Warning! The directory is not yet complete and will be amended until the beginning of the term.
180062 VO-L Questions of Aesthetics 2: What is the Sublime? (2024W)
Labels
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
Details
Language: German
Examination dates
- Monday 27.01.2025 20:15 - 21:30 Digital
- N Friday 07.03.2025 17:00 - 18:30 Digital
- Friday 02.05.2025 17:00 - 18:30 Digital
- Friday 27.06.2025 17:00 - 18:30 Digital
Lecturers
Classes (iCal) - next class is marked with N
- Monday 14.10. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 21.10. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 28.10. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 04.11. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 11.11. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 18.11. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 25.11. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 02.12. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 09.12. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 16.12. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 13.01. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
- Monday 20.01. 20:15 - 21:30 Hörsaal 7 Hauptgebäude, Hochparterre, Stiege 7
Information
Aims, contents and method of the course
Lecture series for the BA curriculum in philosophy and the EC AESTHETICS with an optional feedback via Moodle, where you can pose questions anonymously. We will also have a Q&As at the end of each lecture.This VO-L is an introduction to aesthetics based on the shifts in meaning that the concept of the sublime (das Erhabene / le sublime) has experienced in its history.We will see that the sublime is a genuinely aesthetic concept precisely because it eludes our conceptual grasp while at the same time overpowering our imagination. These lectures attempt to make the historical rebirth of this conceptual figure comprehensible. Topics discussed here include the role the term first played in the ancient text of (Pseudo-)Longinus, its reappearance in the French ‘Querelle des Ancients et des Modernes’ of the late 17th century, its inspirational effect on neo-classical architecture and the stagings of Baroque Opera, Schiller's emphasis on the moral implications of the term, ... up to post-modernism, where Jean-François Lyotard takes up Kant’s “Analytic of the Sublime” once more.
Assessment and permitted materials
Written final exam (90 minutes).
The exam for this lecture series takes place digitally in the format of a multiple choice exam with ten partially open questions. You may achieve partial points on a multiple-choice question provided you did not choose any of the wrong answers (this is to prevent a guessing-game). The assignment of grades is described below. By registering for this digital exam, you agree to this exam mode. A second, third or fourth exam date, which may also be carried out online, may differ formally from the first date or the previous dates.
The digital written test is carried out using Moodle. As a student you have to log in with your u:account and thereby confirm your identity. Additional identification methods are not planned.
Number of possible exams:
By registering for this digital exam, you agree to its exam mode. The number of tries for exams will be as usual (i. e. there are four possible examinations per course).
Examination supervision:
In the case of digital written exams, at least one competent person will be announced (on the cover sheet of the exam) who may be reached digitally before, during and after the exam and who is available for questions about the exam and any (technical) problems. If you have technical problems, you can also contact the ZID helpdesk.
Examination inspection:
Online exams can also be inspected by the student wondering about his/her grade. Students should contact their examiners.
Cheat:
By participating in the digital written exam, you declare solving all posed questions independently and without the help of third parties. You may make use of the texts provided in Moodle, but if you quote from them a correct citation is required. The test may be subjected to a plagiarism check (Turnitin). The teacher can also contact you for further oral questioning about the subject of the examination within the assessment period of four weeks. This can also be done on a random basis and without any specific suspicion of cheating.
The exam for this lecture series takes place digitally in the format of a multiple choice exam with ten partially open questions. You may achieve partial points on a multiple-choice question provided you did not choose any of the wrong answers (this is to prevent a guessing-game). The assignment of grades is described below. By registering for this digital exam, you agree to this exam mode. A second, third or fourth exam date, which may also be carried out online, may differ formally from the first date or the previous dates.
The digital written test is carried out using Moodle. As a student you have to log in with your u:account and thereby confirm your identity. Additional identification methods are not planned.
Number of possible exams:
By registering for this digital exam, you agree to its exam mode. The number of tries for exams will be as usual (i. e. there are four possible examinations per course).
Examination supervision:
In the case of digital written exams, at least one competent person will be announced (on the cover sheet of the exam) who may be reached digitally before, during and after the exam and who is available for questions about the exam and any (technical) problems. If you have technical problems, you can also contact the ZID helpdesk.
Examination inspection:
Online exams can also be inspected by the student wondering about his/her grade. Students should contact their examiners.
Cheat:
By participating in the digital written exam, you declare solving all posed questions independently and without the help of third parties. You may make use of the texts provided in Moodle, but if you quote from them a correct citation is required. The test may be subjected to a plagiarism check (Turnitin). The teacher can also contact you for further oral questioning about the subject of the examination within the assessment period of four weeks. This can also be done on a random basis and without any specific suspicion of cheating.
Minimum requirements and assessment criteria
The written exam consists of ten questions, each complete and correct answer is awarded 10 points.
Grading scale:
60 points and less: fail;
61-70 points: sufficient;
71-80 points: satisfactory;
81-90 points: good;
91-100 points: excellent.
Grading scale:
60 points and less: fail;
61-70 points: sufficient;
71-80 points: satisfactory;
81-90 points: good;
91-100 points: excellent.
Examination topics
The texts titled HANDOUT and the supplementary readings which you will also find in Moodle. The workload of this lecture-series amounts to 125 hours (= 5 ECTS).
Reading list
Required supplementary readings for the final exam (all texts are provided via Moodle):Armstrong, Meg (1996): „,The Effects of Blackness‘: Gender, Race, and the Sublime in Aesthetic Theories of Burke and Kant“, The Journal of Aesthetics and Art Criticism 54(3), 213-236.
Bouhours, Dominique (1960): „The ,Je Ne Sais Quoi‘ from The Conversations of Aristo and Eugene“, in: Elledge & Schier (ed.)(1960): The Continental Model . Selected French Critical Essays of the Seventeenth Century in English Translation. Minneapolis: University of Minnesota Press, 228-238.
Derrida, Jacques (1979): „The Parergon“, October 9(2), 3-41.
Elkins, James (2011): „Against the Sublime“, in: Roald Hoffmann u. Iain Boyd White (Hg.): Beyond the Finite. The Sublime in Art and Science. Oxford: Oxford University Press, 75-90.
Freeland, Cynthia A. (1999): „The Sublime in Cinema“, in: Carl R Plantinga u. Greg M. Smith (eds.): Passionate Views: Film, Cognition, and Emotion. Baltimore: Johns Hopkins University Press, 65–83.
Goehr, Lydia (1996): „Schopenhauer and the musicians: an inquiry into the sounds of silence and the limits of philosophizing about music“, in: Dale Jacquette (ed.): Schopenhauer, philosophy, and the arts. Cambridge: Cambridge University Press, 200-228.
Hertz, Neil (2005): „A Reading of Longinus“, in: The End of the Line. Aurora: The Davies Group, 1-19.
Kant, Immanuel (1790): §§ 23-29 of the Critique of Judgment // Kritik der Urteilskraft (KU), thus the second part of volume V of the Akademieausgabe (starting at „Analytik des Erhabenen“ including the „Allgemeinen Anmerkung“.)
Lyotard, Jean-François (1985): „The Sublime and the Avant Garde“, October 6(3), 1-18.
Forsey, Jane (2007): „Is a Theory of the Sublime Possible?“, The Journal of Aesthetics and Art Criticism 65(4), 381-389.
Freeland, Cynthia A. (1999): „The Sublime in Cinema“, in: Carl R Plantinga u. Greg M. Smith (ed.): Passionate Views: Film, Cognition, and Emotion. Baltimore: Johns Hopkins University Press, 65–83.
Sircello, Guy (1993): „How is a Theory of the Sublime Possible?“, The Journal of Aesthetics and Art Criticism 51(4), 541-550.
Walton, Kendall (1978): „Fearing Fictions“, The Journal of Philosophy 75(1), 5-27.
Bouhours, Dominique (1960): „The ,Je Ne Sais Quoi‘ from The Conversations of Aristo and Eugene“, in: Elledge & Schier (ed.)(1960): The Continental Model . Selected French Critical Essays of the Seventeenth Century in English Translation. Minneapolis: University of Minnesota Press, 228-238.
Derrida, Jacques (1979): „The Parergon“, October 9(2), 3-41.
Elkins, James (2011): „Against the Sublime“, in: Roald Hoffmann u. Iain Boyd White (Hg.): Beyond the Finite. The Sublime in Art and Science. Oxford: Oxford University Press, 75-90.
Freeland, Cynthia A. (1999): „The Sublime in Cinema“, in: Carl R Plantinga u. Greg M. Smith (eds.): Passionate Views: Film, Cognition, and Emotion. Baltimore: Johns Hopkins University Press, 65–83.
Goehr, Lydia (1996): „Schopenhauer and the musicians: an inquiry into the sounds of silence and the limits of philosophizing about music“, in: Dale Jacquette (ed.): Schopenhauer, philosophy, and the arts. Cambridge: Cambridge University Press, 200-228.
Hertz, Neil (2005): „A Reading of Longinus“, in: The End of the Line. Aurora: The Davies Group, 1-19.
Kant, Immanuel (1790): §§ 23-29 of the Critique of Judgment // Kritik der Urteilskraft (KU), thus the second part of volume V of the Akademieausgabe (starting at „Analytik des Erhabenen“ including the „Allgemeinen Anmerkung“.)
Lyotard, Jean-François (1985): „The Sublime and the Avant Garde“, October 6(3), 1-18.
Forsey, Jane (2007): „Is a Theory of the Sublime Possible?“, The Journal of Aesthetics and Art Criticism 65(4), 381-389.
Freeland, Cynthia A. (1999): „The Sublime in Cinema“, in: Carl R Plantinga u. Greg M. Smith (ed.): Passionate Views: Film, Cognition, and Emotion. Baltimore: Johns Hopkins University Press, 65–83.
Sircello, Guy (1993): „How is a Theory of the Sublime Possible?“, The Journal of Aesthetics and Art Criticism 51(4), 541-550.
Walton, Kendall (1978): „Fearing Fictions“, The Journal of Philosophy 75(1), 5-27.
Association in the course directory
Last modified: Tu 14.01.2025 10:06