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U radu se analizira način političkog djelovanja Srpske pravoslavne crkve na prostoru Bosne i Hercegovine od 1989. do 1996. godine i odnos Srpske pravoslavne crkve i njenih predstavnika prema Bosni i Hercegovini kao međunarodnom pravnom subjektu. Ispitati će se utjecaj institucija i predstavnka SPC na ratna dešavanja i donošenje političkih odluka vezanih za mirovne pregovore i prijedloge ustavno-pravnog uređenja Bosne i Hercegovine. Cilj rada je razmotriti odnos Srpske pravoslavne crkve (SPC) prema Bosni i Hercegovini kao subjektu međunarodnog prava te ispitati utjecaj SPC na ratna dešavanja i ukupne društveno-političke prilike u razdoblju od 1989. do 1996. godine. Jedan od ciljeva rada je ispitivanje uloge SPC u procesu homogenizacije i političke mobilizacije Srba u Bosni i Hercegovini, kao i njene uloge u dehumanizaciji nesrpskog stanovništva, te učešća u počinjenim zločinima protiv čovječnosti i međunarodnog prava u Bosni i Hercegovini. U radu se kronološko-problematskim pristupom s ciljem analiziranja službenih glasila i publikacija Srpske pravoslavne crkve te odgovaranja na postavljena istraživačka pitanja autor oslanja na teorijske postavke o socijetalnoj kontrukciji zbilje čime će biti utvrđeno na koji je način Srpska pravoslavna crkva djelovala i sudjelovala u konstrukciji „nove objektivne zbilje“ u Bosni i Hercegovini tokom kasnih osamdesetih i prve polovine devedesetih godina 20. stoljeća, te na koji je način u ovom razdoblju vrh Srpske pravoslavne crkve vršio dehumanizaciju nesrpskog i nepravoslavnog bosanskohercegovačkog stanovništva. In this work the authot writes about the political activity of Serbian Orthodox Church in Bosnia and Herzegovina from 1989. to 1996. Particular attention in this work will be paid to the role of Serbian Orthodox Church and it’s connection to the Serbian nationalistic elite during the war in Bosnia. The goal of this work is to determine the relationship of Serbian Orthodox Church and its representatives to the state of Bosnia and Herzegovina. The intent is to examine the impact of the institution and representatives of the Serbian Orthodox Church have had to the war events and policy decisions related to the peace negotiations and proposals for constitutional and legal structure of Bosnia and Herzegovina in this period. One of the goals of the paper is to examine the role of the Serbian Orthodox Church in the process of homogenization and political mobilization of Serbs in Bosnia and Herzegovina, as well as its role in dehumanizing the non-Serb population and participation in crimes against humanity and international law committed in Bosnia and Herzegovina. The time frame is taken from the period 1989 to the post-war elections in Bosnia and Herzegovina in 1996. The author uses a chronological-problematic approach with the aim of analyzing the official gazettes and publications of the Serbian Orthodox Church. In order to answer the posed questions, the author relies on theoretical assumptions of the social construction of reality. This will determine how the Serbian Orthodox Church acted and participated in the construction of the "new objective reality" in Bosnia and Herzegovina during the late 1980s and the first half of the 1990s, and how the non-Serb and non-Orthodox population of Bosnia and Herzegovina was dehumanized by the scholars and intellectuals of the Serbian Orthodox Church. In this paper, the term "political activity" is understood as the way in which the Serbian Orthodox Church, contrary to its nominal religious mission, acted as an institution that was at the forefront of the process in which faith (as a special, individual relationship to the sublime and the world) was neglected, and religion (as a general, collective, organized system) with radical nationalism moved the population to act in the service of particular goals in support of the national political project. The Serbian Orthodox Church (SOC), as we know it today, got its organizational outlines during 1920. Administratively, it is divided into dioceses that extend to the territory of Bosnia and Herzegovina. While the Serbian Orthodox Church sought its social and political position in the Yugoslav political framework in the late 1980s, the dioceses in Bosnia and Herzegovina found themselves in a new political environment with the breakup of Yugoslavia in 1991. The Serbian Orthodox Church did not recognized the independence of the Republic of Bosnia and Herzegovina. After the April of 1992. SOC continued its activities on the territory under the control of the Army of the Republika Srpska. The manifestation of an aggressive view of Serbian nationalism towards the political identity of Bosnia and Herzegovina began by the end of the 1980's, through a series of mass religious gatherings. Adoption of constitutional amendments at the end of 1989. marked the end of the one-party system in politics, which was not enough to implement the political and economical changes that many had hoped for. With the disintegration of Yugoslavia and the abandonment of the Yugoslav state framework in 1992, Bosnia and Herzegovina became an independent state, subject to international law, and was directly confronted with the separatist aspirations of the Serbian Democratic Party, which led to the war in Bosnia and Herzegovina. Since the mid-1980s, religious communities in Yugoslavia have intensified their struggle for a position of power by participating in national projects of homogenization and creation of great national states. The paper uses the sources from the Archives of Bosnia and Herzegovina, the Archives of Republika Srpska, the Archives of Tuzla Canton, the Unified Court Documentation of the International Criminal Tribunal for the Former Yugoslavia, then the material from the National Library of Serbia, University Library "Svetozar Markovic", Bosniak Institute - Adil Zulfikarpasic Foundation, National and University Libraries of Bosnia and Herzegovina, the Library of Sarajevo and the materials of the History Museum of Bosnia and Herzegovina. Previous scientific research has not offered a complete answer to the questions posed in the paper: What is the role of the Serbian Orthodox Church in the wars that followed the breakup of Yugoslavia? What is the connection between the political activity of SOC and the crimes against humanity and international law committed in Bosnia and Herzegovina during the first half of the 1990s? What is the role of ideology of Svetosavlje in relation to Bosnia and Herzegovina as the subject of international law? The first chapter presents political assumptions and a theoretical framework related to the process of "disintegration of religion" in which the priests of the Serbian Orthodox Church as organicist interpreters conveyed the metamorphosed ideology of the svetosavlje. Controversies over the conceptualization of Yugoslavia and disputes over the affirmation of the national identity of Bosnian Muslims will be outlined, thus laying the foundations for a narrative that revived the revitalization of religiosity during the 1980s through cultural activities. Special attention is paid to the role and activities of religious communities in these processes, as well as their constitutional and legal position. The second chapter discusses the changing political perception of the Serbian Orthodox Church during the 1980s. After the death of Josip Broz Tito, the Serbian Orthodox Church launched a fierce ideological struggle to change its own position of power, and compared to the previous period is trying to gain a more prominent socio-political role. Mass religious gatherings on the territory of Bosnia and Herzegovina manifested themselves as a continuation of the mass gatherings („događanje naroda“) from 1988, but under a religious cloak. This chapter discusses the aggressive expression of nationalist pretensions during the celebration of the 600th anniversary of the Battle of Kosovo, and the establishment of mythological matrices in Yugoslav society. The third chapter discusses the politicization of the return of nationalized religious property, as well as the politicization of the preservation of existing and construction of new religious buildings in Bosnia and Herzegovina in the late 1980s and early 1990s. The Serbian Orthodox Church continued its political activity through the "sacralization" of public space, political abuse of the ideology of svetosavlje through the celebrations of the anniversary of the 1690's migrations of the Serbs (Velika seoba Srba) and the jubilee of ustasha terror over the Serbs executed in 1941. The fourth chapter shows how the Serbian Orthodox Church provided ideological and political support to the process of "regionalization" of Bosnia and Herzegovina and the creation of mono-ethnic territorial organizations and the establishment and functioning of the Serbian Republic of Bosnia and Herzegovina in 1992. The fifth chapter is about the relationship of the Serbian political elite with the Serbian Orthodox Church and the attitudes of the Church towards the peace proposals and negotiations conducted from 1993 to the beginning of 1996. This chapter will examine the attitude and political perception of the Serbian Orthodox Church towards the decisions of the international community during the negotiations related to the constitutional, political and territorial organization of Bosnia and Herzegovina. The aim of this paper is to show the relationship of the Serbian Orthodox Church to Bosnia and Herzegovina as a subject of international law. The goal is to examine how the Serbian Orthodox Church sought to disrupt the modernization of society and to reduce the overall social consciousness to a primitive, premodern, mythological matrix. It will be examined whether such a society was successfully incited to war as a rite in which the Other is sacrificed with the aim to (re)homogenizate the Serbian people in one Great Serbian state.

U ovom se radu analizira proza o logorima (rus. lagernaja proza) usporedbom dvaju djela dvojice velikih ruskih pisaca – Aleksandra Solženicyna i Varlama Šalamova. Šalamov i Solženicyn nesumnjivo su najznačajniji predstavnici ruske proze o logorima – obojica su na različite načine doprinijeli njenom razvitku. Iako su imali mnogobrojne nesuglasice i razilaženja, njihova djela povezuje zajednička tematika, tj. prikaz logora kao mjesta depersonalizacije i dehumanizacije. Međutim, kao što navodim u svojem radu, ta su dva djela obilježena i nizom razlika. Solženicyn je, za razliku od Šalamova, prikazao da i u takvom svijetu postoji mogućnost spasenja zbog čovjeku urođene sposobnosti prilagodbe i zbog okretanja prema religiji, ideologiji i umjetnosti. Šalamov ga je zbog toga nerijetko kritizirao, ističući kako u takvim uvjetima čovjeka ništa ne može spasiti. Upravo takvo viđenje logora prikazao je Šalamov u svome djelu – potpuna devastacija čovjeka, koji je lišen mogućnosti razmišljanja i osuđen na potpuni fizički raspad nakon kojeg slijedi smrt. Logor Solženicyna nije opisan toliko radikalno kao u slučaju Šalamova, no Solženjicin je svojim djelom oštro iskritizirao ne samo logore, nego i opće stanje u Sovjetskome Savezu tijekom Stalinova vremena.

El objetivo de este trabajo es examinar el modo en que José Ortega y Gasset, el filósofo español, comprende el arte. El contexto sociopolítico y el repaso de las tendencias literarias a finales del siglo XIX y al principio del XX explican las razones por la labor intelectual de Ortega. Con el fin de entender mejor la concepción del arte de Ortega, se exponen y explican los términos fundamentales de su filosofía: la teoría de las circunstancias y el perspectivismo. Ellos señalan el peligro que presenta el surgimiento de la democratización de todos los aspectos de la vida humana, incluso el arte. Al relacionar su teoría sobre la división de la sociedad en masa y minoría con sus reflexiones sobre el arte nuevo y deshumanizado, se muestra la interconexión de toda la obra de Ortega. Cilj ovoga rada jest istražiti način na koji José Ortega y Gasset, španjolski filozof, poima umjetnost. Kratkim povijesnim pregledom političkih i društvenih događanja u Španjolskoj te književnih tendencija krajem XIX. i početkom XX. stoljeća, objašnjavaju se razlozi Ortegina intelektualnog djelovanja. U svrhu boljeg razumijevanja Ortegine koncepcije umjetnosti izlažu se i objašnjavaju temeljni pojmovi njegove filozofije: teorija o okolnostima i perspektivizam. Oni ukazuju na opasnost koju predstavlja pojava fenonema demokratizacije svih područja ljudskog života, uključujući i umjetnost. Međusobna povezanost Ortegina cjelokupnog djela dokazuje se povezivanjem njegove teorije o podjeli društva na masu i manjinu s razmišljanjima o novoj, dehumaniziranoj umjetnosti.

Sekundarna viktimizacija odnosi se na niz negativnih stavova i ponašanja prema žrtvama primarne viktimizacije/zločina. Stupanj sekundarne viktimizacije mogao bi ovisiti o stupnju u kojem se žrtvi pripisuju osobine karakteristične za ljudsku vrstu. Po pitanju žena, dehumanizacija tj. osporavanje ljudskosti učestalo može proizlaziti iz seksualno objektificiranog prikaza – prikaza koji potiče percepciju žene kao tijela koje služi za užitak drugih. Cilj ovog eksperimentalnog istraživanja bio je provjeriti utjecaj seksualno objektificiranog prikaza žrtve na stupanj sekundarne viktimizacije (procjenu njezine patnje i odgovornosti) nakon zločina seksualne i neseksualne naravi. Također, ispitali smo individualne razlike u sklonosti prema sekundarnoj viktimizaciji te istražili ulogu mehanizma dehumanizacije. Istraživanje je provedeno putem interneta s 335 sudionika u dobi od 18 do 35 godina. Sudionici su podijeljeni u četiri nezavisne skupine, ovisno o prikazu žrtve (objektificiran i neobjektificiran) i scenariju zločina (seksualan i neseksualan). Nacrt ovog istraživanja bio je faktorijalan a rezultati složene analize varijance pokazali su da objektificirani prikaz žene ima utjecaja na procjenu njezine odgovornosti (ne i na procjenu stupnja patnje) nakon seksualnog zločina, ali ne i neseksualnog zločina. Seksualno objektificiranu ženu percipira se odgovornijom za doživljeno silovanje, ali mehanizam dehumanizacije ne posreduje tom odnosu. Pearsonovi koeficijenti korelacije pokazali su da je značajni sociodemografski prediktor procjene žrtvine patnje spol, pri čemu muškarci žrtvinu patnju procjenjuju nižom od žena. Nadalje, manje mjesto odrastanja i niži prosječni prihodi obitelji povezani su s višom procjenom žrtvine odgovornosti. Hijerarhijskom regresijskom analizom utvrđeno je da je najvažniji osobni prediktor sklonosti k sekundarnoj viktimizaciji, pri procjeni patnje i pri procjeni odgovornosti, rezultat na Skali desničarske autoritarnosti (Altemayer, 1981) što može imati važne praktične implikacije pri odabiru medicinskog, policijskog, pravnog i psihološkog kadra koji radi sa žrtvama zločina. Secondary victimization refers to a range of negative attitudes and behaviors toward victims of primary victimization/crime. The degree of secondary victimization could depend on the extent to which human-specific traits are attributed to the victim. When it comes to women, dehumanization i.e. denial of humanness can often result from a sexually objectified portrayal – a portrayal that encourages the perception of a woman as a body that serves to pleasure others. This experimental study aims to examine the impact of the sexually objectified portrayal of a victim on the degree of secondary victimization (assessment of her suffering and responsibility) after crimes of a sexual and non-sexual nature. We also examined individual differences in propensity for secondary victimization and explored the role of dehumanization. The study was conducted online, with 335 participants aged 18 to 35. Participants were divided in four independent groups dependent on victim's portrayal (objectified and non-objectified) and the crime scenario (sexual and non-sexual). The design of the study was factorial and the complex analysis of variance showed that an objectified portrayal of a woman has an impact on the assessment of her responsibility (but not on the assessment of suffering) after a sexual crime but not a non-sexual one. A sexually objectified woman is perceived as more responsible for the rape though not through the mechanism of dehumanization. Pearson's correlation coefficients showed that the gender is a significant sociodemographic predictor of the assessment of victim's suffering, with men assessing the victim's suffering as lower. Furthermore, smaller hometown and lower family incomes are associated with a higher assessment of victim's responsibility. The hierarchical regression analysis has shown that the most important personal predictor of the propensity for secondary victimization (in assessing suffering as well as victim's responsibility) is the score on the Right-Wing Authoritarianism Scale (Altemayer, 1981) which could have important practical implications while selecting medical, police, legal and psychological staff working with crime victims.

U ovom radu opisan je niz običaja u kontekstu tradicijske kulture u Sinjskom kraju. Opisan je arhaičan oblik pjesme ojkavica koja je pod zaštitom UNESCO-a s nijemim kolom, ali i rera. Čudesna obrana Sinja je povijesna predaja s elementima čudesnog. Motivi poput vila, groblja, skrivenog blaga imaju mitološku podlogu i spadaju pod mitske predaje. Demonološke priče brojčano su na samom vrhu tradicijskih predaja, a najčešći demoni su vukodlaci i vještice. U hrvatskoj etnografiji Božić i Uskrs su vjerski blagdani s bogatim tradicijskim običajima. Usmena književnost zbog svoje općedruštveno korisne uloge može biti oružje u borbi s dehumanizacijom i konzumerizmom., This paper describes a number of customs in the context of traditional culture in the Sinj region. The archaic form of the song ojkavica, which is under the protection of UNESCO with a silent circle dance, is described, as well as rera. The miraculous defense of Sinj is a historical tradition with elements of the miraculous. Motifs such as fairies, cemeteries, hidden treasures have a mythological basis and fall under mythical traditions. Demonological stories are numerically at the very top of traditional traditions, and the most common demons are werewolves and witches. In Croatian ethnography, Christmas and Easter are religious holidays with rich traditional customs. Oral literature, due to its socially useful role, can be a weapon in the fight against dehumanization and consumerism.

Od pretpovijesnog razdoblja do danas ljudski su postupci obilježeni nasiljem. Načini i sredstva kojima čovjek porobljava, ubija, ponižava i vara pripadnike vlastite vrste s vremenom postaju sve ubojitiji i domišljatiji. Jezik kao spremnik i prijenosnik ljudskog iskustva, znanja i društvene razmjene istodobno vlastitim sredstvima i načinima bilježi cjelokupnu ljudsku zbilju često prikrivajući njezino destruktivno naličje. O tome svjedoče rječnici, u kojima su činjenice zabilježene, i diskursi kojima se te činjenice prikrivaju. Na leksičkoj razini najčešće se radi o eufemizmima, disfemizmima, metaforama i metonimijama. Na razini diskursa radi se o cirkumlokucijama, redefinicijama pojmova i mistifikacijskim poigravanjima jezičnim znakom koja zrcale dehumaniziranu, štoviše, protuljudsku stvarnost. U članku se istražuju te komentiraju rječnički primjeri i diskursi koji otkrivaju jezične i sociološko-antropološke dimenzije nasilne konstante ljudske prirode., From the prehistoric era to the present day, human actions have been marked by violence. With time, the ways and means used by men to enslave, kill, humiliate and deceive members of their own kind have become deadlier and more ingenious. Language, as the container and transmitter of human experience, knowledge and social exchange, marks the entire human reality, often concealing its destructive facet. The witnesses to this are dictionaries, where facts, as well as discourses used to obscure them, are stored. At the lexical level, these are most often various euphemisms, dysphemisms, metaphors and metonyms. At the level of discourse, these are circumlocutions, notion redefinitions and mystifying dabblings with linguistic signs, which mirror a dehumanized, and moreover, an antihuman reality. This paper explores, states and comments on lexical examples and discourses which reveal linguistic and socioanthropological dimensions of the violent constant of human nature.

The author argues that the politicization of life discussed by many modern and contemporary political thinkers cannot be treated differently, and hence without the similar curiosity and importance, from the politicization of death. The dead body represents a powerful symbol and as such it is often politicized. The paper deals with the problem of postmortem violence and juridico-political mechanisms aimed at excluding from the political body those not being alive but whose dead presence threats the living. For that purposes the author reconstructs Sophocles’ Antigone as a paradigmatic text whose reinterpretation and contextualization serve for rethinking the Greek conceptualization of the dead, and the ways in which the state penetrates into the realm of private attachments and funeral rites, especially when dealing with dead traitors/terrorists. Assuming an equal ontological status of every dead body, the author, on the one hand, defends mortalist humanism as an equal ability to grieve someone’s personal loss against the state-sanctioned politics of mourning, and on the other hand, argues that subjecting the dead to bare death, i.e. by turning them to political corpses as legally constituted dead human entities disposed to postmortem political exclusion, degradation, violence, or to other dehumanizing or depersonalizing practices, accounts for the illegitimate expansion of political power, and thus for the rule of terror, as well as for the ultimate human evil., Autor tvrdi da se politizacija života, o kojoj govore mnogi moderni i suvremeni politički mislioci, ne može tretirati drugačije, a samim tim i bez sličnog zanimanja i važnosti, od politizacije smrti. Mrtvo tijelo predstavlja snažan simbol i kao takvo je često ispolitizirano. U radu se govori o problemu posmrtnog nasilja i pravno-političkim mehanizmima koji imaju za cilj isključiti iz političkog tijela one koji nisu živi, ali čija mrtva prisutnost prijeti živima. U tu svrhu autor rekonstruira Sofoklovu Antigonu kao paradigmatski tekst čija reinterpretacija i kontekstualizacija služi za ponovno promišljanje o grčkoj konceptualizaciji mrtvih, kao i o načinima na koje država prodire u domenu privatnih veza i pogrebnih obreda, posebice kad se bavi mrtvim izdajnicima/teroristima. Pretpostavljajući jednak ontološki status svakog mrtvog tijela, autor, s jedne strane, brani mortalistički humanizam kao jednaku mogućnost žalovanja nečijeg osobnog gubitka nasuprot državno određenim politikama žalovanja, a s druge, strane tvrdi da podvrgavanje mrtvih goloj smrti, tj. njihovim pretvaranjem u političke leševe kao pravno konstituirane mrtve ljudske entitete podložne posmrtnom političkom izopćenju, degradaciji, nasilju ili drugim dehumanizacijskim i depersonalizacijskim praksama, čini nelegitimno širenje političke moći, a samim time i vladavinu terora, kao i krajnje ljudsko zlo.

Kada govorimo o povijesnim zbivanjima gotovo uvijek razmišljamo o narodima, državama, velikim brojevima. Često, polazeći upravo od veličine, zaključujemo da se nešto jednostavno, zbog tijeka stvari, moralo dogoditi i da nikakvo ponašanje pojedinaca ne bi to moglo promijeniti. Naravno, prošlost danas više ne možemo promijeniti, ali kada su se ta događanja dešavala, za osobe tih vremena to je bila sadašnjost. I te osobe, ili barem u većini, morale su birati. Članak opisuje projekte koji uče o pojedincima koji su odgovorili na izazov izbora., The author of this article presents projects which were carried out in order to show holocaust through the stories of individuals who had chosen to act against it, in this way putting their own lives in danger.

From the Middle Ages to Victorian era, the image of Jewish characters in English literature was mainly based on social stereotypes. Jewish characters are represented as dehumanised social creatures whose individual, personal traits border on madness and monstrosity. In that way literary fiction, together with the society creates images of the Jews which reveal processes of othering. Chaucer was the first author who used social stereotypes in creation of the villainous Jewish characters in his short story The Prioress’s Tale which was published in his collection The Canterbury Tales. The trend continued in Renaissance. Shakespeare’s character Shylock was one of the most famous Jewish villains in the world of literature. His main characteristics were avarice, slyness, greed and hatred towards Christians. His character was even included in the Nazi propaganda against the Jewish people in World War II. Marlowe’s character Barabas was the same as Shylock. Barabas’s name is important because of the connection with the Bible and the famous Jewish murderer. Victorian era brought the first positive Jewish character, Riah. His characteristics separated him from the other Jewish characters, such as altruism, sincerity and honesty. Riah is the character in the novel Our Mutual Friend, written by Dickens. The same author wrote the novel Oliver Twist. One of the main characters in the novel was Fagin. Fagin was similar to Shakespeare’s Shylock. His doings and relations with other people proved that Jewish stereotypes were actual in the Victorian era as well. A comparative reading of Chaucer’s The Prioress’s Tale and Dickens’s Oliver Twist proved that images of Jewish characters remained the same for five hundred years. The same jobs, actions and behaviour labelled Jewish characters from Middle Ages to Victorian era. Chaucer’s Jewish characters were prototypes for other Jewish characters in English literature including Dickens’s character Fagin, who is considered the most stereotypical Jewish character in the history of English literature. Od srednjeg vijeka do Viktorijanskog doba, prikaz likova Židova u engleskoj književnosti bazirao se na stereotipima. Likovi Židova prikazani su kao dehumanizirana društvena bića čija individualna svojstva graniče s ludosti i monstruoznosti. Na taj način književna fikcija zajedno s društvom stvaraju prikaz Židova koji otkriva procese drugotnosti. Chaucer je bio prvi autor koji je iskoristio društvene stereotipe u stvaranju zločinačkih židovskih likova u svojoj kratkoj priči The Prioress’s Tale koja je objavljena u njegovoj kolekciji The Canterbury Tales. Trend se nastavio u Renesansi. Shakespeareov lik Shylock bio je jedan od najpoznatijih židovskih zlikovaca u književnom svijetu. Njegove glavne karakteristike bile su škrtost, prepredenost, pohlepa i mržnja upućena prema kršćanima. Njegov lik bio je čak dio nacističke propagande protiv Židova u Drugom svjetskom ratu. Baraba, lik kojeg je stvorio Marlowe, bio je poput Shylocka. Barabino ime je bitno zbog poveznice s Biblijom i poznatim židovskim ubojicom. U Viktorijanskom dobu pojavio se prvi pozitivan židovski lik, Riah. Njegove karakteristike bile su suprotne onima koji su imali ostali likovi Židova poput iskrenosti, altruizma i poštenja. Riah je lik iz romana Our Mutual Friend kojeg je napisao Dickens. Isti autor napisao je roman Oliver Twist. Jedan od glavnih likova u romanu bio je Fagin. Fagin je bio sličan Shakespeareovom Shylocku. Njegova djela i odnosi s drugim ljudima dokazala su da su stereotipi o Židovima bili aktualni i u Viktorijanskom dobu. Usporedno čitanje Chaucerove priče The Prioress’s Tale i Dickensovog romana Oliver Twist dokazalo je da su prikazi likova Židova ostali isti kroz petsto godina. Isti poslovi, postupci i ponašanje etiketirali su likove Židova od Srednjeg vijeka do Viktorijanskog doba. Chaucerovi likovi Židova bili su prototipi za ostale likove Židova u engleskoj književnosti uključujući Dickensovog lika Fagina koji se smatra jednim od najstereotipnijih likova Židova u povijesti engleske književnosti.

The goal of this analysis is to study the phenomena of the construction of national identity in the context of cultural representation, antagonization and demonization through the framework of Hollywood spy-movies and movies focused on the matters of mass surveillance and security. For this analysis, two movies based on real events (Snowden, Bridge of Spies) and two fictional movies were used in order to depict certain elements that are crucial in the portrayal of collective identity. Within this context the emphasis is placed on Benedict Anderson's concept of "imagined communities" along with other associated concepts of numerous other authors which were used in this analysis. Through the context of these cultural processes and phenomena the movie is interpreted as an "ideological machine" which enforces, promotes and perpetuates collective perception and values of a certain community, in this case, the United States of America. Cilj ove analize jest proučiti fenomen konstrukcije nacionalnog identiteta u kontekstu kulturne reprezentacije, antagonizacije, te demonizacije kroz okvir Hollywoodskih špijunskih filmova, te filmova fokusiranih na pitanja masivnog nadziranja i sigurnosti. Za ovu analizu su korištena dva filma temeljena na istinitim događajima (Snowden, Bridge of Spies), te dva fiktivna filma (Enemy of the State,The Pelican Brief) u svrhu oslikavanja određenih elemenata koji su ključni u prikazivanju i analizi kolektivnog identiteta. Unutar tog okvira se stavlja naglasak na koncept "zamišljenih zajednica" Benedicta Andersona, te na povezane koncepte mnogobrojnih drugih autora koji su korišteni unutar ove analize. Kroz kontekst ovih kulturnih procesa i fenomena se film postavlja kao svojevrsni "ideološki stroj" koji podupire, primjenjuje, te ovjekovječuje kolektivnu percepciju i vrijednosti određene zajednice, u ovom slučaju, Sjedinjenih Američkih Država.

Prvi svjetski rat bio je (ne)očekivana situacija zastrašujućeg intenziteta koja je uvelike izmijenila dotadašnje pojmove i rasprave o ograničenosti ratnih djelovanja. Bio je pomalo »očaravajući« za tehnologe, uzbudljiv za političare i šokantan za intelektualce. Međunarodni odnosi (preko Lige naroda i Ujedinjenih naroda) nakon Drugog svjetskog rata više nikad nisu bili isti, uz tihe ratove koje su vodili idealisti i realisti teorija politike i međunarodnih odnosa. Kenneth Waltz, kao neorealist, usmjerava raspravu o smislu rata manje na pitanje ljudske prirode, a više prema pitanjima država, međunarodnih sustava te prema globalnoj strukturi koje stvara potrebu za ratovanjem ili za uspostavljanjem mira. Uviđa da suvremene metode (filozofije) politike i političke znanosti valja i dalje prožimati s klasičnim pristupima i kriterijima filozofske i političke misli. U raspravi o naravi ratovanja ili nužnosti mira valja razotkrivati koncepte sile i državne dominacije – koja se provodi u kulturnoj, tehnološkoj pa i masmedijskoj sferi – i kritičkim pristupom Noama Chomskog. Potrebno je i (re)afirmirati stav javnosti, reakcije intelektualaca i ozračje što ga je izazvao Prvi svjetski rat da bismo se – i kroz eseje Hermanna Hessea – bolje suočili s današnjom postmodernističkom dehumanizacijom i beznađem aktualnih koncepcija i perspektiva ratovanja., World War I was the (un)expected situation of frightening intensity that has greatly changed the prior concepts and discussions about the limitations of war operations. It was somewhat “enchanting” for technologists, exciting for the politicians, and shocking for the intellectuals. International relations (through the League of Nations and United Nations) after World War II changed, with silent wars being led by idealists and realists of the theory of politics and international relations. As a neorealist, Kenneth Waltz directs discussion about the meaning of war less towards the matter of human nature, and more towards the questions regarding countries, international systems, and global structure that create the need for a war or the need for establishing peace. He recognizes that modern methods of (philosophy of) politics and political science should still be pervaded with classical approaches, and criteria of philosophical and political thought. In the debate about the nature of war or about the necessity of peace, the concepts of force and the state domination should be exposed. They are carried out in the cultural, technological, and even in the mass media sphere, and here Noam Chomsky’s critical approach is needed. Attitude of the public, the reaction of intellectuals, and the atmosphere which was caused by the First World War has to be (re)affirmed in order to – and through the essays by Hermann Hesse – better face with today’s postmodern dehumanization, and the pointlessness of current concepts and perspectives of War

The author in this paper elaborates the postmodern view of the consumer society using Mark Ravenhill's play Shopping and Fucking as a representative text. The play depicts modern environment under the influences of consumerism and capitalism. The paper analyses the features of the modern sociey, such as an excessive consumption, materialism, exploatation of the human body, loss of protection and identity, explaining the causes and consequences of the arrival of consumerism. It also analyses the problem of prototypical human relationships. Ravenhill's perception of the contemporary world and a perception of the other authors, primarily of Zygmunt Bauman and Jean Baudrillard, are explained as well. Autor u radu obrazlaže postmoderno viđenje konzumerističkog društva služeći se dramom Marka Ravenhilla Shopping and Fucking kao reprezentativnim tekstom. Drama oslikava suvremeno okruženje pod utjecajem konzumerizma i kapitalizma. Rad analizira osobine modernog deuštva kao što su: pretjerana potrošnja, materijalizam, iskorištavanje ljudskog tijela, gubitak zaštite i identiteta, objašnjavajući uzroke i posljedice pojave konzumerizma. Također analizira problematiku ljudskih odnosa. Ravenhillova percepcije modernog svijeta i percepcija drugih autora, ponajprije Zygmunta Baumana i Jeana Baudrillarda, također su objašnjene.

Digitalno doba, posebno budući trendovi medijskog posredovanja između stvarnog i virtualnog, traži novo razumijevanje ljudskog, osobito u aspektima individualnog i društvenog života. Digitalizacija zbiljskog života i njegovo medijsko posredovanje postavlja pred naše mišljenje zadatak putovanja u samu bit dehumanizacije čovjeka i njegova svijeta. Uranjanje u virtualnu stvarnost, međusobno povezivanje i umrežavanje korisnika interneta, rezultirat će pojavljivanjem novih etičkih pravila i moralnih načela zajednice. U prostoru između pojačanog nadzora i utjecaja na mase, ali i izoliranih pojedinaca i korisnika u virtualnom, odnosno zbiljskom svijetu, razvijat će se novi obrasci društvene komunikacije. Društvene vrijednosti na koje se danas pozivamo izgubit će svoje zbiljsko utemeljenje jer virtualna stvarnost omogućuje bestjelesno lutanje beskrajnim prostorvremenom u kome svaki pojedinac može imati mnoštvo identiteta. Pojmovi kao što su identitet, zbilja, posredovanje ili čovjek, još uvijek se tumače u okviru prevladavajućeg mišljenja koje tim pojmovima pripisuje neko određeno značenje i nije spremno na ustupke. Čovjek je ideologem. Ljudsko je ideologem. Humanost je konvencija. Središnje pitanje suvremenih rasprava o nekoj trenutnoj postavljenosti čovjeka u svijetu jest upravo pitanje mogućnosti mišljenja ljudskog. Čini se kako je došlo vrijeme za ispisivanje novog pojmovnika, jer se u vidokrugu ljudskoga pojavljuju neka nova obličja i tvorbe i njihovo postojanje mora se uzeti u obzir. S obzirom na to da se rađaju u digitalnome svijetu, možemo ih zvati digentitetima. Digitalna komunikacija i nadolazeća digitalna kultura mogu pojedincu donijeti privid osobnog ispunjenja, ali i promjene u percepciji intenziteta otuđenja, odnosno mogućnosti novog poimanja zbiljskog svijeta. Kako se snalaziti u tim virtualnim svjetovima i kakve će posljedice to imati na naš zbiljski svijet? Možemo li, na temelju sadašnjih filozofijskih i znanstvenih istraživanja postaviti obzor takvih, digitalizacijom kulture čovjeka, postavljenih promjena? Čeka li nas između daljnjeg usavršavanja i razvoja kiborgizacije i dronova neka nova online stvarnost poboljšana hologramskim i 3D atributima? Držimo da su promišljanje ljudskog i uspostava primjerenih etičkih načela presudni za opstanak čovjeka kao ljudskog bića.

Historical-civilizational genesis of a humanity reposes on determined existential, being between humanization and dehumanization. Today's phase of civilization moving through its own extreme inhumanity, based on alienated gender essence of a man through alienated work, fetishization of profit, social injustice, formal democracy, immorality, use of force, alienated culture, etc. Struggle for survival of humanity on planet Earth, will make humanity to over- run its own dehumanization. Istorijsko-civilizacijska geneza ljudskog roda počiva na predodređenom egzistencijalnom obitavanju između humanizacije i dehumanizacije. Današnja faza civilizacijskog kretanja svoju ekstremnu nehumanost bazira na alijeniranoj rodnoj suštini čoveka kroz otuđeni rad, fetišizaciju profita, socijalnu nepravdu, formalnu demokratiju, nemoral, upotrebu sile, postvarenu kulturu i sl. Borba za goli opstanak ljudskog roda na planeti Zemlji nateraće ga da u budućnosti prevaziđe vlastitu dehumanizaciju.

Straipsnyje atskleidžiamos kultūros istoriko, psichologo, pedagogo, teologo, rašytojo, Štuthofo koncentracijos stovyklos kalinio, kunigo, profesoriaus Stasio Ylos (1908–1983) darbuose aprašytos dehumanizacijos, t. y. nužmogėjimo, išsigimimo, patirtys, taip pat pastangos išlikti žmogumi, dvasinio prisikėlimo galimybė. Remiamasi šiais S. Ylos darbais: studija „Komunizmas Lietuvoje“ (paskelbta Kaune, 1937 m.), atsiminimų knyga „Žmonės ir žvėrys Dievų miške“ (išleista Putname, JAV, 1951 m., perleista Lietuvoje, 1991 m.), rankraštine knyga „Paskaitos, pamokslai, maldos Štuthofe“ (rašyta 1943–1944 m.). This article reveals the experiences of dehumanization, i.e., inhumanity and degeneracy, experienced by and described in the works of Prof. Stasys Yla (1908–1983) – cultural historian, psychologist, pedagogue, theologist, writer as well as inmate and priest at Stutthof concentration camp. The article also examines his efforts in remaining as humane as possible and in seeking opportunities for spiritual resurrection. The following works of Yla are studied: the study "Communism in Lithuania" (Kaunas, 1937, his book of memoirs "People and Beasts in the Forest of the Gods" (Putnam, US, 1951, re-released in Lithuania in 1991) and a collection of his manuscripts titled "Lectures, Sermons and Prayers in Stutthof" (written during 1943–1944, re-released in 2018). Having himself experienced the terror of totalitarianism and the brutality induced by propaganda theories, Yla presents a commanding expression of this suffering in his works. Revealing the horror of the total elimination of people that he was a witness to, he not only shows the tragedy of dehumanization but also highlights the anthropological factors that encouraged him to keep his humanity, giving him the chance to experience moments of creativity and nurture his eschatological belief in faith. Yla’s efforts to reveal a person’s psychological transformation and the experiences that express this change are undoubtedly valuable.

Rad se bavi pitanjem dehumanizacije u području modnog dizajna i pitanjem funkcionalnosti odjeće. Rezultat rada je kolekcija modne odjeće od šest odjevnih kombinacija u čijem fokusu stoji pitanje prevođenja ženskog tijela u modni objekt.

Autor u razmatranju polazi od postavke da je svrstavanje Ortege y Gasseta i njegove filozofije života u mislioce konzervativne kritike kulture izgubilo svoju vjerodostojnost. Radi se o autentičnome nastojanju rehumaniziranja svijeta polazeći od ideje o kraju modernosti i napretka zapadnjačke civilizacije. Ortega y Gasset je pitanje o smislu umjetnosti izveo u svezi s razmatranjem o biti tehnike. Pritom je autonomija djela moderne umjetnosti i suverenost događaja suvremene umjetnosti ono što više ne odgovara na izazove tehničke samofabrikacije svijeta. Čovjek nije u središtu svijeta, kao što svijet nije više predmetom neutralne filozofije izvan onoga što određuje postajanje života samoga kao projekta egzistencije. U iscrpnoj analizi dehumanizacije umjetnosti i tehničke konstelacije bitka u 20. stoljeću, autor pokazuje da je Ortega y Gasset uz Heideggera dalekosežno shvatio kako se drama ljudskoga života ne može više razumjeti drukčije negoli iz iskustva vitalnoga uma s onu stranu racionalizma i psihologizma modernih znanosti. Povijesnost slobode otvara mogućnost da umjetnost otvori drukčije razumijevanje života od metafizičkoga razlikovanja uma i tjelesnosti. No, kada se u doba posthumanoga stanja tehnički karakter egzistencije stvara iz logike »umjetnoga uma« (A-intelligence) tada je ravnodušnost prema umjetnosti postala druga strana ljudske sudbine. Stoga je potrebno iznova promisliti alternativu metafizičkome mišljenju Zapada u onome što dolazi s pojmom duše i njezine nesvodljivosti na bilo kakvu tehniku i tehnologiju., The author tries to explore the problem of articulating the metaphysical issues made by Ortega y Gasset from the premise that classification of his philosophy of life in the manner of conservative cultural critique has lost its credibility. It should be useful to underline the efforts of rehumanization of the world starting from the idea of the end of modernity and progress of Western civilization. Ortega y Gasset has opened the question about the meaning of art deeply brought in close connection to a review of the modern technology. It is the autonomy of works of modern art and sovereingty of contemporary art events that is no longer responding to the challenges of technical world. The human is no longer the center of the world, as the world is no longer the subject of a neutral philosophy beyond what determines the becoming of life itself as a project of existence. In detailed analysis of dehumanization of art and technical constellation of Being in the 20th century, the author shows how clearly Ortega y Gasset along with Heidegger realized far-reaching way beyond the drama of human life and can no longer be understood otherwise than by experience of vital mind on other side of the rationalism and psychologism. Historicity of freedom opens the possibility that art should be an dispositif of different understanding the life from the metaphysical distinction of mind and body. But in the core of the posthuman condition, the technical character of existence created by the logic of “artificial mind” (A-intelligence) has produced some kind of uncanny apathy to the art as the other side of human destiny. Therefore, it is necessary to rethinking the alternative to metaphysical thought of the West in time to come with the term ‘soul’ and its irreducibility to any kind of modern technology.

Članak prikazuje izvanučioničku nastavu u Spomen-području Jasenovac s osmašima Osnovne škole „Vladimir Nazor“ Čepin. Razgledajući Memorijalni centar Jasenovac učenici su sudjelovali u radionici koju organiziraju kustosi Muzeja. Cilj je bio upoznati mjesto zločina s naglaskom „ne ponovilo se nikada više“. Učenici su to spoznali u neposrednoj životnoj stvarnosti. Rad izvan učionice potiče veću aktivnost učenika, potiče ih na istraživanje, otkrivanje novoga i međusobnu suradnju. To je i najveća vrijednost terenske nastave. Učenike učimo novom načinu života i odnosu prema prošlosti: uz dužnost sjećanja jednako je važna i dužnost življenja u drukčijem, nenasilnom i humanijem dobu, poštujući društvene razlike i pojedinačnu slobodu pripadnika svake nacije., The paper describes an extracurricular class held in Jasenovac Memorial Site with pupils of Elementary School Vladimir Nazor from Čepin. While visiting Jasenovac Memorial Site students participated in a workshop organized by the curators of the museum. The aim of the workshop was to teach the pupils about the horrendous crimes that occurred there and why they must never repeat. Students learned that lesson on the spot. Activities outside the classroom encourage students to be more active, to explore, discover new things and cooperate, which is where the largest value of fieldwork lies. Students are taught about a new way of life and the relationship towards the past: the duty to remember is equally important as the duty to live in a different, non-violent and more humane age and to respect social differences and individual freedoms of members of each nationality., Der Beitrag beschreibt den außerschulischen Unterricht an der Gedenkstätte Jasenovac mit den Achtklässlern der Grundschule Vladimir Nazor, Čepin. Bei der Besichtigung der Gedenkstätte Jasenovac nahmen die Schüler an einem Workshop teil, der von den Kuratoren des Museums organisiert wird. Es war das Ziel, den Schauplatz des Verbrechens kennen zu lernen, wobei betont wurde, dass sich so etwas nie wieder wiederholt. Die Schüler haben das in unmittelbarer Lebensrealität wahrgenommen. Der Unterricht außerhalb des Klassenzimmers fördert die Aktivität der Schüler, ermutigt sie zur Erforschung, Entdeckung und Zusammenarbeit. Das ist der größte Wert der Lehrwanderung. Die Schüler lernen eine neue Lebensart und ein neues Verhältnis zur Vergangenheit: die Pflicht zur Erinnerung ist ebenso wichtig wie die Pflicht des Lebens in einer anderen, nicht-gewalttätigen und menschlicheren Epoche, wobei die sozialen Unterschiede und die Wahrung der individuellen Freiheit der Mitglieder jeder Nation beachtet werden.

Uloga obuhvaća skup očekivanih ponašanja koja su povezana s određenim društvenim položajem. U ovom radu će biti prikazane najvažnije teorije uloga: tradicionalna, interakcijska i sociokognitivna teorija. Poznavanje mehanizma djelovanja uloga je važno, između ostalog, zbog objašnjenja destruktivnih ljudskih ponašanja koja se javljaju pod utjecajem ekstremnih situacijskih sila. S obzirom na to da se uzroci ljudskog ponašanja često neopravdano traže isključivo u dispozicijskim značajkama zanemarujući pritom utjecaj situacije i socijalnih procesa na djelovanje osobe, glavni zadatak ovog rada jest objasniti socijalnu dinamiku situacije i njen utjecaj na ponašanje. Kao izravan pokazatelj promjenjivosti ljudskog ponašanja u ekstremnim uvjetima, u radu su navedena dva najpoznatija istraživanja u ovom području: Millgramovo istraživanje slijepog pokoravanja autoritetu i Zimbardova simulacija zatvorskog okruženja. U radu se navode socijalni procesi dehumanizacije, deindividuacije, pojava anonimnosti i difuzije odgovornosti te model moralnog distanciranja kao čimbenici koji pridonose stvaranju uvjeta za nehumano postupanje i masovne zločine. Poseban naglasak je dan na ulazak u ulogu i transformaciju prosječnih ljudi u zločince te različite mehanizme odvajanja uloge od vlastitog ja. Objašnjenje očuvanja vlastitog samopoštovanja se u radu odnosi na smanjenje kognitivne disonance uzrokovane nehumanim postupcima, i to kroz stvaranje mržnje i agresije prema žrtvi, okrivljavanje žrtve, racionaliziranje i defragmentaciju zla. Banalnost zla je karakteristična za najpoznatije primjere ljudske destruktivnosti, poput ''rješavanja židovskog pitanja'' i nedavnih zlostavljanja u zatvorima Abu Ghraib i Guantanamo, koji su proizašli iz kombinacije situacijskih utjecaja, dio su sadržaja koji se može objasniti primjenom teorije iz ovog područja socijalne psihologije

Središnja tema ovog rada jesu situacijski utjecaji koji uzrokuju promjenu karaktera dobrih ljudi u zle ljude. Te utjecaje sažeo je P.Zimbardo u pojam Lucifer efekta, a njegovo djelovanje pokazao je svojim poznatim stanfordskim eksperimentom simulacije zatvora (SESZ). U podlozi ovog pojma mnoštvo je različitih grupnih procesa, a ovdje ih je navedeno sedam. Prvi proces, poduzimanje prvog malog koraka, stvara unutarnji pritisak da se od malog nedjela prelazi na sve veća zlodjela. Takvo ponašanje počinitelji sebi i drugima objašnjavaju pomoću druga dva navedena procesa – slijepom poslušnošću autoritetu i difuzijom odgovornosti. Oba ta procesa naizgled oslobađaju počinitelja odgovornosti, čemu pridonosi i četvrti proces – deindividuacija. Ona čini počinitelja anonimnim i dopušta mu da djeluje bez ograničavajućih granica savjesti. Peti proces je dehumanizacija koja oduzima ljudskost potencijalnim žrtvama. Zadnja dva procesa posljedica su „automatskog pilota“ na kojem većina ljudi funkcionira. Radi nepromišljanja dolazi do nekritičkog prihvaćanja grupnih normi, što može rezultirati kršenjem uobičajenih društvenih normi, i do više pasivne inačice istoga – toleriranje zla nedjelovanjem. Međutim, ove situacijske utjecaje moguće je svladati pomoću informiranosti o tome kako djeluju, te razvojem svijesti o sebi, situacijske osjetljivosti i snalažljivosti.

Bivstvujući u svakodnevici u kojoj krik »O, tempora, o, mores!« postaje »Dobro jutro« našeg življenja, osobito u zemljama u tranziciji, razumljivo je zašto kultura postaje misaona imenica. To se ne događa iz razloga historijske gladi, nego radi nesposobnosti onih koji mijenjaju društveno uređenje da stvore kulturu u kojoj bi onaj koji plaća tranziciju razumio da se ono što se u nekim demokracijama razvijalo i postizalo stoljećima, ne može postići za jedno-dva desetljeća. Isti ti »mjenjači«, u nastojanju da se održe kao ikone spasa, sve češće posežu za vizualnim zasljepljivanjem onih na koje se te promjene društva, od jednog prema drugom uređenju, odnose. Žrtve ovoga namjernoga »vizualnog zasljepljivanja« su oni zbog kojih se postoji i stvara, oni koji predstavljaju budućnost društva – djeca. Iz tog razloga suočeni smo sa situacijom u kojoj obrazovni i kulturni procesi sve više postaju svrhom zadovoljenja »vizualne gladi«, umjesto građenja vizualne kulture čovjeka. Ako tako razumijemo početke gubljenja kulture, ne treba čuditi da se upravo u obrazovanju djece do 14 godina najviše susrećemo s nedostatkom vizualne kulture, a time i kulture prihvaćanja svijeta, što pak rezultira nesposobnošću prihvaćanja različitosti kao mogućeg načina stvaranja kulture po mjeri čovjeka. Prethodne lamentacije nisu same po sebi odgovor na pitanje što treba činiti, a što ne, već prije vapaj za novim pristupom kulturi, ne kao potrošnom dobru ili kao novom opijumu za mase, nego pristupu kulturi u kojem treba razviti sposobnost kultivirane percepcije svijeta kao osnovnog uvjeta za kreativnost i kulturu sâmu., Living at a time when the scream: “O tempora, o, mores!” becomes the “Good morning” of our lives, especially in the countries in transition, it’s understandable that culture becomes just a word. This does not only occur due to historic hunger, but due to the inability of those in charge of changing the social order to create a culture in which those that “pay” for transition can understand that something developed and achieved in some democracies over centuries, cannot be reached in only a decade or two. The very same “changers”, in their persistence to survive as icons of salvation, resort more and more to blinding those that the changes of one system into another, relate to. The victims of this deliberate “visual blindness” are especially those which are the reason of our existence and creation, more specifically, those who represent the future of the entire human society – children. This is why we are faced with a situation where the processes of education and culture became more a way to satisfy “visual hunger”, instead of a process of building and creation of the visual culture of every human being. If the roots of the loss of culture are understood this way, we should not be surprised by the fact that the education of children under 14 years of age has the greatest lack of real visual culture, and with that, the lack of world acceptance culture, which all results with an inability to accept difference as a possible way of creating a culture tailored to human beings. The previous lamentations do not tell us what to do or not to do, but a cry for a new approach to culture, not as a consumer good or a new opium for the masses, but rather an approach to culture in which we must developed the ability of a cultivated perception of the world, as a basic precondition for creativity and culture itself.

Autorė straipsnyje analizuoja krizinius meno reiškinius tarpukario Lietuvos estetikoje. Straipsnyje teigiama, kad kriziniai meno reiškiniai tarpukario Lietuvos estetikoje buvo nagrinėjami panašiai kaip ir F. Hegelio, F. Nietzsche's, O. Spenglerio, Ortega y Gasseto, Vl.Veidles teorijose. Autorė pagrindinį dėmesį skiria J.. Keliuočio, J. Griniaus, L. Šlapelio, S. Šalkauskio, A. Jakšto, J. Lindės Dobilo ir J.A. Herbačiausko koncepcijoms. Teigiama, kad J.Keliuotis analizavo menininko kraštutinio individualizmo apraiškas, kūrybos sumechaniškėjimą bei abstraktėjimą, siužetų neribotumą, grynųjų formų žaismą, nuoširdaus tikrovės jausmo praradimą. J.Grinius manė, kad nukrypęs nuo religinių pradų menas susmulkėjo ir pradėjo išsigimti, risdamasis į akademizmą, eklektizmą, bestiliškumą, formalizmą. Aplinkybes, kurios susmulkino ir nuskurdino meną, jis įžvelgė nuo Renesanso epochos, kai pradėjo įsigalėti subjektyvistinės teorijos, suskaldžiusios menininkų pasaulėvaizdį. Meno energija buvo perkelta praktiškiems masių poreikiams įgyvendinti. Naujojo meno abstraktumą, racionalumą, gryną formalumą, nulemtą išsekinusio asmenybę individualizmo, kritikavo L.Šlapelis. Su grynai subjektyvia kūryba, individualizmu, sakralinių vertybių praradimu meno nuopuolį, autorės nuomone, siejo ir S.Šalkauskis, A.Jakštas, J.Lindė-Dobilas. Visiškai priešingą poziciją gynė J.A.Herbačiauskas. Jo nuomone, tikrieji menininkai buvo pasmerkti dėl to, kad Lietuvoje buvo įprasta pataikauti prastam minios skoniui, buvo rašoma taip, kaip nutarta, o ne taip kaip liepdavo jausmas, individualus talentas. In her article, the author explores critical art phenomena in aesthetics of interwar Lithuania. The article states that critical art phenomena in aesthetics of interwar Lithuania were examined like in theories of Hegel, Nietzsche, Spengler, Ortega y Gasseto and Veidle. The author focuses mainly on concepts of J. Keliuotis, J. Grinius, L. Šlapelis, S. Šalkauskis, A. Jakštas, J. Lindė Dobilas and J. A. Herbačiauskas. The article says that J. Keliuotis analysed manifestations of the artist’s egomania, the process of creation becoming mechanical and abstract, unlimitedness of plots, play of pure forms and the loss of a sincere sense of reality. J. Grinius considered that, having deviated from its religious springs, art became trivial and began to degenerate rolling into academism, eclecticism, absence of style and formalism. He saw circumstances that made art trivial and impoverished it from the Renaissance epoch when subjectivist theories were becoming popular which shattered artists’ worldview. The energy of art was transferred for the implementation of the multitude’s practical needs. L.Šlapelis criticised abstractiveness and rationality of new art as well as its pure formality determined by individualism which exhausted personality. In the author’s view, S. Šalkauskis, A. Jakštas and J. Lindė-Dobilas also linked the fall of art to purely subjective creation, individualism and the loss of sacral values. J. A. Herbačiauskas supported a completely different position. In his opinion, true artists were doomed, since it was common in Lithuania to indulge a bad taste of the crowd and works were written as decided, rather than as dictated by a feeling or individual talent.

Šiame straipsnyje analizuojama dehumanizacijos sąvoka, jos vartojimo reikšmių laukas, susiejantis ją su tokiomis sąvokomis, kaip normalumas, normalizacija, prigimtis, t.y. sąvokomis, kurios išstumia tuos, kurie duotoje visuomenėje ar kultūroje neatitinka "normų", pvz., turi per mažą IQ, "nepajėgia įvykdyti PDG normatyvo", yra svetimos, kitos kultūros, seksualinės orientacijos ir pan. Bandoma parodyti šiuolaikinių dehumanizacijų skirtumus nuo "klasikinių" dehumanizacijų kaip animalizacijų. Tarptautinių žodžių žodyne žodis dehumanizacija apibrėžiamas kaip "humanizmo, žmoniškumo, žmogaus savybių nykimas". Apibrėžimas, atrodo, suprantamas. Bet ar aiškus? Ar šiandien galima aiškiai apibrėžti, kas yra "žmogaus savybės"? Kodėl šiame apibrėžime vartojamas žodis "žmoniškumas", kai žodis "žmoniškas", kaip aiškinama Lietuvių kalbos žodyne ,reiškia savybę, būdingą geram žmogui, humaniškumą, gerumą, vertumą, o kai kur liaudyje net ir pastojusią moterį? Ar dehumanizacija yra veiksmas, kai iš žmogaus atimamas jo gerumas, humaniškumas, vertumas, nutraukiamas nėštumas? Ar gal kada žmoguje savaime ima ir sunyksta jo žmogiškos savybės? Kokiu būdu ir kas konkrečiai yra tos žmogiškos savybės? In this article I analyze the notion of dehumanization, a field of its meanings in relationship with other notions, such as normal, normalization, nature, i.e. notions which supersede people who in a concrete culture, society do not fit "norms", for example, have a too low IQ, are of other culture, of not traditional sexual orientation, an so on... I try to make a distinction between classical forms of dehumanization as animalization, and actual forms of dehumanization as normalization, when proponents of normalization perceive those who do not fit "norms" as not so human, or their attitude toward them is dehumanizing, even if guided by quite noble goals. Experience of life among people with "learning disabilities" (or "not standard mental abilities") reveal this attitude as inhuman, and their existence simply deconstructs normalization as well as social role valorization.

The man is standing on the threshold of the Information Age in which information-communication technologies (in the further text as ICT) offer unimagined possibilities on every field of operating and of living. ICT spread human intellectual possibilities and with that they contributed a lot in developing of our civilization but there are some questions: is it our life in this Information Age better, nicer and easier? Are we more satisfied with our work and life? Are we safer thanks to the usage of ICT? On the other hand, there are opening some questions like are we more lonely and more occupied in our job and in our communication because of ICT? Well, with great advantages of its usage and evident benefits, ICT considers also bad consequences, that is, it has also negative sides – dehumanization of working, human relationships, culture. This means that a man is entrapped in continuous improving, so there is more and more present the opinion that ICT and some similar innovations, which are applying in hospitality industry, alienate people or they lead towards dehumanization and towards de-socialization inside the human component. Even if we can’t deny to the usage ICT some merits like development of quality in the area of preparation and offering service in hospitality industry or introduction of standardization as a prerequisite of offering service quality, it is incontestable that an enormous quantity of computer appliances in everyday work led towards the dehumanization., Čovjek stoji na pragu informacijskog doba u kojem mu informacijsko-komunikacijske tehnologije (u daljnjem tekstu: ICT) omogućavaju neslućene mogućnosti na svim područjima djelovanja i života. ICT su raširile ljudske intelektualne mogućnosti i s tim bitno doprinjele razvoju naše civilizacije, međutim postavljaju se pitanja je li u informacijskom dobu živimo lakše, ljepše i bolje? Je li nam rad nudi veće zadovoljstvo u radu i životu? Jesmo li sigurniji zahvaljujući upotrebi ICT? S druge strane, otvaraju se pitanja nismo li zahvaljujući ICT u radu i komuniciranju više zaposleni i usamljeni? Dakle, pored velikih prednosti uporabe i evidentnih koristi, ICT donose i mnoge škodljive posljedice, odnosno, razumno se pojavljuju i njihove negativne strane – dehumanizacija rada, ljudskih odnosa, kulture. To znači da je čovjek uhvaćen u zamku unapređivanja, pa sve više prevladavaju mišljenja da ICT i slične inovacije koje se primjenjuju u hotelskoj industriji, samo otuđuju ljude, odnosno dovode do dehumanizacije i desocijalizacije unutar ljudske komponente. Premda se uporabi ICT ne mogu osporiti zasluge za razvoj kvalitete u području pripreme i pružanja usluga u hotelskoj industriji, na brzini pružanja usluga i uvođenju standardizacije kao preduvjeta kvalitete pružanja usluga, neosporno je da je prevelika količina informatičkih uređaja u svakodnevnom poslu dovela i do pojave dehumanizacije.

O Petrarkinoj kanconi-frotoli 105 Mai non vo' piú cantar com'io soleva, koja se po heterogenosti i otporu što ga pruža tumačenju smatra iznimkom Kanconijera, Giacomo Leopardi je ustvrdio kako je hotimično napisana da se ne bi razumjela, što nije omelo trud brojnih tumača od 15. stoljeća do danas da, uz pomoć erudicije, arhivskih istraživanja i pomnih proučavanja položaja spomenutoga sastavka u pretpostavljenome narativnom sklopu što ga tvore ukupne &laquo ; rasute rime&raquo ; , pokušaju doprijeti do &laquo ; pravoga&raquo ; smisla pjesme, a time s nje i skinu sumnju da je nesuvisla i disperzivna, samodostatna jezična igra. Premda se ishodi povijesnih interpretativnih napora međusobno razlikuju, zajednička im je težnja da semantički &laquo ; discipliniraju&raquo ; i &laquo ; normaliziraju&raquo ; jogunasti tekst prilagođujući mu smisao općeprihvaćenoj izotopiji intencionalne ispovijesti o ljubavnim nedaćama i moralno-religioznim kolebanjima lirskoga subjekta, koji uglavnom odgovara bilo empirijskoj bilo fiktivno konstruiranoj osobi svojega autora. Nasuprot interpretativnim postupcima koji se oslanjaju na kontekstualizaciju, odnosno ko-tekstualizaciju tekstualnog značenja, a na temelju brojnih uvida osobito modernih tumača u aluzivno-citatne segmente kojima kancona upućuje na svoju ovisnost o kodu provansalske lirike i o Danteovu nasljeđu, članak predlaže čitanje kancone 105 kao doslovno autoreferencijalnog teksta koji, iskorištavajući lirski obrazac &laquo ; promjene načina pjevanja&raquo ; i odbijanja ljubavi, kriptično ispovijeda vlastitu narav autometateksta te izazovno naznačuje svoj vlastiti pragmatički program kao unaprijed zadan promašaj. Ponuđeno tumačenje polazi, s jedne strane, od &laquo ; dehumanizacije&raquo ; i dereferencijalizacije lirskoga subjekta, a s druge, od radikaliziranog antropomorfizma kakav obilježuje metaforiku kojom mnogi teorijski diskurzi opisuju semantičke, pragmatičke i intertekstualne aspekte funkcioniranja književnog teksta: iskazivačko ja, prema tome, pripada samome tekstu kancone 105, metateksta o šest tekstualnih funkcija kako ih je odredio Jakobson, komentara vlastite nemoguće razumljivosti i &laquo ; ispovijedi&raquo ; o paradigmatskom paradoksu trajne zatvorenosti teksta i trajne otvorenosti interpretacije.

Nemažai autorių fokusuojasi į gerovės valstybės modelių analizę, bet daugiausiai ši analizė susijusi su turtingomis kapitalistinėmis šalimis. Tuo tarpu specifiniai būdai kaip gerovė buvo teikiama sovietmečiu arba kaip šie režimai buvo modifikuoti, perkurti pokomunistinėse šalyse, ilgą laiką buvo ignoruojama. Šio straipsnio tikslas buvo ištirti, kaip pasikeitė gerovės režimas Lietuvoje ir kaip tai paveikė gerovės gavėjus. Pasirinkti tyrimo metodai buvo: archyvinė gerovės gavėjų bylų analizė, etnografinis tyrimas socialinių reikalų skyriuje ir pusiau struktūruoti interviu. Tyrimo duomenų analizė atskleidė, kad gerovės sistema tapo (1) labiau biurokratizuota ir profesionalizuota; (2) įgijo labiau diferencijuojantį pobūdį ir (3) tapo labiau informalizuota. Visi šie pokyčiai paveikė gerovės gavėjų savigarbą. Pasikeitęs gerovės režimas įtakojo moterų socialinę ir psichologinę poziciją, veikdamas kaip dehumanizuojantis mechanizmas. Analizuojant gerovės režimų kaitą, atsisakyta griežtos socializmo – posocializmo priešpriešos. Tyrimo duomenys atskleidė, kad gerovės režimo pokyčiai įvyko vėliau nei buvo atgauta nepriklausomybė. Taigi, išskirti ir paaiškinti tokie gerovės režimų tipai: „privaloma gerovės sistema“ (iki 1994 m.) ir „liberalioji biurokratinė gerovės sistema“ (po 1994 m.). 1994 yra skiriamoji riba ne tik dėl to, kad šiais metais gerovės sistema buvo reorganizuota „iš viršaus“, sumažinant išmokų skaičių, bet ir „iš apačios“, keičiant procedūras ir suteikiant gerovės sistemai labiau reguliuojantį ir biurokratizuotą pobūdį. Gerovės režimų kaitos Lietuvoje analizė atskleidė, kaip didesnio efektyvumo siekimas gali sukurti stigmatizuojančią, dehumanizuojančią erdvę Quite a number of authors focus on analysis of welfare state models; however, this analysis mostly pertains to wealthy capitalist countries. In the meantime, specific ways of welfare provision in Soviet times or modifications or re-creations of these regimes in post-communist countries have been ignored for a long time. The purpose of this article was to find out the changes that have been undergone by the welfare regime in Lithuania and how this has affected the welfare recipients. The following methods of research were chosen: archival analysis of welfare recipients’ files, ethnographic study in the social affairs department and half-structured interviews. Analysis of the research data revealed that the welfare system became (1) more bureaucratized and professionalized, (2) obtained a more differentiating nature, and (3) became more informal. All these changes had an impact on welfare recipients’ self-esteem. The changed regime of welfare influenced the social and psychological position of women, while acting as a dehumanizing mechanism. When analyzing the shift of welfare regimes, strict contraposition of socialism – post-socialism was forgone. Outcomes of the research revealed that changes in the welfare regime occurred after independence was regained. Thus, the following types of welfare regimes were singled out and explained: “compulsory welfare system” (until 1994) and “liberal bureaucratic welfare system” (after 1994). 1994 is the dividing line, not just because in this year the welfare regime was reorganized “from the top” by reducing the number of benefits, but “from the bottom” as well, by changing the procedures and granting the welfare system a more regulatory and bureaucratic nature. Analysis of the change of welfare regimes in Lithuania revealed how striving for higher effectiveness may create a stigmatizing and dehumanizing environment.

Šiuo metu daug meno požymių, formų, žanrų, šakų ir net pavienių kūrinių irimo bei nykimo procesų vadinama meno krize arba net „mirtimi", taip ne tik atskleidžiami empiriniai šių reiškinių faktai, bet dažnai ir diskvalifikuojami tyrinėtojo principams, skoniui bei įsitikinimams svetimi meno reiškiniai. Kadangi tyrinėtojų principai ir skoniai rodo istorinių vertybių konfliktą, per juos atsiveria fundamentalūs meno, kartu ir visos kultūros lūžiai. Tradicionalistai žlungančiu, dekadentiniu, mirštančiu menu laiko avangardizmą, modernizmą, postmodernizmą, o modernistai - klasiką. Pastarojo meto Lietuvos menotyra prisimena, kad kalbėta apie meno mirtį, aptariant naujų idėjų ir išraiškos priemonių stoką. Naujumas - meno kitimo šaltinis ir viena iš jo įdomumo priežasčių, bet neretai atsitinka, kad, be naujumo, keistumo, šių laikų kūriniai nieko ir neturi. Hegel's statements on the decline of art touch upon some tendencies of the modern art. The main symptoms of the fracture of art are works that are conscious abolition of traditional artistic qualities. The other meanings of the art's death are the change of meaning of every art work; the death of individual genre, or the individual kind of art; the death of classical art as a whole - i. e. the break of European artistic tradition. The modern art is similar to the other cultural phenomena, such as technique, science, game. It avoids of any reference to the reality outside art or of the limit between author and spectator. The sensual matter is not essential in it. The authors make use of non-created works or of accident, etc. The prevailing relation to the works of art is not equivalent to them. The viewer's intention is not the perception of the very work but the presentation of such a relation. So it makes sense to speak of a death of the art's perception in this sense. The death of art may be conceived as a result of the transition, when the culture as a whole becomes an artificial or the very artistic phenomenon; and the possibility to discern the art as such disappears. The art's death may be apprehended as the inner transition of the essential properties of art. The most striking change is the creation as a conscious opposition to the very concepts of traditional properties of art. The main message of such works is that artist destroys some of them or aims at the abolition of art as such. The first general meaning of art's death is that with regard to its highest determination art loses its main task of representing the absolute truth. The fundamental determinant of the transition in art is a lack of the unifying principle of culture, that is to legitimate the values, to bring the last goals forth, etc. The consequences of this lack are the destruction of style and of the universal significance of the works of art. Art is the form of absolute truth when it is a principle that articulates and unifies the culture. Obviously, it fulfils such a function only if it is not separated from the mythological world outlook. The cause of the art's death is the relative self-dependence of universal standards of thought and conduct. Their expression in a form of sensual semblance became contingent. The very expression of essential truths, the exhaustion of the potential new appearances and forms are the other cause of a decline of art. Hegel perceives the romantic art as the overstepping of the art boundaries by means of the very art. The manifestations of romantic art are the works that satisfy only one of two necessary conditions for a perfect work of art. Some works are an art because of formal mastery of representation. The other works are an art only as an expression of an inside of the artist, irrespective of formal means of the expression. Both the former and the later are not valuable with respect to ideal art. Nietzsche notices that traditional bounds of content and of form are the manifestations of artistic self-will and begins the topic of the self-will as a cause of the death of art. Nietzsche perceives the greatest self-will of an artist in the works that are pretending to expression of truth or moral values. The most dangerous aspiration is making effect on publics. It is the new aim of the self-will, which means the death of the work. Heidegger returns to Hegel's standpoint that perfect art must be the expression of absolute values. The great art dies because of a lack of basis that legitimates these absolute things. Such decline does not result from the fact that the qualities of an inner structure of a work are poorer; it is rather that art forfeits its essence to make manifest the truth and preserve such manifestation in the work. The expression of a discrepant world outlook that is characteristic of modernity is not a work of the great art. The domination of reflection and subjectivation of reality as a whole, that limits the attitude to work up to outliving, is a cause of the essential change of art. The passing of the work of art into the very object of subject's feeling of satisfaction would become the main cause of the art's death. The art's death has another meaning for Adorno. He considers all the classical art as ideology. It is not an art exactly like modern popular art. The previous authors pay their attention mostly to the decline of art in its historical transition. They analyse the destruction of tradition that is legitimating the universally valid values and the consequences of this destruction in the artistic creation. Adorno thinks over the contemporary situation of art's creation and perception. The situation of contemporary art is such that everything goes or anything does not go to it. We may consider Adorno's theory as asserting that contemporary art is the destruction of such essence of its own. Art may oppose to the contemporary situation of its own, if it would be destroying itself, i. e., including and undermining various elements of art. The above-mentioned notions of the art's death all together allow us to claim that the essential fracture of art has happened and the return to the tradition of the past in the strict sense is impossible.

This article looks at some of the recurrent themes in Serbian propaganda 1986–95, examining their operation in inculcating collective neurotic and psychotic syndromes and noting the relevance of those syndromes for the war against Croatia and Bosnia, 1991–95. Six pivotal themes in Serbian propaganda are examined: 1. Victimization, in which Serbs were constructed as collective victims first of the NDH, then of Tito’s Yugoslavia, and more specifically of Croats, Albanians, Bosniaks, and other non-Serbs. 2. Dehumanization of designated ‘others’, in which Croats were depicted as ‘genocidal’ and as ‘Ustaše’, Bosniaks were portrayed as ‘fanatical fundamentalists’, and Albanians were represented as not fully human. These processes of dehumanization effectively removed these designated ‘others’ from the moral field, sanctifying their murder or expulsion. 3. Belittlement, in which Serbia’s enemies were represented as beneath contempt. 4. Conspiracy, in which Croats, Slovenes, Albanians, the Vatican, Germany, Austria, and sometimes also the Bosniaks as well as the U.S. and other foreign states, were seen as united in a conspiracy to break up the SFRY and hurt Serbia. In this way, the Belgrade regime’s obstinate disregard for the fundamental standards of international law was dressed up as heroic defiance of an anti-Serb conspiracy. 5. Entitlement, in which the Serbs were constructed as ‘entitled’ to create a Greater Serbian state to which parts of Croatia and Bosnia would be attached, under the motto, ‘All Serbs should live in one state'. 6. Superhuman powers and divine sanction. The Serbs were told that they were, in some sense, 'super'. They were the best fighters on the planet, they could stand up to the entire world, they were sanctioned by God himself, be cause of Tsar Lazar and the fact that Lazar had chosen the heavenly kingdom. Moreover, since Lazar had chosen the heavenly kingdom, the Serbs, encouraged to view themselves as Lazar’s heirs, were entitled to the earthly kingdom which Lazar had repudiated, as their patrimony., Ovaj se članak usredotočuje na neke od ponavljajućih tema srpske propagande u razdoblju od 1986. do 1995. godine. Promatrajući njihovo djelovanje u procesu nametanja kolektivnih neurotičnih i psihotičnih sindroma, zapaža se važnost ovih sindroma u ratu protiv Hrvatske i Bosne, 1991-95. godine. Rad razmatra šest k1jučnih tema srpske propagande: 1. Viktimizacija, kojom su Srbi konstruirani kao kolektivna žrtva najprije NDH, zatim Titove Jugoslavije, a posebno kao žrtva Hrvata, Albanaca, Bošnjaka i ostalih ne-Srba. 2. Dehumanizacija označenih 'drugih', kojom su Hrvati opisani kao "genocidni" i "ustaše", Bošnjaci kao "fanatični fundamentalisti", a Albanci kao niža vrsta ljudi. Ovi procesi dehumanizacije učinkovito su uklonili označene "druge" iz područja morala, sankcionirajući na taj način njihovo ubijanje i protjerivanje. 3. Omalovažavanje, kojim su neprijatelji Srbije prikazani kao dostojni prezira. 4. Urota, u kojoj se Hrvati Slovenci, Albanci, Vatikan, Njemačka, Austrija, a ponekad također i Bošnjaci te neke druge strane države poput SAD vide kao ujedinjene u namjeri da sruše Jugoslaviju i unište Srbiju. Na ovaj je način beogradski režim svoje posvemašnje ignoriranje temeljnih standarda međunarodnog prava prikazao kao herojski otpor anti-srpskoj zavjeri. 5. Polaganje prava, kojim su Srbi konstruirani kao oni kojima je "dano pravo" stvaranja Velike Srbije kao države koja bi pripojila dijelove Hrvatske i Bosne, pod motom "Svi Srbi u jednoj državi". 6. Nadljudske moći i božanski blagoslov. Srbima je rečeno da, su na neki način superiorni - najbolji su borci na planetu, mogu se suprostaviti čitavom svijetu, blagoslovljeni su od samoga Boga, zbog činjenice da je Car Lazar odabrao kraljevstvo Božje. Štoviše: upravo stoga što je Car Lazar odabrao kraljevstvo Božje, a odbacio ono zemaljsko, Srbi, poticani da se vide kao Lazarevi nasljednici, baštine pravo na ostvarenje ovoga posljednjega.

Straipsnyje aptariama meno dehumanizacijos problema ispanų filosofo O. y Gasseto darbuose. XIX a. pabaigoje prasidėjusi meno metamorfozė sunkiai tilpo į ankstesnės meno raidos rėmus ir buvo pavadinta modernizmo fenomenu. Šį fenomeną filosofas siejo su meno dehumanizacija ir paradoksaliai vertino tai kaip pozityvų poslinkį. Jo nuomone, naujosios muzikos, naujojo meno apskritai nepopuliarumas sietinas su pačia šio meno prigimtimi: jis nėra orientuotas į daugumos skonį, bet kuria savarankišką estetinių vertybių pasaulį, kuriame forma įgyja autonomišką reikšmę. Taip sukonstruoti meno kūriniai juos stebint reikalauja išlaikyti distanciją, taigi, reikalauja kontempliatyvaus, o ne vartotojiško santykio su jais. Naujasis menas ne tiek vengia vaizduoti žmogiškus dalykus, kiek siekia juos neatpažįstamai deformuoti. Naujojo meno intranscendentinė orientacija liudija, kad menas pakeitė savo vietą žmogiškosios veiklos ir interesų hierarchijoje. Meno dehumanizacijos problema aptariama platesniame Vakarų Europos kultūros krizės kontekste. Kritikuojamas menas menui principas. Pateikiama K. Marxo meno samprata.