Active participation in the internationalization of science and higher education would no longer be just a efficient tool to establish and promote a process of globalization with its strong unifying ...tendencies as quick as possibly, but could become free and equal dialogue between the independent nations and cultural circles in the equal and common pursuit of the listening each other in the pluralized world.
Der Artikel versucht, die vielfältige und komplexe Beziehung von Heideggers Denken zu Schellings Philosophie zu untersuchen und so genau wie möglich zu bestimmen. Von der anfänglichen Faszination für ...Schellings zentrale Schrift über die Freiheit, in der er bedeutende Analogien zu seinen eigenen Versuchen findet, die Endlichkeit der Freiheit und damit des Seins selbst nachzuweisen, wird sich Heidegger im weiteren Entwicklung seines Denkens von Schelling immer mehr und immer schärfer distanzieren, indem er ihm vorwirft, die Metaphysik nicht zu überwinden, sondern innerhalb ihres Horizontes zu bleiben, wenn auch auf eine bemerkenswerte und in jeder Hinsicht respektable Weise. Die Angemessenheit dieses Urteils wird im Artikel durch einen kritischen Vergleich und eingehende Begriffsanalyse von Schellings Konzeption von Willen, Liebe, Ekstase und Indifferenz einerseits und Heideggers Auffassung von Bösem, Willen zum Willen, Kehre und Gelassenheit andererseits in Frage gestellt und allseitig überprüft. Als Ergebnis der Untersuchung kommt die sachliche Verwandtschaft dieser zentralen Konzepte der Spätphilosophie des einen und des anderen Denkers ans Licht, die viel größer ist als Heidegger bereit war, es zu sehen, zu akzeptieren und für die letzten Zwecke des eigenen Denkens zu verwenden.
Rhythmic Movement Barbarić, Damir; van der Kolk, Jacob
Research in phenomenology,
01/2013, Volume:
43, Issue:
3
Journal Article
Peer reviewed
Abstract
This article attempts a critical interpretation of Klee's basic thoughts on the source and essence of art, based primarily on his diary entries and his lectures at the Bauhaus. The starting ...point of the interpretation is Klee's fundamentally dynamic assumption of the primacy of becoming and movement vis-à-vis static being. Each work of art, for Klee, is essentially movement, although as organized and structured by rhythm. The source of the rhythmic movement he recognizes as chaos, which he defines as the most elemental fact, which precedes the difference of being and becoming, of rest and movement, and with which the artist in each of its creative acts must first identify. The elemental presence of chaos is the point, not an abstract and dead mathematical one, but one that is alive and moving, to which the force, tension, and impulse for movement essentially belongs. Every work of authentic art is the representation of the primal opposition of chaos and order, symbolized at first by the opposites of point and line. In the further development of this opposition, the multiple dimensions of contrast between straight and curved, vertical and horizontal, light and darkness as well as the various colors in their practically endless gradations coalesce within the work of art into a tension-wrought yet harmonically balanced arrangement.
For Heidegger, φύσις is “the inceptive and, therefore, pervasive determination of Being in the whole history of Occidental philosophy.”¹ If this is so, φύσις determines Being itself rather than a ...domain or realm of entities. To understand the place Heidegger grants to φύσις in his philosophy, it is essential to spell out the consequences of this idea; φύσις does not refer to the domain of the natural in contrast to the domain of spirit or of culture; nor does φύσις refer to the empirical world (standing under the law of causality) in contrast to the domain of human history shaped
Uz Markovićevu estetiku glazbe Barbarić, Damir
Prilozi za istraživanje hrvatske filozofske baštine,
02/2015, Volume:
40., Issue:
2 (80)
Paper
Open access
U članku se analizom i interpretacijom Markovićeva glavnog djela Razvoj i sustav obćenite estetike propituje dosad uglavnom prihvaćeni općeniti stav o formalizmu kao bitnom obilježju njegove ...estetike, posebno estetike glazbe. Podrobnijim razmatranjem pokazuje se da se Markovićeva izlaganja estetike glazbe, oslonjena poglavito na Wundtovu fiziologijsku psihologiju i Zeisingov nauk o zlatnom rezu, doista svode gotovo isključivo na ustanovljavanje i razmatranje različitih vidova glasovnog sklada te formalnih odnosno aritmetičkih odnosa i zakona koji grade strukturu glazbene melodije i harmonije. Tradicionalna glavna pitanja estetike glazbe, naime ona o njezinoj biti, njezinu izvoru i podrijetlu te o uzroku njezina golemog utjecaja na ljudsku duševnost, pritom ostaju netematizirana.
Bit Markovićeva glazbenog formalizma može se najbolje shvatiti usporedbom sa stavovima njegovih neposrednih uzora, naime Roberta Zimmermanna i Johanna Freidricha Herbarta. Ta usporedba pokazuje da je načelo formalizma sadržano u metodičkom odvraćanju estetičke spoznaje od bića i okretanju isključivo slici i prividu.
Posljedica toga prenošenje je težišta estetičkog razmatranja s osjećaja i čuvstva na predodžbu, a u estetici glazbe s pojedinačnog zbiljskog tona na usporedbu tonova i utvrđivanje njihovih uzajamnih odnosa.
Unatoč tomu Markovićeva se estetika ne može jednoznačno označiti formalističkom.
Od formalizma on se odvaja svojim naglašenim pridavanjem značenja glazbenom sadržaju kao izrazu duševnih čuvstava, premda pri bližem određenju tog sadržaja ostaje tek pri neodređenom spominjanju noetičkih i etičkih sadržaja. Time se njegova estetika glazbe na koncu pokazuje kao donekle sustavno izložen eklekticizam, koji kolebljivo ostaje po sredini između idealizma i realizma, formalizma i psihologizma.
The article is an attempt to collect and present the basic outlines of Vanja Sutlić’s philosophy, that is, the “historical thinking”, as he named it, and which is in its intention post-philosophical ...and trans-philosophical. The starting point of the historical thinking is contained in the attitude that the Being, the essence of the man and the essence of a being are only in the relationship, from the relationship, and by the relationship. The all preceding relationship must not be considered as purely abstract and formal, but as a living, dynamic framework, in the sense of what is understood by one of the leading words of the early Greek thought – harmonia. As the moments of the framework, the Being, the essence of the man and the essence of a being, in their entirety truly never are, but are always becoming, specifically, in the one-time historical-epochal constellation, i.e. in the historical event that is always essentially individuated. Sutlić finds the source of the relationship as such i.e. the historical event, in what was in the philosophical tradition considered and defined s “nothing”. It is in the “nothing” that he, deviating from the traditional definition in the sense of negation and absence (privatio), recognizes the positive, powerful and enabling occurrence of the historical individuation of the worlds, which is before all present in the essence of what we know as time and freedom.
Članak predstavlja pokušaj da se saberu i prikažu osnovne crte filozofije Vanje Sutlića, odnosno “povijesnog mišljenja”, kako je sam mjerodavno označio svoju po nakani post-filozofijsku i ...trans-filozofijsku misao. Ishodišna postavka povijesnog mišljenja sadržana je u stavu da bitak, bit čovjeka i bića jesu samo u odnosu, iz odnosa i po odnosu. Taj svemu prethodeći odnos ne smije se misliti kao puko apstraktan i formalan, već kao živi dinamični sklop, u smislu onoga što izriče jedna od vodećih riječi ranoga grčkog mišljenja – harmonia. Kao momenti sklopa, bitak, bit čovjeka i bića u cjelini uistinu nikada nisu, već svagda samo bivaju, i to svagda u jednokratnoj povijesno-epohalnoj konstelaciji, tj. svaki put bitno individuiranoj povijesnoj zgodi. Izvorište samog odnosa, tj. povijesne zgode, Sutlić nalazi u onomu što je u filozofijskoj tradiciji bilo mišljeno i odredeno kao “ništa”. Upravo u tom “ništa” on u otklonu od tradicionalne odredbe u smislu nijekanja i nedostajanja (privatio) prepoznaje pozitivno, moćno i omogućavajuće zbivanje povijesnog individuiranja svijetova, prisutno ponajprije u biti onoga što poznajemo kao vrijeme i kao slobodu.
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