社會與文化理論當代議題:藝術與政治
Contemporary Issues in Social and Cultural Theory: Art and Politics
學期
111-1
學分
0
學分
當期課號
534515
永久課號
HSSC30024
開課單位
社會與文化研究所
授課教師
朱元鴻
類別
選修
上課時間表
| 節 | 週二 |
|---|---|
A 18:30–19:20 | 社會與文化理論當代議題:藝術與政治 F106A 3 節連堂 |
B 19:30–20:20 | |
C 20:30–21:20 |
* 根據陽明交大上課時間表所列
概述
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先修科目
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備註
無備註
教學方式
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評分方式
Each student will make several class presentations and will write a research paper expanding on the topics covered in class. A research plan (one page) will be due by December 27. The term paper (if in English, about 20 pages double space) will be due by January 27, 2023. Grade will be 50% for final paper and 50% for class presentation and participation. 課堂引言與討論參與占學期成績百分之五十。12月27日繳交一頁的期末報告計劃,1月27日繳交約一萬字的期末研究報告,占學期成績百分之五十。
課程大綱
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週次計畫
| 週次 | 主題 |
|---|---|
| 第 1 週 | Course Introduction |
| 第 2 週 | John Dewey, “Art and Civilization”, Art As Experience, pp. 326-349. |
| 第 3 週 | Herbert Marcuse, The Aesthetic Dimension. |
| 第 4 週 | Jean Baudrillard, “Gesture and Signature: Semiurgy in Contemporary Art,” For a Critique of the Political Economy of the Sign, pp.102-111. Jean Baudrillard, “The Conspiracy of Art,” “Art Contemporary ...of Itself,” The Conspiracy of Art, pp.25-29; 89-97. Browse the following interviews edited in The Conspiracy of Art (pp.43-85, 133-140, 201-4 ): “Starting from Andy Warhol”; “Art between Utopia and Anticipation”; “No Nostalgia for Old Aesthetic Values”; “La Commedia dell’Arte”; “Too Much is Too Much,” “The Implosion of Beaubourg,” “The Matrix revisited.” |
| 第 5 週 | Pierre Bourdieu, The Rules of Art, pp.47-140; 333-348. |
| 第 6 週 | Theodor W. Adorno, “After Auschwitz,” Negative Dialectics, pp.361-365. T. W. Adorno, “Commitment,” in A. Arato and E. Gebhardt (eds.) The Essential Frankfurt School Reader, pp.300-318. Jean-Francois Lyotard, The Differend, pp.3-14 (skip the Protagoras). Giorgio Agamben, Remnants of Auschwitz, ¶ 1.1; 1.2; 1.3; 1.4; 1.5 (pp.15-20); ¶ 2.1; 2.2 (pp.41-45); ¶ 3.17; 4.7 (pp.120-1; 150-1). |
| 第 7 週 | Jacques Derrida, “Poetics and Politics of Witnessing,” Sovereignties in Question: the Poetics of Paul Celan, pp.65-96. Shoshana Felman, “Poetry and Testimony: Paul Celan, or the Accidenting of Aesthetics,” “Camu’s The Plague, or a Monument to Witnessing,” Testimony, pp.25-40; 93-119. Compare two films: Claude Lanzmann’s videotaped testimonies, Shoah, and Steven Spielberg's epic film, Schindler's List (1994). |
| 第 8 週 | Jean-Luc Nancy, “Forbidden Representation,” The Ground of the Image, pp.27-50. Jay Winter, “The apocalyptic imagination in art: from anticipation to allegory,” Sites of Memory, Sites of Mourning, pp. 145-177. |
| 第 9 週 | Carl Schmitt, “Political Romanticism,” Political Romanticism, pp. 109-162. |
| 第 10 週 | Walter Benjamin, “The Concept of Criticism in German Romanticism,” Selected Writing, Vol.1, pp. 116-200. |
| 第 11 週 | Philippe Lacoue –Labarthe, Heidegger, Art and Politics, pp.53-104. |
| 第 12 週 | Leszek Kolakowski, “Communism as a Cultural Force,” My Correct Views On Everything, pp. 77-90. Isaiah Berlin, “The Arts in Russia under Stalin,” The Soviet Mind, pp. 1-27. |
| 第 13 週 | Boris Groys, The Total Art of Stalinism: Avant-Garde, Aesthetic, Dictatorship, and Beyond. Pp. 1-74 |
| 第 14 週 | Boris Groys, The Total Art of Stalinism: Avant-Garde, Aesthetic, Dictatorship, and Beyond. Pp. 75-129. |
| 第 15 週 | Boris Groys, Art Power, pp. 140-172. Boris Groys, “Introduction: The Rheology of Art”, “On Art Activism”, “Art on the Internet”, In the Flow, pp. 1-7, 43-60, 171-188. |
| 第 16 週 | Each student should submit one page study plan, and make a five minutes presentation in class, followed by class discussion. |
| 第 17 週 | Potluck Party |
教科書
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Office Hours
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- 時間
- Office Hours: by appointment
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