Twenty-first century philosophy is required to re-examine the fundamental concepts upon which it is founded in order to affirm whether the course of history has caused changes in its essence and influence. One such concept is the concept of creativity, which has been tied to poietic philosophy since Ancient Greece. It is necessary to examine the validity of the division according to which creativity lies within the sphere of ποίησις, or if creativity itself has changed to such an extent throughout (...) history that both its concept and its sphere of influence must be thoroughly re-defined. Through such inquiry, it is important to note authors who have claimed that the act of creativity lies at the basis of the concept of man, as well as authors who have indicated this as a possibility. The difference between the Old Greek τέχνη and the modern ‘technique’, the difference between man as a zoon politikon and zoon technikon, and differences in definitions of the concept of creativity all raise an important question: is the problem of creativity so fundamental that it requires a complete re examination of the philosophy of an entire era? (shrink)

Glazbena djela skladateljica važan su, ali nedovoljno obrađen segment glazbeno-povijesne baštine te u nedovoljnoj mjeri zastupljen element suvremene glazbene kulture. Djeca se s djelima skladateljica u prvom redu upoznaju u okviru osnovnoškolske nastave glazbe. U radu je prikazano istraživanje kojemu je cilj bio utvrditi zastupljenost djela skladateljica namijenjenih za slušanje i pjevanje u udžbenicima za Glazbenu kulturu koji su u uporabi u Hrvatskoj, a posebno djela hrvatskih skladateljica. U istraživanju je analiziran 21 udžbenik triju hrvatskih nakladničkih kuća. Rezultati ukazuju na (...) to da su u udžbenicima najviše zastupljena djela skladatelja, potom tradicijske skladbe, dok su djela skladateljica zastupljena u bitno manjoj mjeri. Autori predlažu revidiranje popisa djela za slušanje i pjevanje u udžbenicima za Glazbenu kulturu kako bi se u njih u većoj mjeri uvrstilo stvaralaštvo domaćih i stranih skladateljica. The female composers’ musical pieces are an important but relatively unknown part of the musical and historical heritage. They are also underrepresented in the contemporary musical culture. Children are introduced to works of female composers mainly through the music curriculum in primary schools. This paper presents the research of the Music education textbooks that are in use in primary schools in Croatia. The main aim of the research was to establish the number of compositions by female music composers in the overall number of compositions listed for listening and singing in textbooks, especially the presence of pieces authored by Croatian female composers. We have analyzed 21 textbooks from three Croatian publishing houses. Results show that compositions by male compositors are most often, and then follow traditional compositions, while the compositions of female composers are significantly less present. We propose the revision of the compositions for listening and singing that are included in the Music education textbooks in a way that would enable greater participation of work by both Croatian and other female composers. (shrink)

The female composers’ musical pieces are an important but relatively unknown part of the musical and historical heritage. They are also underrepresented in the contemporary musical culture. Children are introduced to works of female composers mainly through the music curriculum in primary schools. This paper presents the research of the Music education textbooks that are in use in primary schools in Croatia. The main aim of the research was to establish the number of compositions by female music composers in the (...) overall number of compositions listed for listening and singing in textbooks, especially the presence of pieces authored by Croatian female composers. We have analyzed 21 textbooks from three Croatian publishing houses. Results show that compositions by male compositors are most often, and then follow traditional compositions, while the compositions of female composers are significantly less present. We propose the revision of the compositions for listening and singing that are included in the Music education textbooks in a way that would enable greater participation of work by both Croatian and other female composers. (shrink)

S razvitkom kapitalizma sve više se govori i piše o slobodnom vremenu, a njegovim komercijaliziranjem razvile su se unosne gospodarske grane: »industrija zabave«, turizam i sport. Kapital, međutim, slobodno vrijeme najprije prepoznaje kao vrijeme slobodno od rada, tj. kao besposlicu, a tek u najnovije doba – kada je naučio kako od njega profitirati – i kao vrijeme slobodno za učenje i stvaralaštvo, tj. kao dokolicu.Razlika između besposlice koja teži potrošnji i dokolice koja se ispunjava samodjelatnošću mnogima je još nejasna. (...) A tu se razliku često i namjerno prikriva da bi se slobodno vrijeme, s jedne strane, lakše komercijaliziralo i da bi se, s druge strane, poništio njegov društveno revolucionarni naboj. Tome služi i prikrivanje razlike između rada i samodjelatnosti, pa se postavlja pitanje: jesu li sportska natjecanja igra ili rad? Ili za primjer: igra li se nogomet, ili se nogomet radi?With the development of capitalism free time is more and more the subject of spoken and written word, and with its commercialization three profitable economy branches have developed: “entertainment industry”, tourism and sport. Capital, meanwhile, identifies free time as time free from work, or idleness, and only in recent time – when it learnt to make profit out of free time- time free for learning and creativeness, or as leisure.Difference between idleness, which leans towards consumption, and leisure, which fulfils itself with self-activity, to a great many is still obscure. And that difference is often and purposely concealed meaning to, on one side, commercialize free time more easily and, on the other hand, to quash its socially revolutionary surge. For that purpose is also the concealing of difference between work and self-activity, and the question is asked: are the sport competitions a game or a work? Or precisely: “Does one play football, or does one do football?”. (shrink)

This paper discusses divergent thinking as a fundamental characteristic of creativity. Unlike convergent thinking where everything is focused on one solution, divergent thinking seeks the most varied solutions to the considered problem situation while thoughts are scattered on a variety of possible solutions. By its nature, divergent thinking is subversive and destructive and, as such, it deviates from the existing thinking rules and patterns, while bringing disorder into the existing harmony and order of thoughts. In the process of modern education, (...) special attention must be dedicated to all students, but especially to those who can and want more, to those who, in relation to their peers, do a lot of things earlier, to a greater extent, faster, more successfully, better and differently and who consistently have better and higher achievements, which is possible to achieve by encouraging divergent thinking. Therefore, in the modern education, apart from the scientific-convergent shaping of thoughts, space for divergent thinking must also be enabled. (shrink)

U radu se nastoji sagledati Pirandellovo shvaćanje života i umjetnosti, dvije po njemu međusobno neodijeljene dimenzije. Prepoznavši u umjetnosti njezinu moć kojom prodire pod površinu zbilje, razotkrivajući je kao obmanu, Pirandello, transponirajući »stvarnost« u svijet umjetnosti, dovodi ne samo svoje duboko tragične likove već i čitatelje, pred golu istinu realnosti koju može dohvatiti i prikazati samo umjetničko stvaralaštvo. Istina Pirandellove umjetnosti nameće se kao istina realnosti, a budući da ruši sve čovjekove imaginarne konstrukcije, prikazujući mu, u zaustavljanoj slici života (...) apsurdnost i ništavilo njegove egzistencije, nužno se nameće pitanje važnosti čovjekova boravka u istini umjetnosti.The paper is intended to outline Pirandello’s concepts of art and life, which are, according to him, two inseparable dimensions. Having recognized the power of art, used to delve underneath the surface of reality, disclosing it as a delusion, Pirandello–transposing ‘reality’ into the world of art – brought not only his deeply tragic characters, but his readers too, before the naked truth of reality that can only be grasped by artistic creation. The truth of Pirandello’s art imposes itself as the truth of reality, and since it destroys all of man’s imaginary constructions, showing them, in a frozen image of life, the absurdity and void of their existence, the issue of the importance of man’s sojourn in the truth of art is necessarily raised. (shrink)

This article discusses some possible issues and tasks that are particularly important for information and communication sciences. It deals with ethical and technological issues, the role and responsibility of information and communication intellectuals, anthropological issues in information and communication sciences, political economy, propaganda and public relations, corporations and post-politics, practical foundations of information and communication sciences, creation, the utopian dimension of information and communication sciences, libraries and the market, challenges in the education of information and communication experts, and a look (...) into the future. Deliberations about questions and tasks of information and communication sciences emphasise the need for their humanisation. This means that information and communication sciences should refrain from an uncritical adoption of affirmative discourses on the information society and adopt a truly critical relationship to life and society as a whole. (shrink)