The aim of this paper is to give an overview of some of the problems related to the practice of perfecting humans through genetic engineering, why it is precarious, and how this concept of creating humans with flawless genes has always been a part of human history, especially when considering the various eugenics movements and policies of the early 20th century. The central thesis of the text is that the production of human beings through genetic enhancement, although still unattainable, should (...) be carefully put on the table for discussion but avoided in practice. In fact, this type of human enhancement is at its core a form of modernised eugenics, so it is more practical to abandon the concept of building the perfect human. (shrink)

U radu se tematizira preobrazba tradicionalnog odgojitelja biheviorističke odgojno-obrazovne paradigme, svojstvene socijalističkom razdoblju u Republici Hrvatskoj, u suvremenog odgojitelja, zagovornika konstruktivističkog odgojno-obrazovnog koncepta, svojstvenog razdoblju demokratskog života u istom kontekstu. U radu se nastoji uputiti na ključne razlike između tradicionalnog i suvremenog odgojitelja, a ujedno i na njihove srodnosti, kako bi se bolje razumjela očekivanja i kriteriji za procjenu uspješnosti djelovanja u aktualnoj odgojno- obrazovnoj djelatnosti. Tematizira se implicitna pedagogija kao odgojiteljeva subjektivna odgojno-obrazovna teorija te se ukazuje na opravdanost shvaćanja (...) implicitne pedagogije kao ključnog konstrukta odgojno-obrazovnog koncepta. Također se upućuje i na važnost refleksivne prakse kao sastavnice odgojiteljeva profesionalnoga razvoja te se problematizira provedba akcijskih istraživanja kao instrumenta razvoja odgojiteljeve djelatnosti. This paper discusses the transformation of a traditional educator in behaviorist educational paradigm, which was characteristic to a socialist period in the Republic of Croatia, into a modern one, who is an advocate of a constructivist educational concept, characteristic to the period of democratic life. The paper addresses key differences and similarities between traditional and modern educators in order to better understand expectations and criteria for successful performance in the contemporary educational activity. Implicit pedagogy is also discussed as an educator’s subjective educational theory. The justification of its understanding as a key construct of the educational concept is pointed out. The paper also emphasizes the importance of reflective practice as a component of educator’s professional development, and problematizes implementation of action research as an instrument for development of educator’ s activity. (shrink)

This paper discusses the transformation of a traditional educator in behaviorist educational paradigm, which was characteristic to a socialist period in the Republic of Croatia, into a modern one, who is an advocate of a constructivist educational concept, characteristic to the period of democratic life. The paper addresses key differences and similarities between traditional and modern educators in order to better understand expectations and criteria for successful performance in the contemporary educational activity. Implicit pedagogy is also discussed as an educator’s (...) subjective educational theory. The justification of its understanding as a key construct of the educational concept is pointed out. The paper also emphasizes the importance of reflective practice as a component of educator’s professional development, and problematizes implementation of action research as an instrument for development of educator’ s activity. (shrink)

Predmet su rada rasprave o odnosu determinizma i slobode volje (tj. problem kompatibilnosti), odnosno implikacije koje imaju po moralnu odgovornost. Problemu se pristupa iz naturalističke perspektive iako se ne nudi odgovor na pitanje istine kauzalnog determinizma. Međutim, s ciljem da se ispita perspektiva za moralnu odgovornost, pretpostavlja se da je kauzalni determinizam potkrijepljen znanošću. Razmatra se pojam kauzalnog determinizma, a potom se ispituju izazovi koje argument konzekvenci postavlja pred slobodu volje shvaćenu kao mogućnost da se učini drugačije. Cilj je rada (...) pokazati da su u osnovi svakodnevne upotrebe pojma moralne odgovornosti slabiji uvjeti od slobode shvaćene kao mogućnosti da se učini drugačije. Na tim temeljima branimo zaključak da je moralna odgovornost kompatibilna s kauzalnim determinizmom. (shrink)

Stajn Rokan, norveski sociolog koji se bavio procesima nastanka drzava, nacija i demokratije u Evropi, ostavio je za sobom mnostvo pojedinacnih radova u kojima je pokusao da razvije svoj makro model politickog razvoja Evrope. Cilj mu je bio da na osnovu razlicitih istorijskih procesa, koji su uticali na stvaranje drzava i nacija, kao i na demokratizaciju, objasni mnogostranost evropskih drzava. Njegov pristup je, pri tome, antideterministicki i sirok, po cemu se uostalom njegova teorija i razlikuje od vecine drugih koje se (...) takodje bave procesima nastanka drzava i nacija. Zbog te svoje kompleksnosti se Rokanova teorija cini pogodnom za istorijsku komparativnu makrosociologiju kao i za analizu dugorocnih razvojnih puteva. Ovaj clanak ce u prvom delu prikazati Rokanovo shvatanje teorije u nacelu. U drugom delu ce se prikazati s?ma teorija, njene varijable i dimenzije. (shrink)

U radu se analizira slika danasnjeg hegemonog secanja na titoizam. Prikazane su raznovrsne instrumentalne redukcije u domacoj kulturi secanja koje obuhvataju demonizacije i negativne simbolizacije titoizma. Blize su razmotreni raznovrsni mitovi i ideologizacije kod pamcenja titoizma, zatim cinioci selektivnog secanja i novi sklop secanja na titoizam. Uoceno je da su privatizacija i retradicionalizacija glavni cinioci kreiranja novih okvira za pamcenje socijalizma i za novu negativnu simbolizaciju titoizma.

U radu se analizira slika danasnjeg hegemonog secanja na titoizam. Prikazane su raznovrsne instrumentalne redukcije u domacoj kulturi secanja koje obuhvataju demonizacije i negativne simbolizacije titoizma. Blize su razmotreni raznovrsni mitovi i ideologizacije kod pamcenja titoizma, zatim cinioci selektivnog secanja i novi sklop secanja na titoizam. Uoceno je da su privatizacija i retradicionalizacija glavni cinioci kreiranja novih okvira za pamcenje socijalizma i za novu negativnu simbolizaciju titoizma.

The article deals with the explanatory relevance of the concept of stereotype in one of its original meanings - as a "mental image". This meaning of the term is the starting point for further differentiations, such as: between linguistic and behavioral stereotypes ; universal and particular stereotypes; self representative and introspective stereotypes; permanent and contemporary stereotypes; and finally, what is most important for our purposes, the difference between silent and audible stereotypes. These distinctions, along with the functions of stereotype, are (...) discussed in the first part of the paper. In the second part, the relations of silent and audible stereotypes are tested against the introduction of "innovative vocabularies" in popular lore. In other words, the explanatory power of this differentiation is checked through an analysis of unconventional motives in Serbian epic poems. The goal of the argument is to clarify the procedure of self creation of masculinity as a relevant feature of the "national character" through "tactic games" of silent and audible stereotypes. The examination of these "poetic strategies" serves a twofold purpose: to illustrate the process of constructing particular features of the "ethno type", on one hand, and to check hypotheses and models which are taken as frameworks in analyzing stereotypes, on the other. Predmet radja je ispitivanje znacaja pojma stereotipa i reafirmisanje ovog pojma u jednom od njegovih prvobitnih znacenja kao "slika u nasim glavama". Takvo shvatanje stereotipa u ovom tekstu je polaziste za diferencijacije u okviru samog fenomena: na jezicke stereotipe i stereotipe u postupanju i glasne stereotipe. Funkcije stereotipa i ove podele su, u najkracem, predmet razmatranja prvog delu teksta. U drugom delu teksta testiranje odnos izmedju nemih i glasnih stereotipa na nekoj vrsti "inovativnog vokabulara" u narodnom predanju. To drugim recima znaci da se u ovom delu teksta proverava funkcionalnost ovako diferenciranih stereotipa putem analize nekonvencionalnih motiva usmene knjizevnosti. Cilj je da se osvetli postupak samokreiranja jednog svojstva "nacionalnog karaktera" putem "takticke igre" izmedju nemih i glasnih stereotipa. Stoga je ispitivanje ovih poetickih strategija koliko u funkciji priblizavanja mehanizama izgradnje specificnih svojstava "etnotipa", odnosno u funkciji pokazivanja dispozitiva savremenih prica o "kolektivnom imidzu", toliko i u funkciji provere unapred naznacenih pretpostavki i zadatih modela u okviru kojih se ispituje fenomen stereotipa. (shrink)

The article provides a critical review of the books Rijec je o slici by Jagor Bucan and Slika i rec by the Serbian Society for Aesthetics. From the titles it is already evident that they share the same topic. The paper points out the similarities between the two texts on both what is present and what is absent in them, which also seems important for understanding the theoretical problems they deal with.

Članak analizira temu o sreći građana u Sretnom gradu Frane Petrića, iz koje slijedi slika grada u kojemu statuti doprinose jačanju povjerenja i moralnosti. Ako je utopija po definiciji okrenuta budućnosti, Petrićeva se, naprotiv, čini okrenuta prošlosti, rekonstrukciji sretnog grada patrijarhalnog uzora, kakav je tek rijetko ostvaren u povijesti čovječanstva, kao npr. onaj Sezostrisov u drevnom Egiptu. Zbog spominjanja Verone, uz drevnu Atenu, vjerojatno se u talijanskoj kritici uvriježio »mit o Veneciji«, o gradu s tisuću »korisnih« djelatnosti, na koji (...) je Petrić mogao misliti pri sastavljanju svoga prvijenca posvećenog »Presvijetloj gospodi Vigeriju i Girolamu dalla Rovere«. No, taj se mit uopće ne može nazrijeti u ovom Petrićevu djelu. Antropomorfna shema »traktata« vodi nas do Petrićeve ideje o identifikaciji grada s čovjekom, kao tijela s dušom , ali nas imena u posveti jasno vode do dinastije Della Rovere, koja je upravljala Petriću suvremenom kneževinom Urbino , i koja je od početka Cinquecenta nametnula novi lik ‘vladara’ i osuvremenjenu predodžbu ‘dvorjanina’, te si osigurala međunarodnu slavu zahvaljujući mecenatskom poticanju svake vrste umjetnosti.The paper deals with the happiness of citizens in The Happy Town by Frane Petrić, where a picture of the town in which statutes and regulations contribute to the strengthening of trust and morality is portrayed. If utopia is by definition directed towards the future, Petrić conversely turns his utopia towards the past, towards the reconstruction of a happy town according to the patriarchal pattern, which was only rarely achieved in the history of mankind, like for instance during Sesostris in ancient Egypt. Due to the mention of Verona, alongside ancient Athens, ‘the Venice myth’ became customary in Italian criticism, implying the town with thousand “useful” utilities, to which Petrić might have referred as he compiled his debut work dedicated to “Their Serenities Vigerio and Girolamo dalla Rovere”. However, that myth cannot be noticed in this Petrić’s work. The anthropomorphist scheme of the “tractate” reveals Petrić’s tendency to identify between man and town, soul and body , but the names in the dedication clearly point to Della Rovere dynasty who governed the Principality of Urbino and who imposed, from the beginning of Cinquecento, a new image of the ‘ruler’ and the modernised conception of the ‘courtier’, ensuring thereby their international fame by being patrons to all arts at the time. (shrink)

Skozi primere Antigone, Sygne de Coûfontaine, Abrahama, sindikalne pesmi Joe Hill, portugalske politične situacije v sedemdesetih letih dvajsetega stoletja, filma Bežno srečanje in skozi mnogo drugih anekdot in zgodovinskih koincidenc članek postavlja tezo o velikem Drugem ne kot zgolj kot o anonimnem simbolnem polju, temveč hkrati kot o tisti instanci, ki potrebuje naključnega posameznika, ki ga v določeni situaciji zastopa. V subjektovem odnosu do Drugega gre dejansko za zaprt krogotok, zanko, ki jo najbolje upodablja Escherjeva slika dveh rok, ki (...) slikata druga drugo. Veliki Drugi je virtualni red, ki obstaja le v toliko, kolikor subjekt »veruje« vanj; kolikor subjekt Drugega suspendira, pa izgine s tem tudi subjekt sam, njegova »realnost«. (shrink)

Izhodišče prispevka je domneva, da nad precejšnjim delom Salustijevega historiografskega opusa lebdi senca izkušnje dolge državljanske vojne v Rimu v času njegovega življenja. To je razvidno iz zgodovinarjevega prikaza surovega obračuna nobilitete z bratoma Grakh in iz njegove upodobitve Sule in njegove vladavine kot vira moralnega kaosa v desetletju po njegovem zavzetju Rima. Ko razmišlja o vzrokih krize rimske republike v šestdesetih letih pr. Kr. in v času nastanka svojih spisov, se Salustij sicer skuša predstaviti kot nepristranski opazovalec, ki občasno (...) biča napake političnih voditeljev obeh sprtih taborov, aristokracije in ljudstva. Vendar zgodovinar gotovo ne deli Ciceronovega mnenja o slogi med osrednjima skupinama vladajočega sloja kot zadostnem zdravilu za rimske težave. Preveč resno je jemal družbene korenine krize. Pri tem je nedvomno pripisoval odgovornost za krizo vladajočemu sloju. Zato si po Salustijevem mnenju pozornost zaslužijo celo neverodostojni glasniki sprememb, kakršen je bil Katilina. Po eni strani se Salustij ni odmaknil od uničujočega Ciceronovega prikaza voditelja zarote in ga je še dodatno prikazal kot demagoga, ki se, kadar mu to koristi, predstavlja za tipičnega člana nobilitete. Toda po drugi strani slika njegov razmislek o položaju v Rimu kot verodostojen, zlasti ko gre za Katilinov goreč napad na vodilno elito. (shrink)

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju (...) biti odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

Slike svijeta su danas više nego očigledni elementi jedne kozmologije. One medijalno determiniraju način na koji spoznajemo svijet i time isto znanje koje o njemu imamo. Oslanjajući se na Martin Heideggera tekst analizira nastajanje slika svijeta od ranoga novog vijeka do sadašnjice. Centralno značenje se pri tome pridonosi parametrima znanstvenog oblikovanja slike svijeta i njihovim transformacijama u odnosu prema promjeni medija . Pri tome autorica razmatra tezu po kojoj se znanstvene slike istovremeno shvaćaju kao dokaz i proročanstvo. Uvid u (...) prakse kompjutorskih simulacija na polju modernih znanosti na kraju teksta pomaže poslužiti kao potpora tezi. (shrink)

In the Statesman, Plato seems to be advocating that in the absence of a true king who will rule independently of laws, the next best thing as far as just rule is concerned is to ad here rigidly to existing laws, whatever they are. The rule of the true king is given as an example of virtuous rule in the sense that virtue politics or jurisprudence holds that laws cannot always deal justly with particular cases. But Plato’s view of what (...) we must do when there are no true kings forthcoming seems to preclude a virtue theoretical understanding of politics and laws. In this paper I will investigate the view that the image of the true king, who relies on written laws for convenience only, provides a model for a more realistic appeal to virtue in jurisprudence, that is, a respect of laws that is compatible with equity, in the sense understood by Aristotle.Čini se da Platon u Državniku zagovara shvaćanje prema kojemu u odsutnosti istinskog kralja koji će vladati neovisno o zakonima druga najbolja stvar, što se tiče pravedne vladavine, jest strogo pridržavanje postojećih zakona, što god oni bili. Uloga istinskog kralja navodi se kao primjer vrle vladavine u tom smislu što politika ili jurisprudencija koje se zasnivaju na vrlini drže da zakoni ne mogu uvijek pravedno izlaziti na kraj s pojedinačnim slučajevima. No čini se da Platonovo shvaćanje toga što moramo činiti kada ne postoje istinski kraljevi sprječava razumijevanje politike i zakonâ koje se zasniva na teoriji vrline. U ovom članku ispitujem shvaćanje prema kojemu slika istinskog kralja, koji se na pisane zakone oslanja samo iz praktičnih razloga, pruža model za realističnije pozivanje na vrlinu u jurisprudenciji, to jest poštivanje zakonâ koje je spojivo s nepristranošću u onom smislu u kojem to razumije Aristotel. (shrink)

The idea of “inner form” originates from Plotin, the founder of the so-called Neo-Platonism, and had a decisive influence on aesthetic theory from Renaissance to the 18th century. Lessing‘s assumption of “Raphael without hands” in Emilia Galotti embodies the ideal of Neoplatonist artist, who creates with his purely mental conception, untainted by the material world. Admittedly, the image of a painter who doesn‘t paint reflects the specific problematic nature of Neoplatonist conception of art. The 19th and 20th centuries saw the (...) Neoplatonist thesis that inner form precedes form on body challenged in many ways. For example, Konrad Fiedler advances the thesis that inner conception is finalised only when it is realised in some concrete matter. Nevertheless, 20th century “industrial design”, which puts conceptualisation before production, may still be described as a descendant of Neoplatonism, albeit an undesired one. Furthermore, by neglecting creation with hands as well as the material and thereby representing industrial mass products as works of art, Duchamp‘s ready made ironically testifies to the survival of Neoplatonist conception of art in the 20th century.Der Begriff der „inneren Form“ stammt vom Begründer des sogenannten Neuplatonismus, Plotin, und hatte entscheidenden Einfluss auf die ästhetische Theorie von der Renaissance bis zum 18. Jahrhundert. Lessings Annahme eines „Raphael ohne Hände“ in Emilia Galotti verkörpert das Ideal des neuplatonischen Künstlers, der mittels seiner rein geistigen Konzeption schafft, ohne durch die materielle Welt beeinträchtigt zu werden. Allerdings macht die Vorstellung eines Malers, der nicht malt, die spezifische Problematik der neuplatonischen Kunstauffassung offenbar. Im 19. und 20. Jh. wurde die neuplatonische These, dass die innere Form der Form am Körper vorausgehe, auf verschiedene Weise in frage gestellt. So vertritt z. B. Konrad Fiedler die These, dass die innere Konzeption erst dann vollendet wird, wenn sie sich in einer konkreten Materie realisiert. Jedoch lässt sich die „industrielle Formgestaltung“ im 20. Jh., die dem Konzipieren gegenüber dem Produzieren Priorität verleiht, als ein, wenn auch unerwünschter, Nachkömmling des Neuplatonismus bezeichnen. Ferner zeugt Duchamps ready made auf ironische Weise vom Überleben der neuplatonischen Kunstauffassung bis ins 20. Jahrhundert, sofern dieses sowohl das Schaffen mit den Händen als auch das Material vernachlässigt und darüber hinaus industrielle Massenprodukte als Kunstwerke zur Schau stellt.Pojam “unutrašnje forme” potječe od utemeljitelja tzv. neoplatonizma, Plotina, i imao je odlučujući utjecaj na estetičku teoriju od renesanse do 18. stoljeća. Lessingova pretpostavka “Rafaela bez ruku” u Emilia Galotti utjelovljuje ideal neoplatoničkog umjetnika, koji stvara putem čiste duhovne koncepcije, neoskvrnjen od materijalnog svijeta. Doduše, predstava slikara koji ne slika očituje specifičnu problematiku neoplatoničkog shvaćanja umjetnosti. U 19. i 20 stoljeću na različite se načine postavlja u pitanje neoplatonička teza da unutrašnja forma prethodi formi na tijelu . Tako npr. Konrad Fiedler zastupa tezu da se unutrašnja koncepcija upotpunjuje tek kad se realizira u konkretnoj materiji. Ipak, “industrijsko oblikovanje forme” u 20. st., koje poklanja prioritet koncipiranju nasuprot proizvodnji, može se opisati kao, ako i neželjeni, potomak neoplatonizma. Nadalje, Duchampovo ready made na ironičan način svjedoči o preživljavanju neoplatoničkog shvaćanja umjetnosti u 20. st., utoliko što zanemaruje stvaranje rukama jednako kao i materijal, te povrh toga postavlja industrijske masovne produkte kao umjetnička djela. (shrink)

Autorica daje pregled zbornika radova Continental Philosophy of Science, koji je uredio Gary Gutting. Nakon uvodnih napomena o povijesnome odnosu između filozofije i znanosti, slijede prikaz i rasprava o filozofijama znanosti jedanaest njemačkih i francuskih autora čiji se tekstovi nalaze u ovome zborniku. Uz njezinu procjenu Guttingova zbornika, autoričin opći zaključak glasi kako karakteristično obilježje kontinentalne filozofije znanosti predstavlja pokušaj da se razradi potpunija slika svijeta, slika koja u obzir uzima živo iskustvo i pitanja koja su isključena iz (...) znanstvene metodologije i pojmova.The author reviews the book Continental Philosophy of Science, edited by Gary Gutting. Introductory remarks about the historical relationship between philosophy and science are followed by a presentation and discussion of different philosophies of science and commentaries on the eleven German and French authors whose texts are found in this volume. In addition to her assessment of Guttings’s collection, the author’s overall conclusion is that one characteristic trait of the Continental philosophy of science is its attempt to elaborate a more complete picture of the world, one that takes lived experience into consideration and examines questions excluded by the methodology and concepts of science. (shrink)

In the attempt to get an insight into how “happiness” is conceptualized in Chinese tradition, this case study adopts tools of cognitive linguistics and poetics and investigates ci (詞) poetry of Yan Shu 晏殊 (991–1055), a successful politician and artist who is one of the most representative poets of the genre from the Northern Song dynasty (960–1127), a relatively peaceful and abundant era in Chinese history, known for its hedonistic psychology. From his remaining 139 poems, the study selected 13 of (...) the poems that explicitly express a happy state of mind or some positive emotions, and through analysis of the traditional images (yixiang 意象) in these poems attempts to extract the conceptual metaphors regarding “happiness” the poet lived by and the scenarios underlying the metaphors. The results reveal some cultural conceptual patterns in sync with the era in question but also some personal characteristics of the poet. (shrink)

The author will look at aspects of thinking about the idea of Europe at the crossroads of the digital and post-digital epochs – through Edgar Morin’s text Thinking Europe and Guy Debord’s Comments on the Society of the Spectacle, published in the late 1980s, in an attempt to understand their fundamental positions and implicit views on how to approach and pursue something like the political and supranational union of European countries in parallel with the rapid development of digital technologies and (...) new media, which fundamentally change our experience of the world. The very idea of a united Europe appears here as a Kantian “suspicious pleonasm”, whose value is questioned today, especially with the development of new global policies and post-cultural virtual environments that make – notions such as Europe, the Mediterranean, and the Western world – only artifacts of decadent Occidental cultures whose real ruins are overshadowed by an overly real spectacle of virtual abundance. (shrink)