Članek zagovarja nujnost postavitve vizualnih oblik kot mest, s katerimi je mogoče nadalje razvijati okvir dialoškega in večsmernega spomina v pripovedovanju zgodovine Izraela/Palestine kot tudi drugih prostorov, kjer je bil boj za nacionalno domovino opredeljen v okviru omejenega števila pojmov identitete. Prvič, članek ponovno obravnava spise avtorjev, ki so postavili teoretično osnovo za izpodbijanje ortodoksnih, na nacijo osredotočenih stališč v Izraelu/Palestini, in so te spise vgradili v širši projekt dekolonizacije. Drugič, članek izpostavlja nujnost vključevanja teorij biopolitike in nekropolitike za razumevanje (...) delovanja oblasti pri ustvarjanju arhiva spomina. Tretjič, članek analizira sodobne estetske strategije, s pomočjo katerih so bili aktivirani utišani arhivi spomina, in jih nadgrajuje v smeri artikulacije koncepta ≫nadnacionalne spekularnosti ≪, s pomočjo katerega je mogoče skovati primerjavo, ki bo segala čez nacionalne meje in, potencialno, onkraj nacionalnih imaginarijev. (shrink)

This article argues for the urgency of positing visual forms as sites through which to further develop the framework of dialogical and multi-directional memory in narrating the histories of Israel/Palestine as well as other spaces where a contest for a national homeland has been circumscribed within limited notions of identity. First, it revisits the writings of scholars who have laid the theoretical groundwork through which to challenge the orthodoxy of the nation-centric positions in Israel/Palestine and who embed them within the (...) larger project of decolonization. Second, it points to the necessity of incorporating the theories of biopolitics and necropolitics to understand how power operates in producing the archive of memory. Third, it analyzes contemporary aesthetic strategies through which muted archives of memory have been activated and builds upon them to articulate the concept of “trans-national specularity,” forging comparisons across national borders and potentially beyond national imaginaries. (shrink)

Ovaj rad bavi se presjekom umjetnosti, imaginacije, emocija i etičkog obrazovanja iz perspektive inovativne sinteze kognitivne teorije emocija i Gestalt pedagogije. Jedan od elemenata ove sinteze kognitivna je teorija emocija kakvu podržava Martha Nussbaum. Emocije se shvaćaju kao procjene koje se odnose na percepciju svijeta oko nas. Emocije su naši stavovi, razumijevanja i evaluacije svijeta iz perspektive naših ciljeva i projekata. To se pokazalo kao odlična polazišna točka za proučavanje emocija i drugih domena unutar etike obrazovanja. U ovom radu (...) uvodim pojam ‘iskustvene imaginacije’ i ukazujem na njezine metodologije koje smo razvili kao dio istraživanja preklapanja Gestalt pedagogije, kognitivne teorije emocija i pristupa etici iz perspektive umijeća življenja. Potom predstavljam sintezu kognitivne teorije emocija i Gestalt pedagogije, nakon čega razjašnjavam koncept iskustvene imaginacije, naglašavam njezinu ulogu u etičkom obrazovanju te zaključujem s nekolicinom osvrta na pristup umijeća življenja etici i etičkom obrazovanju. The paper discusses the intersection between art, imagination, emotions, and ethical education from the perspective of an innovative synthesis of cognitive theory of emotion and Gestalt pedagogy. One of the elements of this synthesis is the cognitive theory of emotion as endorsed by Martha Nussbaum. Emotions are understood as evaluative judgments that are related to our perception of the world around us. Emotions are our attitudes, understandings, and assessments of the world from the perspective of our goals and projects. This proves an excellent starting point from which to address them as an essential part of ethics education. Next, art and imagination are considered as a vehicle by which to address emotions and other domains within ethics education. Here, I introduce the concept of “experiential imagining” and point to the methodologies that sustain it. I have developed this concept as part of my research on the overlap between Gestalt pedagogy, cognitive theory of emotion, and the art of life approaches to ethics. Next, I present the synthesis between cognitive theory of emotion and Gestalt pedagogy. I then illuminate the concept of experiential imagination, emphasise its role in ethics education, and conclude with some reflections on the art of life approach to ethics and ethics education. (shrink)