(in Polish) Aesthetics - Workshop 430-ERA-1AWS
General academic course
Full-time studies
Erasmus+ subject
Disciplinei: humanities: philosophy
Summer semester
Students have to communicate fluently in English and have basic knowledge of contemporary culture.
30 academic hours/practical classes
Working methods: workshop, multimedia presentations, class discussion, visiting art galleries (on line - Seppo platform).
ECTS: 5
Activities:
– class participation – 30 hours;
– preparation for class– 50 hours;
– preparing for assignments – 35 hours;
– consultations – 10 hours.
Mode
Prerequisites (description)
Type of course
Learning outcomes
1. (KA6_WG1) Student has a basic knowledge about aesthetic reflection in understanding of art and culture.
2.(KA6_UW2, KA6_UK4) Student can use aesthetic categories in interpreting art and analyzing socio-cultural reality.
3. (KA6_KR3) Student can present their understanding of art with respect for different views.
Assessment criteria
Credits: active class participation, reading literature, preparation for classes, oral presentation.
One absence is allowed. In the case of more absences, student should immediately discuss it during the consultation. Unauthorized absence of more than 50% makes it impossible to get course credit.
Bibliography
• “Contemporary Aesthetics”, http://www.contempaesthetics.org/newvolume/pages/journal.php
• Barret Terry, 1994, Principles for Interpreting Art, „Art Education”, Vol. 47, No. 5, Interpretation, pp. 8-13, http://terrybarrettosu.com/wp-content/uploads/2017/08/Barrett-1994-Principles-for-Interpreting-Art.pdf
• Barrett Terry, 2002, Interpreting Art: Building Communal and Individual Understandings, [In:] Yvonne Gaudelius, Peg Speirs (eds.), Contemporary Issues in Art Education, NJ: Prentice Hall, pp. 291-300, https://www.academia.edu/34413776/Interpreting_Art_Building_Communal_and_Individual_Understandings
• Bauman Z., 2010, Perpetum mobile, “Critical Studies in Fashion & Beauty”, Volume 1, Number 1, 1 October 2010, pp. 55-63(9).
• Berger John, 1972, Ways of Seeing, London: Penguin Books, pp. 7-10; 45-55, http://monoskop.org/images/9/9e/Berger_John_Ways_of_Seeing.pdf.
• Brady Emily, 2012, Smells, Tastes, and Everyday Aesthetics, In: David M. Kaplan (eds.), The Philosophy of Food, University of California Press, pp. 69-86.
• Carolyn Korsmeyer, 2019, Aesthetic Value, Art, and Food, In: David M. Kaplan (eds.), Encyclopedia of Food and Agricultural Ethics, Springer, pp. 20-26.
• Hagman, George, 2005, Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal, In: Contemporary Psychoanalytic Studies, 5. Rodopi.
• Kilbourne Jean (director), 2010, Killing us Softly 4. Advertising’s Image of Women, USA, https://www.youtube.com/watch?v=lxYcaFzVX08
• Nishimura Kiyokazu, 2011, The aesthetics of Smell and Taste for the Appreciation of Landscape, “Journal of the Faculty of Letters”, Vol. 36, pp. 37-40.
• Siebel Newsom Jennifer (director), 2011, Miss Representation, USA.
• Simmel Georg, 1957, Fashion, „The American Journal of Sociology”, Vol. 62, No. 6, pp. 541-558, https://sites.middlebury.edu/individualandthesociety/files/2010/09/Simmel.fashion.pdf
• Thomasson Amie, 2012, Roman Ingarden: 3.3 Aesthetic Objects and Aesthetic Values, [In:] Edward N. Zalta (ed.), The Stanford Encyclopedia of Philosophy, Stanford: Stanford University http://plato.stanford.edu/archives/fall2012/entries/ingarden/.
• Winterson Jeanette, Art. Objects: Essays on Ecstasy and Effrontery [excerpt from the book]: http://www.jeanettewinterson.com/book/art-objects/extract/
• Wolf Naomi, 2006, The Beauty Myth, In: Sonia Maasik, Jack Solomon (eds.), Signs of Life in the U.S.A. Readings on Popular Culture for Writers, Boston: Bedford, pp. 486-494.
Additional information
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: