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PHI 220 Syllabus

This document provides information about an aesthetics course titled PHI 220/02. It lists the course details including the instructor's name and contact information, required materials, course content, course method, assignments, grading breakdown, and course schedule. The course will discuss classic works in the philosophy of art, with a focus on writing and the literary arts. Students will complete short writing assignments, two five-page papers, and a final revised paper. Grades will be based on attendance, short papers, a final paper, and a final exam. The course will cover philosophers from Plato to Danto and their views on interpreting art, beauty, creativity, and what defines a work of art.

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107 views

PHI 220 Syllabus

This document provides information about an aesthetics course titled PHI 220/02. It lists the course details including the instructor's name and contact information, required materials, course content, course method, assignments, grading breakdown, and course schedule. The course will discuss classic works in the philosophy of art, with a focus on writing and the literary arts. Students will complete short writing assignments, two five-page papers, and a final revised paper. Grades will be based on attendance, short papers, a final paper, and a final exam. The course will cover philosophers from Plato to Danto and their views on interpreting art, beauty, creativity, and what defines a work of art.

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Γγγγηξ Φφγηξξβ
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PHI 220/02 Aesthetics TTh 10:00-11:15

Prof. Vessey MAK BL-110


MAK B-3-201 Office hours: 3:45-5:00TTh
331-3158 2:00-3:00 F, and by Appt

Required Materials:
Cahn and Meskin, Aesthetics (Blackwell)
A number of handouts that will be posted on Blackboard.

Course Content:
Questions in the philosophy of art are some of the most provocative in all philosophy. We will be
reading classic works from the history of philosophy asking questions about interpreting the meaning
of artworks, the nature of beauty, the possibility of objective judgment of works of art, the relations
between art and reality, between creativity and reason, between art and life, and whether just any
object could become a work of art. Because this version of the class fulfills the SWS requirement, we
will focus particularly on the literary arts and the nature of writing—the history of the development
of writing; the cognitive development associated with the shift from an oral to a literate culture; the
neurophysiology of writing; the artistic status of poetry; whether writing is gendered; and the
question of graffiti as art.

Course Method:
The course will be a combination of lecture and discussion. Every Tuesday we will be discussing a
classic work in the philosophy of art; every Thursday we will be focused on writing. Since discussion
is not reproducible and there are a number of in class writing activities, attendance and participation
is a crucial part of the class. The daily attendance/participation grade is: F-not in class; D-in class
unprepared; C-in class, prepared, not participating in discussion; B-in class, prepared, participating in
discussion; A-in class, prepared, significantly contributing to the discussion. Over four absences will
result in the student’s final grade being cut in half, so the highest possible final grade would be a C.
There will be a number of in class writing activities—some handed in, some not, as well as
short writing assignments outside class. The writing and editing activities will cumulate in two five
page papers, one on the general topic of how to interpret and evaluate art, one on the topic of what
counts as a work of art. One of these two will be significantly rewritten as a final paper due at the
time of the final exam. A minimal requirement for university level papers is that they are typed,
double-spaced, 12 pt Times or Times/New Roman font, with 1 inch margins. They should also be
proofread carefully for typos. A typo policy applies to all papers: the grade on the papers will be
lowered one grade (for example, from an A- to a B+) for every four typos. Typos include
grammatical errors, spelling errors, improper use of gendered pronouns, and failure to properly cite a
quotation. Failure to cite differs from plagiarism. Plagiarism is a sign that the student has lost his or
her sense for the point of going to college. The student will, at least, get a zero for the assignment and
the violation will be reported to the Dean of Students Office. The expectation is that the student will
drop the class. There will be a final exam over the views of the philosophers read.
This course is designated SWS. Completion of WRT 150 with a grade of C or better (not C-)
is a prerequisite for receiving SWS credit in this class. Because they distract from the discussion,
computers are not allowed in the classroom.
If you have any disabilities that require special accommodation you should speak with Prof.
Vessey as soon as possible at the beginning of the term.
Grade Breakdown:
Attendance and Participation: 30%
Short Papers: 40%
Final Paper: 20%
Final Exam: 10%

Course Schedule

1. Jan. 11 Introductions
2. Jan. 13 Plato–Interpreters and performers
Reading: Plato’s The Ion in Cahn/Meskin, 16-23.

3. Jan 18 Plato – Art and society


Reading: from Plato’s The Republic in Cahn/Meskin, 24-33.
4. Jan 20 Language, style, and politics
Reading: George Orwell, “Politics and the English Language”

5. Jan 25 Plotinus—The metaphysics of beauty


Reading: Plotinus’ “Ennead I vi, On Beauty” in Cahn/Meskin, 57-63.
6. Jan 27 Responsibility of writers?
Reading: Robert Louis Stevenson’s “The Morality of the Profession of
Letters”

7. Feb 1 Hume— A distinctive aesthetic sense?


Reading: “Of the Standard of Taste” in Cahn/Meskin, 103-112.
8. Feb 3 Writing philosophically
Reading: “Harvard Guide to Philosophical Writing”
and Piper’s “Ten Common Mistakes”

9. Feb 8 G.H. Lessing—How does poetry relate to the other arts?


Reading: from Lessing’s Laocoön in Cahn/Meskin, 123-130
10. Feb 10 How to write poetry
Reading: Stafford, “A Way of Writing”; from Hugo’s Triggering Town

11. Feb 15 Kant—The nature of aesthetic judgment


Reading: from Kant’s Critique of Judgment in Cahn/Meskin, 131-144.
12. Feb 17 The neurophysiology of writing
Reading: from Flaherty’s Midnight Disease

13. Feb 22 Kant—The artistic genius


Reading: from Kant’s Critique of Judgment in Cahn/Meskin, 144-156.
14. Feb 24 The importance of originality in art
Reading: Letham, “Ecstacy of Influence”
15. March 1 Hegel—Does art progress?
Reading: from Hegel’s Lectures on Art in Cahn/Meskin, 180-192.
16. March 3 The cognitive consequences of literacy
Reading: Goody, “Consequences of Literacy”

SPRING BREAK

17. March 15 Tolstoy—Art as emotional communication


Reading: Tolstoy’s “What is Art?” in Cahn/Meskin, 233-242.
18. March 17 The evolutionary roots of language and art.
Reading: Deacon, “The Aesthetic Faculty”

19. March 22 Bell—Does the content matter for art?


Reading: Bell’s “Art” in Cahn/Meskin, 261-269.
20. March 24 Beardsley—Do the author’s intentions mater for interpretation?
Reading: Wimsatt and Beardsley, “The Intentional Fallacy”
in Cahn/Meskin, 547-555.

21. March 29 Dewey—Art as a form of Experience


Reading: from Dewey’s Art as Experience in Cahn/Meskin, 296-316.
22. March 31 No Class/Listening Assignment

23. April 5 Gadamer—Poetic language


Reading: Gadamer’s “On the Contribution of Poetry to the Search for Truth”
24. April 7 Woman’s writing?
Reading: Cixous, “The Laugh of the Medusa”

25. April 12 Danto—Can anything be a work of art?


Reading: Danto’s “The Artworld” in Cahn/Meskin, 417-425.
26. April 14 Language use in the visual arts
Reading: Artlink Editorial, “The Word as Art”

27. April 19 Is graffiti art?


Reading: Mailer’s “The Faith of Graffiti”
28. April 21 Evaluations/Review for Final

Wed. April 27th 8:00am FINAL EXAM/Final Revision due

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