Universitat Internacional de Catalunya
Modern Culture
Other languages of instruction: Catalan, English
Teaching staff
They must be agreed upon according to the needs of the students.
Introduction
To introduce the distinctive and characteristic elements of European Modern Culture, from the Renaissance to the outbreak of the French Revolution.
Pre-course requirements
Those of the Degree.
Objectives
-To know and interpret the main keys that make up modern culture in Western Europe.
- To know how to differentiate and appreciate the continuities and ruptures that can be seen between the different cultural manifestations from the 15th century until 1789.
- To verify the overwhelming presence that these cultural characteristics still have today.
Competences/Learning outcomes of the degree programme
- CN02 - Students will be able to identify models and policies specific to different cultures and migratory groups, as well as their historical context.
- CP05 - Students will be able to analyse socio-cultural, historical and artistic structures, from a respect for the fundamental rights of equality between men and women, using language that avoids androcentricity and stereotypes.
- HB03 - Students will be able to develop a coherent understanding and expression of ideas and arguments, both orally and in writing.
- HB04 - Students will be able to develop the capacity for analysis, synthesis and critical thinking.
- HB05 - Students will be able to problem solve based on reasoned judgements.
- HB08 - Students will be able to research different humanistic disciplines based on an analysis and comparison of relevant information.
- HB11 - Students will be able to critically analyse cultural and artistic representations, based on an understanding of their historical context, in order to develop an intercultural perspective and a deeper understanding of the contemporary world.
- HB12 - Students will be able to adequately and effectively apply methods and techniques specific to different humanities disciplines when problem solving and when elaborating critical and well-founded arguments.
- HB13 - Students will be able to draw connections between data derived from observations and relevant theories, following data interpretation.
- HB17 - Students will be able to use data collection tools with a high degree of independence, such as library catalogues, archival inventories, documentary sources, electronic references and other resources.
Learning outcomes of the subject
1. The student acquires key concepts about culture and cultural experiences.
2. The student applies theoretical knowledge in analysis and discussions of classroom activities and autonomous work.
3. The student knows and selects specific documentation on cultural experiences.
4. The student practices teamwork strategies.
5. The student learns to contextualise cultural phenomena and relate them to their social and political dimension.
6. The student connects concepts from the different subjects worked transversally.
7. The student learns to diagnose problems in the cultural intellectual field.
8. The student applies/transfers theoretical and/or abstract concepts from each of the topics to real situations.
9. The student reads and analyses essays on current topics.
10. The student writes narrative and descriptive texts
11. The student analyses and diagnoses cases of cultural complexity.
12. The student organises data and/or scattered information.
Syllabus
HISTORY
1.- What is the Early Modern Age?
1.1.- The irruption of the concept
1.2.- The chronological limits (beginning, end, intermediate stages)
1.3.- Reductionisms in the approach
1.4.- Continuities and ruptures
2.- Cultural currents: Renaissance, Baroque and Enlightenment
2.1.- XVI century: Renaissance and Religious Reformation
2.2.- XVII century: crisis, Baroque and mentalities
2.3.- XVIII Century: Enlightenment and Revolution
PHILOSOPHY
General considerations on Modernity.
Descartes.
The 17th century and the reception of the Cartesian work: rationalism and empiricism.
Rationalism: Spinoza and Leibniz.
Empiricism: Locke, Berkeley and Hume.
The philosophy of Enlightenment.
The transcendental philosophy: Kant.
Considerations on post-Kantian philosophy.
LITERATURE
Unit 1: The wise humanist and the prince of the Renaissance.
The Prince (1513), by Machiavelli.
Utopia (1516) by Tomàs Moro.
Macbeth (1607), by Shakespeare.
Unit 2: Reason and madness.
Praise of Folly (1511), by Erasmus de Rotterdam.
Don Quixote (1605-1615), by Cervantes.
Evaluation: Comparative analysis of two texts.
ART
1. The Renaissance and Mannerism.
1.1 Terminology, periodisation and historiography.
1.2 A new aesthetic.
1.3 The architecture of Quattrocento and Cinquecento. Principles and typologies.
1.4 The figurative arts of Quattrocento and Cinquecento. Centres, genres and themes.
1.5 Mannerism and the search for originality.
1.6 The art of the Counter-Reformation.
1.7 The spread of Renaissance in Europe. The Hispanic Renaissance.
2. The Baroque and the Rococo.
2.1 The baroque city and its spaces.
2.2 Baroque civil architecture.
2.3 Catholic and Protestant Architecture during the time of the Baroque.
2.4 Themes and trends in the figurative arts of Baroque.
2.5 The Hispanic Baroque. The Golden Age of Spanish painting.
2.6 The world of Rococo.
Teaching and learning activities
In person
The course will combine theory sessions explaining the syllabus given by the group of professors and practical sessions for reading texts, analysing sources and images, as well as programmed and previously prepared discussions.
Evaluation systems and criteria
In person
GENERAL CRITERIA FOR EVALUATION
Each professor who teaches the course will evaluate their students through an essay and an exam that will be carried out, preferably, during the last session of that topic. With the grade from these two items, each professor will calculate their average and, with the four resulting means, the average grade of the Modern Culture course will be obtained, with a small difference in value between the topics that make up the course, since History consists of 3 credits while Philosophy, Literature and Art have 2 each.
In the second call, the student will retake the parts of the course that they failed but the grades of the items that they have already passed will be saved. If you fail any part again, you will have to re-take the whole course, including what you passed in the previous course.
The Erasmus student will undergo the same evaluation as the rest of the students except with regards to spelling.
It should be noted that the professors who teach this course will be very rigorous in relation to two specific topics, plagiarism and spelling.
Plagiarism is taking the ideas written by another person and presenting them as if they were your own ideas, without quoting the author. Plagiarism (a term that comes from the Latin word for ‘kidnapping’) is deceptive and dishonest.
- Examples of plagiarism are: copying, paraphrasing or summarising someone’s words without properly quoting the source or without inserting the quotation marks that are necessary when making a direct quote.
- To avoid plagiarism, the source must be quoted whenever ideas written by another person are used and even if the quote is not direct and is paraphrasing or summarising the ideas of another. In direct quotes, use quotation marks and quote the source. In an academic essay, it is not enough to generically record the bibliography used, but it is necessary to explicitly mention the source where ideas written by another person are collected.
Plagiarism in written essays for this course is unacceptable and, therefore, all work in which plagiarism is committed will be evaluated with a zero.
And with regard to spelling mistakes, we consider that correctly using the language in written tests, essays and oral presentations is very important in this course, both from the point of view of grammar and spelling as well as punctuation and wording. Likewise, the appropriate use of terms specific to the discipline is particularly relevant.
According to faculty regulations, at least 0.10 points will be deducted for each misspelling in exams and papers.Bibliography and resources
HISTORY:
-DOMINGUEZ ORTIZ, A.: Historia Universal Moderna, Barcelona, Vicens Vives, 1983.
-FLORISTÁN, A. (Coord) Historia Moderna Universal. Barcelona: Ariel, 2004. (2ª ed).
-GIRALT, E; ORTEGA, R.; ROIG, J.: Textos, mapas y cronología, Barcelona, Teide, 1985.
-JULIÁ, J.R. (Dir). Atlas de historia universal. 2 vols. Barcelona: Planeta, 2000.
- MARAVALL, J.A. La cultura del Barroco. Barcelona: Ariel, 2002.
-MARTÍNEZ RUIZ, E.; GIMÉNEZ, E.: i altres, Introducción a la Historia Moderna, Madrid, Itsmo, 1991.
-MOLAS, P.; DANTÍ, J.; RIERA, E.: Història Universal, vol. III: Història Moderna, Barcelona, Editorial 92 1992.
-MOLAS, BADA, ESCARTIN, SANCHEZ MARCOS, GUAL, MARTINEZ: Manual de Historia Moderna Barcelona, Ariel, 1993.
-TODOROV, T. El espíritu de la Ilustración. Barcelona: Galaxia Gutenberg, 2008.
PHILOSOPHY
BERKELEY, G., Tratado sobre los principios del conocimiento humano, trad. C. Mellizo, Alianza editorial, Madrid, 1992.
--- : Tres diálogos entre Hilas y Filonús, trad. G. L. Sastre, Espasa Calpe, Madrid, 1996.
DESCARTES, R., Regles per a la direcció de l’enginy, trad. Salvi Turró, Barcelona, Edicions 62, 1998.
--- : Discurso del método, trad. M. García Morente, Espasa-Calpe, Madrid, 1970.
--- : Meditaciones metafísicas, trad. M. García Morente, Espasa-Calpe, Madrid, 1970.
HUME, D., Tratado de la naturaleza humana, trad. F. Duque, Orbis, Barcelona, 1984.
KANT, I., Crítica de la razón pura, trad. P. Ribas, ed. Alfaguara, Madrid, 1978.
---: Crítica de la razón práctica, trad. M. García Morente, ed. Sígueme, Salamanca, 1995.
---: Crítica de la facultad de juzgar, trad. R. R. Aramayo, Madrid, A. Machado Libros, 2003.
LEIBNIZ, G.W., Meditaciones sobre el conocimiento, la verdad y las ideas, trad. Miguel Candel Sanmartín (versión hipertexto en http://www.ub.es/telemac)
--- : Discurso de metafísica, trad. A. C. Piñán, ed. Orbis, Barcelona, 1983.
--- : Monadología, trad. M. Fuentes, ed. Orbis, Barcelona, 1983.
LOCKE, J, Ensayo sobre el entendimiento humano, trad. Edmundo O’Gorman, FCE, México, 1999.
SPINOZA, B., Tratado de la reforma del entendimiento, trad. Atilano Domínguez, Madrid, Alianza, 1988.
--- : Ètica demostrada segons l’ordre geomètric, trad. J. Olesti, Marbot Ediciones, Barcelona, 2013.
Works of a general nature:
AA.VV., Estudis cartesians, Societat Catalana de Filosofia, Barcelonesa d’Edicions, Barcelona, 1996.
CASSIRER, E., La filosofía de la Ilustración, México, FCE, 1972.
--- : El problema del conocimiento en la filosofía y en la ciencia modernas, México, FCE, 1979 (vol. I y II).
--- : Kant. Vida y doctrina, México, FCE, 1993.
HAZARD, P., La crisis de la conciencia europea, Madrid, Alianza, 1983.
--- : El pensamiento europeo en el siglo XVIII, Madrid, Alianza, 1985.
HEIDEGGER, M., “La época de la imagen del mundo” (Die Zeit des Weltbildes) en Caminos del bosque (Holzwege), trad. Helena Cortés y Arturo Leyte, Madrid, Alianza, 1995.
MARTÍNEZ MARZOA, F., Historia de la filosofía, Madrid, ed. Istmo, 1973 y 1994, (vol. II).
--- : Cálculo y ser(Aproximación a Leibniz), Madrid, Visor, 1991.
--- : Releer a Kant, Barcelona, ed. Anthropos, 1992.
MORRIS, C.R., Locke, Berkeley y Hume, Oxford University Press, 1987.
TURRÓ, S., Descartes. Del hermetismo a la nueva ciencia, Barcelona, ed. Anthropos, 1987.
---: Filosofia i Modernitat. La reconstrucció de l’ordre del món, Barcelona, Edicions de la Universitat de Barcelona, 2016.
Materials online
- http://www.philosophica.info/
- http://frank.mtsu.edu/~rbombard/RB/spinoza.new.html (Studia Spinoziana)
ART
Argan, Giulio Carlo. Renacimiento y Barroco I. De Giotto a Leonardo da Vinci. Madrid: ediciones Akal, 1987.
Argan, Giulio Carlo. Renacimiento y Barroco II. De Miguel Angel a Tiepolo. Madrid: ediciones Akal, 1988.
Cámara Muñoz, Alicia; Carrió-Invernizzi, Diana. Historia del arte de los siglos XVII y XVIII. Redes y circulación de modelos artísticos. Madrid: Editorial Universitaria Ramón Areces, 2015.
Castex, Jean. Renacimiento, Barroco y Clasicismo. Madrid: Akal, 1994.
Murray, Peter y Linda. El arte del Renacimiento. Barcelona: Destino, 1991.
LITERATURE