(in Polish) Contemporary Philosophy and Popular Culture 3501-CPPC20-S
The course is designed to acquaint students with major issues within the contemporary philosophy of popular art and culture. The following issues will be discussed: (1) the high/low art debate in the philosophy of culture; (2) somaesthetics; (3) the paradox of emotion; (4) film and the contemporaneity; (5) modes of storytelling in television narrative dramas; (6) artification and everyday aesthetics.
Type of course
- Students know and understand advanced research methodologies and interpretation strategies within contemporary philosophy of popular culture.
- Students are provided with most influential professional literature from the field of popular culture and philosophy
- Students are able to critically analyse and assess complex philosophical arguments as well as formulate their own philosophical position
Acquired social competence:
- Students have skills allowing for a critical evaluation of popular culture artifacts
- active participation
- final essay (4,500-5,500 words)
Number of absences: 2
(Please note, that the final list of readings is subject to change and negotiation according to students’ research interests)
Carroll N., The Philosophy of Mass Art, Oxford University Press, 1997.
Saito Y., Everyday Aesthetics, Oxford University Press, 2007.
Mittell J. Complex TV, New York University Press, 2015.
Shusterman R. „Form and Funk. The Aesthetic Challange of Popular Art”, British Journal of Aesthetics, 3 (31) 1991, pp. 213-230.
Gracyk T., „Searching for the Popular and the Art in Popular Art”, Philosophy Compass 2 (2) 2007, pp.380-295.
Irvin Sh., „The Pervasiveness of the Aesthetic in Ordinary Experience”, British Journal of Aesthetics, 1 (48) 2008, pp. 29–44.
Naukkarinen O., ”Variations in Artification”, Contemporary Aesthetics, Special Issue: Artification, vol. 4;
Gerson M-J., „The World of Mad Men: Power, Surface, and Passion”, American Journal of Psychoanalysis, 71 (2011), pp. 370–375;
Butler, J. G., “Smoke Gets in Your Eyes: Historicizing Visual Style in Mad Men” [in:] Mad Men: Dream Come True TV, Edited by Gary R. Edgerton, London 2011, pp. 55–71.
Donnelly A. M., “The New American Hero: Dexter, Serial Killer for the Masses”, The Journal of Popular Culture (1) 45 (2012), pp. 15–26;
Force W. R., “The Code of Harry: Performing Normativity in Dexter”, Crime, Media, Culture, (3) 6 2011, ss. 329–345.
Jameson F., “Realism and Utopia in the Wire”, Criticism 3–4 (52) 2010, pp. 359–372;
Bramall R., Pitcher B., “Policing the crisis, or, why we love The Wire”, International Journal of Culture Studies, (1) 16 2013, pp. 85–98.
Sibley F., “Tastes, Smells, and Aesthetics” [in:] ibidem, Approach to Aesthetics, Oxford University Press 2001;
Brady E., “Smells, Tastes and Everyday Aesthetics” [in:] Philosophy and Food, Ed. David Kaplan. Berkeley: California University Press, 2012.
Fokt S., “Pornographic Art – A Case from Definitions”, British Journal of Aesthetics, 3 (52) 2012, pp. 278–300;
Neill A., “The Pornographic, the Erotic, the Charming, and the Sublime” [in:] Art and Pornography. Philosophical Essays, Ed. Maes H., Levinson J., Oxford University Press 2012.
Parsons G., A. Carlson, “Functional Beauty in Contemporary Aesthetic Theory” [in:] Functional Beauty, Oxford University Press 2008;
Sauchelli A., “Functional Beauty, Perception, and Aesthetic Judgments” British Journal of Aesthetics (1) 53 2012, pp. 41–53.
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: