Advanced Topics in Aesthetics

PHIL60621 Advanced Topics in Aesthetics 15 Semester 1 Postgraduate Taught Level 7 Emily Caddick Bourne Unit coordinator Philosophy 1 FHEQ level (Framework for Higher Education Qualifications) ' Masters/Integrated Masters P4 ' European Credit Transfer & Accumulation System Rating : 7.5 This course unit will cover a selection of topics in contemporary philosophical aesthetics, as well as exploring some of the points of contact between aesthetics, ethics and the philosophy of language. We will consider how to understand some distinctive aesthetic experiences, such as awe, amusement, horror, and the experience of the uncanny. We will discuss the nature of fictional representation and, in particular, examine some of the ways in which a fiction’s representational content relies on far more than, e.g., the words on the page or the images on screen. This will enable us to consider some questions about the ethics of representation, such as: What is an offensive joke? If I like to make my character do terrible things when I play a video game, does my behaviour deserve criticism? How secure is the distinction between an extremely violent film that trivialises violence and an extremely violent film that implicitly critiques the representation of violence? And when, if ever, does the choice to perform a role amount to an endorsement of the actions we are representing? This course unit will cover a selection of topics in contemporary philosophical aesthetics, as well as exploring some of the points of contact between aesthetics, ethics and the philosophy of language. We will consider how to understand some distinctive aesthetic experiences, such as awe, amusement, horror, and the experience of the uncanny. We will discuss the nature of fictional representation and, in particular, examine some of the ways in which a fiction’s representational content relies on far more than, e.g., the words on the page or the images on screen. This will enable us to consider some questions about the ethics of representation, such as: What is an offensive joke? If I like to make my character do terrible things when I play a video game, does my behaviour deserve criticism? How secure is the distinction between an extremely violent film that trivialises violence and an extremely violent film that implicitly critiques the representation of violence? And when, if ever, does the choice to perform a role amount to an endorsement of the actions we are representing? The course unit aims to: <ul> <li>Introduce students to a range of topics in philosophical aesthetics, including some cutting-edge contemporary research in the area.</li> <li>Give students an opportunity to reflect analytically on some of the ways in which people can engage with and respond to artworks.</li></ul> Students should be able to demonstrate: <ul> <li>A detailed understanding of some of the questions and ideas within philosophical aesthetics.</li> <li>The ability to engage analytically and critically with some of these questions and ideas.</li> <li>The ability to understand, critically assess and respond to seminal and/or recent literature on an advanced topic in philosophical aesthetics.</li> <li>The ability to form a justified position and argue for it in writing.</li> <li>The ability to conduct independent research.</li></ul> 'The unit will be taught by lecture material and seminar discussion. There will also be blended aspects, incorporating innovations employed in 2020-21, such as providing short videos to guide students in their tutorial presentations. Resources such as Box of Broadcasts or Kanopy are likely to be used for engagement with case studies. 2 Written assignment (inc essay) 100% Y The Stanford Encyclopedia of Philosophy (ed. Edward N. Zalta) includes some open-access articles on relevant issues and debates in aesthetics, such as: Fred Kroon and Alberto Voltolini, ‘Fiction’ (<a href="https://plato.stanford.edu/archives/win2019/entries/fiction/" style="color:blue; text-decoration:underline">https://plato.stanford.edu/archives/win2019/entries/fiction/</a>); John Morreall, ‘Philosophy of Humor’ (<a href="https://plato.stanford.edu/entries/humor/" style="color:blue; text-decoration:underline">https://plato.stanford.edu/entries/humor/</a>); Emine Hande Tuna, ‘Imaginative Resistance’ (<a href="https://plato.stanford.edu/entries/imaginative-resistance/" style="color:blue; text-decoration:underline">https://plato.stanford.edu/entries/imaginative-resistance/</a>). Other examples of indicative reading include:<ul> <li>Luvell Anderson (2015) ‘Racist Humor’, Philosophy Compass 10: 501-509.</li> <li>Craig Bourne and Emily Caddick Bourne (2019) ‘Players, Characters, and the Gamer’s Dilemma’, Journal of Aesthetics and Art Criticism 77: 133-143.</li> <li>Mark Windsor (2019) ‘What is the Uncanny?’, British Journal of Aesthetics 59: 51-65.</li> <li>Gregory Currie (2010) ‘Bergman and the Film Image’, Midwest Studies in Philosophy 34: 323-339.</li> <li>Kathy Davis (2015) ‘Should a Feminist Dance Tango? Some Reflections on the Experience and Politics of Passion’, Feminist Theory 16: 3-21.</li> <li>Moonyoung Song (2020) ‘Aptness of Fiction-Directed Emotions’, British Journal of Aesthetics 60: 45-59.</li></ul> Seminars 20 0 130 *Must not be taken if previously taken at 3rd year level.