Cilj teksta je prikazivanje najvažnijih dela Blagoja Markovića, pre svega delâ Logika i Psihologija, koja su korišćena kao udžbenici iz filozofije u srednjim školama u Vojvodini tokom i nakon ...međuratnog perioda. Neposrednim uvidom u udžbenike rekonstruiše se konkretni plan i program nastave filozofije, kao i tematske celine koje je predmet filozofija obuhvatao. Prikazivanjem filozofski relevantnih delova udžbenika navode se konkretne teme, pojmovi i autori koji su tematizovani, čime se rasvetljava čitava struja u filozofiji Kraljevine SHS, odnosno Kraljevine Jugoslavije, budući da delo koje je propisano kao udžbenik svedoči ne samo o konkretnom nastavnom planu u školama, već i o mnogo široj naučno-filozofskoj atmosferi i tendencijama kada je filozofsko obrazovanje u pitanju.
The aim of this paper is to present the most important work of Blagoje Marković, primarily the books Logics and Psychology, which were used as textbooks in philosophy in secondary schools in Vojvodina during the interbellum period. By direct insight into the textbooks, it is possible to reconstruct the actual curriculum of philosophy, as well as the theme units, which the subject of philosophy included. By presenting philosophically relevant parts of the textbook, specific topics, concepts and authors are broached as well, which clarifies the general stream in the philosophy of the Kingdom of SCS and the Kingdom of Yugoslavia, because the book which is prescribed as a textbook testifies not only to the specific teaching curriculum in schools but as well to a much wider scientific and philosophical atmosphere and philosophical tendencies when it comes to education.
Stvaralaštvo kao technê Rajković, Marica
Metodički ogledi,
09/2020, Letnik:
27, Številka:
1
Journal Article, Paper
Recenzirano
Odprti dostop
Filozofija 21. stoljeća dužna je preispitati fundamentalne pojmove na kojima je zasnovana kako bi se utvrdilo je li povijesni tijek utjecao na promjenu u njihovoj biti i utjecaju. Jedan od takvih ...pojmova je pojam stvaralaštva koji se od još od starogrčke epohe vezuje za poietičku filozofiju. Neophodno je postaviti pitanje o tome je li još uvijek opravdana podjela prema kojoj je stvaralaštvo sfera ποίησις ili se stvaranje sâmo u tolikoj mjeri promijenilo kroz povijesna kretanja da je potrebno iz temelja ponovno odrediti ne samo njegov pojam nego i sfere njegova utjecaja. Kroz proces takvog ispitivanja važno je ukazati na autore koji su (na različite načine) smatrali da upravo ono stvaralačko fundira pojam čovjeka, kao i na one autore koji su upozoravali na takvu mogućnost. Razlika između starogrčkog τέχνη i suvremene tehnike, razlika između čovjeka kao zoon politikon i zoon technikon te razlika u određenjima pojma stvaranja otvaraju bitno pitanje: je li problem stvaralaštva toliko temeljan da je zbog njega neophodno preispitati filozofiju jedne epohe u cjelini?
Twenty-first century philosophy is required to re-examine the fundamental concepts upon which it is founded in order to affirm whether the course of history has caused changes in its essence and influence. One such concept is the concept of creativity, which has been tied to poietic philosophy since Ancient Greece. It is necessary to examine the validity of the division according to which creativity lies within the sphere of ποίησις, or if creativity itself has changed to such an extent throughout history that both its concept and its sphere of influence must be thoroughly re-defined. Through such inquiry, it is important to note authors who have (in various ways) claimed that the act of creativity lies at the basis of the concept of man, as well as authors who have indicated this as a possibility. The difference between the Old Greek τέχνη and the modern ‘technique’, the difference between man as a zoon politikon and zoon technikon, and differences in definitions of the concept of creativity all raise an important question: is the problem of creativity so fundamental that it requires a complete re examination of the philosophy of an entire era?
The author examines the relevance of key Heidegger's theses on art and influence they have on development of aesthetics and philosophy of art. The main task of this paper is to examine the real ...contribution and originality of his theses, as well as the basis of interpretations according to which he is considered to be an epochal and unavoidable author, when it comes to aesthetical and poietical corpus of philosophy. Firstly, the thesis on art as the highest form of thinking, usually perceived as Heidegger’s own contribution, is originally Schelling's thesis. Furthermore, the concept of art as the truth is a thesis set up and systematized by Hegel. Unlike the above mentioned perception of Heidegger’s contribution, the author considers that his real importance for the philosophy of art should be sought in his idea that art is a process of "naturally letting be", while the technology is process of "artificially instigating". The problem with this idea, however, relates to the fact that Heidegger does not show enough boldness to formulate the thesis of poietical as natural himself, but instead he is inserting this thesis into ancient Greek philosophy. Ancient Greek philosophers, however, did not understand ποίησις as φύσις, which exposes Heidegger's subsequent changing of meaning of ancient Greek notions and “instigating” these notions to signify something that they did not in their time. By instigating and inserting new meanings, Heidegger is, if his own thought is consistently understood, referring to the ancient Greek concepts technically, i.e. – metaphysically.
The author examines the impact of early Romanticism on the aesthetics of German idealism and the effects of this impact on German idealism in general. The relationship between Romanticism and the ...philosophical writings of Kant, Schiller, Fichte, Schelling and Hegel will be shown in the field of aesthetics, but also through its effects on philosophy in general. Through the idea of irony, we can see the Romanticist approach to the fundamental philosophical ideas of that era, which are not limited to the domain of aesthetics and art, but tend to confront theoretical and practical ideas of German idealism. This research shows that the field of aesthetics can demonstrate the essence of the interrelation and influence of JenaRomanticism on German idealism in general, and that ideas that originate in the aesthetic field soon surpass that field and transcend its boundaries.Key words: aesthetics, German idealism, irony, Novalis, RomanticismThe author examines the impact of early Romanticism on the aesthetics of German idealism and the effects of this impact on German idealism in general. The relationship between Romanticism and the philosophical writings of Kant, Schiller, Fichte, Schelling and Hegel will be shown in the field of aesthetics, but also through its effects on philosophy in general. Through the idea of irony, we can see the Romanticist approach to the fundamental philosophical ideas of that era, which are not limited to the domain of aesthetics and art, but tend to confront theoretical and practical ideas of German idealism. This research shows that the field of aesthetics can demonstrate the essence of the interrelation and influence of Jena Romanticism on German idealism in general, and that ideas that originate in the aesthetic field soon surpass that field and transcend its boundaries.
In the first part of the text the author examines the critical interpretations of Hegel's philosophy of art and the validity of the arguments that consider it to be outdated. In the second part of ...the text, the scale of Hegel's impact on several selected movements in contemporary aesthetics is examined. The text as a whole represents an attempt to shed light on direct and indirect effects that Hegel's philosophy of art performs on aesthetics in an epoch that occurs after his time. The conclusion of this study shows that Hegel's indirect influence is much stronger than direct one and that it still continues, with undiminished intensity.
Autor ispituje u kojoj meri se Šilerova tematizacija poietičkih fenomena može razumeti kao estetika, a u kojoj kao filozofija umetnosti. To pitanje zapravo ispituje fundus Šilerove filozofije, jer ...razmatra da li je ona bliža Kantu ili predstavlja važno izvorište za odvajanje od Kanta, koje sprovode Fihte, Šeling i Hegel. Uticaj Kanta na Šilerovu filozofsku koncepciju vidljiv je u sferi estetike, dok je uticaj Šilera na Šelinga i Hegela vidljiv upravo kroz zasnivanje filozofije umetnosti. Na taj način, kroz estetičku prizmu prikazana je shema kroz koji se celokupna filozofija nemačkog idealizma kreće od Kanta prema Hegelu, odnosno razvija od subjektivnog do apsolutnog idealizma.
Predmet istraživanja je problematizacija estetike u Fihteovoj filozofiji. Proces te problematizacije uključuje ključne estetičke pojmove najvažnijih predstavnika filozofije nemačkog idealizma, ...kao i Fihteov odnos prema toj temi. Problematizacija estetike u filozofiji nemačkog idealizma se u slučaju Fihtea mora fokusirati na tumačenje onog prećutanog, kao i na rasvetljavanje retkih eksplicitnih teza o estetici, umetnosti i lepom u Fihteovoj filozofiji.
Schelling's philosophy of art aspires to overcome the infinite hiatus and to reach reconciliation in the form of original identity of subjective and objective. According to him, not only that art can ...become the object of philosophical knowledge, but outside of philosophy nothing about art can be comprehended in an absolute manner. Schelling doesn't develop aesthetics in the conventional sense, but rather philosophy of art - establishing an entirely new relation towards the problems of art, which, once accepted and philosophically thematized, can no longer be ignored in any form of philosophical systematics.
Central focus of this investigation is problematizations of aesthetics in Fichte’s philosophy. The process of this problematization includes key aesthetical concepts of the most important ...representatives of German idealism, as well as Fichte’s interpretation concerning this subject. Problematization of aesthetics in the philosophy of German idealism in Fichte‘s case must focus on the interpretation of tacit ideas, as well as clarification of only the few explicit treatise on aesthetics, art and beauty in Fichte‘s philosophy.
The author analyzes the extent to which Schiller’s thematisation of poietic phenomena can be seen as aesthetics, and in which as philosophy of art. This question actually examines the fundus of ...Schiller philosophy, because it considers whether it is closer to Kant or it represents important source for the separation of Kant, carried out by Fichte, Schelling and Hegel. Kant’s influence to Schiller’s philosophical concept is visible in the field of aesthetics, while Schiller’s influence to Schelling and Hegel can be seenin founding of the philosophy of art. In this way, the aesthetic prism shows the scheme through which the whole philosophy of German idealism moves from Kant to Hegel, ie - develops from the subjective to the absolute idealism.
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