Aesthetics
A.Y. 2024/2025
Learning objectives
The goal of the course is to lend students a theoretical background as regards the essential traits of «Aesthetics» as a philosophical discipline. In particular, the course will provide an introduction to the notion of «aesthetic category» (with a specific focus on «beautiful», «ugly», «sublime», «grotesque» and «kitsch») as well as an analysis of seminal concepts such as «genius», «creativity», «taste» and «reception». From year to year, it will also be possible to examine in depth the question of the relationship between image and reality or the relationship between fiction and reality.
Expected learning outcomes
At the end of the course, students will be able to develop a critical approach to the aesthetic categories discussed and apply the knowledge of these to aspects of the contemporary artistic debate. Students will also have acquired a new perspective on the practical implications of the theoretical results and accordingly they will be able to understand better their relationship with the iconic contemporary environment (visual arts) and with the performing arts in general. Therefore, they will have a greater awareness of the world of art, creation, receptions, and their contradictions and tensions.
Lesson period: Activity scheduled over several sessions (see Course syllabus and organization section for more detailed information).
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course can be attended as a single course.
Course syllabus and organization
(A-M)
Responsible
Lesson period
First semester
Course syllabus
Title: Images, Beliefs, Empathy
The first part will provide a general introduction to aesthetics as a philosophical discipline and its categories. Through a philosophical analysis of the notion of belief, the second part will focus on the study of the relationship between images experienced in documentary and fictional contexts. Finally, the third part will explore the controversial issue of the nature of feelings that can be experienced through fictional images and their relationship to those feelings elicited by images we believe present real occurrences. Emphasis will be given to how these studies can lead us to a better understanding of contemporary artistic experiences.
Part A (20 hrs, 3 cfu): Introduction to Aesthetics and its categories
· The goal of this section is to provide students with knowledge of the essential traits of "aesthetics" as a philosophical discipline
Part B (20 hrs, 3 cfu): Philosophy of Image: between documentary and fiction
· Philosophical introduction to the notions of "documentary" and "fictional" images
· A philosophical approach to the notion of "belief"
· Analysis of the relationship between photographic image and reality
Part C (20 hrs, 3 cfu): Images and emotions: contemporary paradoxes
· Analysis of the relationship between emotions elicited by documentary" and "fictional" images
· Critical discussion of some well-known paradoxes concerning the nature of emotions experienced in fictional contexts
· Analysis of the role emotions plays in artistic experience
The first part will provide a general introduction to aesthetics as a philosophical discipline and its categories. Through a philosophical analysis of the notion of belief, the second part will focus on the study of the relationship between images experienced in documentary and fictional contexts. Finally, the third part will explore the controversial issue of the nature of feelings that can be experienced through fictional images and their relationship to those feelings elicited by images we believe present real occurrences. Emphasis will be given to how these studies can lead us to a better understanding of contemporary artistic experiences.
Part A (20 hrs, 3 cfu): Introduction to Aesthetics and its categories
· The goal of this section is to provide students with knowledge of the essential traits of "aesthetics" as a philosophical discipline
Part B (20 hrs, 3 cfu): Philosophy of Image: between documentary and fiction
· Philosophical introduction to the notions of "documentary" and "fictional" images
· A philosophical approach to the notion of "belief"
· Analysis of the relationship between photographic image and reality
Part C (20 hrs, 3 cfu): Images and emotions: contemporary paradoxes
· Analysis of the relationship between emotions elicited by documentary" and "fictional" images
· Critical discussion of some well-known paradoxes concerning the nature of emotions experienced in fictional contexts
· Analysis of the role emotions plays in artistic experience
Prerequisites for admission
Course attendance does not involve any particular prerequisites since it introduces the main themes of Aesthetics as a philosophical discipline. It requires propensity and passion for the figurative and performing arts and excellent knowledge of the Italian language.
Teaching methods
Lectures based on analysis, synthesis, discussion of philosophical texts, intended to foster students' ability to elaborate a critical point of view on the relevant subjects.
Teaching Resources
Bibliography for attending students
Part A
M. Mazzocut-Mis, Lineamenti di Estetica, Le Monnier, Firenze, 2015.
Part B
C. Rozzoni, Nell'immagine. Realtà, fantasia, esperienza estetica, Le Monnier, Firenze, 2017
R. Barthes, La camera chiara. Nota sulla fotografia, Einaudi, Torino, 2003.
Part C
P. D'Angelo, La tirannia delle emozioni, Il Mulino, Bologna, 2020
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010 (Parte seconda: "Un amore di Swann").
Bibliography for non-attending students:
Part A
M. Mazzocut-Mis, Lineamenti di Estetica, Le Monnier, Firenze, 2015.
E. Franzini, Introduzione all'estetica, Il Mulino, Bologna, 2012
Part B
C. Rozzoni, Nell'immagine. Realtà, fantasia, esperienza estetica, Le Monnier, Firenze, 2017.
R. Barthes, La camera chiara. Nota sulla fotografia, Einaudi, Torino, 2003.
Part C
Aristotele, Poetica (edizione a scelta)
P. D'Angelo, La tirannia delle emozioni, Il Mulino, Bologna, 2020
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010 (possibile anche edizione a scelta),Parte seconda: "Un amore di Swann" Parte prima: "Combray"
Part A
M. Mazzocut-Mis, Lineamenti di Estetica, Le Monnier, Firenze, 2015.
Part B
C. Rozzoni, Nell'immagine. Realtà, fantasia, esperienza estetica, Le Monnier, Firenze, 2017
R. Barthes, La camera chiara. Nota sulla fotografia, Einaudi, Torino, 2003.
Part C
P. D'Angelo, La tirannia delle emozioni, Il Mulino, Bologna, 2020
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010 (Parte seconda: "Un amore di Swann").
Bibliography for non-attending students:
Part A
M. Mazzocut-Mis, Lineamenti di Estetica, Le Monnier, Firenze, 2015.
E. Franzini, Introduzione all'estetica, Il Mulino, Bologna, 2012
Part B
C. Rozzoni, Nell'immagine. Realtà, fantasia, esperienza estetica, Le Monnier, Firenze, 2017.
R. Barthes, La camera chiara. Nota sulla fotografia, Einaudi, Torino, 2003.
Part C
Aristotele, Poetica (edizione a scelta)
P. D'Angelo, La tirannia delle emozioni, Il Mulino, Bologna, 2020
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010 (possibile anche edizione a scelta),Parte seconda: "Un amore di Swann" Parte prima: "Combray"
Assessment methods and Criteria
The exam consists of two written tests at the end of the course (January) addressed only to the participants (according to the registration during the lessons). These are multiple-choice tests on the texts provided for didactic units A, B and C. In place of the written tests, attending students are allowed to opt for taking an oral test (during the dates foreseen for the exam session), which consists of an oral exam on the syllabus topics, aimed at assessing the knowledge and skills acquired. Students who are not attending will have to take an oral test during the dates for the exam session, which consists of an oral exam on the syllabus topics of the didactic units A, B and C (see "Bibliography for not attending students").
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the teacher who holds the course.
The examination modalities for students with disabilities and/or DSA must be agreed with the teacher, complying with the competent Office.
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the teacher who holds the course.
The examination modalities for students with disabilities and/or DSA must be agreed with the teacher, complying with the competent Office.
(N-Z)
Responsible
Lesson period
Second semester
Course syllabus
The course explores the fundamental concepts of aesthetics: judgment of taste, fruition, genius, creativity, with a continuous focus on and interrelation with the figurative, performing, literary and musical arts. The eighteenth-century foundations of aesthetics, which will be analyzed in depth, will serve to contextualize strictly current issues in art. The course also aims to analyze the issue of aesthetic reception. What are the social, cultural and philosophical factors that make aesthetic enjoyment a complex and stratified issue? The spectator is analyzed studying the balance between the genesis of its constitutive variations and the identification of its persistent characteristics. A case study will be addressed through a well-known spectator: Denis Diderot.
Part A (20 hours, 3 CFU): Introduction to Aesthetics and its categories
Part B (20 hours, 3 CFU): What is the 'Sublime'
Part C (20 hours, 3 CFU): A case study: Diderot and the Salons
Part A (20 hours, 3 CFU): Introduction to Aesthetics and its categories
Part B (20 hours, 3 CFU): What is the 'Sublime'
Part C (20 hours, 3 CFU): A case study: Diderot and the Salons
Prerequisites for admission
Course's attendance does not involve any particular prerequisites since it introduces the main themes of Aesthetics as a philosophical discipline. It requires propensity and passion for the figurative and performing arts and excellent knowledge of the Italian language.
Teaching methods
Lectures based on analysis, synthesis, discussion of philosophical texts, intended to foster student's ability to elaborate a critical point of view on the relevant subjects.
Teaching Resources
Bibliography for attending students
Part A
M. Mazzocut-Mis, Lineamenti di Estetica, Le Monnier, 2015.
Part B
M. Mazzocut-Mis, Il senso del limite. Il dolore, l'eccesso, l'osceno, Le Monnier, 2009 (parts indicated in class).
M. Mazzocut-Mis (ed.), L'estetica nella Encyclopédie, Aesthetica Edizioni 2023 (parts indicated in class).
N. Boileau-Despréaux, Del Sublime. Riflessioni critiche su Longino, Morcelliana 2024 (parts indicated in class).
Part C
D. Diderot, I Salons, Bompani, 2021 (parts indicated in class) or M. Mazzocut-Mis (con M. Bertolini, R. Messori, C. Rozzoni, P. Vincenzi), Entrare nell'opera: i Salons di Diderot. Selezione antologica e analisi critica, Mondadori-Le Monnier, 2012 (parts indicated in class).
Bibliography for non-attending students
Part A
M. Mazzocut-Mis, Lineamenti di Estetica, Le Monnier, 2015.
Part B
M. Mazzocut-Mis, Il senso del limite. Il dolore, l'eccesso, l'osceno, Le Monnier, 2009.
M. Mazzocut-Mis (ed.), L'estetica nella Encyclopédie, Aesthetica Edizioni 2023.
M. Mazzocut-Mis, Estetica della fruizione. Sentimento, giudizio di gusto e piacere estetico, Lupetti, 2008.
Part C
D. Diderot, I Salons, Bompani, 2021 (Salons 1761, 1763, 1765 e 1767).
Part A
M. Mazzocut-Mis, Lineamenti di Estetica, Le Monnier, 2015.
Part B
M. Mazzocut-Mis, Il senso del limite. Il dolore, l'eccesso, l'osceno, Le Monnier, 2009 (parts indicated in class).
M. Mazzocut-Mis (ed.), L'estetica nella Encyclopédie, Aesthetica Edizioni 2023 (parts indicated in class).
N. Boileau-Despréaux, Del Sublime. Riflessioni critiche su Longino, Morcelliana 2024 (parts indicated in class).
Part C
D. Diderot, I Salons, Bompani, 2021 (parts indicated in class) or M. Mazzocut-Mis (con M. Bertolini, R. Messori, C. Rozzoni, P. Vincenzi), Entrare nell'opera: i Salons di Diderot. Selezione antologica e analisi critica, Mondadori-Le Monnier, 2012 (parts indicated in class).
Bibliography for non-attending students
Part A
M. Mazzocut-Mis, Lineamenti di Estetica, Le Monnier, 2015.
Part B
M. Mazzocut-Mis, Il senso del limite. Il dolore, l'eccesso, l'osceno, Le Monnier, 2009.
M. Mazzocut-Mis (ed.), L'estetica nella Encyclopédie, Aesthetica Edizioni 2023.
M. Mazzocut-Mis, Estetica della fruizione. Sentimento, giudizio di gusto e piacere estetico, Lupetti, 2008.
Part C
D. Diderot, I Salons, Bompani, 2021 (Salons 1761, 1763, 1765 e 1767).
Assessment methods and Criteria
The exam consists of two written tests at the end of the course (May) addressed only to the participants (according to the registration during the lessons). These are multiple-choice tests on the texts provided for didactic units A, B and C. In place of the written tests, attending students are allowed to opt for taking an oral test (during the dates foreseen for the exam session), which consists of an oral exam on the syllabus topics, aimed at assessing the knowledge and skills acquired. Students who are not attending will have to take an oral test during the dates for the exam session, which consists of an oral exam on the syllabus topics of the didactic units A, B and C (see "Bibliography for not attending students").
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the teacher who holds the course.
The examination modalities for students with disabilities and/or DSA must be agreed with the teacher, complying with the competent Office.
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the teacher who holds the course.
The examination modalities for students with disabilities and/or DSA must be agreed with the teacher, complying with the competent Office.
Professor(s)