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)

Aristotel je strogo lučio tri bitna načina života: bios poietikos, bios praktikos i bios theoretikos, te je smatrao da samo dva posljednja načina života ozbiljuju najviše dobro pomoću savršenih oblika znanja, i to najviše dobro kao ljudsko dobro pomoću razboritosti praktičnoga uma i kao božansko dobro pomoću mudrosti teoretskoga uma . Oba ta načina postizanja sreće ozbiljuju najviše dobro na svoj vlastiti način, i to praktični um etičko-političkim djelovanjem građana u državi, a teoretski um kontemplacijom kao težnjom za vječnim životom (...) bogova i promatranjem prvih principa i uzroka svih bića u pogledu njihova bitka. Poietički način života Aristotel, pak, rangira niže od praktičnog i teoretskog. Pa ipak, katkada i poietički način života proizvodi sretan život.Na primjeru Gadamerova razumijevanja mnogolikosti iskustva bitnih načina života i mnogolikosti znanja već u okviru poietičkog znanja, u ovom se radu nastoji pokazati da poiesis kao treći bitni oblik života obuhvaća ukupnost proizvodnog znanja, dakle kako znanje na kojemu počiva umjetničko stvaranje tako i znanje koje sve više tehnizira globalni svijet i vodi sudbonosnom razaranju i kobnoj uniformiranosti samoga svijeta.Posebna je Gadamerova zasluga što je u okviru fenomenološke i hermeneutičke filozofije obnovio vlastitost umjetnosti kao oblik znanja koje kao ljudsko razumijevanje čovjeku omogućuje da pomoću povijesnog mišljenja razvije povijesnom bitku i svijetu života primjereno znanje i na njemu utemeljeno življenje i djelovanje.Aristoteles hat strikt zwischen drei wesentlichen Lebensweisen differenziert – dem bios poietikos, dem bios praktikos sowie dem bios theoretikos – und war hiernach des Erachtens, lediglich die letzten zwei Lebensweisen verwirklichten das höchste Gut mithilfe der einwandfreien Wissensformen, und zwar das höchste Gut als das menschliche Gut mittels Klugheit der praktischen Vernunft und als das göttliche Gut mittels Weisheit der theoretischen Vernunft . Beide dieser Wege der Glückserlangung verwirklichen das höchste Gut in ihrer eigenen Manier, sowohl die praktische Vernunft durch ethisch-politische Handlung der Bürger im Staat als auch die theoretische Vernunft durch Kontemplation als Streben nach dem ewigen Götterleben und der Beobachtung der ersten Prinzipien und Ursachen aller Wesen bezüglich ihres Seins. Die poietische Lebensweise stuft Aristoteles jedoch niedriger ein als die praktische und theoretische. Dennoch bringt die poietische Lebensweise bisweilen ein glückliches Leben hervor.Am Beispiel von Gadamers Verständnis der Erfahrungsmannigfaltigkeit der wesentlichen Lebensweisen und der Wissensvielfalt bereits im Rahmen des poietischen Wissens ist man bemüht, in dieser Arbeit darzulegen, dass die poiesis als dritte wesentliche Lebensweise die Gesamtheit des Hervorbringungswissens erfasst, also sowohl das Wissen, auf dem das künstlerische Schaffen ruht wie auch das Wissen, das die globale Welt zunehmend technisiert und zur schicksalhaften Zerstörung sowie verhängnisvollen Uniformierung der Welt selbst führt.Ein beachtliches Verdienst Gadamers ist es, im Rahmen der phänomenologischen und hermeneutischen Philosophie die Eigentümlichkeit der Kunst als Form des Wissens regeneriert zu haben, welches als humanes Verstehen dem Menschen ermöglicht, anhand des geschichtlichen Denkens ein dem historischen Sein und der Lebenswelt adäquates Wissen fortzuentwickeln, und desgleichen die darauf aufbauende Lebensweise und Handlung. (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)

The world is a comprehensive concept of the area of external experience in which all objects appear as external to our consciousness. It is also the area of becoming, transience and disappearance, resp. of birth, life and death (physiology, philosophical physics, cosmology). The being itself, on the contrary, is conceived as what is and does not become (ontology, metaphysics). Philosophy investigates what is object of our cognition, but also what should be the object of our activity (ethics, practical philosophy). Philosophy (...) can try to understand the nature of consciousness and reason from the experience of the world, or it can try to assess the truth or the appearance of the world that we experience from the assessment of our cognitive faculties (epistemology). Both approaches have been confirmed in India and West in different periods. Some examples will be considered and compared. (shrink)

Islamski je svijet, tijekom modernizacije Zapada, stagnirao. U najboljem slučaju, postupno, je napredovao. Spektar suvremenih društava islamskoga svijeta veoma je raznovrstan – od tradicionalnih do demokratskih. Tradicija i modernost mogu zajedno, ukoliko je moderniziranje autonomno djelo i ako se staro ne uništava, nego preobražava. Bez vlastite refleksivnosti i autonomne modernizacije, islamski svijet i sve tzv. »zemlje u razvoju«, u uvjetima planetarne dominacije neoliberalizma i mondijalizacije zapadnog moderniteta, te u uvjetima islamskoga konzervativizma – biti će osuđeni na siromaštvo i (...) nerazvijenost. Autonomnim moderniziranjem, islamski će svijet postati moćnijim i respektabilnijim subjektom globalnoga komuniciranja, što bi stvorilo pretpostavke i za prevladavanje islamskoga konzervativizma. Islamic world, during of the modernization of West, has stagnated. In the best case, it has, step by step, maked progress. Spectrum of contemporary societies of islamic world is very different – from traditional to demokratic of societies. Tradition and modernity can be in common, if a modernization autonomic work and if an old doesn’t destroy, than transforms. Without one’s own of reflexion and of autonomic modernization, islamic world will be poor and undeveloped world as and all poor countries during of planetary domination of neoliberalism and mondialization of west modernity; then on the understandings of islamic conservatism. By autonomic modernization, islamic world will become more powerful and more respectable subject of global communication. It should make some suppositions for a overcoming of islamic conservatism, too. (shrink)

U članku se daje prikaz Schopenhauerovih razmišljanja o ljudskoj spolnosti i homoseksualnosti, te o ženama, koja je ovaj znameniti filozof iznio u svojim djelima Svijet kao volja i predodžba i Parerga i paralipomena. U prikaz je uključena i kritika Schopenhauerovih stavova, a postavlja se i načelno pitanje: može li se i u kojem smislu jedna filozofija smatrati »velikom« ukoliko su ne samo uz nju, nego i u njoj prisutni stavovi koji su obilježeni krajnjom proizvoljnošću i negativnim predrasudama?This paper presents (...) Schopenhauer’s views on human sexuality and women that were brought out in his works Die Welt als Wille und Vorstellung and Parerga und Paralipomena. The article contains a critique of his attitudesand it attempts to answer a principal question: is it possible to consider a philosophy as being ‘major’ if it contains, and not only incidentally,attitudes of extreme arbitrariness and negative prejudices. (shrink)

U opreci prema mnogim teorijama globalizacije koje postuliraju ili proriču jedan sve jedinstveniji svijet, ovdje se ukazuje na dvostrukost procesa globalizacije. Već u ekonomskom pogledu, oglednom primjeru globalizacije, može se pokazati da svijet nije samo jedan, nego se sastoji od mnogo svjetova . U jednakoj mjeri to važi i za političku filozofiju koja spekulira o svjetskoj republici ili čak svjetskoj državi. Uz to, ovdje se moralnofilozofijski argumentira u prilog tezi da je moderni svojstven ne samo univerzalni moral, nego (...) i jedna etika koja reflektira običajnost. (shrink)

U članku se pokušava odrediti svjetonazorno polazište bioetike, posebno one »integrativne «. Prvo će biti istaknut značaj tzv. pogleda na svijet za obrazovanje filozofskih pozicija. Zatim se pokreće pitanje o svjetonazornoj pozadini bioetičkih pozicija, pri čemu se kao njihov zajednički nazivnik pokazuje »bioprotekcionizam« kao vrsta umjerenog biocentrizma. Naposljetku se preispituje osnova integrativne bioetike koja inače ima zadatak promišljati svjetonazorne pretpostavke bioetičkih učenja. U tu svrhu će se ponuditi dvije interpretacije koje će rezultirati ukazivanjem na perspektivizam odnosno pluriperspektivizam kao onaj (...) pogled na svijet koji do izražaja dolazi upravo u integrativnoj bioetici.Im Aufsatz wird der Versuch unternommen, den weltanschaulichen Ausgangspunkt der Bioethik zu ermitteln, vor allem der „integrativen Bioethik“. Zuallererst wird die Bedeutung der sog. Weltanschauungen für die Bildung der philosophischen Positionen hervorgehoben. Des Weiteren wird die Frage nach dem weltanschaulichen Hintergrund der bioethischen Positionen aufgeworfen, wobei sich „Bioprotektionismus“, eine gemäßigte Variante des Biozentrismus, als ihr gemeinsamer Nenner erweist. Schließlich wird die Grundlage der integrativen Bioethik überprüft, die ansonsten die Aufgabe hat, die weltanschaulichen Voraussetzungen der bioethischen Lehren zu reflektieren. Zu diesem Zweck werden zwei Interpretationen angeboten, die zum Perspektivismus bzw. Pluriperspektivismus hinführen, als jener Weltanschauung, welche gerade in der integrativen Bioethik zur Geltung kommt. (shrink)

Članak razmatra konstruktivističke pozicije Ernsta Cassirera i Nelsona Goodmana, prema kojima svijet nikad nije naprosto dan, već je uvijek stvoren semiotičkom, simboličkom djelatnošću duha, uzimajući ponajprije u obzir Cassirerovo djelo Filozofija simboličkih oblika te Goodmanovo Ways of Worldmaking. Prvotni impetus takvog gledišta Kantovo je naglašavanje spontaniteta mišljenja, gdje zatim Cassirerova razrada takve koncepcije u okviru opće teorije simbola utječe na Goodmana. Članak analizira utjecaje, sličnosti i razlike među koncepcijama ovih autora, uključujući također u raspravu gledišta francuskog semiotičara Greimasa te (...) suvremenog njemačkog filozofa G. Abela, te ukazuje na teškoće na koje konstruktivizam nailazi, kako one koje proizlaze iz sukoba sa suprotstavljenom pozicijom, realizmom, tako i one koje su imanentne samoj konstruktivističkoj koncepciji.The paper discusses the constructivist positions of Ernst Cassirer and Nelson Goodman, according to which the world is never simply given, rather, it is made by the semiotic, symbolic activity of the mind, taking primarily into consideration Cassirer’s work Philosophy of Symbolic Forms and Goodman’s Ways of Worldmaking. The initial impetus for such a view is Kant’s accent on the spontaneity of thinking, developed by Cassirer in the framework of a general theory of symbols, which then influenced Goodman. The paper analyses the influences, similarities and differences in the approaches of these authors, takes also into account the views of the French semiotician Greimas and the contemporary German philosopher G. Abel, and it points to the difficulties that constructivism faces, both those that arise from the conflict with the opposing view, namely realism, as well as those that are immanent to the constructivist conception itself. (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)

The structure "home - world - ideals" is presented as the structure of "philosophical striving" (F. Marković). It could be formally described as a model consisting of a domain, relations and a valuation. On that basis, the identity, openness, and the significance of Croatian philosophy is investigated. The programme of the renewal of Croatian philosophy (as proposed 1882 by Franjo Marković) is re-examined, and some unsolved historical-cultural discontinuities within the programme are described. The written beginnings of Croatian philosophical thought are (...) detected in the Charter of Duke Trpimir (852). (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)

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)

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)

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)

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)