The course aims to provide students with a broad critical introduction to the study of the concept of taste as a multifaceted philosophical-cultural topic that involves not only an aesthetic-theoretical dimension but also an existential one. In addition to this, the aim is to investigate the different modes of philosophical-artistic communication linked to the dimension of food in an intercultural and comparative perspective between West and East.


teacher profile | teaching materials


During the course will compare in particular with the philosophical category of taste in eighteenth-century aesthetics (from Hume to Kant) to consider the artistic interpretations in cinema, literature (eg in futurism) and contemporary art, both Western and Oriental.

Core Documentation

- David Hume, La regola del gusto, in D. Hume, La regola del gusto e altri saggi, a cura di G. Preti, Abscondita, Milano 2006, pp. 11-33.
- Immanuel Kant: Riflessioni sul Gusto. Centro Internazionale Studi di Estetica, n. 436 e 485 (p. 28), n. 744 (p. 41), n. 747 (p. 42), n. 767 (p. 43), n. 868 (p. 55), n. 1512 (pp. 74-76).
- Immanuel Kant: Critica della facoltà di giudizio, a cura di Emilio. Garroni e Hansmichael Hohenegger, Torino, Einaudi, 1999, pp. 46-55, §6-9.
-Cucina Futurista, Manifesti teorici, menu e documenti, a cura di G. A. Pantasso, Abscondita 2015, pp. 11-27.

Attending students will have to choose only one article from the following four essays (all mandatory for non-attendants) in:

Dal gusto al disgusto. L'estetica del pasto di M. Mazzocut-Mis, Raffaello Cortina Editore, Milano, 2015:

- VINCENZI, Paola, La rivoluzione dei sensi, pp. 15-52.
- MAZZOCUT-MIS, Maddalena, A Tavola!... Nel Settecento, pp. 61-93.
- FELOJ, Serena, Dal gusto palatale alla morale. Il disgusto come sentimento, pp. 127-145.
- BERTOLINI, Michele, Lo spettatore alla prova del disgusto, pp. 181-201.

A text of your choice from the following:

- Donald Richie, Sull’estetica giapponese, Lindau, Torino 2009.
- Aldo Tollini, La cultura del tè in Giappone e la ricerca della perfezione, Einaudi, Torino 2014 (Introduzione, cap. 1, 2 e 6)

The following films will be shown in the classroom, followed by a debate (which is also compulsory for non-attendant students)

Il gusto degli altri, di Agnès Jaoui, Francia, 2000
Le ricette della signora Toku, di Naomi Kawase, Giappone, 2015
Tampopo, di Jūzō Itami, Giappone, 1985
Vatel, di Roland Joffé, Francia/Gran Bretagna, Belgio, 2000
Il pranzo di Babette, di Gabriel Axel, Danimarca, 1987
Vita futurista, di Arnaldo Ginna, Italia, 1916
Morte di un maestro del tè, di Kei Kumai, Giappone, 1989
Eat, di Andy Warhol, USA, 1963
Julie & Julia, di Nora Ephron, USA, 2009
Big Night, di Stanley Tucci e Campbell Scott, USA, 1996
Lunchbox, di Ritesh Batra, India/Francia/Germania/USA/Canada, 2014
Food Inc., di Robert Kenner, USA, 2008

Type of delivery of the course

In the case of an extension of the health emergency by COVID-19 all the provisions that regulate the way in which teaching activities and student evaluation are carried out will be implemented. In particular the following modalities will be applied: the lessons will take place on the Teams platform.

Type of evaluation

In the case of an extension of the health emergency by COVID-19 all the provisions that regulate the way in which teaching activities and student evaluation are carried out will be implemented. In particular, the following modalities will be applied: oral remote examinations through the Microsoft Teams platform. During the oral test will be evaluated: - the level of knowledge of the conceptual contents of the texts examined during the course - the mastery in handling more specific information, for example the technical language used by Kant or the original terms used by D. Richie to analyse Japanese aesthetics or the tea ceremony - the critical capacity and ability to identify links between different eras and cultures