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 (i) understand each concept (or group of concepts), (ii) connect it with a philosopher, and (iii) 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 (2/26) • beautiful vs. sublime Kant (3/1) • taste vs. genius Schiller (3/3) • sensuous drive / form drive / play drive Schelling (3/5) • art product as the resolution of a contradiction • genius, art, and poetry Kant (3/15) • ideal • aesthetic idea Hegel (3/17) • symbolic / classical • architecture / sculpture Hegel (3/19) • romantic art (vs. symbolic and classical) • painting / music / poetry Schopenhauer (3/22) • aesthetic contemplation • music as an objectification of will Nietzsche (3/24) • Dionysian vs. Apollonian |
Nietzsche (3/26) • aesthetic Socratism Nietzsche (3/29) • the rational man vs. the intuitive man Heidegger (3/31) • truth setting itself to work Heidegger (4/2) • world vs. earth • rift-design (Riss) • founding and preserving Tostoy (4/5) • art • religious art vs. universal art Croce (4/7) • intuition = expression ≠ communication Hospers (4/9) • completed intuition vs. effect on an audience Bullough (4/12) • psychical distance Bell (4/14) • significant form |
Kandinsky (4/16) • the moving triangle • personality / style / pure artistry Goodman (4/19) • exemplification and expression Goodman (4/21) • density • repleteness • fit Goodman (4/23) • world versions • making worlds from worlds Danto (4/26) • the theories IT and RT • the is of artistic identification • the artworld Danto (4/28) • representational progress • symbolic form and iconogen • modern art Danto (4/30) • kalliphobia • internal vs. external beauty |