180047 VO-L Questions of aesthetics 1: What is art? (2024S)
Labels
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
Details
Language: German
Examination dates
N
Monday
24.06.2024
20:15 - 21:30
Digital
Monday
30.09.2024
20:15 - 21:30
Digital
Saturday
14.12.2024
09:45 - 11:15
Digital
Lecturers
Classes (iCal) - next class is marked with N
Monday
11.03.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
18.03.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
08.04.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
15.04.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
22.04.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
N
Monday
29.04.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
06.05.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
13.05.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
27.05.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
03.06.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
10.06.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Monday
17.06.
20:15 - 21:30
Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Information
Aims, contents and method of the course
Assessment and permitted materials
Final written examination (90 minutes).
The lecture exam is a digital multiple-choice exam with ten partially open questions. Correct partial answers to the MC questions will be counted as long as no additional incorrect distractors have been marked (for reasons of guessing probability). The allocation of marks is as described below (see assessment scale). By registering for this digital examination, you agree to this examination mode.The digital written examination is conducted using Moodle. As a student, you must log in with your u:account to confirm your identity. Additional identification methods are not provided.Attendance count:
By registering for this digital exam, you agree to the exam mode. Each examination entry will be counted as usual.Examination invigilator:
For digital written examinations, at least one competent person will be announced who can be reached digitally immediately before, during and after the examination and who is available to answer questions about the examination and (technical) problems. In the event of technical problems, you can also contact the ZID helpdesk.Exam inspection:
It is also possible to view examinations during online examinations. Students should contact their examiner for this.Cheating:
By participating in the digital written exam, you declare to take it independently and without the help of a third party. The use of the lecture notes marked as HANDOUT and all additional reading offered in Moodle is permitted, but direct quotations must be marked correctly. The examination will be subject to an automatic plagiarism check (Turnitin). Within the assessment period of four weeks, the teacher may ask oral questions about the subject matter of the examination. This can also be done on a random basis and without concrete suspicion of cheating.
The lecture exam is a digital multiple-choice exam with ten partially open questions. Correct partial answers to the MC questions will be counted as long as no additional incorrect distractors have been marked (for reasons of guessing probability). The allocation of marks is as described below (see assessment scale). By registering for this digital examination, you agree to this examination mode.The digital written examination is conducted using Moodle. As a student, you must log in with your u:account to confirm your identity. Additional identification methods are not provided.Attendance count:
By registering for this digital exam, you agree to the exam mode. Each examination entry will be counted as usual.Examination invigilator:
For digital written examinations, at least one competent person will be announced who can be reached digitally immediately before, during and after the examination and who is available to answer questions about the examination and (technical) problems. In the event of technical problems, you can also contact the ZID helpdesk.Exam inspection:
It is also possible to view examinations during online examinations. Students should contact their examiner for this.Cheating:
By participating in the digital written exam, you declare to take it independently and without the help of a third party. The use of the lecture notes marked as HANDOUT and all additional reading offered in Moodle is permitted, but direct quotations must be marked correctly. The examination will be subject to an automatic plagiarism check (Turnitin). Within the assessment period of four weeks, the teacher may ask oral questions about the subject matter of the examination. This can also be done on a random basis and without concrete suspicion of cheating.
Minimum requirements and assessment criteria
The written examination comprises ten questions, each question answered completely correctly is awarded 10 points.
Marking key:
60 points and below: Fail (= 5);
61-70 points: Sufficient (= 4);
71-80 points: Satisfactory (= 3);
81-90 points: Good (= 2);
91-100 points: Excellent (= 1).
Marking key:
60 points and below: Fail (= 5);
61-70 points: Sufficient (= 4);
71-80 points: Satisfactory (= 3);
81-90 points: Good (= 2);
91-100 points: Excellent (= 1).
Examination topics
The material covered in the lecture text (marked as HANDOUT in the Moodle) and the additional reading, which is listed under LITERATURE (see below) and can also be found in the Moodle. The additional reading can be used for the digital online exam. However, citations must be identified.
Reading list
Bell, Clive (1914): Art. London: Chatto & Windus.
Bullough, Edward (1912): „,Psychical Distance‘ as a Factor in Art and an Aesthetic Principle“, British Journal of Psychology V, 87–118.
Croce, Benedetto (2007): „What is Art?“, in: Ders.: Breviary of Aesthetics. Four Lectures [1913], hg. von Remo Bodei und übers. von Hiroko Fudemoto. Toronto: University of Toronto Press, 5–25.
Danto, Arthur C. (2001): „Seeing and Showing“, The Journal of Aesthetics and Art Criticism 59(1), 1–9.
Danto, Arthur C. (2013): „The Future of Aesthetics“, in: Ders.: What Art Is. New Haven u. London: Yale University Press, 135–156.
Dewey, John (1988): „Eine Erfahrung machen“ (= Kapitel III) [1934], in: Ders.: Kunst als Erfahrung. Übers. von Christa Velten. Frankfurt am Main: Suhrkamp, 47–71.
Gombrich, Ernst H. (51985): „Meditations on a Hobby Horse or the Roots of Artistic Form“, in: Ders.: Meditations on a Hobby Horse, and Other Essays on the Theory of Art. Oxford: Phaidon, 1–11.
Gombrich, Ernst (2000): „Truth and Stereotype“ (= Kapitel 2), in: Ders.: Art and Illusion. A Study in the Psychology of Pictorial Representation. The A. W. Mellon Lectures in the Fine Arts, 1956. Bollingen Series XXXV(5). Princeton u. Oxford: Princeton University Press, 63–90.
Goodman, Nelson (2014): „Kunst und Erkenntnis“ [1976], in: Dieter Henrich u. Wolfgang Iser (Hg.): Theorien der Kunst. Frankfurt am Main: Suhrkamp, 569–591. [= dt. Übersetzung des Schlusskapitels von Languages of Art.]
Feagin, Susan L. (1983): „The Pleasures of Tragedy“, American Philosophical Quarterly 20(1), 95–104.
Houlgate, Stephen (2013): „Hegel, Danto and the ,end of art‘“, in: John Walker (Hg.): The Impact of Idealism. The Legacy of Post-Kantian German Thought. Vol. III: Aesthetics and Literature. Hg. der Buchserie: Nicholas Boyle, Liz Disley, Christoph Jamme u. Ian Cooper. Cambridge: Cambridge University Press, 264–292.
Hume, David (1997): „Über den Maßstab des Geschmacks“, in: Ders.: Vom schwachen Trost der Philosophie. Essays. Auswahl, Übersetzung und Nachwort von Jens Kulenkampff. Göttingen: Steidl, 73–103.
John, Eileen (2019): „Artistic Value and Opportunistic Moralism“ [2006], in: Peter Lamarque u. Stein Haugom Olsen (Hg.): Aesthetics and the Philosophy of Art – The Analytic Tradition. An Anthology. Hoboken, NJ: John Wiley & Sons, 258–265.
Kennick, William E. (1958): „Does Traditional Aesthetics Rest on a Mistake?“, Mind 67(267), 317–334.
Kristeller, Paul Oskar (1990): „The Modern System of the Arts“ [1952], in: Ders.: Renaissance Thought and the Arts. Expanded Edition. Princeton: Princeton University Press, 163–227.
Lopes, Dominic McIver (2014): „Much Ado About Art“, in: Ders.: Beyond Art. Oxford: Oxford University Press, 185–202.
Majetschak, Stephan (2005): „Was sind und worüber sprechen ästhetische Urteile? Zur semantischen Struktur des Kunsturteils und des Kunstwerkes“, in: Gertrud Koch u. Christiane Voss (Hg.): Zwischen Ding und Zeichen. Zur ästhetischen Erfahrung in der Kunst. München: Fink, 165–186.
Seel, Martin (2007): „Über die Reichweite ästhetischer Erfahrung“, in: Ders.: Die Macht des Erscheinens. Texte zur Ästhetik. Frankfurt am Main: Suhrkamp, 56–66.
Serpell, Namwali (2019): „The Banality of Empathy“, New York Review of Books. Online unter: <https://www.nybooks.com/daily/2019/03/02/the-banality-of-empathy/>.
Steinberg, Leo (2007): „Contemporary Art and the Plight of its Public“ [1962], in: Ders.: Other Criteria. Confrontations with Twentieth-Century Art. Chicago u. London: University of Chicago Press, 3–16.
Tolstoi, Lew (1902): Was ist Kunst? [1898], übersetzt von Michael Feofanoff. Leipzig: Diederichs.
Walton, Kendall L. (2008b): „Pictures and Hobby Horses. Make-Believe beyond Childhood“, in: Ders.: Marvelous Images. On Values and the Arts. Oxford: Oxford University Press, 63–78.
Weitz, Morris (1956): „The Role of Theory in Aesthetics“, The Journal of Aesthetics and Art Criticism 15(1), 27–35.
Bullough, Edward (1912): „,Psychical Distance‘ as a Factor in Art and an Aesthetic Principle“, British Journal of Psychology V, 87–118.
Croce, Benedetto (2007): „What is Art?“, in: Ders.: Breviary of Aesthetics. Four Lectures [1913], hg. von Remo Bodei und übers. von Hiroko Fudemoto. Toronto: University of Toronto Press, 5–25.
Danto, Arthur C. (2001): „Seeing and Showing“, The Journal of Aesthetics and Art Criticism 59(1), 1–9.
Danto, Arthur C. (2013): „The Future of Aesthetics“, in: Ders.: What Art Is. New Haven u. London: Yale University Press, 135–156.
Dewey, John (1988): „Eine Erfahrung machen“ (= Kapitel III) [1934], in: Ders.: Kunst als Erfahrung. Übers. von Christa Velten. Frankfurt am Main: Suhrkamp, 47–71.
Gombrich, Ernst H. (51985): „Meditations on a Hobby Horse or the Roots of Artistic Form“, in: Ders.: Meditations on a Hobby Horse, and Other Essays on the Theory of Art. Oxford: Phaidon, 1–11.
Gombrich, Ernst (2000): „Truth and Stereotype“ (= Kapitel 2), in: Ders.: Art and Illusion. A Study in the Psychology of Pictorial Representation. The A. W. Mellon Lectures in the Fine Arts, 1956. Bollingen Series XXXV(5). Princeton u. Oxford: Princeton University Press, 63–90.
Goodman, Nelson (2014): „Kunst und Erkenntnis“ [1976], in: Dieter Henrich u. Wolfgang Iser (Hg.): Theorien der Kunst. Frankfurt am Main: Suhrkamp, 569–591. [= dt. Übersetzung des Schlusskapitels von Languages of Art.]
Feagin, Susan L. (1983): „The Pleasures of Tragedy“, American Philosophical Quarterly 20(1), 95–104.
Houlgate, Stephen (2013): „Hegel, Danto and the ,end of art‘“, in: John Walker (Hg.): The Impact of Idealism. The Legacy of Post-Kantian German Thought. Vol. III: Aesthetics and Literature. Hg. der Buchserie: Nicholas Boyle, Liz Disley, Christoph Jamme u. Ian Cooper. Cambridge: Cambridge University Press, 264–292.
Hume, David (1997): „Über den Maßstab des Geschmacks“, in: Ders.: Vom schwachen Trost der Philosophie. Essays. Auswahl, Übersetzung und Nachwort von Jens Kulenkampff. Göttingen: Steidl, 73–103.
John, Eileen (2019): „Artistic Value and Opportunistic Moralism“ [2006], in: Peter Lamarque u. Stein Haugom Olsen (Hg.): Aesthetics and the Philosophy of Art – The Analytic Tradition. An Anthology. Hoboken, NJ: John Wiley & Sons, 258–265.
Kennick, William E. (1958): „Does Traditional Aesthetics Rest on a Mistake?“, Mind 67(267), 317–334.
Kristeller, Paul Oskar (1990): „The Modern System of the Arts“ [1952], in: Ders.: Renaissance Thought and the Arts. Expanded Edition. Princeton: Princeton University Press, 163–227.
Lopes, Dominic McIver (2014): „Much Ado About Art“, in: Ders.: Beyond Art. Oxford: Oxford University Press, 185–202.
Majetschak, Stephan (2005): „Was sind und worüber sprechen ästhetische Urteile? Zur semantischen Struktur des Kunsturteils und des Kunstwerkes“, in: Gertrud Koch u. Christiane Voss (Hg.): Zwischen Ding und Zeichen. Zur ästhetischen Erfahrung in der Kunst. München: Fink, 165–186.
Seel, Martin (2007): „Über die Reichweite ästhetischer Erfahrung“, in: Ders.: Die Macht des Erscheinens. Texte zur Ästhetik. Frankfurt am Main: Suhrkamp, 56–66.
Serpell, Namwali (2019): „The Banality of Empathy“, New York Review of Books. Online unter: <https://www.nybooks.com/daily/2019/03/02/the-banality-of-empathy/>.
Steinberg, Leo (2007): „Contemporary Art and the Plight of its Public“ [1962], in: Ders.: Other Criteria. Confrontations with Twentieth-Century Art. Chicago u. London: University of Chicago Press, 3–16.
Tolstoi, Lew (1902): Was ist Kunst? [1898], übersetzt von Michael Feofanoff. Leipzig: Diederichs.
Walton, Kendall L. (2008b): „Pictures and Hobby Horses. Make-Believe beyond Childhood“, in: Ders.: Marvelous Images. On Values and the Arts. Oxford: Oxford University Press, 63–78.
Weitz, Morris (1956): „The Role of Theory in Aesthetics“, The Journal of Aesthetics and Art Criticism 15(1), 27–35.
Association in the course directory
Last modified: Tu 05.03.2024 17:46
-
The contents of this VO-L will be developed in the form of a flipped classroom system: Students read the texts of the lecture units independently in advance and formulate their own questions; in weekly meetings in the lecture hall, the respective material of the unit is then discussed on the basis of these questions. - This form of teaching is explained in the first unit, so you do not need to read any texts in advance of the first lecture unit.