Department of Art Module aims: One of the main aims of the module

Department of Art
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Education of Art /Fine Art
Bachelor’s / ‘Licentiate’
The History of Ideas and Theories of Aesthetics
08.1-WA-EASP-HIDE
Core module
A basic knowledge of philosophy, history, and the history of art.
Polish
Artur Pastuszek, PhD
Artur Pastuszek, PhD
Lectures
60
2
1, 2
Achievement of a ‘pass’ grade in the end-of-module exam
10
Module aims:
One of the main aims of the module is to examine art through the use of concepts aesthetics and to
examine how such a view may or may not differ from other theories of art. The potential of aesthetics as
a critical tool will also be covered, as will theories of Post-modern phenomenology, semiotics,
hermeneutical aesthetics, iconology, and iconography. How is ‘art’ to be defined? Is there even a
definition of ‘art’? Is it useful to draw distinctions between different ‘periods’ or styles of art? What are
the differences and where is there, if at all, a divinding line between creativity and rules in the creation
of a piece of ‘art’? What are the key aesthetic values? What gives a work of art its status? These are all
questions that the module will cover. Issues regarding the problem of beauty – How is ‘beauty’ to be
defined? What is ‘beauty’? What are ‘harmony’ and ‘symmetry’? – and relativism, concerning the problem
of beauty: a classical definition of beauty (harmony, symmetry) and its relativism. Beauty as a quality ans
its essential justification; modern polarisation of the extent of beauty and sublimity. Theories of
aesthetical experiences. Problems connected with the interpretation of the work of art.
Artistic doctrines of the Ancient times-Heraklit, Demokryt, Pythagoreans, Sophists, Socrates, Plato,
Arystothele, Plotinus. Mimesis and Catharsis as artistic criteria (Plato, Aristothele). Problem of the
relation: art-truth, cognitive value of art. Early Christian and Medieval artistic doctrines. Medieval
expression of art and beauty. The views of theologists and philosophers on the significance of art. Beauty
as an objective peculiarity. Perfection, completeness, glamour of form, sacrum. Classification of art and a
problem of copying. Conflict of iconoclasm in light of the Bible. Art as biblia pauperum. Claritas
aesthetics. Aesthetics concerning key religious figures: Basil of Caesarea, Clement of Alexandria, Origen,
Tertulian, Augustine of Hippo. Aesthetics relating to Bonaventure, Albertus Magnus, Thomas Aquinas.
Boethius, Witelo, Nicholas of Kues. Concepts of contemporary art. Renaissance poetics and essays.
Classisism and anthropocentrism, humanism, form, imitatio. The relation between art and science.
Anthropocentrism and humanism. Ancient roots of Renaissance. Ficino, Rafael Santi, Leon Battista Alberti,
Leonardo da Vinci, Michael Angelo. German Aesthetics of the Age of Enlightenment and Early Romanicism:
Lessing, Winckelmann, Herder, Goethe,Schlegel. Immanuel Kant. Impartiality and subjective character of
judging tastes in art. Transcendental concept of beauty and sublimity. Independence and iniqueness of
aesthetic objects. Engliah and French aesthetics of the XVIII century. Burke, Addison, shaftesbury, Dubos,
diderot. Aesthetical and anthropological view of tragedy. Appolinian and Dionisean element. Art in the
eyes of Friedrich Nietzche. Aesthetics by G.W.F.Hegel. Social status of art and its role within contemporary
culture (culture of masses, distance, dehumanisation of art). The problem of continuity (avantgarde).philosophical aesthetics of the XXth century-phenomenology,psychoanalysis, existentialism,
marksism, Frankfurt school, hermeneutics.
Module Outcomes:
By the end of the course, the students will be able to:
Recognise and use the have acquired a basic knowledge and skills to use the aesthetic categories as well
as the knowledge concerning the Western aesthetics and the terms related to aesthetics and art. They
should acquire the basic knowledge of schools and concepts of aesthetics from the Ancient to
contemporary times. Students are also expected to gain competence to be able to interpret the
traditional and contemporary works of art.
Assessment Criteria:
Attendance is compulsory and the module will be successfully completed on achieving a ‘pass’ grade in
the end-of-module exam.
Basic literature:
(1) W. Tatarkiewicz, Historia estetyki, (T. 1: Estetyka starożytna, T. 2: Estetyka średniowieczna, T. 3: Estetyka
nowożytna) ), Wyd. Arkady, Warszawa 1985-1991.
(2) W. Tatarkiewicz, Dzieje sześciu pojęć : sztuka, piękno, forma, twórczość, odtwórczość, przeżycie estetyczne, Wyd.
PWN, Warszawa 1982.
(3) K. Wilkoszewska, Estetyki filozoficzne XX w., Wyd. TAiWPN Universitas, Kraków 2000.
(4) M. Gołaszewska, Estetyka i antyestetyka, Wyd. Wiedza Powszechna, Warszawa 1984.
(5) S. Morawski, Na zakręcie: od sztuki do posztuki, Wydawnictwo Literackie, Kraków 1985.
(6) H. Read, Sens sztuki, Wyd. PWN, Warszawa 1982.
Supplementary literature:
(1) W. Welsch, Estetyka poza estetyką. O nową postać estetyki, Wyd. TAiWPN Universitas, Kraków 2005.
(2) I. Lorenc, Logos i mit estetyczności, Uniwersytet Warszawski Instytut Filozofii, Warszawa 1993.
(3) M. Bachtin, Estetyka twórczości słownej, Państwowy Instytut Wydawniczy, Warszawa 1986.
(4) J. Margolis, Czym, w gruncie rzeczy, jest dzieło sztuki?, Wyd. TAiWPN Universitas, Kraków 2004.
(5) H. Read, Sens sztuki, Wyd. PWN, Warszawa 1982.
(6) Myśliciele kronikarze i artyści o sztuce. Od starożytności do 1500 roku, wyb. i oprac. J. Białostocki, Wyd.
Słowo/Obraz Terytoria, Gdańsk 2001.
(7) Teoretycy, pisarze i artyści o sztuce 1500-1600, wyb. i oprac. J. Białostocki, Wyd. PWN, Warszawa 1985.
(8) Teoretycy, artyści i krytycy o sztuce 1700-1870, wyb. E. Grabska i M. Poprzęcka, Wyd. PWN, Warszawa 1974