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Religious Tolerance in the Edict of Milan and in the Constitution of Medina
No full textIn this paper, we will try to offer a blueprint for a more general discussion of the relation of how the question of religious tolerance appears in two documents that the Christian and Islamic traditions recognize and celebrate: namely, the Edict of Milan and the Constitution of Medina. These documents were revolutionary for their time. However, these documents alone, as well as religious teachings, on which they are based, cannot be the measure of relations in our time. They are presented in the conceptual framework and value system that prevailed at the time when these teachings and documents were created. Many relations the documents refer to no longer exist. For example, while the Edict of Milan affirms the general right to religion, and the Constitution of Medina affirms the mutual tolerance for Abrahamic, monotheistic religions – people who now declare themselves as atheists or agnostics are not even mentioned
Knowledge and Tradition in Clement of Alexandria
No full textOne of the most important exponents of the School of Alexandria, Clement of Alexandria (ca. 150. – ca. 215.) is the author of a famous trilogy, consisting of Protrepticus, Paedagogus, and Stromata, which correspond to the three ways of acting of the Logos, namely to convert the pagans to the true faith, to cure the soul from passions, and to uplift the soul to the methodic and intellectual life of spiritual perfection. Logos thus acts through exhortation, training, and teaching. Clement considers himself to be the guardian of the Apostolic tradition and takes the task of conserving this tradition, which consists of cosmological and theological truths. With that goal in mind, the Alexandrian talks about the relation between pagan philosophy and Christianity, allegorical interpretation of the Scripture, the need of revealing and concealing the knowledge, which, in order to be correctly understood, has to be interpreted in accordance with the tradition. The intention of this short article is to point out these concepts and their connections in the way Clement sees them
The Problem of Aesthetic Judgment : Perspectives of Aesthetics
No full textThis paper deals with the interpretation of Kant’s Critique of Judgment from the perspective of aesthetics. Our aim here is to show the immanent relationship between the two main motifs of this work: the analysis of traditional aesthetic problems, such as beauty and taste, on the one hand, and the systematical thinking, philosophy, and Kant’s critical project, on the other. This interpretation is developed in consideration of the problem of aesthetics as a philosophical discipline, within which, for each of the motifs of Kant’s third critique it is shown how it redefines aesthetic into philosophical thought. Finally, the character of critical positioning of aesthetic problems in Kant is shown in light of the opening of the perspective of subjective universality as a theme that connects the two motifs of third critique, but also allows a different view in the domain of intersubjectivity
Koji će se subjekt boriti protiv asubjektivnosti? – pozicije subjekta u marksizmu
No full textZa razliku od analiza koje naglašavaju metafizičko poreklo poput hajdegerijanaca, termin “subjekt” od početka prevashodno ima pravno, političko i ekonomsko značenje. U rimskoj se pravnoj nauci subjectus odnosio na pokornog i poslušnog čoveka, dakle ljudi su bili samostalni ili su bili subjekti. Čak i kada je Bossuet u 17. veku upotrebljavao taj izraz (“svi ljudi surođeni kao subjekti”), on je time upućivao na poslušnost, na pokornost. Suptilna genealogija izrađena od strane Étienna Balibara pokazuje da je francuska “Deklaracija prava čoveka i građanina” radikalno promenila dotadašnju semantiku reči: od tog trenutka građanin nije ništa drugo do kraj podređivanja, potčinjavanja, “subjektovanja” (upor: asujetti, being subjected to) te od tog trenutka subjektivnost znači slobodu, autonomiju itd. Međutim, kakve su posledice tog političko-pravnog preokreta iz ekonomske perspektive? Kakva je pozicija novog subjekta u odnosu na ekonomski poredak? Da li se može govoriti o kapitalističkim načinima subjektivizacije
GENEALOGIJA DISPOZITIVA: FUKO IZMEĐU NIČEA I HEGELA
No full textAutor u radu trasira istoriju pojma dispozitiva kod Fukoa.
Da bi metodologizovao Ničeovu genealogiju, Fuko je morao odustati od
pojma vrednosti. Ova denuncijacija se grana na dve strane: preko
Hajdegerove redukcije vrednosti na uslove moći kod Ničea, i preko
Ipolitovog naglašavanja Hegelovog pojma pozivitnosti, koje će biti
presudno za koncept dispozitiva kod Fukoa. U radu se potom ocrtava
uloga koju je pojam dispozitiva igrao u genealoškoj fazi francuskog
post-strukturaliste
Учење о кретању Светог Максима Исповедника
No full textРад има циљ да изложи начин на који је византијски
мислилац Свети Максим Исповедник поимао кретање (κίνησις). Свети
Максим је своје учење о кретању развио на курсу побијања оригенизма,
који је у кретању од Бога видео узрок отпадања творевине од првобитног
јединства с Творцем. Обрнувши Оригенову тријаду „мировање“ (στάσις)
– „кретање“ (κίνησις) – „стварање“ (γένεσις) у „стварање“ – „кретање“ –
„мировање“, Свети Максим излаже учење о кретању ка Богу као једином
циљу у којем биће може наћи покој, односно смирај. Поред космолошког
погледа на кретање Свети Максим развија и психолошко и онтолошко
становиште на кретање. При томе Свети Максим уподобљава аристотеловске
и неоплатонистичке термине потребама нове хришћанске метафизике, при
чему, пратећи Кападокијске оце и Дионисија Ареопагита, не излази из
претходне хришћанске традиције
Marxism and Sociopolitical Engagement In Serbian Musical Periodicals between the Two World Wars
No full textBetween the two World Wars, in Belgrade and Serbia, seven musical jour
nals were published: “Musical Gazette” (1922), “Music” (1928–1929), “Herald
of the Musical Society Stanković” (1928–1934, 1938–1941; renamed to “Mu
sical Herald” in january 1931), “Sound” (1932–1936), “Journal of The South
Slav Choral Union” (1935–1936, 1938), “Slavic Music” (1939–1941) and “Music
Review” (1940). The influence of marxism can be observed in “Musical Her
ald” (in the series from 1938), “Sound” and “Slavic Music”.
A Marxist influence is obvious through indications of determinism. Name
ly, some writers (Dragutin Čolić) observed elements of musical art and its
history as (indirect) consequences of sociopolitical and economic process
es. Still, journals published articles of domestic and foreign authors who in
terpreted the relation between music, society and economy in a much more
moderate and subtle manner (D.Cvetko, A.Schering).
Editors and associates of these journals also had proscriptive ambitions –
they recommended and even determined regulations for composers about
what kind of music to write according to social goals and needs. According
to tendencies in Marxism, there was a follow up of musical work in the So
viet Union. Editors tried not to be one-sided. There were writings about the
USSR by left orientated associates as much as emigrants from that country,
and articles of Soviet authors were translated. Also, there were critical tones
about musical development in the first country of socialism.
Serbian musical periodicals recognized the enormous threat from fascism.
Also, there were articles about influence of Nazi ideology and dictatorship
on musical prospects in Germany. Since Germany annexed Sudetenland
in 1938, “Musical Herald” expressed support to musicians and people of
that friendly country by devoting the October and November 1938 issue to
Czechoslovak music, along with an appropriate introduction by the editor,
Stana Đurić-Klajn
