The course ‘Issues in the Philosophy of Art’ is part of the program in Philosophy (MA level) and is included among the complementary training activities. The aim of this course is to introduce students to the philosophical foundations of art. Through a combination of readings, lectures, and discussions, we will examine key theories and ideas that have shaped our understanding of the nature, value, and significance of artistic expression. Students will gain a deeper understanding of the aesthetic dimensions of art and how they intersect with broader questions about society, culture, and human experience.
Upon completion of the course, students are expected to acquire the following skills:
- capacity to read and analyse philosophical sources in the philosophy of art;
- advanced critical thinking in relation to the relevant debate;
- advanced language and argumentation skills with regard to the topics discussed in class.
Upon completion of the course, students are expected to acquire the following skills:
- capacity to read and analyse philosophical sources in the philosophy of art;
- advanced critical thinking in relation to the relevant debate;
- advanced language and argumentation skills with regard to the topics discussed in class.
teacher profile teaching materials
What kinds of objects are artworks? Are they physical objects, events, ideal types, or Platonic forms?
What elements define their nature?
Are there substantial ontological differences between paintings, sculptures, and musical works?
How are artworks related to the mental states and/or intentions of artists, critics, and the audience?
Under what conditions do artworks emerge, survive, or cease to exist?
And why does it make sense to ask these questions?
- Berto, Francesco, Plebani, Matteo, Ontology and Metaontology. A Contemporary Guide, Bloomsbury 2015, ‘Introduzione’, parti 1-4, pp. 1-9.
- Stephen Davies, ‘Ontology of Art’, in Oxford Handbook of Aesthetics, 2003, pp. 155-180.
- Rohrobaugh, Guy, ‘The Ontology of Art’, in The Routledge Companion to Aesthetics, Routledge, 2013, pp. 235-245.
- Wollheim, Richard, Art and its objects, Cambridge 1968/1980, parti 4-10, 20-23, 35-36, e ‘A note on the physical object hypothesis’.
- Hospers, John, ‘The Croce-Collingwood Theory of Art’, The Journal of the Royal Institute of Philosophy, 1956, pp. 291-308.
- Giombini, Lisa Musical Ontology. A Guide for the Perplexed, ch. 1, ‘Idealism’, pp. 45-59
- Goodman, Nelson, Languages of art, Cap. 3 ‘Art and Authenticity’, pp. 99-122. (tr. it.: Linguaggi dell’arte, cap. 3, ‘Arte e autenticità’)
- Lamarque, Peter, Work and Object, Oxford University Press 2010, Chapters 3-4
- Kivy, Peter, ‘Platonism in Music: Another Kind of Defense’, American Philosophical Quarterly, 24, 3 1987.
- Dodd, Julian, ‘Musical Works as Eternal Types’, The British Journal of Aesthetics, 40 (2000), pp. 424-440.
- Levinson, Jerrold, ‘What a Musical Work Is’, The Journal of Philosophy, 77, 1980, pp. 5-28.
- Howell, R., ‘Types, Indicated and Initiated’, British Journal of Aesthetics, 42, 2002, pp. 105-127.
- Thomasson, Amie L., ‘Debates about the Ontology of Art: What Are We Doing Here?’, Philosophy Compass, 1, 3, 2006, pp. 245–255.
- Davies, David. ‘The Primacy of Practice in the Ontology of Art’, Journal of Aesthetics and Art Criticism 67 (2009): 159–72.
Programme
The course aims to provide an introduction to the contemporary debate on the ontology of art:What kinds of objects are artworks? Are they physical objects, events, ideal types, or Platonic forms?
What elements define their nature?
Are there substantial ontological differences between paintings, sculptures, and musical works?
How are artworks related to the mental states and/or intentions of artists, critics, and the audience?
Under what conditions do artworks emerge, survive, or cease to exist?
And why does it make sense to ask these questions?
Core Documentation
- Varzi, Achille, Ontologia, Laterza, 2008: Cap. 1, ‘Che cos’è l’ontologia’, pp. 7-31.- Berto, Francesco, Plebani, Matteo, Ontology and Metaontology. A Contemporary Guide, Bloomsbury 2015, ‘Introduzione’, parti 1-4, pp. 1-9.
- Stephen Davies, ‘Ontology of Art’, in Oxford Handbook of Aesthetics, 2003, pp. 155-180.
- Rohrobaugh, Guy, ‘The Ontology of Art’, in The Routledge Companion to Aesthetics, Routledge, 2013, pp. 235-245.
- Wollheim, Richard, Art and its objects, Cambridge 1968/1980, parti 4-10, 20-23, 35-36, e ‘A note on the physical object hypothesis’.
- Hospers, John, ‘The Croce-Collingwood Theory of Art’, The Journal of the Royal Institute of Philosophy, 1956, pp. 291-308.
- Giombini, Lisa Musical Ontology. A Guide for the Perplexed, ch. 1, ‘Idealism’, pp. 45-59
- Goodman, Nelson, Languages of art, Cap. 3 ‘Art and Authenticity’, pp. 99-122. (tr. it.: Linguaggi dell’arte, cap. 3, ‘Arte e autenticità’)
- Lamarque, Peter, Work and Object, Oxford University Press 2010, Chapters 3-4
- Kivy, Peter, ‘Platonism in Music: Another Kind of Defense’, American Philosophical Quarterly, 24, 3 1987.
- Dodd, Julian, ‘Musical Works as Eternal Types’, The British Journal of Aesthetics, 40 (2000), pp. 424-440.
- Levinson, Jerrold, ‘What a Musical Work Is’, The Journal of Philosophy, 77, 1980, pp. 5-28.
- Howell, R., ‘Types, Indicated and Initiated’, British Journal of Aesthetics, 42, 2002, pp. 105-127.
- Thomasson, Amie L., ‘Debates about the Ontology of Art: What Are We Doing Here?’, Philosophy Compass, 1, 3, 2006, pp. 245–255.
- Davies, David. ‘The Primacy of Practice in the Ontology of Art’, Journal of Aesthetics and Art Criticism 67 (2009): 159–72.
Reference Bibliography
Varzi, Achille, Ontologia, Laterza, 2008: Cap. 1, ‘Che cos’è l’ontologia’, pp. 7-31. - Berto, Francesco, Plebani, Matteo, Ontology and Metaontology. A Contemporary Guide, Bloomsbury 2015, ‘Introduzione’, parti 1-4, pp. 1-9. - Stephen Davies, ‘Ontology of Art’, in Oxford Handbook of Aesthetics, 2003, pp. 155-180. - Rohrobaugh, Guy, ‘The Ontology of Art’, in The Routledge Companion to Aesthetics, Routledge, 2013, pp. 235-245. - Wollheim, Richard, Art and its objects, Cambridge 1968/1980, parti 4-10, 20-23, 35-36, e ‘A note on the physical object hypothesis’. - Hospers, John, ‘The Croce-Collingwood Theory of Art’, The Journal of the Royal Institute of Philosophy, 1956, pp. 291-308. - Giombini, Lisa Musical Ontology. A Guide for the Perplexed, ch. 1, ‘Idealism’, pp. 45-59 - Goodman, Nelson, Languages of art, Cap. 3 ‘Art and Authenticity’, pp. 99-122. (tr. it.: Linguaggi dell’arte, cap. 3, ‘Arte e autenticità’) - Lamarque, Peter, Work and Object, Oxford University Press 2010, Chapters 3-4 - Kivy, Peter, ‘Platonism in Music: Another Kind of Defense’, American Philosophical Quarterly, 24, 3 1987. - Dodd, Julian, ‘Musical Works as Eternal Types’, The British Journal of Aesthetics, 40 (2000), pp. 424-440. - Levinson, Jerrold, ‘What a Musical Work Is’, The Journal of Philosophy, 77, 1980, pp. 5-28. - Howell, R., ‘Types, Indicated and Initiated’, British Journal of Aesthetics, 42, 2002, pp. 105-127. - Thomasson, Amie L., ‘Debates about the Ontology of Art: What Are We Doing Here?’, Philosophy Compass, 1, 3, 2006, pp. 245–255. - Davies, David. ‘The Primacy of Practice in the Ontology of Art’, Journal of Aesthetics and Art Criticism 67 (2009): 159–72.Attendance
Attendance at the course is not compulsory, but it is highly encouraged.Type of evaluation
An oral test is scheduled at the end of the course.