissant dans la philosophie critique de Kant. Paris, Alcan, 1926.
STOLNITZ, J., “On the Origins of ‘Aesthetic Disinterestedness’, The Journal of Aesthetics and Art Criticism, vol. 20, no. 2 (winter 1961), pp. 131-143.
VILLACAÑAS, J. L. (ed.), Estudios sobre la “Crítica del Juicio”. Madrid, Visor, 1990.
Estudis sobre KrV
Allison, h. E., Kant's Transcendental Idealism. New Haven, Yale University Press, 1983 Hi ha traducció castellana: El idealismo trascendental de Kant. Una interpretación y defensa. Barcelona: Anthropos y Universidad Autónoma Metropolitana de México.
JAQUES, J., \"La revolución copernicana de Kant: la fundación de una metafísica relacional relativista”, Themata 34, 2005
Longuenesse, B., Kant et le pouvoir de juger: sensibilité et discursivité dans l'analytique transcendentale de la «critique de la raison pure», Paris, PUF, 1993.
MARTÍNEZ MARZOA, F., Releer a Kant. Madrid, Anthropos, 1989.
montero, f. El empirismo kantiano. Valencia: Departamento de Historia de la filosofia de la Universidad de Valencia, 1973.
Strawson, P., The Bounds of Sense. An Essay on Kant's Critique of Pure Reason. London, Methuen and Co., 1996. Hi ha traducció castellana: Los límites del sentido. Ensayo sobre la «Crítica de la razón pura» de Kant . Madrid, Biblioteca de la Revista de Occidente.
TURRÓ, S., Tránsito de la naturaleza a la historia en la filosofía de Kant, Barcelona — Iztapalpa, Anthropos, 1996.
Software
No especific software required.
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 1 | Catalan | second semester | morning-mixed |
| (SEM) Seminars | 1 | Catalan | second semester | morning-mixed |