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)

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)

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)

This paper presents the results of empirical research conducted to examine the opinion of teachers of vocal, instrumental, and theoretical teaching at Croatian and Serbian music schools on distance learning. The survey was conducted during May 2020, at a time when all music schools have completely switched to a distance learning system due to the COVID-19 pandemic. The results showed that teachers, despite numerous problems, especially poor internet connections and poor sound quality obtained by electronic devices, have successfully coped with (...) the realization of distance music teaching. Statistically significant differences were found in teachers’ responses about distance learning regarding the type of classes led by teachers, so teachers who lead instrumental and vocal classes are better at performing distance learning compared to those who lead theoretical classes. Despite the belief of teachers that the transfer of complete knowledge is impossible through technology, most of them are open to the possibility of meaningful application of ICT. Therefore, the issue of professional development and continuous support to teachers by the competent institutions of Croatia and Serbia is intensifying. (shrink)

Outdoor education is a link between life and school and an indispensable component of modern education. Considering its exceptional pedagogical value, the main goal of this research is to get an insight into the presence and form of outdoor education implementation in elementary schools. For that purpose, seventy-three school curricula from Osijek-Baranja County were analyzed. The analysis of curriculum content includes not only different forms of outdoor education, their presence in one teacher education and subject teaching but also education areas (...) prescribed by the national curriculum. The thesis points out the advantages and disadvantages of different forms of outdoor education within particulars education areas. Also, education areas in which improvements in planning and realization of outdoor education were detected. It is necessary to look for didactic methodical solutions in education areas in which diversity of outdoor education integration is noticed. (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 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)

Hrvatsko filozofsko društvo jedan dio svojih aktivnosti usmjeruje prema filozofiji odgoja i problemima nastave. Najbolji primjer za to jest časopis Metodički ogledi, koji je specijaliziran za filozofiju odgoja. Njegov dijapazon obuhvaća i nastavu filozofije, logike i etike, ali i nastavu drugih predmeta, kako u osnovnom i srednjem školstvu tako i na sveučilištima. Časopisi Filozofska istraživanja i Synthesis philosophica redovito objavljuju radove iz odgojno-obrazovnog područja. Neko je vrijeme u izdanju HFD-a izlazio i časopis Logika, koji se bavio pitanjima nastave logike. U (...) biblioteci »Filozofska istraživanja« izdane su četiri knjige tematski vezane za filozofiju odgoja i nastavu filozofije. HFD je i organizator dva velika znanstvena skupa o toj problematici: Filozofija i obrazovanje i Filozofija i odgoj u suvremenom društvu . Potonji je skup rezultirao zbornikom Filozofija i odgoj u suvremenom društvu, ur. Milan Polić .Posebnu pozornost društvo posvećuje nastavi filozofske grupe predmeta. Osim što su članovi društva sudjelovali u izradi programa gore navedenih predmeta, HFD je suorganizator Natjecanja iz filozofije i logike. Inicijativa o priključenju naših učenika u Međunarodnu filozofsku olimpijadu upravo je krenula od Hrvatskog filozofskog društva.The Croatian Philosophical Society directs a part of its activities toward the philosophy of education and the problems of teaching. The instance best illustrating this is journal Metodički ogledi, specialized in the philosophy of education. Its range encompasses the teaching of not only philosophy, logic and ethics, but also other subjects, at primary, secondary or higher education levels. Journals Filozofska istraživanja and Synthesis philosophica publish papers from the field of education on a regular basis. Croatian Philosophical Society used to publish for a while journal named Logika, which dealt with the questions of teaching logic in schools. In the “Filozofska istraživanja” series, four books thematically related to the philosophy of education and philosophy teaching in schools have been published. The Society also organized two significant scientific conferences on the topic: Philosophy and Education and Philosophy and Education in Contemporary Society . The latter resulted in the publication of the collected papers entitled Philosophy and Education in Contemporary Society, ed. Milan Polić .Special attention within the Society is given to teaching philosophical group of subjects . In addition to the fact that society members participated in designing curricula for the aforementioned subjects, the Society is the co-organiser of the regular school competitions in philosophy and logic. Also, the initiative to include Croatian students into the International Philosophical Olympiad had its roots in the Croatian Philosophical Society. (shrink)

U sadržaju ovog elaborata autorica želi propitati pojam umjetnosti orijentirajući se na Gadamerovo shvaćanje umjetnosti kao »aktualnost lijepoga«, a kao polazišnu točku autorica uzima Gadamerovo krucijalno pitanje: »Je li umjetnost moderne ono što uistinu razumijevamo kao umjetnost?« Ono što autorica smatra pregnantnim pri određivanju polazišta ovog elaborata, čiji sadržaj tendira obrazložiti i pojasniti razumijevanje umjetnosti kao »aktualnost lijepoga«, na temelju fenomenološki impostiranog i hermeneutički oblikovanog mišljenja u djelu naslovljenom Ogledi o filozofiji umjetnosti, tiče se tumačenja Gadamerova (...) stava spram vrednovanja kriterija umjetnosti, odnosno umjetničkog djela. Odakle Gadamer preuzima te kriterije? On ih preuzima iz dvaju, može se reći, sadržajno dijametralno suprotnih, a formom identičnih kulturno povijesnih epohalnih razdoblja, od kojih prvo, ujedno i važnije, predstavlja izvor iz kojega ono drugo crpi svoje impulse, snagu, uzore i nadahnuća: antika i moderna. Međutim, prije nego li prijeđemo na bît problema, valja propitati razloge koji su naveli filozofiju, a time i sâmog Gadamera, da se počne zanimati/baviti pitanje umjetnosti. Imajući na umu prethodno izložene reference, u sadržaju ovog elaborata spomenuta će se tema obrazložiti slojevito, tj. u tri dijela: prvi dio elaborata baviti će se općim značajkama Gadamerova fundiranja problematike umjetnosti, tj. umjetničkog djela općenito i to s naglaskom na značaj, smisao, svrhu i ulogu moderne umjetnost. U drugom će se dijelu više pažnje posvetiti razumijevanju estetske dimenzije umjetnosti: iskustvo lijepoga. Treći dio elaborata orijentiran je na razumijevanje umjetnosti kao igre, simbola i svetkovine.The author’s intent in this paper consists into inquire Gadamer’s notion of art as »actuality of beauty«. As a starting point for it author takes Gadamer’s crucial question: »Is the art of modernity what we really understand as art?«. That what the author wants to explain from the phenomenological and hermeneutical view in defining stand point of this elaborate which tend to clarify understanding of art as »actuality of beauty« and what is considered as pregnant too, is Gadamer’s stand related to evaluation of criteria of art and work of art particularly presented in his philosophical work »Essays about Philosophy of Art«. Where does Gadamer find the criteria presents a question of fundamental significance for this essay. Namely, he finds them in two essentially different but formally very identical cultural and historical areas: in ancient Greek and in modernity. The first step we take in this paper goes toward an explanation of the motifs that stimulated philosophy in general and Gadamer in particular to examine the issue of art as a philosophical theme. The argument of this paper will be presented on several levels. In the first part of it we will argue about general meanings of Gadamer’s understanding and explaining the aim and the roll of the art of modernity. In the second part of it we will be oriented toward understanding of aesthetical dimension of the art, such as an experience of the beauty. In the last part of this paper we will discuss the art as a game, symbol and festival. (shrink)

Nastava iz prirodoslovnog područja danas se najčešće temelji na principima konstruktivizma prema kojima djeca trebaju biti aktivni sudionici procesa učenja i izgrađivati svoje znanje na temelju iskustva. Metode i sredstva korištena u nastavi prirodoslovnog područja moraju biti prilagođeni perceptivnim potrebama slijepe djece i djece s oštećenjima vida kako bi im se omogućilo aktivno sudjelovanje u procesu učenja. Cilj ovoga rada je opisati posljednje spoznaje o aktivnom i istraživačkom učenju slijepe djece i djece s oštećenjima vida u nastavi prirodoslovnog područja (...) te otkloniti postojeće zablude. Nadalje, rad predstavlja recentna istraživanja koja ukazuju na prilagođene uspješne i visokokvalitetne odgojno-obrazovne pristupe i metode. S obzirom na navedeno, sadržaj rada bit će od koristi nastavnicima iz prirodoslovnog područja, kao i istraživačima inkluzivnih učionica. (shrink)

Poznata obrazovna paradigma nastava usmjerena na učenika postala je vrijednost kojoj se u suvremenoj nastavi hrvatskoga jezika sve više posvećuje osobita pozornost. Riječ je o nastavi koja podupire učenikovo sudjelovanje u različitim zadatcima i aktivnostima i koja u svojim ciljevima promiče participativan način planiranja, zatim predlaganje, zaključivanje, prikupljanje podataka, traženje odgovora te potiče povjerenje, pomaganje, otkrivanje te duboko empatijsko razumijevanje. Takva nastava implicira i promijenjene uloge nastavnika i učenika, a samim tim i promjenu perspektive iz: Što ću sutra (...) poučavati? prema: Što će moji učenici sutra učiti, postići, ostvariti? Ta se promjena može pratiti u nekoliko područja: (1) učenikov doprinos u planiranju nastave, (2) funkcija nastavnih sadržaja, (3) uloga nastavnika prema ulozi učenika te (4) svrha i procesi vrednovanja. Namjera je ovoga rada primjenom tih kategorija istražiti planiraju li nastavnici hrvatskoga jezika nastavni sat iz perspektive razmišljanja o tome što će učenici učiti, postići i ostvariti. Identifikacija tih kategorija i njihova analiza te interpretacija ostvarena je na istraživačkoj građi koju čini 60 prikupljenih pisanih priprava za nastavni sat hrvatskoga jezika i komunikacije. (shrink)

The paper is based on the findings of an empirical research on the application of information and communications technology in vocational schools in Zagreb and the Zagreb County. The authors analysed the interviews with vocational school teachers and students arranged in 6 focus groups. The analysis focussed on the objectives and manners in which the teachers and students usually use ICT, the perceived advantages and disadvantages of the use of ICT for educational purposes, and their suggestions for advancing the application (...) of ICT in schools. The analysis also discussed whether the application of ICT benefited the constructivist teaching, as well as the potential obstacles and stimulating factors for implementing ICT in teaching. The findings indicate that even though the teachers use ICT almost on daily basis, the teaching process is still largely dominated by traditional teaching methods. According to the findings, lack of computer equipment in schools, inadequate teacher training, inadequate curricula for vocational education, and the inadequate study programmes where the teachers are educated for the application of ICT in the teaching process are considered as obstacles for implementing ICT in education. In addition, teachers emphasised the lack of time and low income which often leads to their lack of motivation for the use of ICT in education. (shrink)

U odnosu filozofije i umjetnosti, metaforičko mišljenje ima poseban status. Od antičke retorike, metafora je bitna jezička figura. U prošlom stoljeću postaje modelom estetičkih i znanstvenih procesa spoznaje i stvaralaštva i teorijskih rasprava u znanosti o književnosti, filozofiji jezika i lingvistici, tj. o hermeneutičkim, jezičkoanalitičkim i strukturalističkim paradigmama. Zanimati će nas Grassijeva hermeneutika metafore. Dok Heidegger drži da je pretpostavka metaforičkog mišljenja tradicionalno razlikovanje osjetilnog i nadosjetilnog bića, tj. da pjesništvo nije metafora, Grassi ide drugim putom, zastupajući tezu da (...) je pjevanje pjesnika i sâmo povijesni bitak zapadnog čovjeka − tumačeći npr. ironički izraz u romantičara novim oblikom mišljenja. Slično Grassiju, i Ricoeur smatra da je Heideggerova upotreba metafore ipak važnija od onoga što usput govori protiv nje. (shrink)

Human health is inextricably linked to the state of the environment, making it important to find ways to raise children’s interests in the topics of human health and the environment in which they live. The Goal 4 of the 2030 Agenda addressing quality education offers a guideline on how it is necessary to provide education for sustainable development directed to promoting sustainable lifestyles. The research results show that students show a greater interest in human health topics compared to environmental topics. (...) Boys in grade 6, compared to girls, show a statistically significantly higher interest in environmental topics, the ones related to energy. Girls generally show a statistically significantly higher interest in environmental topics compared to boys. Therefore, in the educational system in general, including the subjects of Science and Biology, it is necessary to find methods of active and exploratory learning that will increase students’ interest in environmental topics that are not currently perceived as particularly interesting. (shrink)

U ovom radu tvrdim da tragični filmovi mogu imati značajan potencijal za etičku edukaciju kada potaknu publiku na suosjećanje s patnjom prikazanom na ekranu. Prvo sažimam dva pristupa odnosu između tragične umjetnosti, moralne edukacije i estetske vrijednosti (pristupe koje nude Rorty i Lamarque). Zatim raspravljam o problemima tih pristupa i objašnjavam kako novi kriterij estetske vrijednosti može pomoći u njihovom rješavanju. Potom iznosim argument da tragični filmovi mogu etički educirati publiku na način koji obogaćuje estetsku vrijednost filma u najmanje (...) tri smjera: produbljivanjem moralnog razumijevanja, produbljivanjem razumijevanja ljudske prirode i etičke svrhe te produbljivanjem razumijevanja etičke teorije. Na kraju pokazujem kako film Denisa Villeneuvea, Arrival, prikazuje tragičnu priču s potencijalom za etičku edukaciju u svakom od navedenih aspekata. (shrink)

Príspevok sa venuje problematike mýtu v závere dialógu Gorgias, v súvislosti s funkciou trestu v Platónových dialógoch. Gorgias je jedným z dialógov, ktoré sú kľúčové pre porozumenie problematike trestu. Zameraním pozornosti na záverečný eschatologický mýtus by sa mohlo zdať, že autor v súvislosti s daným otázkami zastáva nejednoznačné stanovisko. K protirečeniu dochádza na úrovni mythos – logos: na jednej strane je v celom priebehu dialógu prezentovaný nápravný účel trestu. V závere však nastáva obrat a Platónov eschatologický mýtus prezentuje na prvý (...) pohľad odlišné stanovisko. Je možné že mýtus odporuje Platónovej téze o nápravnom účele trestu a do popredia tu vystupuje jeho retributívny charakter? Alebo v skutočnosti k žiadnemu protirečeniu nedochádza a jednotlivé prvky dialógu sa navzájom dopĺňajú? Cieľom príspevku je demonštrovať, že zmena pohľadu na formu trestu a uvažovanie o treste ako o metóde elenchos by mohlo byť kľúčom k porozumeniu vzťahu mythos – logos v predmetnom dialógu. (shrink)

Mediteransko nasljeđe kulture, filozofije, povijesti i umjetnosti nepregledan je univerzum procesa, informacija, sinteza i imaginacija. Sam po sebi, Mediteran se predstavlja kao jedna opća imenica takvog opsega da predstavlja rod u kojem je velik dio opće europske kulture uvijek jedna od njegovih vrsta. No, ipak, riječ je o dojmu koji ne može težiti precizno utvrđenoj konstataciji već jednoj općoj opservaciji koja samo pokazuje da zamisao o zahvaćanju u smisao Mediterana kao nasljeđa ili suvremenosti predstavlja jedan ogroman, ali nikad dokraja (...) dovršen posao.Kao opće i široko obuhvatno ime, mediteranski prostor, onaj virtualni i onaj stvarni, otvorio je prostor mnogim iznimnim osobnostima. koje ukazuju na pojedinačni značaj svake od njih. Neizbježno, one ne mogu u kontekstu mediteranskog prostora predstavljati više od pojedinačnog slučaja koji nikad ne može obuhvatiti cjelokupni doseg pojma mediteranskog. Ali ono što mogu jest obznaniti one vlastite dosege koji ukazuju na vrijednost onoga što im je u mediteranskom prostoru otvoreno da misle, stvaraju i žive. U kontekstu Mediterana tu je uvijek prisutna jedna dimenzija napetosti između općeg i pojedinačnog, između napora da se izrazi duh vremena i nasljeđa, vlastito slaganje i neslaganje s njim, ali i promišljanje koje može probiti duh danog. Jedan od takvih filozofskih i umjetničkih osobnosti jest Albert Camus. Kao jedna od danas gotovo zaboravljenih figura mišljenja i umjetnosti, njegovo propitivanje humaniteta u djelima kao što su Mit o Sizifu i Pobunjeni čovjek svojevremeno su ostavili dubok trag iza sebe. Iako on nije napisao svoje pismo o humanizmu kao što je to učinio Heidegger , njegovo se djelo čini kao poseban slučaj jednog općeg govora o humanizmu suprotstavljen i zasigurno najpoznatijem intelektualcu svog doba, Jeanu Paulu Sartreu, intelektualnom hegemonu onoga doba. Postoji iskušenje da se Camusa u toj konstelaciji dovede u vezu s, recimo, stoicizmom, no time bismo promašili bit u odgovaranju na pitanje koliko bi njegov humanizam imao snage biti suvremeni humanizam, a koliko nova tehnika interpretiranja istog. Stoga mi je namjera propitati, suvremenu mogućnost tvorbi Camusovih promišljanja o povijesti, humanizmu, politici i umjetnosti, kao i danas uočljivi pomak u odnosu na prijašnje dosege u propitivanju etičnosti, politike i umjetnosti na mediteranskom prostoru.The cultural, philosophical, historical and artistic heritage of the Mediterranean is a measureless universe of processes, information, syntheses and imaginations. In itself, the Mediterranean portrays a general noun of such scope that it represents a kind in which a large part of general European culture is always but one of its sub varieties. However, this is but an impression, which cannot aspire to become a precisely verifiable or verified statement, or a general observation, which only demonstrates that the idea of penetrating the meaning of the Mediterranean as a heritage or contemporaneity represents an enormous yet never fully completed task.The Mediterranean space – both the virtual and actual – as a general and widely inclusive toponym has opened its doors to countless exceptional individuals, who point to the particular significance of each. Inevitably, within the context of the Mediterranean space they cannot exemplify more than a particular case that can never embrace the range of the Mediterranean concept as a whole. Yet, what they can do is disclose their own reaches that point to the value of that which is open to them in the Mediterranean realm to be thought, created and lived. A dimension of tension between the general and the particular, between the effort to express thespirit of time and heritage, one’s agreement and disagreement with it, as well as one’s reflections capable of penetrating the spirit of the given – are invariably present within the context of the Mediterranean. One such philosophical and artistic individual is Albert Camus. As one of the almost forgotten figures of thought and art today, his questioning humanity in The Myth of Sisyphus and The Rebel once left a profound trace. Although he never wrote a letter on humanism as Heidegger did , his work appears to be a special case of a general speech on humanism opposed to even surely the most famed intellectual of his time, Jean-Paul Sartre, the intellectual hegemon of his time. Within this constellation one can easily be tempted to compare Camus with, for example, Stoicism, but by doing so one would fail to answer the question of whether his humanism has the strength to be a contemporary humanism or just a novel interpretation technique of the same. This paper intends to examine the contemporary possibilities of constructing Camus’s reflections on history, humanism, politics and art, as well as the today distinct shift in relation to the earlier reaches of the studies into ethicality, politics and art within the space of the Mediterranean. (shrink)

Information and communication technology is included in all social strata, and its role in upbringing has intensified. The readiness of teachers as educational professionals is a crucial element for the use and implementation of ICT in the educational process. With the sudden COVID-19 pandemic, teachers were faced with designing and implementing distance learning. This research aimed to determine parents’ attitudes on using information and communication technology in distance learning during the COVID-19 pandemic; a survey was conducted on 465 participants. It (...) was found that the largest number of research participants achieve average results that are above the mean value, which means that their attitude about distance learning is generally favorable. Statistically significant differences in the use of ICT were found in individual variables of attitudes towards distance learning concerning gender, age, level of education of participants, and the class attended by the participants’ children. Qualitative analysis of open-ended questions identified the need to standardize distance learning using the same or similar digital tools to ensure equal opportunities for all students. (shrink)

Due to a pandemic caused by a coronavirus, teaching in Croatian schools in the second half of the school year 2019/2020 and at Croatian universities in the summer semester of the same academic year took place online. It has introduced various synonymous, paronymous or insufficiently precise terms into the public and professional discourse, which motivates us to re-examine their meaning and the scope of the concept to which they refer. This paper focuses on defining seven selected terms, aiming to contribute (...) to a more precise usage of e-teaching terminology. Furthermore, after searching web pages in the Croatian language by keywords, we single out examples of their use. These are the following terms: e-learning, e- teaching, e-classes, web-based teaching, online teaching, virtual teaching and distance education. (shrink)

The paper aims to present the philosophical background and justification of the theory of social realism. Social realism is a representative example of a literary period in which the autonomy of literature in terms of, for example, the aesthetic value of a literary work, was brought to a negligible level given the radical demands of regime poetics of writing in accordance with politics and ideology. Socialist-realism, poetics in which party writing and educating people in the form of socialist progress and (...) without any concern about literary creation are paramount, finds its postulates in theories of the Union of Russian Proletarian Writers (RAPP) and proletarian cultural and educational organization (Proletkult). Theorists of socialist realism poetics claim that their postulates find philosophical justification in Marx’s and Engels’ texts about art. The primary subject of analysis in the article will, therefore, be the connection between the theory of social realism and the classical Marxist conception of art. Based on the analysis, it can be concluded that the theory of social realism is justified by classical Marxist aesthetics regarding historical materialism which determines art, but not in the sense of denying the autonomy of the art. (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)