Paul Ricoeur dovodi u pitanje filozofiju subjekta. Njegove knjige Temps et récit i Soi-même comme un autre prožete su s barem tri filozofijske intencije: sebstvo ukoliko se suprotstavlja »ja« i odgovara na pitanje identiteta; identitet definiran kao idem-identitet i ipse-identitet, čija dijalektika upućuje na dva načina na koji se osobni identitet odnosi prema vremenu i tvori pojam sebstva; te drugi koji mnoštvom svojih figura obnavlja tradicionalnu dijalektiku Istoga i Drugoga. Autorica nastoji pokazati Ricoeurovo promišljanje u dijalogu s autorima kao (...) što su H. Arendt, E. Lévinas, J. Nabert, J. Greisch i dr.Paul Ricoeur met en question les philosophies du sujet. Ses livres Temps et récit et Soi-même comme un autre sont traversées par au moins trois intentions philosophiques: le soi, en tant qu’il s’oppose au « je » et qu’il répond à la question de son identité, l’identité narrative qui se définit par l’identité-idem et l’identité-ipse renvoyant aux deux manières dont l’identité personnelle se rapporte au temps et fonde la notion de soi; l’autre qui par ses multiples figures renouvelle la traditionnelle dialectique du Même et de l’Autre. L’auteur essaye de montrer la penseé du Ricoeur en dialogue avec H. Arendt, E. Lévinas, J. Nabert, J. Greisch etc. (shrink)

U radu se razmatra 'vladavina' tzv. postgradjanskog politickog centra koji korespondira sa poznatim konceptom otvorenog drustva, te se ispituju kako dobre, tako i rdjave strane te 'vladavine'. Istrazuje se pre svega stabilnost globalnog otvorenog drustva i paznja se posvecuje njegovim savremenim neprijateljima - od terorizma, preko organizovanog kriminala, sve do tzv. lokalnih legitimnosti koje se suprostavljaju univerzalnoj i globalnoj legitimnosti koju zastupaju pristalice otvorenog drustva iz prostora postgradjanskog politickog centra. Rad predstavlja polemiku sa Fukujaminom tezom o 'kraju istorije' buduci da (...) otvoreno drustvo, tj. globalni postgradjanski politicki centar, ima vidljive neprijatelje koji ne dozvoljavaju da dijalektika istorije miruje kao sto je smatrao Fukujama. Mesto Fukujaminog 'kraja istorije' rad zakljucuje da trenutnu globalnu situaciju obelezava postmoderni opozit liberalno-demokratskog postgradjanskog centra i ekstremnih antigradjanskih margina, odnosno opozit otvorenog drustva i njegovih neprijatelja, sto ce usloviti dalji hod istorije ka novim sociolosko-istorijskim oblicima. (shrink)

Rad se bavi Adornovom idejom estetske racionalnosti razvijenom u njegovoj filozofiji umetnosti. Ona predstavlja odgovor na problem zacaravanja uma kojeg postavlja Dijalektika prosvetiteljstva i pokusaj njegovog prosvecivanja po uzoru na nacin postupanja umetnosti. Ovde se pokazuje na koji nacin se mehanizmu opire estetski model racionalnosti prisutan u umetnosti i pod kojim uslovima on postize oslobadjanje prirode iz vlasti subjektivnog duha, a saglasno sa tim i coveka iz vlasti prirode, koja se u toku rascaravanja dijalekticki preobrazila u mitsku silu koja (...) ljude otudjuje od slobode, a samim tim i od mogucnosti postizanja srece. Prema ovoj argumentaciji, umetnost u Adornovom misljenju igra sredisnju ulogu u kritici prosvecenosti. PR Projekat Ministarstva nauke Republike Srbije, br. 149029. (shrink)

Ako pojam identiteta shvatimo u hegelijanskom smislu kao iskustvo što ga svijest stječe o sebi, onda se taj pojam nameće kao ključan u razmatranju umjetnosti XX. stoljeća. Prema Hegelu, moderna umjetnost transcendira mogućnost adekvatnog izražavanja svoga duhovnog sadržaja pukom osjetilnom reprezentacijom te stoga zahtijeva pojmovnu refleksiju. Budući da je umjetnost uvijek i dio stvarnosti i o stvarnosti, propitivanje njezina vlastita pojma ide ruku pod ruku s ontološkom problematikom. Epistemološke promjene koje konstituiraju i modernu i postmodernu odražavaju se tako u dijalektici (...) pojma moderne i postmoderne umjetnosti. Prema nekim autorima ta je dijalektika određena značajnim promjenama u teoriji subjekta, kulturalnim razlikama i tehnologiji.If the notion of identity is considered in the Hegelian sense as the experience of the consciousness about itself, then this notion becomes of key importance in reflecting upon the 20th-century art. Modern art, in Hegel’s view, transcends the possibility of an adequate expression of its spiritual content by its merely sensuous representation and hence calls for a reflection on its notion. Since art has always been both part of and about reality, the questioning of its own notion goes hand in hand with the ontological problematics. The epistemological changes that constitute both Modernism and Postmodernism thus reflect themselves in the dialectics of the notion of modern and postmodern art. According to some authors, such dialectics is determined by important changes which took place in the theory of the subject, in cultural differences as well as in technology. (shrink)

The paper analyzes the acceleration of the history we are witnessing in our time, which is evident in a series of events and crises that mark the world we live in, especially after the start of the war in Ukraine, which have not occurred in such significant intensity and frequency since the end of the Second World War. Considering these events and crises, the paper discusses the thesis of a historian Eric Hobsbawm that the “short” 20th century that had lasted (...) as “the age of extremes” since the First World War ended with the fall of “communism” and the Berlin Wall, after which we in fact entered the 21st century. Contrary to this thesis and to the well-known thesis on the “end of history”, our paper presents the view that we are still “politically” in the 20th century, because in our time there are similar tensions between the great powers that marked the 20th century and which in general mark the modern world since Westphalian peace in the 17th century. This general thesis is explained by the observation of the most basic lines of the dialectics of modern European and world history. The paper concludes that we are not only “politically” living in the “long” 20th century, but we are still “politically” living in the “longest” classical Westphalian age, which has been lasting for three and a half centuries in the same dialectical contradictions of world politics. Ultimately, the paper also discusses the task of philosophy in the times of the so-called “acceleration of history”, such as ours, and concludes that philosophy as a discipline in these times is obligated to offer, with theoretical creativity, a fresh philosophy of history, explaining in wider perspective a series of actual international occurrences. (shrink)