In the previous post 'thoughts on Zibaldone teaching 'of March 1, 2007 there is evidence of my following assumptions, including that of the current problem of applied technology is a problem of understanding art, or a tendency for students to develop artistic avenues of research aimed only at their own self-understanding of that alien's participation and understanding from colleagues and the same faculty. This attitude may have its primary meaning in the experience art in itself, but can be a constraint in terms of teaching experience. To overcome this, I proposed a recovery of phenomenology. This recovery must also open the same discipline to dialogue with the context of artistic and creative.
These thoughts were shared with elaborate e Francesco Monico, then my proposal is embodied in the following schedule:
method (20 hours):
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stay of proceedings;
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Intentionality;
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levels of meaning;
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Intersubjectivity
I suggested readings are: E. Husserl, the idea of \u200b\u200bphenomenology, Milan 2006; AAVV., phenomenology, Torino 2002, an anthology of songs by Kant, Baudelaire, Poe, Valery, Heidegger, Merleau-Ponty, Foucault.
Poetics (20 hours):
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sharing levels of meaning;
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from the body to the sharing of meaning: what language? Which medium?
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Kitsch;
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description.
References are: M. Kundera, The Art of the Novel, Milan 1988; M. Kundera, The Curtain, Milan 2005; anthology of literary texts from the sixteenth to Twentieth century, Rabelais, Cervantes, Sterne, Diderot, Balzac, Flaubert, Dostoevsky, Bulgakov, Broch, Proust.
Laboratory 1 (20 classroom hours):
All students are invited to set up an account, length of your choice, on the perception of sound. The best stories are collected and published on www.lulu.com
Laboratory 2 (20 classroom hours)
Students are invited to bring their own music sound in the classroom of any kind. Through the inter-comparison means to get the description of levels of meaning that describes the class listening to the songs.
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