This paper discusses a key contemporary problem, that of inequality. Certainly, the most visible inequality today is economic inequality, which is not only a characteristic found today, but is also ...the
result of a long historical development. The problem arises when inequality becomes artificial (produces itself) and thus becomes a matter of social sciences and humanities. At this point, the question of economic inequality becomes a non-economic issue and thus opens the possibility of formulating such principles that will be able to reduce the issue to a
minimum. This paper discusses this possibility, while referring to Thomas Piketty’s book on capital in relation to John Rawls’s principles of justice to which Piketty refers to.
Rad polazi od analize Schmittova ključnog djela Politička teologija nakon 100 godina od njegova objavljivanja. U njemu je njemački filozof prava formulirao koncept političke teologije koji označuje ...odnos iznimnog stanja i decizionizma kao oblika pravno-političkog mišljenja. Doprinos rada ogleda se u naglasku na važnosti dvojakoga razumijevanja pojma iznimnog stanja: u prvom redu kao pojma iznimke koji fundira filozofiju prava i pravnu teoriju, a u drugom kao pojma iznimnog (izvanrednog) stanja koji označuje ustavnu kategoriju upravljanja državom u situacijama opasnosti. Schmitt će inzistirati na tomu da pitanje iznimnoga stanja nije pitanje pukog stanja nužde ili izvanrednog stanja, već širi filozofijsko-pravni koncept temeljen na metafizičkom porijeklu odluke. Suveren tako nije onaj koji odlučuje »u«, već »o« iznimnom stanju, a to znači da ga on, sukladno decizionističkom modelu, tek uspostavlja. Kontroverzno Schmittovo djelo rijetko je koga ostavilo ravnodušnim pa su ga podržavali kako desni, tako i lijevi politički teoretičari i filozofi, a danas se mora iznova promisliti kao upozorenje na opasnost koncepta iznimnog (izvanrednog) stanja koje se sve više pojavljuje u političkom fokusu.
The paper begins with analysing Schmitt’s essential work Political Theology, 100 years after its publication. In it, the German legal philosopher formulated the concept of political theology, which indicates the relationship between the state of exception and decisionism as a form of legal-political thinking. The contribution of the paper is reflected in its emphasis on the importance of a twofold understanding of the concept of the state of exception: in the first place, as a notion of the exception that funds the philosophy of law and legal theory, and in the second as the state of exception that marks the constitutional category of the state of emergency. Schmitt will insist that the question of the state of exception is not a question of a mere state of necessity or emergency but a broader philosophical-legal concept based on the metaphysical origin of voluntary decision. The sovereign is not the one who decides “in” but “on” the state of exception, which means that, according to the decisionist model, he is just establishing it. Schmitt’s controversial book rarely left anyone indifferent, so it was supported by both right-wing and left-wing political theorists and philosophers, and it must be reconsidered today as a warning about the danger of the concept of the state of exception (state of emergency), which is increasingly becoming a political issue.
Rad razmatra filozofijski odnos forme (ideje) i oblika (figure) preko smisla konceptualističke umjetnosti koju u svojoj estetičkoj teoriji naglašava Arthur Coleman Danto. Iako je već moderna ...umjetnost na početku
20. stoljeća nagovijestila raskid forme i oblika, u punom je smislu raskid zaživio u postmoderni. Pokazat će se da su konceptualni umjetnici
shvatili kako je moguće zadržati oblik neke stvari, a da joj se izmijeni sama forma, odnosno ideja koja je izmješta iz prethodno određene funkcije. Za konceptualnu, postmodernu umjetnost tako će biti odlučno zadržavanje oblika uz promjenu forme po kojoj takvo umjetničko djelo i nastaje, mijenjajući karakter stvari koja dotad nije bila umjetničko djelo. Time se stvara jedinstven estetički predmet koji, prema Hartmannovoj estetičkoj teoriji, ne počiva na samom umjetničkom djelu, nego na njegovoj percepciji. Danto je takav put oprimjerio Duchampovom Fontanom i Warholovom kutijom Brillo koje svjedoče promjeni forme, uz zadržavanje oblika, čime se postmoderna estetika u bitnome uspostavlja kao konceptualnost.
The paper considers the philosophical relationship between the form (idea) and the shape (figure) through the meaning of conceptualist art, which Arthur Coleman Danto emphasizes in his aesthetic theory. Even though modern art from the beginning of the 20th century signalled the break between the form and the shape, it has fully come to life in the postmodern sense. It will be shown that conceptual artists have understood how it is possible to keep the shape of a thing without changing its form, with the idea displacing it from a predetermined function. For conceptual, postmodern art, it will be decisive to keep the shape while changing the form in which such a work of art is created, changing the character of things that were not a work of art until then. According to Hartmann’s aesthetic theory, this creates a unique aesthetic object that does not rest on the work of art itself but
its perception. Danto exemplified such a path with Duchamp’s Fountain and Warhol’s Brillo Box, which witnessed a change of the form while retaining the shape, establishing postmodern aesthetics as essentially conceptual.
The paper considers the philosophical relationship between the form (idea) and the shape (figure) through the meaning of conceptualist art, which Arthur Coleman Danto emphasizes in his aesthetic ...theory. Even though modern art from the beginning of the 20th century signalled the break between the form and the shape, it has fully come to life in the postmodern sense. It will be shown that conceptual artists have understood how it is possible to keep the shape of a thing without changing its form, with the idea displacing it from a predetermined function. For conceptual, postmodern art, it will be decisive to keep the shape while changing the form in which such a work of art is created, changing the character of things that were not a work of art until then. According to Hartmann’s aesthetic theory, this creates a unique aesthetic object that does not rest on the work of art itself but its perception. Danto exemplified such a path with Duchamp’s Fountain and Warhol’s Brillo Box, which witnessed a change of the form while retaining the shape, establishing postmodern aesthetics as essentially conceptual.
Rousseauova prirodna pedagogija Sunajko, Goran
JAHR (Rijeka ),
12/2020, Letnik:
11, Številka:
2
Journal Article, Web Resource
Recenzirano
Odprti dostop
Rad razmatra Rousseauovo romantičarsko okretanje prirodi u epohi razuma. Kada su gotovo svi relevantni francuski prosvjetitelji (Voltaire, Diderot, d'Alembert, Montesquieu i dr.) smisao izgradnje ...modernoga čovjeka vidjeli u odgoju putem racionalizma, Rousseau je upozoravao da je priroda prvi učitelj od kojeg dijete, a onda i građanin, treba učiti. Znanosti i umjetnosti zbog svoje kompetitivne naravi iskvarile su prirodnoga dovjeka, kojemu je priroda dala ljubav prema sebi i milosrđe prema drugome, vrijednosti koje ekonomski kompetitivni racionalizam stavlja u drugi plan. Cilj je izlaganja afirmirati Rousseauov koncept »Druge prirode« koji afirmira harmoniju društva temeljenu na prirodnom poretku. Rousseauva »prirodna pedagogija« zastupljena je kroz čitavu njegovu filozofiju, od filozofije umjetnosti (Discours sur les sciences et les arts; Julie ou la Nouvelle Héloïse; Lettre sur les spectacles) i filozofije odgoja (Émile ou de l’éducation; Les Rêveries du promeneur solitaire) preko filozofije politike (Du contrat social) i filozofije ekonomije (Discours sur l’origine et les fondements de l’inégalité parmi les hommes; Économie politique) do metafizike (Profession de foi du vicaire savoyard). U svim navedenim djelima zrcali se Rousseauov pokušaj da preko prirodnih načela odgoji modernoga čovjeka i njegovo društvo. U biti njegove filozofije jasno se može uočiti pogrešan stav mnogih interpreta kako je Rousseau stvorio pretpostavke Francuskoj revoluciji. Naprotiv, Rousseau je filozof prirode, kako stoji i na njegovu nadgrobnom epitafu u Panthéonu. On je odgajao pojedinca koji neće biti »čovjek revolucije« jer u sebi sadrži dovoljno ljubavi prema sebi i drugome da bi zadavao udarce pojedincu i društvu. Iz Rousseauove se filozofije, stoga, ne može izvesti pledoaje za revoluciju.
The paper deals with Rousseau’s romantic orientation to nature in the epoch of reason. When almost all relevant French enlightenment philosophers (Voltaire, Diderot, d’Alembert, Montesquieu, etc.) have seen the importance of building a modern man through rationalism, Rousseau warns that nature is the first teacher from whom a child, and therefore a citizen, should be taught. Because of their competitive nature, science and art have invaded a natural man whose nature gave him oneself-love and mercy toward the other; the values that economically competitive rationalism puts in a second plan. The aim of the presentation is to affirm Rousseau’s “Other Nature” concept which affirms the harmony of the natural-based society. Rousseau’s “natural pedagogy” is represented through his entire philosophy, from the philosophy of art (Discours sur les sciences et les arts, Julie ou Nouvelle Héloïse, Lettre sur les spectacles) and the philosophy of education (Émile ou de l’éducation, Les Rêveries du promeneur solitaire) through the political philosophy (Du contrat social) and the philosophy of economics (Discours sur l’origine et les fondements de l’inégalité parmi les hommes; Économie politique) to metaphysics (Profession de foi du vicaire savoyard). In all these works, Rousseau’s attempts to overcome the modern man and his society through natural principles are mirrored. From the essence of his philosophy, it is clearly possible to perceive the wrong attitude of many interpreters that Rousseau created the assumptions for the French Revolution. On the contrary, he is a philosopher of nature, as it is written on his tombstone epitaph in the Panthéon. He has raised an individual who will not be a “man of revolution” because he has enough love for himself and others to strike other individuals and society. From Rousseau’s philosophy, therefore, the call for revolution cannot be postulated.
The paper aesthetically examines the connection, that is inseparability between art and ‘madness’. Madness as a psychological and psychiatric term does not exist, and it is a social construct and a ...qualification that is often used to by the social majority to disqualify social minority or individuals who deviate from values majority cares about. In this paper, I interpret how art, in this sense given, is madness because to have an original artistic creation, it is necessary to have eccentricity that often leads to condemnation. Madness in art is considered in two primary ways. The first way is on the level of objectivistic aesthetics where madness is a theme or the object of artwork, and the second way is on the level of subjectivistic aesthetics where madness is the subject, i.e. the author of artwork. I will refer to many masterpieces from renown world artists who suffered from certain mental illnesses, from which they gained ever greater inspiration. I conclude that art in both objective and subjective terms is a necessary eccentricity inseparable from madness, which is thereby a presupposition for artwork.
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