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Class Aesthetics

  • Presentation

    Presentation

    A theoretical discipline that aims to provide a conceptual framework for problems in aesthetics and art theory,  in order to prepare students for the problems they will face in their professional activity.
  • Code

    Code

    ULHT6801-1161
  • Syllabus

    Syllabus

    Aesthetics Conceptual constituents: Beauty; Ugliness; Sublime; Horrible; Tragic; Comedy; Uncanny.   Art and Thought: Aesthetic; Science of Art; Theory of Art; Philosophy of Art; Art Critique. Art in the making Painting; Sculpture; Mass-media; Art and Cinema.
  • Objectives

    Objectives

    a) to know the meaning of ‘aesthetic’ as a concept; b) to distinguish aesthetic, arte theory, science of art and philosophy of art; c) to know what is a Judgment of Taste d) to acknowledge the historical periods of aesthetic judgment;  e) to identify the human faculties concerned with aesthetic judgment; f) to frame a proper definition of art; g) to acknowledge criticism as a creative principle; h) to be to frame an object as an ‘art object’; i) to acknowledge the main aesthetic categories; j) to recognize the value of ‘art’ in Western Cultures; k) to acknowledge the critical historical periods of the function of art and aesthetics; l) to acknowledge art in its visual, sound, literary and conceptual constituent;  m) to be able to produce a critical judgment on she/he own creative process; n) to stand a position in the possible meanings of ‘creativity’.  o) to be able to produce a coherent discourse on an ‘art object’.
  • Teaching methodologies

    Teaching methodologies

    Being a course with a theoretical nature, with essentially theory driven outcomes and skills, master classes are in itself the most appropriate methodology. The survey of problems, its definition and discussion are the main elements to be used. The textual heuristics and hermeneutics are also resources to improve in class. The verification and monitoring of skills acquisition is done by a public discussion of the argument chosen for the oral presentation, i.e., around problem raised by the student 
  • References

    References

    Benjamin, Walter (2006), «A obra de arte na época da sua possibilidade de reprodução técnica». In Benjamin, Walter (2006), A Modernidade. Lisboa: Assírio & Alvin, pp. 207-241. Bozal, Valeriano (1999), Historia de las ideas estéticas y de las teorías artísticas contemporáneas. Madrid: António Machado.  Greenberg, Clement (1961), Art and Culture. Boston: Beacon Press.  Hernández, Domingo (2012), A comédia do sublime. Lisboa: Vega. Molder, Maria Filomena (2009), Símbolo, Analogia e Afinidade. Lisboa: Vendaval. Pochat, Götz (2008), Historia de la estética y la teoría del arte. De la Antigüedad al siglo XIX. Sedlmayr, Hans (2008), A revolução da arte moderna. Lisboa: Livros do Brasil. Venturi, Lionello (2007), História da crítica de arte. Lisboa: Edições 70. 
  • Assessment

    Assessment

    Avaliação: a avaliação terá dois momentos, um qualitativo e outro quantitativo. O qualitativo será testado pela assiduidade dos alunos e a sua participação, bem como de um exercício de apresentação de um tema-problema presente no programa. A avaliação quantitativa faz-se pela elaboração de um texto científico.

    Ponderação da avaliação: apresentação oral: 50%; Exame: 50%.

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