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Seminar: Estetic

Bibliografie:
Seminar 1: Introducere
Seminar 2: accesul la adevr i problema intermedierii: ntre retoric i inspiraie divin, formele de
mania, memoria frumosului i dorina de frumos, pharmakon-ul memoriei-cuvntul scris, nzuin a
sufletului, discursul adevrului i ideologia adevrului
Lectur: Phaidros (sau Despre frumos: dialog etic), Platon
In Phedros Plato already described the blunder of those who take the viewpoint of rational
reasonableness and tend to misinterpret the ecstatic condition of being outside oneself, seeing it as a
mere negation of being composed within oneself and hence as a kind of madness. In fact, being outside
oneself is the positive possibility of being wholly with something else. (W. Iser, The Fictive and the
Imaginary, The Johns Hopkins UP, 1993, p. 83)
Seminar 3: Kant I: definiiile frumosului, universalitate i subiectivitate
Critica facultii de judecare, I. Kant, Ed. Trei, 1995
Fragmente de lectur:
Cartea nti. Analitica frumosului,
Primul moment al judecii de gust 1, 2, 3 (p. 44-50);
Al doilea moment al judecii de gust (p. 52-60);
Al treilea moment al judecii de gust 10, 11 (p. 60-62), 15 (p. 67-69), 17 (p. 72-76);
Hannah Arendt on Kant's Critique of Pure Judgement:
taste judges the world in its appearance and in its worldliness; its interest in the world is purely
'disinterested,' and that means that neither the life interests of the individual, nor the moral interests of
the self are involved here. For judgements of taste, the world is the primary thing, not man, neither
man's life, nor his self. (The Crisis of Culture: Its Social and Its Political Significance)
Seminar 4: Kant II: simul comun, emoia i sublimul
Critica facultii de judecare, I. Kant, Ed. Trei, 1995
Fragmente de lectur:
Cartea nti. Analitica frumosului,
Al patrulea moment al judecii de gust 18, 19, 20, 21 (p. 76-79);
Cartea a doua. Analitica sublimului 23, 24 (p. 83-87)
Roberto Esposito about the kantian common sense:
the universality invoked by the beautiful and the sublime is mearly an Idea of community, for which
no proof, that is, no direct presentation, will ever be found, but only indirect presentations.
(Communitas-The Origin and Destiny of Community, Stanford UP, Stanford, 2010, p. 82)

Seminar 5: Hegel I: manifestarea sensibil a ideii, diferitele forme de clasificare a artelor


Prelegeri de estetic, G. W. F. Hegel, trad. D. D. Roca, Ed. Academiei Republicii Socialiste Romnia,
1966 [1842]
Fragmente de lectur: Volumul I, Partea a II-a: Seciunea I (p. 307-331), Seciunea a II-a (p. 435-451),
Seciunea a III-a (p. 539-560)
Suntem hegelieni atunci cnd gndim istoria literar n termenii unei articulaii ntre epoca greac i
cea cretin sau ntre cea ebraic i cea greac. Suntem hegelieni cnd ncercm s sistematizm rela ia
dintre diversele forme i genuri artistice conform modurilor reprezentrii sau cnd ncercm s
concepem periodizarea istoric drept o dezvoltare, progresiv sau regresiv, a unei contiine
individuale sau colective. Nu c asemenea probleme i-ar aparine exclusiv lui Hegel; nici pe departe.
Numele Hegel st ns aici pentru un receptacul atotcuprinztor n care s-au adunat i s-au pstrat
attea curente, nct foarte probabil putem gsi aici tot ce tim c am adunat din alt parte sau sperm s
fi inventat noi nine. (Semn i simbol n Estetica lui Hegel, Paul de Man, trad. Alexandru Polgr,
http://www.idea.ro/revista/?q=ro/node/40&articol=541)
Seminar 6: Hegel II: arta ca simbolic, aciunea intelectului ca spirit, despre sfritul artei
Prelegeri de estetic, G. W. F. Hegel
Fragmente de lectur: Volumul II, Partea a III-a, Seciunea a II-a (p. 95-114), Seciunea a III-a (p. 187209, p. 284-306, p. 357-377)
n msura n care ceea ce este paradigmatic pentru art e mai degrab gndirea dect percep ia, semnul
mai curnd dect simbolul, scrierea mai curnd dect pictura sau muzica, trebuie s tragem concluzia c
memorarea este mai paradigmatic pentru art dect amintirea. Ca atare, ea aparine fr-ndoial unui
trecut care, cum spune Proust, nu poate fi niciodat regsit, retrouv. Arta ine de trecut ntr-un sens
radical, prin aceea c, la fel ca memorarea, ea las ntotdeauna n urm interiorizarea experien ei.
(Semn i simbol n Estetica lui Hegel, Paul de Man)
Seminar 7: extinderea i reproducerea lumii vizibile
Lectur: Opera de art n epoca reproducerii mecanice, Walter Benjamin, n Iluminri, Idea and
Design Print, Cluj, 2002
Soon after we can see, we are aware that we can also be seen. The eye of the other combines with our
own eye to make it fully credible that we are part of the visible world. (Ways of Seeing, John Berger)