Philosophy
We recommend you purchase the book,which also comes with the full online access: MLA Handbook for Writers of Research Papers,7th Edition. ISBN-13: 860-1200663914 / ISBN-10: 1603290249
please submit a preliminary statement on your final paper.
Your Final Paper proposal should consist of a one-page document clearly indicating:
Topic of your proposed paper (consider final paper has to be between 12 and 15 pp long, so make it manageable!);
Main question;
Possible argument/thesis to pursue that intertextually relates Kant, Hegel, Marx, and/or Freud to selected Art in Theory readings 2003, Harrison & Wood;
Main points of evidence/reference (at least three texts – max five – chosen from the Art in Theory book, and at least one key text chosen from either Kant, Hegel, Marx, Nietzsche, or Freud);
You may include artists or artworks not mentioned in the texts, but no external written texts.
Your proposal should be uploaded through Assignments in Canvas. Submitted documents must be titled according to the following format:
Please use a Times New Roman or serif font, point 12, double-spaced, leaving a 1” margin on top and bottom, and 1” on right and left sides. No other fonts or formats are acceptable. Make sure all your documents (including drafts) are editable: files should have a word .doc or .docx extension – no .pdf. Clearly mark your name, seminar and assignment on the front page of your document, and number your pages.
To summarize:
Give us the topic.
Imagine that these people sat down with one another and began discussing this topic. What would they agree about, what would they disagree about (provide a few key quotes that help to substantiate this).
Use the disagreement as a basis for formulating your question.
Suggest a possible answer to the question (in other words, your thesis).
the paper will be extended to the final dissertation so it has to be a serious
Research.
Kant, Immanuel. The Critique of Judgementv?. Trans. James Creed Meredith. OxfordUniversity Press, 2008. ISBN 10: 0199552460 / ISBN 13: 9780199552467There is an online e-book available here (please be aware that some chapters aremissing from this online version, so you need to purchase the printed book in any
case): https://ebooks.adelaide.edu.au/k/kant/immanuel/k16j/
v?Read Preface, Introduction, and “The Analytic of the Beautiful” in Part I; and §25(pp. 78-??81), §28 (pp. 90-??94), §43-??54 (pp. 132-??164) from “The Analytic of the
Sublime.”
Hegel, Georg Wilhelm Friedrich. Introductory Lectures on Aesthetics. Ed. MichaelInwood (Introduction). Trans. Bernard Bosanquet. Penguin Classics. ISBN: 0-14-043335-Xhttps://www.amazon.com/Introductory-Lectures-Aesthetics-Penguin-Classics/dp/014043335X
Marx, Karl. Das Kapital, Capital Vol 1. Trans. B. Fowkes, E. Mandel. London:
PenguinClassics, 1990. (ISBN 978 0 140 44568 8) ?
?Read Chapter 1, “The Commodity.”
Nietzsche, Friedrich Wilhelm. The Birth of Tragedy and Other Writingsv?. Ed.Raymond Geuss. Trans. Ronald Speirs. Cambridge, U.K.: Cambridge UniversityPress, 1999.
Gay, Peter. The Freud Readerv?. Norton, 1995.ISBN 978-0-393-31403-8https://books.wwnorton.com/books/detail.aspx?id=13114&LangType=1033
v?Read:
-From the History of an Infantile Neurosis (“Wolf Man”), 400-426 -Totem and Taboo, 481-513 -The Ego and the Id, 628-658 -Civilization and Its Discontents, 722-772
Harrison & Wood, Eds. Art in Theory 1900-2000v?. Oxford: Blackwell Publishing,2003.
Selected Readings:
Week 6: Form and Formalism(s) – [Kant] (October 10-16)
Fry, “An Essay in Aesthetics” 1909 75-82
Croce, “What Is Art?” 1913 102-107
Bell, “The Aesthetic Hypothesis” 1914 107-110
Mondrian, from Neo-Plasticism: The General Principle… 1920-21 289-292
Ortega y Gasset, “from The `Dehumanization of Art” 1925 323-331Greenberg, “Avant-Garde and Kitsch” 1939 539-549
Newman, “The Sublime Is Now” 1948 580-582Adorno, from “Commitment” 1962 779-783
Judd, “Specific Objects” 1965 824-828Fried, “Art and Objecthood” 1967 835-846
Kosuth, “Art After Philosophy” 1969 852-860
Krauss, “The Originality of the Avant-garde” 1981 1032-1037Week 7: Content & Historicity – [Hegel] (October 17-23)
Week 7: Content & Historicity – [Hegel] (October 17-23)
Kandinsky, from Concerning the Spiritual in Art 1911 82-89
Gropius, “The Theory and Organization of the Bauhaus” 1923 309-314
Lukács, “‘Tendency’ or Partisanship?” 1932 413-417
Greenberg, “Towards a Newer Laocoon” 1940 562-568
Motherwell, “The Modern Painter’s World” 1944 643-645
Sartre, from Existentialism and Humanism 1946 600-602
Sartre, “The Search for the Absolute” 1948 611-616
Merleau-Ponty, from “Eye and Mind” 1961 767-771
Fried, “from Three American Painters” 1964 797-793Smithson, “A Sedimentation of the Mind” 1968 877-881
Beuys, “Not Just a Few Are Called, but Everyone” 1972 903-906
Week 8: Materialism & Ideology – [Marx] (October 31-November 6)
Weber, “Asceticism and the Spirit of Capitalism” 1905 136-137
Lenin, “Party Organization and Party Literature” 1905 138-141
Siqueiros et al., “A Declaration of Social…” 1922 406-407
Hitler, “Great Exhibition of German Art” 1937 439-441
Trotsky, from Literature and Revolution 1932-33 442-447
Benjamin, “The Author as Producer” 1934 493-499
Benjamin, “Art in the Age of Mechanical Reproduction” 1936 520-527
Adorno, Letter to Benjamin 1936 527-529
Lukács, “The Ideology of Modernism” 1958 683-686
Barthes, from “Myth Today” 1956 693-698
McLuhan, from Understanding Media 1964 754-757
Burgin, “Situational Aesthetics” 1969 894-896
Ukeles, “Maintenance Manifesto” 1969 917-919
Export, “Woman’s Art” 1972 927-929
Althusser, “Ideology and Ideological State Apparatuses” 1970 953-960
Baudrillard, “Ethic of Labor, Aesthetic of Play” 1973 979-982
Week 9: Critique of Culture – [Nietzsche] (November 7-13)
Bergson, from Creative Evolution 1907 141-144
Marinetti, “The Foundation and Manifesto of Futurism” 1909 146-149
Duchamp, “The Richard Mutt Case” 1917 252
Tristan Tzara, “Dada Manifesto 1918” 252-257
Blok, “The Decline of Humanism” 1918 263-265
Rothko, “The Romantics Were Prompted …” 1947 571-573
Newman, “The First Man Was an Artist” 1947 574-577
Rosenberg, from “The American Action Painters” 1952 589-592
Debord, from the Situationist International 1957-61 701-707
Kaprow, from Assemblages and Happenings 1959-61 717-722
Williams, “The Analysis of Culture” 1961 729-734
Cage, “On Robert Rauschenberg, Artist, and His Work” 1961 734-737
Warhol, “Interview with Gene Swenson” 1963 747-749
Foucault, “A Lecture” 1976 989-994
Week 10: Critique of Subjectivity – [Freud] (November 14-20)
Freud, “On Dreams” 1901 21-28
Worringer, “from Abstraction and Empathy” 1908 66-69
Jung, “On the Concept of the Archetype” 378-381
Breton, “from the First Manifesto of Surrealism” 1924 447-453
Lacan, “The Mirror-Phase” 1949 620-624Kahlo, “On Moses” 1945 649-652
Mulvey, “from Visual Pleasure and Narrative Cinema” 1973/75 982-989
Krauss, “Notes on the Index, Part I” 1976/7 994-999
Kelly, “Re-viewing Modernist Criticism” 1981 1059-1064
Rose, “Sexuality in the Field of Vision” 1984/85 1072-1076
Kristeva, “Powers of Horror” 1980 1137-1139
