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Learning outcomes |
The general objectives of this course unit are: to understand aesthetics through the epistemological specificity of its object and its critical implications; to survey the principal questions and concepts and to examine the main conceptions in the history of aesthetics.
By the end of the course, the student should have acquired:
knowledge in the field of aesthetic theory — what it is, its scope of application, and its mode of operation — enabling the formulation of a clear and concise characterization of philosophical aesthetics;
skills in the written and oral development of commentary and synthesis exercises concerning the fundamental aspects of the authors studied;
competences aimed at determining the relevance of aesthetic theories for the aesthetic analysis of the value of the work of art, such that this analysis allows for the opening of new aesthetic perspectives.
If you would like, I can also adapt it to sound more aligned with UK academic phrasing, US syllabus style, or Bo
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Main Bibliography |
Benjamin, W. (2006). A Modernidade. Assírio e Alvim.
Blanché, R. (1979). Des catégories esthétiques. Vrin.
Cassirer, E. (1994). A filosofia do iluminismo. Unicamp.
Costa, C. C., S. (2001). Tópica estética: filosofia, música, pintura. IN-CM.
Dufrenne, M. (1953). Phénoménologie de l’expérience esthétique. PUF.
Gaut, B. and Lopes, D. M. (2001). The Routledge Companion to Aesthetics. https://monoskop.org/images/0/03/Lopes_Dominic_Gaut_Berys_The_Routledge_Companiom_2001.pdf
Heidegger, M. (1983). A proveniência da Arte e a determinação do Pensar.[“Die Herkunft der Kunst und die Bestimmung des Denkens”] (pp. pp. 135-149). Vittorio Klostermann.
Kant (1992). Crítica da faculdade do juízo [Kritik der Urteilskraft, 1790]. Imprensa Nacional-Casa da Moeda.
Llano, A. (1989). La nueva sensibilidad. Espasa-Calpe.
Lyotard, J.-F. (1988). L’Inhumain, causeries sur le temps. Éditions Galilée.
Platão (2000). Hípias Maior. Ed. 70.
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