Contemporary Issues in Social and Cultural Theory:
Art and Politics
授課？朱元鴻 Seminar, Fall 2006
Monday 7:10-10:00pm Classroom: T314
9/18 Course Introduction
I. Some Background Social Theories
9/25 Herbert Marcuse, The Aesthetic Dimension.
10/2 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.”
10/9 Pierre Bourdieu, The Rules of Art, pp.47-140; 333-348.
II. Art as Testimony
10/16 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 (pp.15-20);
?2.1;2.2 (pp.41-45); ? 3.17; 4.7 (pp.120-1; 150-1). 10/23 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).
10/30 Jean-Luc Nancy, “Forbidden Representation,” The Ground of the Image,
Jay Winter, “The apocalyptic imagination in art: from anticipation to
allegory,” Sites of Memory, Sites of Mourning, pp. 145-177. III. Political (In)significance of Romanticism 11/6 Philippe Lacoue –Labarthe, Heidegger, Art and Politics, pp.51-104. 11/13 ？期中考;延至12/4補停課，
Carl Schmitt, “The Structure of the Romantic Spirit,” Political Romanticism,
11/20 Walter Benjamin, “The Concept of Criticism in German Romanticism,”
Selected Writing, Vol.1, pp. 116-200.
IV. Sublime: Sensible Presentation as Question 11/27 Jean-Luc Nancy, “Preface,” Of the Sublime: Presence in Question, pp.1-3.
Kant, “Analytic of the Sublime,” Critique of Judgment, ?23-29, 39, 42, 59
(pp.82-120, 133-5, 140-5, 196-200). 12/4 期中考補停課
12/11 Schiller, “Letter XV,” On the Aesthetic Education of Man, pp. 101-109.
Friedrich Schiller, “On the Sublime,” “On the Sublime: Toward the Further
Development of Some Kantian Ideas,” Essays, (pp.24-83).
.Paul de Man, “Kant and Schiller,” Aesthetic Ideology, pp.129-155. 12/18 Jean Francois Lyotard, “A Few Signs of Heterogeneity,” “The
Communication of Sublime Feeling,” Lessons on the Analytic of the
Sublime, pp.147-158; 224-239.
J.-F. Lyotard, “The Interest of the Sublime,” Of the Sublime Presence in
J.-F. Lyotard, “Postscript to Terror and the Sublime,” The Postmodern
Explained, pp. 67-73.
J.-F. Lyotard, “The Sublime and the Avant-Garde,” “Representation,
Presentation, Unpresentable,” “After the Sublime, the State of
Aesthetics,” The Inhuman, pp.89-107; 119-128; 135-143.
J.-F. Lyotard, “Anima Minima,” Postmodern Fables, pp.235-249.
1/8 Jacques Ranciere, “The Sublime from Lyotard to Schiller: Two readings of
Kant and their political significance, Radical Philosophy, No.126
Jacques Ranciere, The Politics of Aesthetics: The Distribution of the
1/15 Potluck Party
Each student will make several class presentations and will write a research paper expanding on the topics covered in class. A research plan (about one page) will be due by January 9. Grade will be 50% for final paper and 50% for class presentation and participation.