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
The course will investigate the principal understandings of the notion of authenticity in contemporary debates in aesthetics and the philosophy of art as regards visual arts and music.
Throughout the course, the following issues will be addressed:
Why do we care so much about the authenticity of the objects of our aesthetic appreciation?
On what ground can we reject forgery, plagiarism, and other forms of artistic counterfeiting?
What is the relationship between an object’s authenticity and its aesthetic value?
What is the value of authenticity in different art forms?
What is an authentic musical performance?
1. *Compulsory texts*
Danto, A.C., The Transfiguration of the Commonplace, Harvard University Press, Cambridge (MA) 1981, ch.1-2.
Dutton, D. ‘Authenticity in Art’, in J. Levinson (ed.), The Oxford Handbook of Aesthetics, New York, Oxford University Press 2003, pp. 324-343.
Goodman, N., Languages of Art, Indianapolis, The Bobbs Merrill Company 1968, ch. 3.
Kivy, P. Authenticities: Philosophical Reflections on Musical Performance, Ithaca (NY), Cornell University Press 1995, ch. 1,2,5.
Stalnaker, N., Fakes and Forgeries, in B. Gaut and D.L. (eds) The Routledge Companion to Aesthetics (3d Edition), London-New York, Routledge 2013, pp. 395-407.
2. *Recommended texts*
Select at least one paper from each of the following sections:
2.1 In defence of the aesthetic value of authenticity
Lessing, A., ‘What is Wrong with a Forgery?’, The Journal of Aesthetics and Art Criticism 23, 1965, pp. 461-471.
Jaworski, P.M., ‘In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates of Paintings Are Just as Good as the Originals’, Journal of Value Inquiry 47, 2013, pp. 391-405.
Farrelly-Jackson, S. (1997), ‘Fetishism and the identity of art’, The British Journal of Aesthetics, 37, 2, 1997, pp. 138-54.
2.2 Against the aesthetic value of authenticity
Sagoff, M., ‘On Restoring and Reproducing Art’, The Journal of Philosophy 75, 1978, pp. 453-470.
Dutton, D., ‘Artistic Crimes’, The British Journal of Aesthetics, 19, 4, 1979, pp. 302-341.
Kosmeyer, C., ‘Aesthetic Deception: On Encounters with the Past’, The Journal of Aesthetics and Art Criticism 6, 2008, pp. 117-127.
Sagoff, M., ‘Art and Authenticity: A Reply to Jaworski’, Journal of Value Inquiry 48, 2014, pp. 503-515.
2.3 intercultural perspectives on authenticity
Shiner, L., 'Primitive Fakes, Tourist Art, and the Ideology of Authenticity', The Journal of Aesthetics and Art Criticism 52, 1994, pp. 225-234.
Young, J.O., ‘Art, Authenticity and Appropriation’, Frontiers of Philosophy in China 3, 2006, pp. 455-476.
Bowden, R., ‘What is Wrong with an Art Forgery? An Anthropological Perspective’, The Journal of Aesthetics and Art Criticism, 57, 1999, pp. 333-343.
2.4
Ning Wang, 'Rethinking authenticity in tourism experience', Annals of Tourism Research, 26, 2, 1999, pp. 349-370Borghini, A. (2014).
Andrea Borghini, 'Authenticity in Food', In: Thompson, P.B., Kaplan, D.M. (eds) Encyclopedia of Food and Agricultural Ethics. Springer
Evan Malone, 'Country Music and the Problem of Authenticity', The British Journal of Aesthetics, Volume 63, Issue 1, January 2023, Pages 75–90
Programme
The course will investigate the principal understandings of the notion of authenticity in contemporary debates in aesthetics and the philosophy of art as regards visual arts and music.
Throughout the course, the following issues will be addressed:
Why do we care so much about the authenticity of the objects of our aesthetic appreciation?
On what ground can we reject forgery, plagiarism, and other forms of artistic counterfeiting?
What is the relationship between an object’s authenticity and its aesthetic value?
What is the value of authenticity in different art forms?
What is an authentic musical performance?
Core Documentation
FOR ERASMUS STUDENTS:1. *Compulsory texts*
Danto, A.C., The Transfiguration of the Commonplace, Harvard University Press, Cambridge (MA) 1981, ch.1-2.
Dutton, D. ‘Authenticity in Art’, in J. Levinson (ed.), The Oxford Handbook of Aesthetics, New York, Oxford University Press 2003, pp. 324-343.
Goodman, N., Languages of Art, Indianapolis, The Bobbs Merrill Company 1968, ch. 3.
Kivy, P. Authenticities: Philosophical Reflections on Musical Performance, Ithaca (NY), Cornell University Press 1995, ch. 1,2,5.
Stalnaker, N., Fakes and Forgeries, in B. Gaut and D.L. (eds) The Routledge Companion to Aesthetics (3d Edition), London-New York, Routledge 2013, pp. 395-407.
2. *Recommended texts*
Select at least one paper from each of the following sections:
2.1 In defence of the aesthetic value of authenticity
Lessing, A., ‘What is Wrong with a Forgery?’, The Journal of Aesthetics and Art Criticism 23, 1965, pp. 461-471.
Jaworski, P.M., ‘In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates of Paintings Are Just as Good as the Originals’, Journal of Value Inquiry 47, 2013, pp. 391-405.
Farrelly-Jackson, S. (1997), ‘Fetishism and the identity of art’, The British Journal of Aesthetics, 37, 2, 1997, pp. 138-54.
2.2 Against the aesthetic value of authenticity
Sagoff, M., ‘On Restoring and Reproducing Art’, The Journal of Philosophy 75, 1978, pp. 453-470.
Dutton, D., ‘Artistic Crimes’, The British Journal of Aesthetics, 19, 4, 1979, pp. 302-341.
Kosmeyer, C., ‘Aesthetic Deception: On Encounters with the Past’, The Journal of Aesthetics and Art Criticism 6, 2008, pp. 117-127.
Sagoff, M., ‘Art and Authenticity: A Reply to Jaworski’, Journal of Value Inquiry 48, 2014, pp. 503-515.
2.3 intercultural perspectives on authenticity
Shiner, L., 'Primitive Fakes, Tourist Art, and the Ideology of Authenticity', The Journal of Aesthetics and Art Criticism 52, 1994, pp. 225-234.
Young, J.O., ‘Art, Authenticity and Appropriation’, Frontiers of Philosophy in China 3, 2006, pp. 455-476.
Bowden, R., ‘What is Wrong with an Art Forgery? An Anthropological Perspective’, The Journal of Aesthetics and Art Criticism, 57, 1999, pp. 333-343.
2.4
Ning Wang, 'Rethinking authenticity in tourism experience', Annals of Tourism Research, 26, 2, 1999, pp. 349-370Borghini, A. (2014).
Andrea Borghini, 'Authenticity in Food', In: Thompson, P.B., Kaplan, D.M. (eds) Encyclopedia of Food and Agricultural Ethics. Springer
Evan Malone, 'Country Music and the Problem of Authenticity', The British Journal of Aesthetics, Volume 63, Issue 1, January 2023, Pages 75–90
Type of delivery of the course
The course is taught by: Lectures Interactive discussions with students; Seminars with invited scholars.Attendance
Class attendance is not cumpulsory, yet it is strongly recommendedType of evaluation
An oral test is scheduled at the end of the course.