Content

The content of this course will reflect on how in modern understandings of art the stress is primarily on originality and creativity, whereas in pre-modern thought the stress is primarily on imitation and representation. We will look at the philosophical significance of this contrast, and the shift to creativity, in light of the metaphysical status accorded to art in the wake of Kant's transcendental philosophy. The place of art in the wake of Kant's transcendental philosophy is ambiguous and complex. Ambiguous: Hegel proclaims art, on its highest side, to be something behind us; yet a significant number of post-Kantian philosophers invest art with a metaphysical significance in some ways unprecedented in the Western tradition. Complex: while art is proclaimed as autonomous and for itself, the nature of its relation to philosophy, and the challenge it poses for the identity and practice of philosophy is notable. Our concern will be the relation of art and philosophy in light of this ambiguous and complex status. What significance has art in challenging philosophy with forms of otherness and singularity that seem to resist incorporation without remainder into a rational system of concepts? Against the background contrast of Kant's transcendental originality and Platonic transcendent originals, we will look at the legacy of transcendental originality in selected texts of Hegel, Schelling, Schopenhauer, Nietzsche. What happens when we try to absolutize human "creativity"?  Is the notion of imitation unavoidable, imitation as a relation to something other to ourselves. What is the significance of the darker sense of origin that comes to emerge? What of the ambiguous status of otherness in light of transcendental emphasis on self-activity? How do we view creativity? Has too much been expected of art? Has art taken the place of a formerly religious transcendence? Does it challenge philosophy to reformulate its own practice of thought?

Description of learning activities

Readings are assigned for each session from the required readings. The student is expected to read these assignments in advance. The teacher will elucidate and discuss these readings, and there will be opportunities for discussion and questions from students. Students are strongly advised to take adequate notes of the lecture-presentation by the teacher. They are also strongly advised to keep up with the assigned reading.Attendance is mandatory.

Course material

Hofstadter and R. Kuhns (editors), Philosophies of Art and Beauty: Selected Readings in Aesthetics from Plato to Heidegger, Chicago: University of Chicago Press, latest edition.
W. Desmond, Art, Origins, Otherness: Between Art and Philosophy, Albany: SUNY Press, 2003.

[Peeters and Acco were asked to stock copies. Copies can be ordered from Amazon.co.uk]