Modern art has lost its artistic character; only its visual aspect remains. On the other hand, the transition from modern fine arts towards non visual contemporary art has brought a great deal of novelties; one of these is “breaking the fourth wall”. This is a theatre term referring to moments when viewers become interactively involved in a play, and the characters become aware that they are characters in a play. Modern art has explored processes by which the border between artistic (...) acts and everyday acts is erased, suggesting that “everything is art” and “every man is an artist”. The new era has caused the public to become alienated from science and the arts, but has also provided new philosophical interpretations of media landscapes and the hypperealism of the post-modern. Digital games are also becoming hyperrealistic, and some of these are founded on demolishing the “fourth wall”. Confused reactions to techniques of breaking the “fourth wall” vary from verbal reactions to a performance and excessively literal perceptions of film to tragic accidents or even suicides connected with particular digital games. Hyperreality mimicking reality has become commonplace, however the question arises: can the modern individual deal with this? (shrink)

Suvremena umjetnost izgubila je svoju likovnost, a ostala joj je samo vizualnost. S druge strane, prijelaz od likovne moderne ka nelikovnoj suvremenoj umjetnosti donio je i mnogo novosti; jedna od njih je tzv. ‘probijanje četvrtog zida’. Radi se o kazališnom terminu koji označava trenutak kada se gledatelj na neki način interaktivno uključuje u predstavu, a likovi pokazuju svijest da su likovi u predstavi. Upravo će suvremena umjetnost istraživati postupke brisanja granica između umjetničkog i svakodnevnog čina, sugerirajući kako (...) »sve je umjetnost« i »svaki čovjek je umjetnik«. Novo je doba donijelo otuđenost javnosti od znanosti i umjetnosti, ali i nova filozofska tumačenja medijskog krajolika i hiperrealnosti postmoderne. Hiperrealne postaju i digitalne igre, od kojih se neke temelje upravo na rušenju »četvrtog zida«. Zbunjene reakcije na tehniku rušenja »četvrtog zida« variraju u rasponu od verbalnih reakcija na performance, preko previše doslovnog shvaćanja filmova pa sve do tragičnih nesreća, čak i samoubojstava povezanih s određenim digitalnim igrama. To da stvarnost oponaša hiperstvarnost postalo je uobičajeno, ali otvorilo se i pitanje: može li suvremeni pojedinac s time izaći na kraj? Modern art has lost its artistic character; only its visual aspect remains. On the other hand, the transition from modern fine arts towards non visual contemporary art has brought a great deal of novelties; one of these is “breaking the fourth wall”. This is a theatre term referring to moments when viewers become interactively involved in a play, and the characters become aware that they are characters in a play. Modern art has explored processes by which the border between artistic acts and everyday acts is erased, suggesting that “everything is art” and “every man is an artist”. The new era has caused the public to become alienated from science and the arts, but has also provided new philosophical interpretations of media landscapes and the hypperealism of the post-modern. Digital games are also becoming hyperrealistic, and some of these are founded on demolishing the “fourth wall”. Confused reactions to techniques of breaking the “fourth wall” vary from verbal reactions to a performance and excessively literal perceptions of film to tragic accidents or even suicides connected with particular digital games. Hyperreality mimicking reality has become commonplace, however the question arises: can the modern individual deal with this? (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)

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)

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)

U svom remek- djelu, Proces i realnost (1929.), s podnaslovom Rasprava s područja kozmologije, Whitehead se bavio kozmologijom kao dijelom svoje opće metafizike procesa. Metafizika traga za najopćenitijim načelima realnosti. Kako je rekao, »to je znanost koja želi otkriti opće ideje koje su neophodne za analizu svega što se zbiva « (RM 84). Metafizika stoga traga za načelima koja su nužna u svim mogućim svjetovima ili kozmičkim epohama, a kozmologija otkriva pomoću promatranja onoga što su primjeri za naš aktualni svijet (...) ili ovu kozmičku epohu. (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)

This paper highlights John Stuart Mill’s views on the problem of gender equality as expressed in The Subjection of Women, which is commonly regarded as one of the core texts of Enlightenment liberal feminism of the 19th century. In this paper, the author outlines the historical context of both Mill’s views and his personal biography, which influenced his argumentation for the emancipation of women, and considers Mill’s utilitarianism and liberalism, as the main philosophical background for his criticism of social conditions (...) that subordinated women. She reflects on some of the philosopher’s ideas and arguments for equality and friendship between women and men which may still be considered noteworthy and relevant. Attention is also given to the main lines of contemporary reception of Mill’s liberal feminism from the perspective of current feminist philosophy, within which certain critical views predominate. Despite some problematic points in Mill’s considerations, his essay on women’s subjection may be regarded as one of the philosophically most interesting conceptions of liberal feminist thinking. (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)

Danski filozof Søren Kierkegaard duboko je proživljavao i promišljao vjeru, umjetnost i filozofiju pa, premda se umjetnosti i filozofije odrekao u ime vjere, to je samo prividno tako, jer je filozofiju sačuvao svojim izvanrednim filozofiranjem, a umjetnosti je sačuvao značajno mjesto u estetici braka i umjetnosti življenja. Što to znači estetički živjeti, i što znači etički živjeti? Kierkegaard ne polazi od estetičkog života umjetnika, već od etičkog i religioznog samoizbora koji život čini lijepim i umjetničkim djelom. Cilj (...) nije umjetnost umjetničkog djela, već umjetnost življenja, a to je moguće samo u vjeri.Dannish philosopher Søren Kierkegaard deeply lived through and contemplated faith, art and philosophy; althought he got rid of art and philosophy in the name of faith, this was only apparently, because he have preserved philosophy by his extraordinary thinking, and he also preserved important place for the art in the aestehtics of marriage and in the art of living. What does it mean to live aestehtically, and what to live ethically? Kierkegaard does not take the life of an artist as his point of departure, but he takes ethical and religious self-choice as the source of life which makes it artistic work and the work of beauty. The goal is not the art of artistic work, but the art of living, and that is possible only through the faith. (shrink)

A close interrelationship between logic and religious faith is confirmed in many places of the Bible. In the paper, special attention is paid to the dialogue of Jesus and a Samaritan woman (John 4). In a proposed outline of a logical formalization, religious faith is described as a pragmatic function through which the linguistic and logical content is contextually realized. In the continuation of the paper, Gödel's ontological proof is commented, which in a logically rigorous way describes the ontology where (...) we can detect the systematic place of religious faith as an ontological force. (shrink)

U članku se argumentira da se suvremena evolucijska etika, u mjeri u kojoj preuzima sociobiološke strategije naturaliziranja ljudskog morala, suočava s nekim ozbiljnim konceptualnim i eksplanatornim poteškoćama. Konceptualna se poteškoća sastoji u uvidu da “moral” nije isto što i “altruizam”, već obuhvaća više specifičnih elemenata uslijed kojih ga se smatra upravo moralom, a ne evolucijskim ili psihološkim altruizmom. Eksplanatorna se poteškoća sastoji u uvidu da korektno konceptualizirani fenomen morala nije moguće uklopiti u standardna sociobiološka objašnjenja bez ugrožavanja nekih osnovnih (...) pretpostavki tih objašnjenja, prije svega pretpostavke“genskog selekcionizma” i pretpostavke “evolucijski stabilnih strategija” . Osnovni argument glasi da ne možemo zadržati i korektan pojam ljudskog morala i ključne pretpostavke sociobioloških objašnjenja.In the article it is argued that contemporary evolutionary ethics – to the extent it accepts sociobiological strategies of naturalizing human morality – faces some serious conceptual and explanatory difficulties. Conceptual difficulty consists in recognizing that “morality” is not the same as “altruism”, but rather comprises several specific elements which distinguish it from both evolutionary and psychological altruism. Explanatory difficulty consists in recognizing that the phenomenon of morality appropriately conceptualized cannot be incorporated into standard sociobiological explanations without endangering some basic assumptions of those explanations, primarily the assumption of “gene selectionism”, as well as the assumption of “evolutionarily stable strategies” . The basic argument is that one cannot retain both the appropriate concept of human morality and key assumptions of sociobiological explanations. (shrink)

U članku se, prije svega, tvrdi da većina odgojne prakse u liberalno-demokratskom društvu službeno teži promicanju, kako ga nazivam, ‘ideala demokratskog karaktera’ za građane budućnosti. On utjelovljuje deweyjevsko uvjerenje da demokracija nije samo oblik političke zajednice nego i način življenja u kojem se pojedinci mogu razvijati u socijalno pravednim okolnostima. Zahtjevna priroda tog ideala se može činiti problematičnom, no nastojat ću pokazati da tomu nije slučaj. Ono što jest problem je omjer u kojem aktualna teorija i praksa odgoja odudara od (...) ideala, bez obzira na službene prigovore tom idealu. Deweyjevski uvidi u poveznice između oblika odgoja i oblika društva ukazuju da suvremena izdaja ili napuštanje ideala demokratskog karaktera iziskuje radikalnu kritiku stanja u kojem razmatranja suvremene kapitalističke ekonomije podrivaju široko prihvaćene težnje za dobrim životom i odgojem koji pridonosi ostvarenju tih težnji. (shrink)

Procesi globalizacije događali su se mnogo puta u povijesti, daleko prije pojave riječi ‘globalizacija’ u drugoj polovici 20. st. Suvremena globalizacija podrazumijeva društvene, gospodarske i političke procese usmjerene na prelaženje državnih granica i stvaranje globalnog svjetskog poretka. No ona se ne smije svesti samo na to, budući da njeni procesi pogađaju sva područja ljudskog života i djelovanja: medije i komunikacije, gospodarstvo, politiku, pravo, kulturu, ekologiju, etiku, religije i crkve. Posljedice globalizacije jesu nova iskustva na društvenoj, političkoj i gospodarskoj razini (...) – povezivanje i umrežavanje kroz procese internacionalizacije i transnacionalizacije, kroz skupove poput G7 i Međunarodnog gospodarskog foruma u Davosu, ali i brojni društveni lomovi i gospodarska recesija. Globalizacija potiče religije na približavanje, na jačanje suradnje i na zauzimanje zajedničkog stava. Religije to i čine kroz postojeće zajedničke institucije, poput Svjetskog parlamenta religija i Svjetske konferencije religija za mir , tražeći nove oblike približavanja, dijaloga, solidarnosti, suživota, suradnje i ostvarenja etičkog konsenzusa, vodeći računa o zaštiti vlastitog identiteta u vremenu pluralizma i multikulturalnosti. Religije su svjesne da je etičko pitanje postalo pitanje planetarne odgovornosti koje zahtijeva globalnu etiku oko koje se trebaju složiti svi subjekti na svjetskoj razini, a u kojoj će čovjek biti aktivni subjekt. Kršćanske crkve uzimaju u obzir određene pozitivne zakonitosti procesa globalizacije tako da možemo govoriti o »kršćanskoj globalizaciji«. Kršćanstvo je od svojih početaka bilo usmjereno na određenu vrstu globalizacijskih procesa – daleko prije nego li se pojavio naziv ‘globalizacija’. Crkve su svjesne svoje zadaće zajednički braniti u vremenu globalizacije dostojanstvo svakog čovjeka, svake tradicije i kulture. One to čine preko brojnih postojećih međucrkvenih institucija na svjetskoj razini kao što su Ekumensko vijeće crkava , Ekumensko vijeće mladih u Europi . Katolička Crkva je od početka bila globalna i iz te je perspektive kroz stoljeća misijski djelovala. Nakon II. vatikanskog sabora to će djelovanje pojačati osnivanjem Papinskog vijeća za jedinstvo kršćana koje je nastalo iz Tajništva za jedinstvo kršćana , zatim Svjetskog dana mladih i Caritasa internationalisa.Processes of globalization have been happening numerous times through history, long prior to the appearance of the word ‘globalization’ in the second half of 20th century. Modern globalization includes the social, economic and political processes headed to crossing national boundaries and creating a global world order. However, globalization cannot be attributed simply to that issue, for its processes deal with all dimensions of human life and activity: media and communications, economy, politics, law, culture, ecology, ethics, religions, and churches. The consequences of globalization are new experiences related to social, political and economical sphere – interconnection and networking through processes of internationalization and transnationalization, through the meetings of the members of G7 and International Economic Forum in Davos, and also the numerous social breaks and economic recession. Globalization inspires religions to aim at the approaching, the stronger cooperation and the intercession for the common attitude. For realization of this purpose religions act through the existing common institutions like The World Parliament of Religions and World conference of religions for peace , asking for a new way of approaching, dialogue, solidarity, coexistence, cooperation and realization of ethic consensus, taking into account the protection of its own identity in time of pluralism and multiculture. Religions are aware of how ethic question has become the question of world’s responsibility. That issue requires global ethical principles around which all subjects on the world scale are to agree with. In that global ethic the human being will be respected as an active subject. The Christian Churches take into consideration the certain positive lawfulness of globalization process, thus we can speak of “Christian globalization”. Christianity has been headed to globalization process from the earliest days of the faith – prior to the process has emerged known as globalization. The Churches became aware of its responsibility in order to protect in the time of globalization the dignity of every person, every tradition, and culture. The Churches respond to this phenomenon through numerous existing interchurch institutions on world domain such as The World Council of Churches , Ecumenical Youth Council in Europe . The Catholic Church from the beginning has been global and based on this perspective the Catholic Church through centuries has been carrying out its missionary work. After the Second Vatican Council the Catholic Church has strengthened its activity by establishing Pontifical Council for Christian Unity , which has emerged from Secretariat for Promoting Christian Unity , World Youth Day and Caritas internationalis. (shrink)

Filozofija danas, kao i posljednjih desetljeća, u različitim varijantama raspravlja o utemeljenju i širini pojma pluralizma, multikulturalizma/transkulturalizma, mogućeg prihvaćanja drugačijeg i uopće o načinima posredovanja. Tim se povodom u tekstu želi skrenuti pažnja na tek djelomično recipirano djelo Ernesta Grassija. Prije svega riječ je o njegovom drugačijem tumačenju povijesti novovjekovne filozofije, raspravljanju o odnosu filozofije i kulture i trajnom naporu u premošćivanju i međusobnom upućivanju talijanske i njemačke filozofije, te otvorenosti prema drugim kulturama.Grassi je zastupao stajalište da susret sa stranim (...) i drugačijim traži situaciji primjerene teorijske i praktičke odgovore, otvaranje izvornosti onoga što nam pridolazi kao novo. Teorijska otvorenost iskustvu drugačijih svjetova, provlačenje kroz doživljaj drugačijeg što posebno iskazuje u svojim «južnoameričkim meditacijama», ujedno je za njega propitivanje samorazumljivosti europskog iskustva i europskog tumačenja prostora, vremena, umjetnosti…Pitanje je stoga koliko Grassi, koji je kao metodu spoznaje zastupao znanstvene razgovore što uključuju individualnu, historijsku situaciju i interakciju sudionika u aktualnoj govornoj situaciji, i danas može biti zanimljiv sugovornik. Takav njegov pristup utemeljen je na tumačenju zbiljnosti polazeći od jezika, što uključuje kritiku metafizike.For several decades now, philosophy has and is attempting various approaches to the foundationand scope of pluralism, multiculturalism/transculturalism, possible ways to accepting the different,and general means of mediation. In response, this article deals with the partially received work ofErnesto Grassi – in particular, his singular interpretation of the history of modern age philosophy,his discussion on relations between philosophy and culture, his ongoing effort to bridge the differencesand refer to each other the German and the Italian philosophy, his receptiveness to othercultures.Ernesto Grassi supported the view that encounters with the strange and the different call for appropriatetheoretical and practical responses, a receptiveness to genuineness of what one approaches asnew. For him, the theoretical receptiveness to experiencing different worlds, the involvement in thedifferent that he particularly expresses in his »South American meditations«, is also the means ofquestioning the taking for granted of the European experience and its interpretation of essentialssuch as space, time, and art.It remains a question to what extend is Grassi, who viewed a scientific exchange – with its individual,historical context and the interaction of the participants in the current conversational act – asa cognitive method, still an interesting conversationalist today. He builds this approach upon interpretationof reality from the point of language, which includes a criticism of metaphysics. (shrink)

Jedan od temeljnih pojmova Aristotelove teorije o pjesništvu je ‘vjerojatno’. Obično se o ‘vjerojatnom’ misli kao o onom što je slično istini, no za Aristotela to je tek jedna od njegovih značajki. Sam pojam vjerojatnog produbljuje iznoseći razlike između povijesnog i pjesničkog govora, preko dogođenog i onoga što bi se moglo dogoditi. Članak donosi analizu Aristotelovog nadilaženja Platonovog shvaćanja umjetnosti, u prvom redu shvaćanjem umjetnosti kao vještine te novim odnosom prema oponašanju, zatim proučava razvoj razlike između istinitog i (...) sličnog, između mogućeg i nemogućeg. Izravni je interes ove studije pokazati kako Aristotel preko navedenih razlika ukazuje ne samo na filozofsku dimenziju pjesništva, nego i da preko pojma vjerojatnog umjetničkom djelu potvrđuje njegovu unutarnju koherenciju i vezu koja ne ovisi o izvanjskim zakonitostima te da umjetničko djelo u sebi pronalazi svoj princip, sredstvo i cilj.One of the fundamental concepts of Aristotle’s theory of poetry is ‘probable’. ‘Probable’ is usually thought of being similar to truth, as for Aristotle it is but one of its features. Reflecting the differences between historical and poetic expression, through what happened and what might happen, Aristotle deepens the concept of ‘probable’. The article analyzes Aristotle’s surpassing Plato’s comprehension of art, primary through perceiving art as a skill and the new attitude toward imitation. Thereupon, the development of the difference between true and similar is being studied: between the possible and the impossible. The main interest of this study is to present how Aristotle, through mentioned differences, indicates not only the philosophical dimension of poetry, but through the concept of ‘probable’, confirms inner coherence and connection of a work of art which does not depend on external laws but finds its own principle, means and objectives within itself. (shrink)

Čovjek je biće dijaloga, biće komunikacije, te se upravo na ovome području najuočljivije manifestiraju znakovi moguće krize. Cornelio Fabro, analizirajući komunikacijsku situaciju današnjeg čovjeka, uočava kako je tišina zamijenila govor. Razgovor sa samim sobom, bez kojega nema niti dijaloga sa drugima, supstituiran je čovjekovim pokušajem da putem umjetnosti, kulture ili filozofije uspostavi izvanjski dijalog sa svijetom koji ga okružuje. Kultura nastala u ovakvom okružju »duhovne pustinje«, kako kaže Fabro, također sama postaje kulturom egzistencijalno-duhovnog kolapsa.U radu se kritički propituje teza (...) po kojoj je čovjek osamljen, predan duhovno-kulturnoj pustinji isključivo zbog toga što se udaljio od svoga temelja, što prvenstveni interes njegova cjelokupnog istraživanja ne leži u području bitka i realnosti, nego u području mogućeg i virtualnog.Man is a being of dialogue, being of communication, and this is the area where signs of possible crisis most visibly manifest themselves. C. Fabro, analysing communicational situation of contemporary man, notices how silence have replaced speaking. Dialogue with him/herself, which is the condition for dialogue with others, is substituted by man’s endeavour in establishing external dialogue with the world around him/her, by means of art, culture and philosophy. Culture, made in circumstances of so called »spiritual desert«, itself becomes a culture of existential-spiritual collapse.This article critically examines thesis on man’s solitude, or his/hers devotion on spiritual-cultural desert, exclusively because he/she has distanced him/heself from his/her foundations, i. e. because primary interest of his/hers does not lay in the area of Being and reality, but in the area of possible and virtual. (shrink)

In this article we consider certain elements of the normative theory of Jürgen Habermas in the light of the proposals of Bruce Ackerman, with a view to strengthening a concept of deliberative democracy applied to the legitimation of juridical rules. We do not construct a hierarchy of the two positions, but seek to bring together certain elements to achieve a common project. As the starting point for examining the work of the two authors, we take the scheme proposed by Habermas (...) in Faktizität und Geltung. In this connection, through the work of Ackerman, we intend to fill in some of the gaps that Habermas appears to have left in the theory of radical democracy applied to the law. The work of Ackerman can make a significant contribution to deliberative democracy, to the discourse principle that Habermas defines, and to the contractualist theories from a liberal perspective. The study of these contributions makes possible a critical judgment that enables the legitimation of juridical rules carried out by Habermas to acquire greater practicity. In examining the epistemological status of juridical science and law, we attempt to determine the weight and the performance of normative democracy. In Tarr's view, it is a matter for philosophers to examine direct democracy and its desirability. (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)

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)