Le Grand Syllabus 2017/2018
du régime d'historicité qui s'opère durant cette période, consécutif aux désillusions grandissantes devant les tragédies répétées de l'histoire. Lectures principales demandées : François Dosse, Histoire du structuralisme, tome 1 et tome 2, La Découverte, 1991 et 1992, rééd. La Découverte-poche, 2012.
engage in a series of debates, whether formally or informally. Pedagogical Method : At the end of the course, the student is expected to : 1) Develop a thorough comprehension of the problematics of the relationship between art and scandal. 2) Be familiarized with a wide array of artistic content, from contemporary art to video and literature. 3) Exercise critical thinking regarding topics such as aesthetics, moral judgment, intellectual property, etc. Each session will include : -a lecture by the teacher supported by a PowerPoint presentation -oral presentations by students followed by a Q&A session (except for the ﬁrst class session) -several group discussions on case studies. As much as possible we will try to incorporate audiovisual content to the course (images, videos, etc.), but also readings of academic or press articles. Course Description : From Madame Bovary to Michel Houellebecq's Soumission, from The Origin of the world by Gustave Courbet to the famous art forger Wolfgang Beltracchi, art and scandal have always been closely connected. Avant-garde art movements in particular have used scandal as a way to establish their emerging legitimacy in the art world. But how do we deﬁne art ? What is considered a scandal ? Is there such thing as a moral responsibility of the artist ? How has art constantly challenged the concepts of beauty, moral standards, religion, politics, ethics and society over the course of its history ? Going over a wide-ranging selection of artistic productions, with a focus on literature, visual art, movies and theater, this course will analyze some of the most notorious scandals in the history of art including the most recent art controversies. This overview will give us the opportunity to reﬂect on a broad array of topics : moral standards versus provocation, censorship versus freedom of speech, the sacred versus blasphemy, forgery versus authenticity, and plagiarism versus intellectual property. Required reading : On scandal : moral disturbances in society, politics, and art – Adut, Ari– Cambridge University Press – 2008.
SCANDALS IN THE HISTORY OF ART
Semester : Spring Number of hours : 24 Language of tuition : English
Teachers : Juliette CHAMBON (Cultural Engineering Consultant). Pedagogical Format : Workshop Course validation : To validate the course, the student is expected to pass the following assignments (at least three grades) : 1) A 10-minute oral presentation on one of the themes studied throughout the semester (20% of the ﬁnal grade) 2) A 60-minute mid-semester exam with several short answer questions and one long analytical question (30% of the ﬁnal grade) 3) A ﬁnal essay OR a ﬁnal creative project on one the themes studied during the course. This ﬁnal assignment must be handed in the last session of the semester. (40% of the ﬁnal grade). For each deliverable, a topic should be identiﬁed by the student and approved by the teacher before the end of February. -The ﬁnal essay should be 2500 words long and reﬂect consistent thinking about the problematics studied in class. The topic of the essay should focus on a case study related to the theme of the course but not studied per se in class. -The creative project can be a piece of creative writing, a video, a visual art project, or an alternative format. It should reﬂect consistent reﬂection on the questions evoked in class. It will be accompanied by a minimum 500 word statement explaining the artistic approach. 4) Active oral participation in class discussions (10% of the ﬁnal grade) Throughout the semester, students will be asked to reﬂect upon a variety of topics and to actively 460