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Teacher
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GIOMBINI LISA
(syllabus)
Title: Art and Authenticity
The course will investigate the principal understandings of the notion of authenticity in contemporary debates in aesthetics and the philosophy of art.
Throughout the course, the following issues will be addressed:
Why do we care so much about the authenticity of the objects of our aesthetic appreciation?
On what ground can we reject forgery, plagiarism and other forms of artistic counterfeiting?
What is the relationship between an object’s authenticity and its aesthetic value?
Which meanings does the notion of authenticity get in the aesthetic domain?
(reference books)
Bowden, R., ‘What is Wrong with an Art Forgery? An Anthropological Perspective’, The Journal of Aesthetics and Art Criticism, 57, 1999, pp. 333-343.
Danto, A.C., The Transfiguration of the Commonplace, Harvard University Press, Cambridge (MA) 1981 (selected parts).
Goodman, N. Languages of Art, Indianapolis, The Bobbs Merrill Company 1968 (ch. 3 “Art and Authenticity”).
Kivy, P. Authenticities: Philosophical Reflections on Musical Performance, Ithaca (NY), Cornell University Press 1995 (selected parts).
Davies, S., Themes in the Philosophy of Music, Oxford University Press, Oxford (selected parts)
Dutton, D. ‘Authenticity in Art’, in J. Levinson (ed.), The Oxford Handbook of Aesthetics, New York, Oxford University Press 2003, pp. 324-343.
Dutton, D., ‘Artistic Crimes’, The British Journal of Aesthetics, 19, 4, 1979, pp. 302-341.
Farrelly-Jackson, S. (1997), ‘Fetishism and the identity of art’, The British Journal of Aesthetics, 37, 2, 1997, pp. 138-54.
Gracyk, T., ‘Authenticity and art’, in S. Davies, S., M.K. Higgins, R. Hopkins, R. Stecker, D.E. Cooper (eds.), A Companion to Aesthetics (Second edition), Malden (MA), Wiley-Blackwell 2009.
Jaworski, P.M., ‘In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates of Paintings Are Just as Good as the Originals’, Journal of Value Inquiry 47, 2013, pp. 391-405.
Kennick, W.E., ‘Art and Inauthenticity’, The Journal of Aesthetics and Art Criticism 44, 1985, pp. 3-12.
Kosmeyer, C., ‘Aesthetic Deception: On Encounters with the Past’, The Journal of Aesthetics and Art Criticism 6, 2008, pp. 117-127.
Lessing, A., ‘What is Wrong with a Forgery?’, The Journal of Aesthetics and Art Criticism 23, 1965, pp. 461-471.
Mills, C., ‘Artistic Integrity’, Journal of Aesthetics and Art criticism 76, 2018, pp. 9-20.
Sagoff, M., ‘On Restoring and Reproducing Art’, The Journal of Philosophy 75, 1978, pp. 453-470.
Sagoff, M., ‘Art and Authenticity: A Reply to Jaworski’, Journal of Value Inquiry 48, 2014, pp. 503-515.
Shiner, L., 'Primitive Fakes, Tourist Art, and the Ideology of Authenticity', The Journal of Aesthetics and Art Criticism 52, 1994, pp. 225-234.
Stalnaker, N., Fakes and Forgeries, in B. Gaut and D.L. (eds) The Routledge Companion to Aesthetics (3d Edition), London-New York, Routledge 2013, pp. 395-407.
Young, J.O., ‘Art, Authenticity and Appropriation’, Frontiers of Philosophy in China 3, 2006, pp. 455-476.
Young, J.O., 'Authenticity in Performance', in B. Gaut & D. Lopes (eds.), London, The Routledge Companion to Aesthetics. Routledge 2001, pp. 455-476.
Zemach, Eddie M., ‘How paintings are’, British Journal of Aesthetics, 29, 1989, pp. 65-71.
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Università Roma Tre