Naspram ustaljene interpretacije platoničke umjetnosti, kako je ona ontološki i spoznajno irelevantna jer je bitno određena mimetičkim konceptom kao pukom kopijom materijalne stvarnosti, te je stoga izgnana iz Države, ovdje podastiremo neke interpretacije koje tumače sasvim suprotno. Naime, moguće je pokazati da mimetički princip nije razlog Platonove osude umjetnosti, te daje zapravo pojam umjetničkog mimesisa utemeljen u metafizičkom pojmu mimesisa kao aproksimacije ili postupnog nalikovanja paradigmi. U tom slučaju umjetnički mimesis postiže višu ontološku vjerodostojnost i oponaša idealno posredstvom osjetilnoga. “Argument (...) sličnosti” u Parmenidu može predstavljati ozbiljnu prepreku u prihvaćanju, s jedne strane, teze o odnosu sličnosti između ideja i pojedinačnosti, tj. između paradigme i njene slike, te s druge strane može učiniti upitnom i tezu o aproksimaciji gdje mimetički koncept ima metafizičko utemeljenje. Međutim, ideja shvaćena kao sintetičko objedinjavanje množnog predstavlja ispravno stajalište za objašnjenje fenomena, a postaje upitna kada se stavi u istu razinu sa svojim egzemplarima. Ukoliko je odnos sličnosti između paradigme i njene slike određen “dinamičkom”, a ne “simetričnom sličnošću” u kojoj oba relata imaju isti stupanj ontološke autentičnosti, tada teza o filozofskom mimesisu kao aproksimaciji na kojemu počiva i umjetnički mimetički koncept ima svoj legitimitet.Contrary to the common interpretation of Platonic art that supports the view that it is ontologically and gnoseologically irrelevant because it is mainly defined by mimetic concept as a mere imitation of the material world, and is thereforebanished from the Republic, we will offer some different interpretations. Namely, it is possible to show that mimetic principle is not the reason why Plato condemns art, and that the notion of artistic mimesis in fact stems from the metaphysical notion of mimesis as approximation or gradual resemblance to the paradigm. In this case artistic mimesis achieves higher ontological authenticity and imitates the ideal by means of the sensory. Parmenides’ “resemblance argument” may constitute a serious obstacle for the acceptance of, on the one hand, the idea of the relation of resemblance between Forms and particulars, that is between the paradigm and its image, and on the other hand it may question the idea of approximation in which mimetic principle has metaphysical foundation. However, when Form is seen as a synthetic unity of many things , it then represents the right standpoint for the explanation of the phenomena, and it becomes questionable when it is placed on the same level with its exemplars. If the relation of resemblance between the paradigm and its image is determined by the “dynamic”, and not by “symmetric resemblance” in which both parts are on the same level of ontological authenticity, then the view of philosophical mimesis as approximation on which relies artistic mimetic concept is legitimate. (shrink)

Contrary to the common interpretation of Platonic art that supports the view that it is ontologically and gnoseologically irrelevant because it is mainly defined by mimetic concept as a mere imitation of the material world, and is therefore banished from the Republic, we will offer some different interpretations. Namely, it is possible to show that mimetic principle is not the reason why Plato condemns art, and that the notion of artistic mimesis in fact stems from the metaphysical notion of mimesis (...) as approximation or gradual resemblance to the paradigm. In this case artistic mimesis achieves higher ontological authenticity and imitates the ideal by means of the sensory. Parmenides’ “resemblance argument” may constitute a serious obstacle for the acceptance of, on the one hand, the idea of the relation of resemblance between Forms and particulars, that is between the paradigm and its image, and on the other hand it may question the idea of approximation in which mimetic principle has metaphysical foundation. However, when Form is seen as a synthetic unity of many things, it then represents the right standpoint for the explanation of the phenomena, and it becomes questionable when it is placed on the same level with its exemplars. If the relation of resemblance between the paradigm and its image is determined by the “dynamic”, and not by “symmetric resemblance” in which both parts are on the same level of ontological authenticity, then the view of philosophical mimesis as approximation on which relies artistic mimetic concept is legitimate. (shrink)

At the intersection of modern cultural and political history, security studies and debates about freedom of expression and international human-rights law, this article aims to contribute to a better understanding of political cartooning and its implications in multicultural societies of Europe, which have shifted in a geographical, cultural, normative, communicational, political and many other respects through the last two centuries. Through comparison of the Serbian cartoons from late nineteenth-century Croatia and the recent Danish cartoons of the Prophet Mohammad, the article (...) reveals that both modern and postmodern European cartoons have been centred around equally discriminatory narratives: a 'clash of civilizations' and 'racialization of religion'. Since open racial stereotyping in cartoons became illegal in the postmodern international regulations, traditional discriminatory practices of cartooning have shifted towards subtle, 'liquid' racism. This decodes some of the twelve Danish cartoons as ambiguous strategies of racialization of Muslim immigrants in Europe but also as hate speech which is illegal in the European Union, and member states of the Council of Europe. The author concludes that the most current European and international regulations of hate speech, whether concerning offline media or online media, actually protect free speech. While a truly clear-cut regulation of liquid racism might remain problematic in Europe due to the lack of a universally accepted definition of hate speech, neither strict legal regulations nor different definitions of hate speech could diminish the role of political cartooning as a viable free speech platform in the multicultural landscape of Europe. Ultimately, what diminishes its viability is the enduring lack of diversity in the creation of visual satire, which could and should reflect the multicultural reality of communities, politics and societies in Europe. (shrink)

The theoretical framework of the study is represented by two concepts: intergenerational learning and professional development. Quantitative research conducted in 2021 on a sample of 108 preschool teachers of preschool institutions in the Banja Luka region aimed to examine the perspective of preschool taechers on the factors of intergenerational learning important for their own professional development. Using factor analysis, three factors of intergenerational learning were singled out from the perspective of preschool teachers, and they are: professional cooperation and personal growth; (...) inclusion of the elderly in educational work and humanities education; prejudices and stereotypes. The findings indicate that preschool teachers strongly recognize intergenerational learning in the context of personal growth, work and career, but also notice the humane and inclusive nature of intergenerational cooperation, while not prone to intergenerational stereotypes and prejudices against colleagues from other generations, and that encouraging professional cooperation, and the promotion and support of the inclusion of the elderly can contribute to the reduction of intergenerational conflicts and prejudices. Teorijski okvir studije predstavljaju dva koncepta: međugeneracijko učenje i profesionalno usavršavanje. Kvantitativno istraživanje provedeno 2021. godine na uzorku od 108 odgojitelja predškolskih ustanova banjolučke regije imalo je za cilj ispitati perspektivu odgojitelja o čimbenicima međugeneracijskog učenja važnima za vlastito profesionalno usavršavanje. Korištenjem faktorske analize izdvojena su tri čimbenika međugeneracijskog učenja iz perspektive odgojitelja i to su: profesionalna suradnja i osobni rast; inkluzija starijih u odgojno obrazovni rad i humanističko obrazovanje; predrasude i stereotipi. Nalazi ukazuju na to da odgojitelji naglašeno prepoznaju međugeneracijsko učenje u kontekstu osobnoga rasta, rada i karijere, ali također uočavaju i human i inkluzivni karakter međugeneracijske suradnje, dok nisu skloni međugeneracijskim stereotipima i predrasudama prema kolegama iz drugih generacija. Poticanje profesionalne suradnje te promicanje i potpora inkluziji starijih mogu pridonijeti smanjenju međugeneracijskih sukoba i predrasuda. (shrink)

Teorijski okvir studije predstavljaju dva koncepta: međugeneracijko učenje i profesionalno usavršavanje. Kvantitativno istraživanje provedeno 2021. godine na uzorku od 108 odgojitelja predškolskih ustanova banjolučke regije imalo je za cilj ispitati perspektivu odgojitelja o čimbenicima međugeneracijskog učenja važnima za vlastito profesionalno usavršavanje. Korištenjem faktorske analize izdvojena su tri čimbenika međugeneracijskog učenja iz perspektive odgojitelja i to su: profesionalna suradnja i osobni rast; inkluzija starijih u odgojno obrazovni rad i humanističko obrazovanje; predrasude i stereotipi. Nalazi ukazuju na to da odgojitelji naglašeno prepoznaju (...) međugeneracijsko učenje u kontekstu osobnoga rasta, rada i karijere, ali također uočavaju i human i inkluzivni karakter međugeneracijske suradnje, dok nisu skloni međugeneracijskim stereotipima i predrasudama prema kolegama iz drugih generacija. Poticanje profesionalne suradnje te promicanje i potpora inkluziji starijih mogu pridonijeti smanjenju međugeneracijskih sukoba i predrasuda. (shrink)