משך השיעור: סמסטריאלי ואורגניציסטיות.
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1 1 שם השיעור: תיאוריות אורגניציסטיות וויטאליסטיות של הדימוי שם המורה: עדי אפעל משך השיעור: סמסטריאלי תיאור הקורס: השיעור יציג בפני התלמידים את מקומן המרכזי של שתי תפיסות מטאפוריות: זו של השלם האורגני וזו של היסוד הויטאלי, במחשבת התרבות והההויה המודרנית והפוסט- מודרנית. בד-בבד, נבדוק באיזה אופן עוסקת התרבות המודרנית בתופעת החיים ובאופני שימורה. במסגרת זו, גם יצירת האמנות מתוארת כיצור חי, והמטאפורה האורגניציסטית והויטאליסטית מופיעה רבות בהתבטאויות של אמנים לגבי עבודתם. כמו-כן ידון מושג האינטואיציה (הסתכלות) הממלא תפקיד מרכזי בתפיסות העולם ובאסתטיקה האורגניציסטית והויטאליסטית. הזרמים הנטוראליסטים והריאליסטים של התרבות והספרות המודרניות ניתנים להיבחן תוך שימוש בנקודת המבט של תיאור החיים, חקירתם ואישושם. כמו-כן עיסוקה של התרבות המודרנית במוות ובכיליון, כמו בתקופת הדקדנס במאה ה- 19, ייבדק גם הוא במסגרת הנטייה האמורה לביקורת החיים. פירוט תכני הקורס: שיעורים : 1-2 הצגה קונסpטואלית של המושגים אורגניציזם וויטאליזם: יסוד ויטאלי, לכידות אורגנית, מושג המכניזם ויחסו אל האורגניציזם; מערכות משולבות של תפיסות ויטאליסטיות ואורגניציסטיות. שיעור : 3 תפיסת השלם הציורי של אלברטי (מאה 15), המודל הפרספקטיבי, והשלם האורגני.; תפיסת הביטוי ) Expression ( ויחסיה לתפיסות ויטאליסטיות ואורגניציסטיות. שיעור 4: האורנמנט כגילום של דחף אורגני חיוני והבנתו התיאורטית במאה ה- 19 : האר-נובו; גוטפריד סמפר, וילהלם וורינגר. היסוד ה"רוחני" וה"טבעי" של הצורה המופשטת; הביקורת של ולטר בנימין על תפיסת האורנמנט במאה ה- 19. שיעור 5: תפיסות ויטאליסטיות ואורגניציסטיות בתיאוריית האמנות הרומנטית: הגל, שלגל, הביקורת של ולטר בנימין. שלינג, גתה, שיעור 6: מושג ה"דקדנס" ותיאוריות של התפרקות הלכידות האורגנית באמנות, בחברה, בחיים הפוליטים ובחיי ההכרה.
2 2 ; ( Kunstwollen ) שיעור 7: אלואיס ריגל: הדחף לאמנות והלכידות החזותית. היחס בין רצון לחושים בתפיסתו של ריגל. שיעור 8: פרידריך ניטשה, ויטאליזם והגדרת האמנות האנטי אורגניציסטית. ; שיעור 9: אבי ווארבורג, "נוסחת הפאתוס" של הדימוי החזותי זיגמונד פרויד, והסימפטומטולוגיה הויטאלית של הדימוי החזותי. שיעור 10: תפיסות ויטאליסטיות ואורגניציסטיות במחצית הראשונה של המאה ה- 20 : המקרה של האסתטיקה הפנומנולוגית, היידגר ומרלו-פונטי; "עולם המחייה" ),(Lebenswelt ו"מרחב המחייה" ).(Lebensraum שיעור 11: אנרי פוסיון ו"חיי הצורות": ההשפעה הברגסונית והתיאוריה של תולדות האמנות. שיעור סיכום: בעיות ויטאליסטיות ואורגניציסטיות בתיאוריות עכשוויות של הדימוי. חובות הסטודנטים: נוכחות מלאה, קריאה במקרה הצורך, מבחן מסכם. שקלול הציון: סעיף הנוכחות מהווה תנאי למבחן המסכם; המבחן המסכם : 100 אחוז מן הציון. ביבליוגרפיה חובה ) התלמידים יעסקו בקריאת קטעים בודדים מן הספרים הנ"ל): אריסטו; המטפיסיקה/ ספר דלתא (תירגמו מיוונית מרסל דיבואה ואביטל וולמן, תשנ"ח). ירושליים, משה ברש; מחשבת האמנות בדורות האחרונים (ירושלים, 1977). אנרי ברגסון; ההתפתחות היוצרת (תירגום מצרפתית יוסף אור, ירושלים, 1974.([1907] ז'אק אלאן מילר, הביולוגיה הלאקאניאנית ואירועי הגוף (תרגום נ. אידן, וק. גסר ירושלים,.(2000
3 3 פרידריך ניטשה; הרצון לעוצמה, כרכים א-ב ) תרגום י. אלדד, ירושלים ותל-אביב, ) פלוטינוס; האסתטיקה לפלוטינוס(תירגם נתן שפיגל, ערך טוביה ריבנר, תל-אביב, תשמ"ז.([1987] עמנואל קאנט, ביקורת התבונה הטהורה (תירגמו שמואל הוגו ברגמן ונתן רוטנשטרייך, ירושלים,.([1787,1781] 1966 עמנואל קאנט; ביקורת כח השיפוט (תרגמו שמואל הוגו ברגמן ונתן רוטנשטרייך, ירושלים, 1984.([1790] ארתור שופנהאואר; העולם כרצון וכדימוי, כרכים א ו- ב ) תרגום יוסף האובן, תל-אביב, 2003.[ 1818 ] י.פ. וו. שלינג; שיטת האידיאליזם הטרנסצנדנטאלי ) תרגום משה שוורץ, 1980). Giorgio Agamben; Homo Sacer: Sovereign Power and Bare Life ( eng. Trans., Stanford, 1998). Meyer Howard Abrams; The Mirror and the Lamp- Romantic Theory and the Critical Tradition (Oxford, 1971 [1953]). Keith Ansell-Pearson; Germinal Life- Difference and Repetition of Deleuze (New York and London, 1999). Yves-Alain Bois, and Rosalind E. Krauss; Formless- A User Guide (New York, 1997). Frederick Burwick and Paul Douglas (eds.); The Crisis in Modernism- Bergson and the Vitalist Controversy (Cambridge, 1992). Freud, Beyond the Pleasure principle, The Ego and the Id, Morning and Melancholia, inside- The Penguin Freud Library, vol. 11- On Metapsychology (1955).
4 4 ביבליוגרפיה משנית: אנרי ברגסון; מסה על נתונים הבלתי אמצעיים של התודעה [1889] (תירגום מצרפתית יוסף אור, ירושלים, 1977). אדמונד הוסרל; הגיונות קארטזיאניים (תירגום ומבוא: אברהם צבי בראון, ירושלים, תשנ"א) אדמונד הוסרל; מבחר מאמרים (ערוך בידי שמואל הוגו ברגמן, נתן רוטנשטרייך ויעקב גולומב, ירושלים, תשנ"ג). היינריך ולפלין; מושגי יסוד בתולדות האמנות (תרגום מגרמנית נחמן בן-עמי, ירושלים, 1962). סטפן מוזס; ולטר בנימין ורוח המודרניות ) תל-אביב, 2003). Rudolf Arnheim; Visual Thinking (Berkeley and London, 1969). Mitchell G. Ash, Gestalt psychology in German culture (Cambridge, 1995). Moshe Barasch; Modern Theories of Art, 2- From Impressionism to Kandinsky (New York, 1990). Gillian Beer; "' Authentc Tidings of Invisible Things ' - Vision & the Invisible in the Later Nineteenth Century", in- Vision in Context (K. Brennan & M. Jay eds., New York & London, 1996), pp Walter Benjamin; The Arcades Project (Trans. H. Eiland and K. Mclaughlin, Cambridge, Mass. and London, 1999). Rudolf Bernet, Iso Kern and Eduard Marbach; An Introduction to Husserlian Phenomenology (Evanstone, Illinois, 1993). Jean-Pauk Bouillon; "Arabesques", Lost Paradise- Symbolist Euorope (exh. cat., Jean Clair ed., Montreal, 1995), pp
5 5 Mark A. Cheetham; The Rhetoric of Purity- Essentialist Theory and the Advent of Abstract Painting (Cambridge, 1991). Herschel B. Chipp (ed.); Theories of Modern Art- A Source Book by Artists and Critics (Berkeley, Los Angeles and London, 1968). Jonathan Crary; Suspensions of Perception Attention, Spectacle and Modern Culture (Cambridge, Mass. And London, 1999). Benedetto Croce; Aesthetic- As Science of Expression and General Linguistic (New York, 1922 [1909]). Paul Crowther; More than Ornament: The Significance of Riegl, Art History 17 (september 1994), pp Jonathan Dancy; Are there Organic Unities?, Ethics 113/3 (april 2003). Gilles Deleuze; Bergsonism (trans. H. Tomlinson and B. Habberiam, New York, 1991 [1966]). Gilles Deleuze; Expressionism in Philosophy:Spinoza (New York, 1992). Gilles Deleuze; Nietzsche and Philosophy ( Eng. Trans., New York, 1983). Gilles Deleuze and Felix Guattari; Anti-Oedipus: Capitalism and Schyzoprenia ( eng trans., Minnesota, 1985). Denis Diderot; Selected Writings on Art and Architecture (Penguin, 1994). Georges Didi-Huberman; Dialectik des Monstrums: Aby Warburg and the sympton paradigm, Art History 24/5 (November 2001), pp
6 6 Henri Dorra; Symbolist Art Theories- A Critical Anthology (Berkeley, Los Angeles and London, 1994) Hans Driesch; The History and Theory of Vitalism ( Eng. Trans., London, 1914). Adi Efal; Warburg s Pathos Formula in Psychoanalytic and Bernjaminian Contexs, Asaph- Studies in Art History 5 (2000), pp Henri Focillon; The Life of Forms in Art ( Zone, 1992). Michel Foucault; The Order of Things: An Archeology of the Human Sciences ( eng. Trans., Vintagem 1994). Michel Foucault; Bio-power, inside his- The Foucault Reader ( Penguin, 1986). Ernst Hans Joseph Gombrich; Aby Warburg - An Intellectual Biography (Oxford, 1970). Félix Guattari; The Three Ecologies ( Eng. Trans., New Jersey, 2000). Jean-Pierre Guillerm; "La Peinture comme Ornement- Valery- Maurice Denis- Gauguin", La Fins de la Peinture (René Démoris ed., Paris, 1990), Charles Harrison and Paul Wood (eds.); Art In Theory- An Anthology of Changing Ideas (Oxford UK and Cambridge USA, 1992). Georg Wilhelm Friedrich Hegel; Phenomenology of Spirit (eng. Trans. A. V. Miller, Oxford, 1977). Martin Heidegger; Being and Time A Translation of Sein und Zeit (Joan Stambaugh trans., New York, 1996).
7 7 Mary Henle (ed.); Documents of Gestalt Psychology (Berkeley and Los Angeles, 1961). Margaret Iversen; Alois Riegl: Art History and Theory (Cambridge Mass. And London, 1993). Margaret Iversen; Retrieving Warburg s Tradition, Art History 16/4 (december 1993), pp Hans Jonas; The Phenomenon of Life Toward a Philosophical Biology ( New York, 1966). David Farrell Krell; Contagion- Sexuality, Disease and Death in German Idealism and Romanticism (Bloomington and Indianapolis, 1998). David Farrell Krell; Daimon Life- Heidegger and Life-Philosophy (Bloomington and Indianapolis, 1992). Julia Kristeva; Black Sun ( Columbia, 1992). Jacques Lacan; Écrits- A Selection (Trans. A. Sheridan, Great-Britain, 1977). Jacques Lacan; The Four Fundamental Concepts of Psycho-Analysis (Eng. Trans. A. Sheridan, Penguin, 1979). Jay Lampert; Synthesis and Backgroung Reference in Husserl s Logical Inverstigations (Dordrecht, 1995). Andrew George Lehman; The Symbolist Aesthetic in France (Oxford, 1950). Emanuel Levinas; Théorie de l intuition dans la phénoménologie de Husserl (Paris, 1978).
8 8 Maurice Merleau-Ponty; Phenomenology of Perception ( eng. Trans., 1992 [ 1945]). Maurice Merleau-Ponty; The visible and the invisible (eng. Trans., Northewestern, 1969 [ 1964]) David Morgan; The Idea of Abstraction in German Theories of the Ornament from Kant to Kandinsky, The Journal of Aesthetic and Art Criticism 50/3 (Summer 1992), pp Ernest Nagel; Wholes, Sums, and Organic Unities, Parts and Whols (ed. Daniel Lerner, London and New York, 1963), pp Jean-Luc Nancy and Phillip Lacoue-Labarthe ; The literary absolute: The theory of literature in German Romanticism ( eng. Trans., New york, 1988). Margaret R. Olin; Forms of Respcet: Alois Riegl s Forms of Attentiveness, The Art Bulletin 71 (june 1989), pp Dominic J. O meara; Plotinus- An Introduction to the Enneads (Oxford, 1993). Giani N. G. Orsini; Benedetto Croce- Philosopher of Art and Literary Critic (Carbondale, 1961). Giani N. G. Orsini; The Organic Concepts in Aesthetics, Comparative Literature vol. 21/1 (winter 1969), pp Giani N. G. Orsini; Coleridge and German Idealism (London and Amsterdam, 1969). D. C. Phillips; Organicism in the Late Ninteenth and Early Twentieth Centuries, Journal of the History of Ideas (july-september 1970, no. 3), pp Jean Pierrot; The Decadent Imagination ( Eng. Trans., Chicago and London, 1981).
9 9 Michael Podro; The Critical Historians of Art (Yale, 1982). Thomas Puttfarken; The Discovery of Pictorial Composition- Theories of Visual Order in Painting (New Haven and London, 2000). Forest Pyle; The Ideology of Imagination- Subject and Society in the Discourse of Romanticism (Stanford, 1995). Michael Quante; Organic Unity : Its Loose and Analogical and its Strict and Systematic Sense in Hegel s Philosophy, Southern Journal of Philosophy 39 (2001, Supplement), pp ; Mathew Rampley; From Symbol to Allegory: Aby Warburg s Theory of Art, The Art Bulletin 79, (march 1997), pp Mathew Rampley; Iconology of the interval: Aby Warburg s legacy, Word and Image 17/4 (october-december, 2001), pp Mathew Rampley; Spectatorship and the Historicity of Art: Re-reading Alois Riegl s Historical Grammar of Fine Arts, Word and Image 12 (april-june 1996), pp Ruth Ronen; Representing the Real ( Rodopi, 2002). Nathan Rotenschtreich; Synthesis and Intentional Objectivity: On Kant and Husserl (Dordrecht, 1998). H. R. Rookmaaker; Gauguin and 19 th Century Art Theory (Amsterdam, 1959). Jean-Paul Sartre; Being and Nothingness (eng. Trans., Washington, 1993 [1943]). Meyer Schapiro; On the Perfection, Coherence and Unity of Form and Content, in his- Theory and Philosophy of Art: Style, Artist, and Society (New-York, 1977), pp
10 10 Edgar B. Schick; Metaphorical Organicism in Herder s Early Works (The Hague and Paris, 1971). Judith Schlanger; Les Métaphores de l organisme (Paris, 1971). Sally Sedgwick; The State as Organism- The Metaphysical Basis of Hegel s Philosophy of Right, Southern Journal of Philosophy 39 (2001, Supplement), pp Frank J. Sulloway; Freud, Biologist of the Mind- Beyond the Psychoanalytic Legend (Cambridge, 1992). Tzvetan Todorov; Theories of the symbol ( eng trans, Cornell, 1984 [1977]). Caroline Van Eck; Organicism in nineteenth-century architecture An inquiry into its theoretical and philosophical background (Amsterdam, 1994). Roc Weatherill (ed.); The Death Drive: New Life for a Dead Subject (Rebus, 1999). Alfred North Whitehead; Process and Reality- An Essay in Cosmology (Toronto, 1929). Heinrich Wölfflin; Principles of Art History- The Problem of the Development of Style in Later Art (English Translation by M. D. Hottinger, 1932[1913]). Slavoj Zizek; The Indivisible Remainder An Essay on Schelling and Related Matters (Verso, 1996).
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