Ovaj rad se bavi metodološkim aspektima obnovljenih pravno-filozofskih nastojanja da se preispita pojam međunarodnog prava. Posle kratkog osvrta na istoriju pravne filozofije i ključne tačke Hartovog i Kelzenovog pozitivističkog stanovišta, u radu se dalje ispituje na koji način se savremene pravne teorije, kako u pozitivističkoj, tako i u ne-pozitivističkoj tradiciji, bave međunarodnim pravom. Poslednji deo rada predstavlja pokušaj da se skiciraju određene smernice za novi početak u filozofskoj obradi međunarodnog prava. Prvo, istorija rasprava u ovoj oblasti svedoči o tome (...) da su metodološki pravni teoretičari u pravu kada tvrde da nam utvrđivanje odgovarajućeg metoda pomaže u odgovoru na pitanje šta je pravo. Drugo, imajući na umu stalno promenjivu prirodu međunarodnog prava, odgovarajući metodološki pristup zahteva „evolucionarnu epistemologiju“ (D’Amato), koja teško da se može nazvati obeležjem analitičke jurisprudencije. Najzad, takva epistemologija je na kompleksan način povezana sa našim istraživanjem šta međunarodna pravda ili, bar, šta međunarodna „unutrašnja moralnost“ zahteva. (shrink)

Der Verfasser betrachtet Adornos Deutung der Strategie der modernen Kunst in ihrem Versuch der verdinglichtenWelt zu widerstehen. Diese Strategie bezeichnet der frankfurter Denker als Mimesis der Verdinglichung,?berzeugt davon, dass die Kunst gegen den Bann opponieren kann, nur inwiefern sie sich mit diesem identifiziert. Abstraktheit, Dissonanz und Nihilismus der modernen Kunst fasst Adorno geradezu als Mimesis der Verdinglichung auf. Das Ziel der modernen Kunst sei es, dass sie mit der eigenen "H?sslichkeit" eine verborgene H?sslichkeit derWelt entlarvt, d.h. dass sie den Rezipienten (...) schockiert und ihn dadurch aus der konformistischen Schl?frigkeit auff?hrt. Nachdem der Verfasser Adornos Deutung der Strategie der modernen Kunst betrachtet hat, bemerkt er, dass auch sie sich, nach Anfangserfolgen, der Herrschaft der instrumentalen Vernunft, d.h. derWelt, die sich auf dem abstrakten b?rgerlichen Prinzip des Tausches gr?ndet, als nicht gewachsen herausgestellt hat. Autor razmatra Adornovo tumacenje strategije moderne umetnosti u njenom pokusaju odolevanja postvarenom svetu. Ovu strategiju moderne umetnosti frankfurtski mislilac oznacava kao mimezis postvarenja, uveren da umetnost moze oponirati stezi ukletosti jedino ukoliko se identifikuje s njom. Apstraktnost, disonantnost i nihilizam moderne umetnosti Adorno shvata upravo kao mimezis postvarenja. Cilj moderne umetnosti je da vlastitom ruznocom razoblici prikrivenu "ruznocu" sveta, da svojom sokantnoscu trgne recipijenta iz konformistickog dremeza. Razmotrivsi Adornovo tumacenje strategije moderne umetnosti, autor primecuje da se i ona, nakon pocetnih uspeha, pokazala nedoraslom vladavini instrumentalnog uma, tj. svetu koji pociva na apstraktnom principu razmene. (shrink)

The anthology Unpacking Normativity, edited by Kenneth Einar Himma, Miodrag Jovanović, and Bojan Spaić, follows the international conference ‘Legal Normativity and Language’ which took place at the...

The crisis of contemporary art is a paradigmatic example of the crisis of spiritual values in today's world. The main cause of this crisis, it is argued, lies in the spirit of modern sciences. These do not find their object as a ready given, but rather determine it themselves, from their own standpoint, and thus basically produce it. Due to enormous technological development, modern civilization has turned the whole world into the Eleatic One. In materializing the uniform spirit of technology (...) in our world the role of the new audio-visual media: cinema, radio, television, video and the internet, has been crucial. Technology has become a powerful instrument of modern power: it has enabled a concentration of power in the hands of technical, cultural and political administration, as well as automatically expanding mass production and consumption, and finally subordination of people to methodic education, control and manipulation. These are main features of the spirit of the contemporary technical civilization where technology is not understood as something technical but rather as a mode of existence, connected with science and industry. By changing the way in which human life is lived, and the way in which human community is ordered, the purpose and perception of the work of art has also changed. Beauty is not taken to be a result of subjective experience and something belonging to the object as such. The sphere of the aesthetic has become the ground for manifesting relativism and subjectivism in various forms. With the development of knowledge and human power, the contemporary world has begun to sink into nihilism, losing a sense for anything bearing the stamp of individuality. In such a world, everything, including the sphere of spiritual values, is reduced merely to what is useful and efficient.. Kriza savremene umetnosti predstavlja paradigmatican primer krize duhovnih vrednosti u savremenom svetu. Glavni uzrok te krize autor vidi u duhu modernih nauka za koje je karakteristicno da svoj predmet ne nalaze kao gotovu datost, vec ga same odredjuju sa svog stanovista i tako ga iz osnova proizvode. Zahvaljujuci ogromnom razvitku tehnike moderna civilizacija je ceo svet pretvorila u elejsko jedno. Kljucnu ulogu u realizaciji uniformnog duha tehnike u nasoj savremenosti imali su novi audio vizuelni mediji: film, radio, televizija, video i Internet. Tehnika je postala mocan instrument moderne vlasti: ona je omogucila koncentraciju moci u rukama tehnicke, kulturne i politicke uprave, masovnu proizvodnju i potrosnju koje se automatski sire, podcinjavanje ljudi metodskom skolovanju, kontroli i manipulaciji. To su najvaznija obelezja duha savremene tehnicke civilizacije u kojoj se tehnika ne shvata kao nesto tehnicko vec kao jedan nacin egzistencije povezan s naukom i industrijom. Promenom nacina vodjenja ljudskog zivota, nacina uredjenja ljudske zajednice, promenjena je svrha i percepcija umetnickog dela. Lepota se shvata kao plod subjektivnog dozivljaja i ne pripada predmetu kao takvom. Sfera estetskog postala je najsire podrucje za razlicite vrste ispoljavanja relativizma i subjektivizma. Razvojem saznanja i ljudske moci, savremeni svet poceo je da tone u no? nihilizma i da gubi smisao za sve sto ima pecat individualnosti. U takvom svetu sve se, pa i sfera duhovnih vrednosti, svodi samo na ono sto je korisno i delotvorno. (shrink)

B. Rundle; X—Transitivity and Indirect Speech, Proceedings of the Aristotelian Society, Volume 68, Issue 1, 1 June 1968, Pages 187–206, https://doi.org/10.1093/.

This research focuses on how children negotiate gender boundaries in middle childhood play. Over a nine-week period, children were observed creating, defining, and altering gender codes in a summer day camp. When girls and boys disregarded pre-described boundaries, they entered an area we refer to as the gender transgression zone. This area of activity, where boys and girls conduct heterosocial relations in hopes of either maintaining or expanding gender boundaries in child culture, is where gender transgression takes place. The study (...) revealed that high-status boys used hegemonic masculinity to regulate both girls' and boys' boundaries by reserving the authority to sanction all gender transgressions. While race and class were salient for girls' homosocial organization and behavior, within this age group they did not appear to influence the boys' status system. (shrink)

Fārābī; Avicenna, 980-1037; Avempace, -1138 or 1139; logic; Islamic philosophy; history.