University of Arts in Belgrade
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Re-interpretation of natural and cultural heritage symbiosis as a tool for sustainable tourism development in Belgrade
No full textThis paper deals with the burning issue of sustainable tourism development in Belgrade, with an emphasis on re-interpretation and re-narration of local cultural and natural heritage. In order to understand the turbulent past, explain it in the present and preserve it for the future, this work enhances the symbiosis of specific geo-political position and natural preferences of Belgrade, being the starting point for interpretation of its heritage. Referring to studies about the city in a present-day form, the paper will show the crucial function of reading the signs that speak for a space significantly transformed through time. Furthermore, narration as the most important tool for increasing the knowledge and value of a place and its heritage will be underlined. The work refers to the local communities (in sense of understanding their multiple identity and heritage) as well as visitors, within the perspective of the so called “tourist gaze” (John Urry). One of the steps will be an attempt to re-interpret the significance of the Sava and Danube and their confluence in both natural and cultural sense
Прилог проучавању београдске архитектуре Николаја Петровича Краснова
No full text: Обележавајући архитектонске токове академског историзма Краљевине СХС/Југославије у периоду између два светска
рата, Николај Петрович Краснов, академик архитектуре Петроградске академије наука, утиснуо је својом делатношћу препознатљив
траг у формирање урбанистичког растера Београда. Завређујући својом свестраном уметничком продукцијом и плодним градитељским
доприносима широко интересовање руских и српских историчара архитектуре, почев од деведесетих година прошлог века, Николај
Краснов представља најчешћу тему изучавања архитектонске заоставштине руских емиграната на просторима бивше југословенске
државе. Међутим, и поред значајних истраживачких помака, београдски опус Николаја Краснова релативно се споро изучава. Овај рад
писан је с циљем обогаћивања историографског корпуса посвећеног београдској делатности истакнутог и цењеног руског градитеља,
указујући на шест пројеката из Красновљевог престоничког опуса недовољно анализираних у досадашњој литератури – три нереализована идејна решења и три резиденцијално-пословна објекта, подигнута за приватне наручиоцеAmong the many Russian-born architects who made a significant contribution to the architectural image of Belgrade
between the two world wars, a special place is held by Nikolaj Petrovič Krasnov, bearer of the title of academician of
architecture of St. Petersburg Academy of Arts, virtually unrivalled in professional versatility and scale of engagement in
the architectural community in the course of the 1920s.
Krasnov’s prolific activity was mostly related to large-scale government projects and the Ministry of Construction, the
most influential architectural design studio in the Kingdom of Serbs, Croats and Slovenes/Yugoslavia. Apart from actively
contributing to the creation of striking morphological sentences in Belgrade’s urban scenery, Krasnov was committed
to developing various concept designs, not all of which could be realised for various reasons. The effort to elucidate the
versatile Russian émigré’s architectural work as completely as possible should pay attention to the unexecuted designs that
bear his signature. Krasnov’s unexecuted concept designs‒the competition submission mottoed “Feci quod potui...”, the
land use site plan for the Opera House and a rough sketch for the villa for the princes within the royal residence complex in
Dedinje‒are important illustrations of the breadth and nature of his professional pursuits. In the late 1920s, the construction
of representative government buildings was nearly completed, and Krasnov, owning a wide renown strengthened by his
work on the interior of the new royal residence, collaborated with private architectural firms in developing a series of
designs for residential/commercial buildings for private clients, affluent members of the capital city’s elites. He designed
buildings for the merchant Radojlović at 2a Braće Jugovića Street, of the Mitrović brothers at 9 Knez Mihailova, and the
residential/commercial building at 14 Kneza Miloša, whose well-proportioned forms composed in accordance with the
tenets of academism make a not negligible contribution to the urban landscape of downtown Belgrade.
A remarkable and charismatic man of an inexhaustible working energy and ample professional experience, Nikolaj
Krasnov was one of the most prolific architects of his times. His rich output and distinctive, academically honed handwriting
that shaped some of the city’s landmark buildings characteristic for their formal perfection, coherent composition, layered
façade articulation and refined application of rhetorical architectural ornament, rank him as one of the most important
representatives of academic historicism on the interwar architectural scene
Kant i iskušenja fantazije
No full textAp strakt U članku se autor koncentriše na filozofske napore Imanuela Kanta
da se uhvati u koštac sa fantazijom i nje nim pro iz vo di ma po put ro ma na
(Ro ma ne). Iako je Kant bio je dan od pr vih kri ti ča ra ra nih ne mač kih ro manti
čarskih pokušaja emancipacije snage fanta zije od dominacije (raz)uma, ni
on ni je bio spo so ban da se opre is ku še nju da fan ta zi ji do de li va žnu ulo gu u
spo znajnim ak tivnostima čo ve ka. Na poslet ku, fanta zija se poka za la kao krucijalna
ne samo u Kanto voj koncepciji estetizo va nog prirodnog poret ka stvari
(za to što vo di čo ve ka ka to me da pri ro du shva ti kao le pu kao i da za poč ne
„pe snič ko sa nja re nje“ o pri ro di), ne go i u nje go voj kon cep ci ji bo žan skog poret
ka stva ri u ima nen ci ji po za vr šet ku isto ri je (za to što omo gu ća va čove ku
izve snost dolaska carstva Božjeg na ze mlji)
The Ontological Indifférence. A Realist Reading of Kant and Hegel
No full textThe article challenges the first premise of „speculative realism“, according to which, with Kant, the contact with the outside world was lost. Instead, it will be shown that the possibility of realism received its major impulse from two grand figures of German Idealism, from Kant as a precursor of the Romantic period and from Hegel as its, albeit critical, philosophical culmination. Based on three possible relations of knowledge to its outside, three ontologies will be distinguished, the ontology of immediacy, stretching from rationalists to the last empiricists, Kant’s ontology of totalization, and, finally, Hegel’s „ontology of release“or ,,de-totalization“. As opposed to Descartess thing being constantly doubted in its existence, as opposed to Malebranches occasion being invariably induced by God, as opposed to Leibnizs monad being an immediate embodiment of an idea, as opposed to Berkeley’s object vanishing when not perceived, and as opposed to Humes world lacking necessity, Kant philosophically warranted a world that does not have to be perpetually verified and can, hence, exist devoid of ideas produced by God and outside the constancy of the human gaze. Kant secured the normal and necessary existence of the world behind our backs and procured us with the common-sense normality of the world, but it was only Hegel’s absolute subjectivism that granted us the first glimpses into the radical meaninglesness of the facticity. It was not until Hegel’s logic of indifférence of the notion to its immediate content that an egress of the circle of Kant’s totalization was made possible
Ancient or Modern? Alexander G. Baumgarten and the Coming of Age of Aesthetics
No full textThe aim of this essay is to examine Baumgarten’s conception on the history of aesthetics and on his role in it. In the first part, I analyze the way in which Baumgarten’s aesthetic innovation has been perceived by two of his disciples, namely Georg Conrad Winckelmann and Georg Andreas Will. While the former puts the emphasis on the modernity of aesthetics, Will seems more inclined to attribute the birth of aesthetics to ancient philosophers. Despite this apparent disagreement, my thesis is that the basic positions of the two authors are very similar and find their rationale in Baumgarten’s peculiar treatment of the issue. Consequently, I set out to inquire into Baumgarten’s theory, in the attempt to better understand his reconstruction of the empirical history of aesthetics. My purpose is to see how this empirical history is framed within a more systematic history which establishes its guidelines and marks its turning points. Eventually, I take into account the possible implications of this position with regard to the question of the origin of aesthetics
(Re)acting Together : Grexit as Revival of Intellectuals
No full textThe paper explores the messages of engaged global intellectuals in the case of Grexit, the case of Greek attempt to break up with neoliberal practices and produce a left turn in politics and society, which was followed worldwide. How their words contribute to the general understanding (if there is one) and change (if there should be change)? What kind of action we can expect from intellectuals, as it is intrinsic to the concept? The issues examined in this paper deal with the intellectuals as bearers of articulating social critique, focusing on the specific Greek case in the time of temptations
Descartes et le tournant theologique de la phenomenologie francaise
No full textI will analyse Descartes’ role in the „theological turn “ of French phe-nomenology. Although in Husserl’s phenomenology the Cartesian cogito was the central element, in the phenomenologists of the „theological turn“ (Janicaud) it was exchanged for the idea of the infinite. I examine why Marion and Levinas are interested in the Cartesian idea of the infinite. In the phenomenology of Marion this idea is interpreted as a „conceptual icon“ and a „saturated pheno¬menon" ,in the phenomenology of Levinas this idea represents the structure that provides the possibility of the phenomenological description of transcendence. In order to see if Marion and Levinas turn back to the onto-theo-logical tradition of the metaphysics, like Janicaud affirms, we have to see how Descartes describes the idea of infinite and how Marion and Levinas interpret it
The European Union and the Kosovo Issue: an International Ethical Perspective
No full textThe subject of this paper is the stand taken by the European Union towards
the complex and decades-long Kosovo issue viewed from an international
ethical perspective. The author is trying to prove that the issue, such as it is,
represents a continuity of an inconsistent attitude of most European states
towards the Serbian state territorial issue, which attitude has been persist-
ing for two decades. The stand taken by the author is that by acquiescing to
the formation and stabilization of a newly-created state in the Serbian terri-
tory, the European Union has actually assumed the role of a medium of
overseas attempts at attaining as painlessly as possible the goal of the
secession of Kosovo, which territory has been proclaimed of special Ameri-
can national interest and hence, of a legitimate influence. During the
process, it was also the unreserved choice of Serbia for a “European future”
after October 5, 2000 that was taken into account. In the conclusion of this
paper, the author points to possible consequences that the method of
resolving this important state territorial issue could have on the stability of
the Western Balkans in near or remote future
Art: A Brief History of Absence (From the Conception and Birth, Life and Death, to the Living Deadness of Art)
No full textThis essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of the formal elements that had previously characterized the visual arts; the result was “emptiness” or “nothingness” as art. The author refers to this process in terms of “vanishing acts” that allow for the formulation of an aesthetics of absence in connection to twentieth-century art (complementing the Àsthetik der Absenz, formulated in German art theory). The author also briefly addresses the consequences that these processes have for the way contemporary art, and art world operate