Aesthetics (Specialisation Seminar) - 2nd semester


a) To acquire the capacity to distinguish the \"process\" that leads to the creation of works of art from other processes and the kinds of activity.
b) To acquire the capacity to problematize the classical categories of Aesthetics, as for instance \"aesthetic experience\", \"aesthetic value\", \"creative subject\", \"beauty\", \"aesthetic attitude\".
c) To acquire advanced knowledge of the main aesthetic theories.

General characterization





Responsible teacher

Maria João Mayer Branco


Weekly - 2

Total - Available soon

Teaching language



Not applicable


-Constâncio, J., Branco, M.J.M., & Ryan, B. (Eds.) (2015). Nietzsche and the Problem of Subjectivity. Berlin/ Boston: De Gruyter.
-Constâncio, J. (2015). Nietzsche on Decentered Subjectivity or, the Existential Crisis of the Modern Subject. In J. Constâncio, M.J.M. Branco, & B. Ryan (Eds.), Nietzsche and the Problem of Subjectivity. Berlin/ Boston: De Gruyter.
-Constâncio, J. (forthcoming). ‘Who is right, Kant or Stendhal?’ On Nietzsche’s Critique of Kant’s Aesthetics. In M.J.M. Branco & K. Hay (Eds.), Nietzsche’s Engagements with Kant and the Kantian Legacy. Volume III. London/New York: Bloomsbury.
-Constâncio, J. (forthcoming). Hegel and Nietzsche on Recognition and Power. In L. R. Santos & K. Hay (Eds.), Nietzsche, German Idealism and Its Critics. Berlin/ Boston: De Gruyter.
-Constâncio, J. (forthcoming). Nietzsche on Nihilism. In A. Bertino et al. (Hrsg.), Zur Philosophie der Orientierung. Werner Stegmaier zum 70. Geburtstag. Berlin/ Boston: De Gruyter.

Teaching method

Teaching methodologies: seminar and tutorial. Analysis and discussion of theses and problems. Presentation and discussion of research projects (by the students).

Evaluation method

Participation in the seminar (50%); presentation and discussion of a research project (50%).

Subject matter

The syllabus consists in the analysis and advanced discussion of the consequences for the field of Aesthetics — and particularly for the conception of such aesthetic categories as “creative process”, “aesthetic experience”, “aesthetic value”, “creative subject”, “beautiful”, “aesthetic attitude” — the way in which Nietzsche relates his reflection on art with his conception of nihilism and the critique of modern subjectivity. This advanced discussion uses as a starting point a set of publications that belong to the most recent international research on Nietzsche, and the seminar is supposed to work as a research seminar. Nihilism and the critique of subjectivity offer an angle from which the traditional categories of Aesthetics can be problematized, indeed an angle from which Nietzsche’s own Aesthetics is to be confronted with recent, post-Nietzschean aesthetic theories.


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