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In the contemporary world, art education provides the possibilities for the development of pupils' creativity, critical thinking, and critical attitude towards art and culture. However, "the disenchantment of the world" makes "aesthetics" a need to be continuously defined in the present age. The narrow and one-sided nature of traditional aesthetics has become increasingly apparent, and it is difficult for the ideals of beauty and art to provide reliable support for the development of aesthetics. In the late 1980s, perceptual knowledge became a frequently discussed and meaningful keyword in aesthetics research and education. Creativity comes from perceptual knowledge. Creativity is based on popular art training and aesthetic education. Creative thinking should be achieved through the process of diversification to form an area with multi-faceted and abstract structure. Because art has an essential quality (Timbre), I proposed a visual art and aesthetics project based on the implementation of artistic objectives in the teaching of visual arts and the aesthetic encounter of politics, society, history, culture and the environment. The experimental programme was performed at National Taiwan Museum of Fine Arts. The results of the research confirmed that implementation of aesthetic perception education can have a positive impact on students' views of art and on the overall popularity of related learning. Examples of education in aesthetic experience and aesthetic perception can be used as guidelines for the implementation of art and multicultural education. Well-rounded and open-minded education (from politics, society, history, culture and the environment, etc.) has become the door to the continuous development of intelligence and thinking. ; Umjetničko obrazovanje u suvremenom svijetu pruža mogućnosti za razvoj kreativnosti, kritičkoga mišljenja i kritičkoga stava učenika prema umjetnosti i kulturi. Ipak, razočaranje u svijetu čini estetiku potrebom koju u sadašnje vrijeme treba kontinuirano definirati. Ograničena i jednostrana priroda tradicionalne estetike postaje sve očitija, stoga je otežan razvoj estetike na pouzdanoj osnovi ideala ljepote i umjetnosti. Kasnih 1980-ih godina perceptivno znanje postalo je ključni pojam o kojemu se često raspravlja u sklopu istraživanja i obrazovanja u području estetike. Kreativnost proizlazi iz perceptivnoga znanja, a zasnovana je na popularnom umjetničkom i estetskom obrazovanju. Kako bi se oblikovalo područje s višestrukom i apstraktnom strukturom, potrebno je razvijati kreativno mišljenje kroz proces diversifikacije. Zbog toga što umjetnost ima esencijalno svojstvo (timbar), predložio sam projekt iz područja likovne umjetnosti i estetike zasnovan na ostvarivanju umjetničkih ciljeva u poučavanju likovne umjetnosti i na estetskom susretu s politikom, društvom, povijesti, kulturom i okolinom. Eksperimentalni program realiziran je u Nacionalnom tajvanskom muzeju likovnih umjetnosti. Rezultati istraživanja potvrđuju da obrazovanje u području estetske percepcije može imati pozitivne učinke na učeničke poglede na umjetnosti i na cjelokupnu popularnost povezanoga učenja. Primjeri razvijanja estetskoga doživljaja i estetske percepcije mogu se koristiti kao smjernice za ostvarivanje umjetničkoga i multikulturnoga obrazovanja. Dobro zaokruženo i otvoreno obrazovanje (od politike, društva, povijesti, kulture, okoline itd.) postalo je prag za kontinuirani razvoj inteligencije i mišljenja.

Predmet teksta estetički su aspekti desnih totalitarnih ideologija, preciznije funkcija koju u njihovu nastanku i održavanju ima kič kao pseudoumjetnost. Budući da je sklonost k njemu, kako su teoretičari odavno utvrdili, obilježje jedne kompleksne strukture ljudskog doživljavanja i stajališta prema svijetu, autorica istražuje i načine na koji se ona eksploatirala, odnosno kako se njome manipuliralo i u drugim, strogo uzevši neestetskim sferama života u Njemačkoj i Italiji tridesetih godina proteklog vijeka. Politička simbolika, jezik politike, ponuđeni obrasci političke identifikacije i mobilizacije k projektiranom političkom cilju u centralnom dijelu rada predmet su njezine analize koju provodi iz tog istraživačkog rakursa. Savezništvo između kiča i totalitarnih političkih režima nije slučajno, nego, naprotiv, zasnovano na zajedničkim i čvrstim antropološkim osnovama. ; This text deals with aesthetic aspects of right totalitarian ideologies, or more precisely, the function that kitsch as pseudoart has in their origin and maintenance. As affinity towards kitsch, which was established by art theoreticians a long time ago, is a characteristic of a complex structure of human experience and view of the world, the author also explores the ways in which it was exploited or manipulated in other, strictly speaking non-aesthetic spheres of life in Germany and Italy of the 1930s. Political symbolism, language of politics, offered forms of political identification and mobilization towards the projected political goal are the subject of her analysis in the central part of the text, which analysis is derived from that angle of research. The author concludes that the alliance between kitsch and totalitarian political regimes is not accidental, but that it is, on the contrary, founded on common and firm anthropological bases.

Dubrovački renesansni filozof i pjesnik Miho Monaldi (1540. – 1592.) u svojoj je estetičkoj raspravi Irena, iliti o ljepoti (Irene, overo della belleza, Venecija, 1599.) glazbenoj problematici posvetio čitavo poglavlje – Dialogo ottavo (fol. 135–153) – da bi predstavio svojevrsnu opću teoriju glazbene umjetnosti. U tom se poglavlju Monaldi detaljno bavio pojedinim aspektima glazbe, a to su: podjela glazbe na različite vrste, intervali, značenje u glazbi, funkcije glazbe, modusi, glazbala, odnos između glazbe i politike, odnos između glazbe i drugih »predmeta sluha« te kriteriji za postizanje »ispravne glazbe«. Radi se, dakle, o prilično velikom broju tema vezanih uz glazbenu problematiku, zbog čega se to Monaldijevo djelo smatra najznačajnijim doprinosom refleksiji o glazbi na hrvatskom području u renesansnome razdoblju. U svojoj klasifikaciji glazbe Monaldi je prednost dao vokalnoj glazbi (u odnosu na instrumentalnu), što je u potpunome skladu s općim renesansnim poimanjem glazbe. ; The work Irene, overo della bellezza (Venice, 1599), written by the Renaissance philosopher and poet Michele Monaldi (1540–1592) from Dubrovnik, is considered to be the first aesthetic treatise that originates from Croatia. In that dialogue, Monaldi devoted a whole chapter to music and presented his version of the general theory of it. Monaldi's thoughts on beauty and music originate primarily from the philosophy of Plato and Aristotle. He was mainly theoretically oriented, thus his ideas on music are primarily based on Plato's philosophical thoughts, and only partially on Aristotle's. In the greater part of this chapter, Monaldi does not consider the changes that occurred in the field of music in the second half of the 16th century and on the turn of the 17th century. Thus, his ideas on music and art, in general, can be interpreted almost as a purely theoretical model, without any indications of its possible use in practice. Monaldi's Platonic orientation is also evident in the form of his work, which is the dialogue form modelled after similar dialogues written by Plato. In some aspects of his discussion on music, though not numerous, Monaldi still relies on Aristotle, especially when it comes to functions of music. In his chapter devoted to music (Dialogo ottavo, fol. 135–153) Monaldi rather thoroughly discusses several aspects of music: the divisions of music into different branches, the intervals, the meaning in music, the functions of music, the modes and the instruments, the relationship between music and politics, the relationship between music and other "objects of hearing", as well as criteria necessary to achieve "proper music". Given the fact that Monaldi treated quite a large number of music issues, his work Irene, overo della bellezza is considered to be the most valuable contribution to the reflection on music from Croatia in the Renaissance period. This paper presents Monaldi's understanding of music, based on the example of his classifications of it into different categories.

Rad se bavi mapiranjem i teorijskim konceptualiziranjem polemika vezanih uz "re- lacijsku formu". Pri tome ne predstavlja pokušaj pacifikacije različitih pozicija niti zauzimanja "strane" u polemikama, već se temelji na studiji koncepata (concept-based metodology) koja služe kao pomagala boljem razumijevanju objekta istraživanja. Premda je forma suvremene umjetnosti, bilo da je čine procesi ili postupci, prema tradicionalnom shvaćanju "razbijena", cilj rada je ispitati suprotno. U prvom dijelu analizirat će se pojam "relacijske forme" te diskursi vezani uz njezino artikuliranje. U drugom se dijelu istražuju tehnike i postupci odnosno strategije konceptualnih avangardi 1990-ih i 2000-ih. Zaključno se razmatraju napori, prijepori i mogućnosti umjetnosti u proširenom polju relacijskih praksi. Istraživanje će poslužiti za pobliže određenje ontološkog statusa suvremenih umjetničkih formi. ; The paper aims at mapping and theoretically conceptualizing the controversies around the "relational form." It does not, however, seek to conciliate the different positions or take "sides" in the debate; instead, it is based on a concept-based methodology as an instrument offering better insight into the researched object. Even though the form of contemporary art, be it as a process or as a procedure, is "broken" according to the traditional idea, the aim of this work is to examine the opposite. In the first part, the notion of "relational form" and the discourses related to its articulation are analyzed. The second part focuses on the techniques and procedures or strategies of the conceptual avant-gardes during the 1990s and 2000s. Eventually, the conclusion considers the efforts, debates, and possibilities of art in the extended field of relational practices. The aim of this research is to define more precisely the ontological status of contemporary art forms.

At the 11th Hvar Theatre Conference, in May 1983, the author gave the paper on four Gavella's disciples and his followers, the members of so called 'Zagreb Theatre Cartel' (Dino Radojević, Kosta Spaić, Božidar Violić, Georgij Paro), and on two directors who worked in theatre in the same period, but did not belong to the informal Cartel (Vladimir Habunek, Mladen Škiljan). Giving this paper after almost three decades, in the Part I he re-examines his previous evaluation and interpretation of their personal aesthetics and their contribution to the Croatian theatre in 1960-es and 1970-es. In the Parts II and III he analyzes changes on the Croatian political and cultural scene and the influence of these changes on institutional position and artistic authority of these six directors in Croatian theatre, especially in the late 1980-es and the early 1990-es. Part IV is dedicated to the three deceased directors (Radojević, Habunek, Spaić) and one who has retired from theatre (Škiljan). The work of two still active directors (Violić, Paro), decreasing in quantity since 1980-es to the present, is considered in the Part V. The focus is on Paro's constant interest in plays and novels by Miroslav Krleža, and on Violić's work with younger playwright and composer Mate Matišić. The conclusion is given in the Part VI.

This article explains the characteristics of Chinese aesthetics through the basic concepts of original Confucianism and original Daoism. These theories all regard aesthetic activities as a whole integrated with life cultivation. But the Confucian view believes that from the individual to the country, harmony between all people and the imperial power can be achieved through musical education. The Daoist view believes that abandoning secular utilitarian thinking can remove all obstacles to the development of human nature and connect human nature with nature to achieve spiritual freedom. This attitude has become the process of the artist's pursuit of the highest artistic achievement. For further explanation, this article introduces the theories of figure painters Gu Kaizhi and Xie He, and the theories of landscape painters Guo Xi and Jing Hao. The change from figure painting to landscape painting is not only due to the influence of political reality, but also to the development of the theory of artistic creation based on the ideal realm advocated by Confucianism and Daoism. ; Ovaj članak objašnjava karakteristike kineske estetike kroz osnovne koncepte izvornog konfucijanizma i izvornog daoizma. Ove teorije promatraju estetske aktivnosti kao cjelinu integriranu s kultivacijom života. No, konfucijansko gledište vjeruje da se od pojedinca do države sklad između svih ljudi i imperijalne moći može postići glazbenim obrazovanjem. Daoističko gledište vjeruje da napuštanje sekularnog utilitarnog mišljenja može ukloniti sve prepreke razvoju ljudske prirode i povezati ljudsku prirodu s prirodom radi postizanja duhovne slobode. Ovaj je pristup postao proces umjetnikove težnje za najvišim umjetničkim dostignućem. Za daljnje objašnjenje, ovaj članak predstavlja teorije slikara figura Gua Kaizhija i Xiea Hieja, te teorije pejzažnih slikara Gua Xija i Jinga Haoa. Promjena od slikarstva figura do pejzažnog slikarstva nije samo posljedica utjecaja političke stvarnosti, već i razvoja teorije umjetničkog stvaralaštva utemeljene na ...

Although Gavella could not have ever heard of Goffman's work, since he was primarily learned in German philosophical tradition, the two theoreticians do share a common interest in the two-way relationship of theatrical acting and everyday performing. True, Gavella is in the early fifties an already well established director and thinker, while Goffman only starts to develop his dramaturgical methodology, but both in their reflections draw on the same philosophical ground, that is, on phenomenology: Gavella in order to build his theory of acting on a certain difference with respect to the everyday performing, whereas Goffman in order to build a theory of everyday performing on a certain similarity to acting. Gavella had hard time in establishing the mentioned difference, still firmly believing in the utopian aspects of his aesthetics, while Goffman was accused of cynicism, of a distopian view of the prison-house of social »language«. The stunning correlation of crucial concepts and ideas of both of these theoreticians (»face-work«; »norm«, »normalcy«, »tact«, »mask«, »sincerity«, »looking-glass self«, »misunderstanding«, etc.) testify to a common obsession with the ways in which the study of misperformances in everyday face-to-face interaction reveals a fundamental crack in social ontology, and therefore in essential, irreducible selfhood as well. Far from matching the refined spectrum of Goffman's endlessly multiplying »frames of experience«, Gavella's extensive anthropological digressions on tacit norms and values ruling social interaction insist on consequences of such insights for the analysis of a specific, Croatian »social atmosphere«. In his view, Croatian milieu engendered a kind of sociality that, due to various historical, economical and political factors, demonstrates symptoms of »deep disturbances« and therefore, on one hand, does not provide a »material of actor's creativity« rich enough, while on the other, is in dire need of the actor's help to find a way out of its cultural impasses.

The paper deals with the ideologically conditioned changes of cultural politics in socialist Yugoslavia in the first decade after the Second World War (1945-1955) and their influences on children's poetry. The sudden shift from party-controlled socialist realism towards freedom of (also ideologically established) scientific and artistic creativity has resulted in the artistic and ideological phenomenon that certain literary historians call socialist aesthetics. The paper will attempt to prove that the expression of this kind of aestheticism in children's literature is modern poetry for children. Ideas of creative freedom and general social modernism were reflected in the educational politics and social welfare of children and youth. All this is expressed in poetry that gives priority to play, primarily language play, humor, and imagination over direct pedagogical function. Such poetry has its roots in folk and European literary tradition, welcoming children's wishes and fears. It is emancipatory and simultaneously detached from many aspects of the reality of children's lives and children's status in society. Such poetry emerged in various ways and within various national cultures of the former socialist Yugoslavia, at the same time realizing similar, and in many ways, comparative aesthetic and social effects. ; Rad se bavi ideološki uvjetovanim promjenama kulturne politike u socijalističkoj Jugoslaviji u prvom desetljeću poslije Drugoga svjetskog rata (1945. – 1955.) i njihovim utjecajima na dječju poeziju. Nagli zaokret od partijski kontroliranog socijalističkog realizma prema slobodi (također ideološki uspostavljenoj) znanstvenog i umjetničkog stvaralaštva rezultirao je umjetničko-ideološkim fenomenom koji pojedini povjesničari književnosti nazivaju socijalističkim estetizmom. Naš rad dokazuje da je izraz takvog estetizma u dječjoj književnosti moderna poezija za djecu. Ideje stvaralačke slobode i sveopćeg društvenog modernizma reflektirale su se i u prosvjetnoj politici i u društvenoj skrbi o djeci i mladima. Sve je to našlo svoj izraz u poeziji koja daje prednost igri, i to, prije svega, igri u jeziku, humoru i mašti nad izravnom pedagoškom funkcijom. Takva poezija ima svoje izvore i u narodnoj i u europskoj književnoj tradiciji, otvorena je za dječje želje i strahove, emancipacijska je, ali je istodobno i odijeljena od mnogih aspekata stvarnoga dječjeg života i položaja djeteta u društvu. Takva je poezija na različite načine nastajala unutar različitih nacionalnih kultura nekadašnje socijalističke Jugoslavije, istodobno ostvarujući slične i po mnogo čemu usporedive estetske i socijalne učinke.