The list below is designed to guide your studying for the second test. It includes single concepts, distinctions, and lists of related or contrasting concepts (separated by slashes) from the philosophers we have read. To be well prepared, you should
• understand each concept (or group of concepts)
• connect it with a philosopher, and
• be familiar with that philosopher’s basic discussion of it.
I’ve tried to word the list using forms of expression you’ve seen in the reading (and follow the order in which the ideas appear in each philosopher) but if it isn’t clear what I have in mind in an item on the list or where it appears in what you’ve read, don’t hesitate to ask.
The actual questions on the test may take a number of forms. You may be asked to provide a definition of a concept or to explain a distinction. You may be asked to identify the philosopher with which a distinctive idea is associated (or the philosopher who wrote a passage concerning the idea). You may asked to write a short essay explaining a philosopher’s views concerning one of these ideas or to compare the views of two or more philosophers regarding these ideas. In short, while the list does not indicate the format of the test, it does indicate the material on which you will be tested.
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Burke & Kant (3/4) • beautiful vs. sublime Kant (3/6) • taste vs. genius • aesthetic idea Schiller (3/16) • sensuous drive vs. form drive • play drive and appearance Schelling (3/18) • art product as the resolution of a contradiction • genius, art, and poetry Hegel (3/20) • symbolic / classical • architecture / sculpture Hegel (3/23) • romantic art (vs. symbolic and classical) • painting / music / poetry Schopenhauer (3/25) • aesthetic contemplation • allegory and concept vs. Idea Schopenhauer (3/27) • music as an objectification of will Nietzsche (3/30) • Dionysian vs. Apollonian Nietzsche (4/1) • aesthetic Socratism Heidegger (4/6) • equipment • truth setting itself to work |
Heidegger (4/8) • world vs. earth Heidegger (4/10) • rift-design (Riss) • founding and preserving Croce (4/13) • intuition = expression ≠ communication Bullough (4/15) • psychical distance Bell (4/17) • significant form Gombrich (4/20) • assumptions in image reading Goodman (4/22) • density • exemplification & expression • repleteness Goodman (4/24) • world versions • making worlds from worlds Danto (4/27) • the theories IT and RT • the is of artistic identification • the artworld Danto (4/29) • representational progress • symbolic form and iconogen • modern art Danto (5/1) • kalliphobia • internal vs. external beauty |