The paper aims to present the philosophical background and justification of the theory of social realism. Social realism is a representative example of a literary period in which the autonomy of literature in terms of, for example, the aesthetic value of a literary work, was brought to a negligible level given the radical demands of regime poetics of writing in accordance with politics and ideology. Socialist-realism, poetics in which party writing and educating people in the form of socialist progress and (...) without any concern about literary creation are paramount, finds its postulates in theories of the Union of Russian Proletarian Writers (RAPP) and proletarian cultural and educational organization (Proletkult). Theorists of socialist realism poetics claim that their postulates find philosophical justification in Marx’s and Engels’ texts about art. The primary subject of analysis in the article will, therefore, be the connection between the theory of social realism and the classical Marxist conception of art. Based on the analysis, it can be concluded that the theory of social realism is justified by classical Marxist aesthetics regarding historical materialism which determines art, but not in the sense of denying the autonomy of the art. (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)

Rasprava tematizira osnovne značajke ontologijskog prilaza umjetnosti u djelu Ivana Fochta, jednog od naših najvećih estetičara i ontologa umjetnosti. Problematskog je karaktera i obuhvaća četiri bitne teme njegova mišljenja: Istina i biće umjetnosti uvodi u središnju Fochtovu ˝pred-postavljenost˝, njegov ontologijski prosedê, pitanjem: Što je to biće umjetnosti?; Moderna umjetnost kao ontološki problem raspravlja problematiziranje ontoloških pitanja moderne umjetnosti i njezin promijenjeni status u bitku suvremenog svijeta: umjetnost više nije ˝Schein˝ nego ˝Sein˝ i spoznaje smisao bitka (...) tako što ga pravi; Bit književnosti ispituje ontološke pretpostavke književnog djela kao predmet specijalne ontologije umjetnosti : njezine ontološke ˝planove˝, mjesto među drugim umjetničkim vrstama i u modernoj umjetnosti; Bit glazbe suočava se s ˝tajnom glazbe˝: pitanje Što je glazba? jedno je od najtežih pitanja koja su se postavljala filozofiji umjetnosti; u glazbi, misli Focht, krije se odgovor na pitanje o tajni umjetnosti.The article places its interest on basic characteristics of ontological approach to artin the work of Ivan Focht, one of the greatest aestheticians and ontologists of art. Itconsists of four essential themes in his thought. The Truth and Being of art introducesus into central Focht’s »vor-stellung«, into his ontological procédé,with a question: ‘What is the being of art?’. Modern art as ontological problem discussesthe themes of ontological issues of modern art and its changed status in the Being of contemporary world; the artwork is no more Schein but Sein and it knows the meaning of Being by making it. TheEssence of Literature challenges ontological presuppositions of literary work , as an issue of special ontology of artwork – its ontological »landscapes«, its place amongother artistic forms and in modern art. The part Essence of Music confronts itselfwith »secret of music«; the question ‘What is Music?’ is one of the most complicatedquestions which were asked by philosophy of art. In the music, says Focht, is the hiddenanswer to the question on the secret of art itself. (shrink)

Danilo Pejović je na Odsjeku za filozofiju, nakon Milana Kangrge, predavao estetiku od početka šezdesetih do početka sedamdesetih godina, kada je tu Katedru preuzeo Danko Grlić, zajedno s kojim je preveo Heideggerov tekst O bîti umjetnosti .U Pejovićevu promišljanju umjetnosti Heidegger je, kao i hermeneutika, bio glavni orijentir u razumijevanju umjetničkog djela preko paradigme jezika i u tom je kontekstu u suvremenoj filozofiji umjetnosti, posebno ukazujući i na značaj ekspresionizma, istraživao odnos umjetnosti i prirode, tehnike, oblika, (...) zbiljnosti, osjećajnosti, razumljivosti i slobode. Raspravljanje o mogućnosti umjetnosti Pejović uvijek postavlja u epohalni kontekst, ustvrđujući da je nakon smrti Goethea i Hegela umro i jedan svijet, koji s oscilacijama seže sve do Homerova doba, a Marx samo radikalizira Hegelovo pitanje o tome čemu još umjetnost,da bi se ono nakon Marxa, u doba tehnike, još više zaoštrilo.Pejović zastupa tezu da bez pojma slobode ne možemo dospjeti do toga što jest umjetnost, a živeći u svijetu prepunu oblika uništavanja ljudske slobode, gube se osjećajnost i ljepota kao pripadne umjetnosti.Danilo Pejović hat nach Milan Kangrga an der Abteilung für Philosophie vom Beginn der Sechziger bis zum Beginn der Siebziger Jahren Vorlesungen über die Ästhetik gehalten, als diesen Lehrstuhl Danko Grlić übernahm, mit wem er Heideggers Werk Der Ursprung des Kunstwerkes übersetzte.In Pejovićs Bedenken der Kunst war Heidegger neben der Hermeneutik der Hauptorientierungspunkt im Verstehen des Kunstwerkes mittels Sprachparadigma, und in diesem Kontext in der zeitgenössischen Kunstphilosophie, mit der besonderen Betonung auf die Wichtigkeit des Expressionismus, hat er die Beziehung zwischen Kunst und Natur, Technik, Formen, Wirklichkeit, Sensibilität, Verständlichkeit und Freiheit erforscht. Die Erörterung über die Möglichkeit der Kunst wird von Pejović immer in den Epochen-Kontext gesetzt, mit der Behauptung, dass nach Goethes und Hegels Tod eine Welt, die mit den Schwankungen noch vom Homers Zeitalter dauerte, gestorben ist, und Marx radikalisiert Hegels Frage darüber, warum noch die Kunst, nur dass diese Frage im Zeitalter der Technik nach Marx immer mehr verschärft wurde.Pejović vertritt die These, dass man ohne den Begriff der Freiheit das Wesen der Kunst nicht erreichen kann, und Leben in der Welt, die voll von Vernichtung der Freiheit der Menschen ist, führt zur Verlust der Sensibilität und Schönheit als angehöriger Kunst. (shrink)

The topic of the article is George Dickie’s institutional theory of art as one of contemporary art theories which purport to answer the “what is art?” question by defining the concept of art in terms of its necessary and sufficient conditions. Introductory part of the article brings a brief review of so-called functionalist theories, as well as of their shortcomings when compared to theories to which institutional theory belongs. Also included is a short survey of theories and arguments that significantly (...) influenced institutional theory, e.g. Danto’s “theory of meaning”. Next are presented the basics of the institutional theory. It is shown that advantages of this theory over other functionalist theories became especially visible after the appearance of art practices of the 20th century which rendered the difference between artistic and non-artistic objects extremely complex. (shrink)

Istraživanje je provedeno na uzorku učenika trećih razreda strukovnih škola i gimnazija. Od uključenih učenika, gimnaziju je pohađalo njih 253, a srednje strukovne škole 352 učenika. Cilj istraživanja bio je ispitati neke specifičnosti u percepciji učenika srednjih škola o važnosti nastavnih predmeta iz područja likovnih umjetnosti. Napravljena je posebna analiza samo za dvije odabrane zavisne varijable: važnost nastavnih predmeta iz područja likovnih umjetnosti za razvoj pamćenja i sposobnosti za učenje ostalih nastavnih predmeta te interes i zadovoljstvo sudjelovanjem u (...) likovnim aktivnostima. Rezultati pokazuju da ne postoji statistički značajna razlika između učenika gimnazija i strukovnih škola u procjeni sudjelovanja u aktivnostima nastave likovne umjetnosti te u procjeni važnosti likovnih aktivnosti za razvoj pamćenja i sposobnosti za učenje ostalih predmeta. Postoji statistički značajna spolna razlika u procjeni sudjelovanja u aktivnostima nastave likovne umjetnosti te u procjeni važnosti likovnih aktivnosti za razvoj pamćenja i sposobnosti za učenje ostalih predmeta. Može se zaključiti da ispitanici nisu bili u mogućnosti procijeniti koliko i u koju svrhu će im u daljnjem školovanju i budućem zanimanju koristiti kompetencije stečene u nastavi likovne umjetnosti. This research was carried out on a sample of third year pupils of vocational schools and gymnasiums. Of the surveyed pupils, 253 of them attended gymnasiums, while 352 attended vocational secondary schools. The goal of this research was to examine specificities in secondary school pupils’ perceptions of the importance of subjects in the field of the fine arts. A separate analysis was undertaken for only two selected dependent variables: the importance of subjects in the field of the fine arts for developing memory and the ability to learn other subjects, and interest in and satisfaction with participation in fine arts activities. The results show that there is no statistically significant difference between the estimation of gymnasium and vocational school pupils regarding participation in fine arts activities or in their estimation of the importance of fine arts activities in developing memory and the ability to learn other subjects. There is a statistically significant gender difference in the estimation of participation in fine arts activities, as well as in the estimation of the importance of fine arts activities in developing memory and the ability to learn other subjects. It can be concluded that respondents were unable to estimate how much or why they would use competencies gained in fine arts teaching in their continued education or their future careers. (shrink)

This research was carried out on a sample of third year pupils of vocational schools and gymnasiums. Of the surveyed pupils, 253 of them attended gymnasiums, while 352 attended vocational secondary schools. The goal of this research was to examine specificities in secondary school pupils’ perceptions of the importance of subjects in the field of the fine arts. A separate analysis was undertaken for only two selected dependent variables: the importance of subjects in the field of the fine arts for (...) developing memory and the ability to learn other subjects, and interest in and satisfaction with participation in fine arts activities. The results show that there is no statistically significant difference between the estimation of gymnasium and vocational school pupils regarding participation in fine arts activities or in their estimation of the importance of fine arts activities in developing memory and the ability to learn other subjects. There is a statistically significant gender difference in the estimation of participation in fine arts activities, as well as in the estimation of the importance of fine arts activities in developing memory and the ability to learn other subjects. It can be concluded that respondents were unable to estimate how much or why they would use competencies gained in fine arts teaching in their continued education or their future careers. (shrink)

U radu iznosimo shvaćanje da je novoplatonizam u Michelangelovom kiparstvu prisutan na dublji način nego li to shvaćaju oni koji u Michelangelovoj umjetnosti iznalaze tek simboličku ilustraciju određenog novoplatoničkog učenja. Novoplatonizam u Michelangelovoj skulpturi ne vidimo kao simboliku koja upućuje na određenu novoplatoničku teoriju. U tom bismo slučaju o novoplatonizmu u umjetnosti govorili kao o onome izvanjskom s obzirom na bit umjetničkog djela, budući da se samo nastajanje i jestvo umjetničkog djela ne temelji u postupku teorijskog razmatranja, već (...) u rukotvorenju. Polazimo od shvaćanja da je novoplatonizam s Michelangelom ostvaren izravno iz umjetničkog tvorenja u samom unutarnjem obliku umjetničkog djela.In the paper we propose attitude that Neoplatonism in Michelangelo’s sculpture is present in a deeper way than it is understood by those who in Michelangelo’s art find merely simbolic illustration of specific Neoplatonic learning. In Michelangelo’s sculpture we do not see Neoplatonism as a symbolism that is indicating a specific Neoplatonic theory. In that case we would be talking about Neoplatonism in the art as the external considering the proper essence of the work of art, since the proper emergence and beingness of the work of art is not founded in the act of theoretical consideration, but in handicrafting. Our starting point is the understanding that Neoplatonism with Michelangelo realizes itself directly out of artistic formation in the proper internal form of the work of art. (shrink)

In this paper, I examine the extent to which the theoretical procedures for interpreting works of visual art, which Gotthold Ephraim Lessing describes in his famous book Laocoon: An Essay Upon the Limits of Painting and Poetry, are comparable to various methods of interpretation from the tradition of hermeneutics. To achieve this, I analyse how Robert S. Leventhal and Frederick Burwick approached Lessing’s interpretation techniques and try to expand their views and apply them to Lessing’s thoughts in Laocoon. I will (...) focus on the idea that Lessing’s procedures for interpreting works of visual art depend, to a certain extend, on his methods for analysing literature. Even though these authors did not link Lessing’s thoughts to the hermeneutical theory of Friedrich Schleiermacher, I will also explore whether there are certain similarities in their views on the main constituents of the process of interpretation. (shrink)

Problem identiteta u svijetu umjetnosti je važan iz mnogih perspektiva. Ovaj rad ima namjeru raspraviti identitet umjetničkih djela. Rasprava je izvedena u tri koraka: problem identifikacije predmeta kao umjetničkog djela, problem relevantnih svojstava umjetničkog djela i pitanje autora kao odlučujuće (ili ne) za identifikaciju umjetničkog djela. Ova pitanja su se otvorila evolucijom umjetničke prakse i teorije u prošlom stoljeću. Pojava ready-madea destabilizirala je čvrsti identitet umjetničkog djela te nametnula zadatak odluke o razlici između umjetničkog djela i njegovog perceptivno identičnog (...) para. Tradicionalna relevantna svojstva izgubila su svoj značaj u konceptualnoj umjetnosti, stoga moramo odlučiti koja se relevantna svojstva, čak i danas, pridaju umjetničkim djelima. Konačno, praksa posuđivanja u postmodernoj umjetnosti dovodi u pitanje pojam umjetnika i smisao izvornog stvaralaštva. (shrink)

Straipsnyje analizuojamas vėlyvasis Platono pilietinio dalyvavimo modelis santykyje su šiuolaikine pilietine teorija. Straipsnyje teigiama, kad nors platoniškasis modelis atitinka tokius įprastus pilietinėms teorijoms kriterijus kaip lygybė, autonomija ir įgalinimas, esminė sąvoka norint suprasti šį projektą yra nuosaikumas. Būtent nuosaikumas struktūruoja ir vienija skirtingus šio modelio sudedamuosius elementus (įstatymų valdymas, preambulių įtikinimas, įgalinanti ekonomika ir švietimas) bei paaiškina, kokia yra esminė asmeninė dispozicija norint pasiekti stabilios ir racionalios politinės tvarkos.

In this paper I try to indicate particular elements of Socrates’ philosophy by which educational practice should be guided, as well as certain harmful implications of Sophistic approach to education. In analysis of Socrates’ position, I especially rely on Vlastos’ interpretations, and particularly I refer to Socrates’ thesis that virtue cannot be taught. Among other things, it suggests a non-doctrinal approach to moral-educational practice, which cannot result from Protagoras’ opposite beliefs. Nowadays Sophistic particular- and utilitarian-oriented education occurs especially in the (...) educational (or better: manipulative) transmission of national, business and similar so-called ethics, which are not able for recognizing and overcoming of the existing socio-economic framework, and for which Socrates’ moral-educational philosophy contains critical force, arising primarily out of the emphasis on autonomy. (shrink)

U odnosu filozofije i umjetnosti, metaforičko mišljenje ima poseban status. Od antičke retorike, metafora je bitna jezička figura. U prošlom stoljeću postaje modelom estetičkih i znanstvenih procesa spoznaje i stvaralaštva i teorijskih rasprava u znanosti o književnosti, filozofiji jezika i lingvistici, tj. o hermeneutičkim, jezičkoanalitičkim i strukturalističkim paradigmama. Zanimati će nas Grassijeva hermeneutika metafore. Dok Heidegger drži da je pretpostavka metaforičkog mišljenja tradicionalno razlikovanje osjetilnog i nadosjetilnog bića, tj. da pjesništvo nije metafora, Grassi ide drugim putom, zastupajući tezu da (...) je pjevanje pjesnika i sâmo povijesni bitak zapadnog čovjeka − tumačeći npr. ironički izraz u romantičara novim oblikom mišljenja. Slično Grassiju, i Ricoeur smatra da je Heideggerova upotreba metafore ipak važnija od onoga što usput govori protiv nje. (shrink)

The paper seeks to integrate Theodor W. Adorno’s observations about upbringing and education, scattered throughout his almost entire opus. The intention, however, is not doctrinal: loyalty to the author would be betrayed and it would fall short of his criticism if such integration would sought to reconstruct some uncollected or unspoken Adorno’s “educational doctrine”. With a sworn antisystematist, even visions of educational theory and practice must not grow into a system. It is rather about an attitude that insists on trying (...) to bring the antinomy of education – by non-free means to the goal of freedom, by manipulation to the point of impossibility to be manipulated – into school and not only school tasks, as a goal that will prevent Auschwitz’s repetition, enable autonomy and empower for self-reflection. (shrink)

Naspram ustaljene interpretacije platoničke umjetnosti, kako je ona ontološki i spoznajno irelevantna jer je bitno određena mimetičkim konceptom kao pukom kopijom materijalne stvarnosti, te je stoga izgnana iz Države, ovdje podastiremo neke interpretacije koje tumače sasvim suprotno. Naime, moguće je pokazati da mimetički princip nije razlog Platonove osude umjetnosti, te daje zapravo pojam umjetničkog mimesisa utemeljen u metafizičkom pojmu mimesisa kao aproksimacije ili postupnog nalikovanja paradigmi. U tom slučaju umjetnički mimesis postiže višu ontološku vjerodostojnost i oponaša idealno posredstvom (...) osjetilnoga. “Argument sličnosti” u Parmenidu može predstavljati ozbiljnu prepreku u prihvaćanju, s jedne strane, teze o odnosu sličnosti između ideja i pojedinačnosti, tj. između paradigme i njene slike, te s druge strane može učiniti upitnom i tezu o aproksimaciji gdje mimetički koncept ima metafizičko utemeljenje. Međutim, ideja shvaćena kao sintetičko objedinjavanje množnog predstavlja ispravno stajalište za objašnjenje fenomena, a postaje upitna kada se stavi u istu razinu sa svojim egzemplarima. Ukoliko je odnos sličnosti između paradigme i njene slike određen “dinamičkom”, a ne “simetričnom sličnošću” u kojoj oba relata imaju isti stupanj ontološke autentičnosti, tada teza o filozofskom mimesisu kao aproksimaciji na kojemu počiva i umjetnički mimetički koncept ima svoj legitimitet.Contrary to the common interpretation of Platonic art that supports the view that it is ontologically and gnoseologically irrelevant because it is mainly defined by mimetic concept as a mere imitation of the material world, and is thereforebanished from the Republic, we will offer some different interpretations. Namely, it is possible to show that mimetic principle is not the reason why Plato condemns art, and that the notion of artistic mimesis in fact stems from the metaphysical notion of mimesis as approximation or gradual resemblance to the paradigm. In this case artistic mimesis achieves higher ontological authenticity and imitates the ideal by means of the sensory. Parmenides’ “resemblance argument” may constitute a serious obstacle for the acceptance of, on the one hand, the idea of the relation of resemblance between Forms and particulars, that is between the paradigm and its image, and on the other hand it may question the idea of approximation in which mimetic principle has metaphysical foundation. However, when Form is seen as a synthetic unity of many things , it then represents the right standpoint for the explanation of the phenomena, and it becomes questionable when it is placed on the same level with its exemplars. If the relation of resemblance between the paradigm and its image is determined by the “dynamic”, and not by “symmetric resemblance” in which both parts are on the same level of ontological authenticity, then the view of philosophical mimesis as approximation on which relies artistic mimetic concept is legitimate. (shrink)

Ovaj rad bavi se presjekom umjetnosti, imaginacije, emocija i etičkog obrazovanja iz perspektive inovativne sinteze kognitivne teorije emocija i Gestalt pedagogije. Jedan od elemenata ove sinteze kognitivna je teorija emocija kakvu podržava Martha Nussbaum. Emocije se shvaćaju kao procjene koje se odnose na percepciju svijeta oko nas. Emocije su naši stavovi, razumijevanja i evaluacije svijeta iz perspektive naših ciljeva i projekata. To se pokazalo kao odlična polazišna točka za proučavanje emocija i drugih domena unutar etike obrazovanja. U ovom radu (...) uvodim pojam ‘iskustvene imaginacije’ i ukazujem na njezine metodologije koje smo razvili kao dio istraživanja preklapanja Gestalt pedagogije, kognitivne teorije emocija i pristupa etici iz perspektive umijeća življenja. Potom predstavljam sintezu kognitivne teorije emocija i Gestalt pedagogije, nakon čega razjašnjavam koncept iskustvene imaginacije, naglašavam njezinu ulogu u etičkom obrazovanju te zaključujem s nekolicinom osvrta na pristup umijeća življenja etici i etičkom obrazovanju. The paper discusses the intersection between art, imagination, emotions, and ethical education from the perspective of an innovative synthesis of cognitive theory of emotion and Gestalt pedagogy. One of the elements of this synthesis is the cognitive theory of emotion as endorsed by Martha Nussbaum. Emotions are understood as evaluative judgments that are related to our perception of the world around us. Emotions are our attitudes, understandings, and assessments of the world from the perspective of our goals and projects. This proves an excellent starting point from which to address them as an essential part of ethics education. Next, art and imagination are considered as a vehicle by which to address emotions and other domains within ethics education. Here, I introduce the concept of “experiential imagining” and point to the methodologies that sustain it. I have developed this concept as part of my research on the overlap between Gestalt pedagogy, cognitive theory of emotion, and the art of life approaches to ethics. Next, I present the synthesis between cognitive theory of emotion and Gestalt pedagogy. I then illuminate the concept of experiential imagination, emphasise its role in ethics education, and conclude with some reflections on the art of life approach to ethics and ethics education. (shrink)

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)

Mediteransko nasljeđe kulture, filozofije, povijesti i umjetnosti nepregledan je univerzum procesa, informacija, sinteza i imaginacija. Sam po sebi, Mediteran se predstavlja kao jedna opća imenica takvog opsega da predstavlja rod u kojem je velik dio opće europske kulture uvijek jedna od njegovih vrsta. No, ipak, riječ je o dojmu koji ne može težiti precizno utvrđenoj konstataciji već jednoj općoj opservaciji koja samo pokazuje da zamisao o zahvaćanju u smisao Mediterana kao nasljeđa ili suvremenosti predstavlja jedan ogroman, ali nikad dokraja (...) dovršen posao.Kao opće i široko obuhvatno ime, mediteranski prostor, onaj virtualni i onaj stvarni, otvorio je prostor mnogim iznimnim osobnostima. koje ukazuju na pojedinačni značaj svake od njih. Neizbježno, one ne mogu u kontekstu mediteranskog prostora predstavljati više od pojedinačnog slučaja koji nikad ne može obuhvatiti cjelokupni doseg pojma mediteranskog. Ali ono što mogu jest obznaniti one vlastite dosege koji ukazuju na vrijednost onoga što im je u mediteranskom prostoru otvoreno da misle, stvaraju i žive. U kontekstu Mediterana tu je uvijek prisutna jedna dimenzija napetosti između općeg i pojedinačnog, između napora da se izrazi duh vremena i nasljeđa, vlastito slaganje i neslaganje s njim, ali i promišljanje koje može probiti duh danog. Jedan od takvih filozofskih i umjetničkih osobnosti jest Albert Camus. Kao jedna od danas gotovo zaboravljenih figura mišljenja i umjetnosti, njegovo propitivanje humaniteta u djelima kao što su Mit o Sizifu i Pobunjeni čovjek svojevremeno su ostavili dubok trag iza sebe. Iako on nije napisao svoje pismo o humanizmu kao što je to učinio Heidegger , njegovo se djelo čini kao poseban slučaj jednog općeg govora o humanizmu suprotstavljen i zasigurno najpoznatijem intelektualcu svog doba, Jeanu Paulu Sartreu, intelektualnom hegemonu onoga doba. Postoji iskušenje da se Camusa u toj konstelaciji dovede u vezu s, recimo, stoicizmom, no time bismo promašili bit u odgovaranju na pitanje koliko bi njegov humanizam imao snage biti suvremeni humanizam, a koliko nova tehnika interpretiranja istog. Stoga mi je namjera propitati, suvremenu mogućnost tvorbi Camusovih promišljanja o povijesti, humanizmu, politici i umjetnosti, kao i danas uočljivi pomak u odnosu na prijašnje dosege u propitivanju etičnosti, politike i umjetnosti na mediteranskom prostoru.The cultural, philosophical, historical and artistic heritage of the Mediterranean is a measureless universe of processes, information, syntheses and imaginations. In itself, the Mediterranean portrays a general noun of such scope that it represents a kind in which a large part of general European culture is always but one of its sub varieties. However, this is but an impression, which cannot aspire to become a precisely verifiable or verified statement, or a general observation, which only demonstrates that the idea of penetrating the meaning of the Mediterranean as a heritage or contemporaneity represents an enormous yet never fully completed task.The Mediterranean space – both the virtual and actual – as a general and widely inclusive toponym has opened its doors to countless exceptional individuals, who point to the particular significance of each. Inevitably, within the context of the Mediterranean space they cannot exemplify more than a particular case that can never embrace the range of the Mediterranean concept as a whole. Yet, what they can do is disclose their own reaches that point to the value of that which is open to them in the Mediterranean realm to be thought, created and lived. A dimension of tension between the general and the particular, between the effort to express thespirit of time and heritage, one’s agreement and disagreement with it, as well as one’s reflections capable of penetrating the spirit of the given – are invariably present within the context of the Mediterranean. One such philosophical and artistic individual is Albert Camus. As one of the almost forgotten figures of thought and art today, his questioning humanity in The Myth of Sisyphus and The Rebel once left a profound trace. Although he never wrote a letter on humanism as Heidegger did , his work appears to be a special case of a general speech on humanism opposed to even surely the most famed intellectual of his time, Jean-Paul Sartre, the intellectual hegemon of his time. Within this constellation one can easily be tempted to compare Camus with, for example, Stoicism, but by doing so one would fail to answer the question of whether his humanism has the strength to be a contemporary humanism or just a novel interpretation technique of the same. This paper intends to examine the contemporary possibilities of constructing Camus’s reflections on history, humanism, politics and art, as well as the today distinct shift in relation to the earlier reaches of the studies into ethicality, politics and art within the space of the Mediterranean. (shrink)

Na tragu pitanja o tome što znači biti plesni pedagog, cilj ovoga rada bio je ispitati neke odrednice profesije plesnog pedagoga te prikazati način na koji plesni pedagozi progovaraju o onom ‘pedagoškom’ u svojoj profesiji. Primjenom kvalitativnog istraživanja te metodom dubinskog intervjua s plesnim pedagozima koji djeluju u različitim područjima odgojno-obrazovnog i umjetničkog rada, nastojalo se je opisati i analizirati područje njihova rada, odgojnog djelovanja te odgojne vrijednosti koje oni u svome radu afirmiraju. Temeljem kvalitativne analize podataka i primjenom interpretativne (...) fenomenološke analize u bogatom empirijskom narativu identificirano je pet tema: poimanje plesa kao dimenzije umjetničkog i odgojnog djelovanja, odrednice pedagoškog rada, značenje pedagoške uloge, transformacija umjetničke prakse u pedagošku praksu i posebnost odgojno-obrazovne metode. Rezultati istraživanja govore o tome kako plesni pedagozi doživljavaju i tumače svoj pedagoški rad – prije svega kao odgojni rad u kojemu se događa spoj umjetnosti i pedagogije pri čemu je naglašeno njihovo pedagoško umijeće kao neraskidivi dio profesionalnog habitusa plesnog pedagoga. Following the question of what it means to be a dance pedagogue, the aim of this paper was to examine some determinants of the profession of dance pedagogue and to establish the meaning and understanding of the way dance pedagogues speak about the ‘pedagogical’ in their profession. By applying qualitative research and the method of in-depth interviews with dance pedagogues who work in different fields of education and art, we tried to describe and analyse the area of their work, their educational activities, and values they promote in their work. As a result of the qualitative analysis and the interpretative phenomenological analysis of the rich narratives, we have identified five topics: the notion of dance as a dimension of artistic and educational activity; the determinants of pedagogical work; the meaning of pedagogical role; the transformation of artistic practice into pedagogical practice; the distinguishing characteristic of the educational method. The results point to the conclusion that dance pedagogues see their work as a primarily educational work that combines art and pedagogy. The pedagogical knowledge of the dance pedagogues is an inseparable part of their professional habitus. (shrink)