The Concept of Habit in Aristotle

Aristotelov nauk o navici, osim toga što je važan i bogat u sebi, predstavlja temelj potpunijeg shvaćanja njegove teorije o vrlinama, a time i njegove cjelokupne etike. Osnovne ideje ove problematike kroz cijelu povijest filozofije često su budile interes, a i danas njegov nauk tvori jezgru razmišljanja o navici, te je neminovno polazište suvremenih spekulacija. Stoga ćemo se uz obradu glavnih tekstova o navici u Aristotelovim djelima osvrnuti i na interpretaciju talijanskog filozofa Luigi Pareysona, koji smatra da je Aristotelova originalnost u ideji vezivanja dvaju različitih pojmova éthos i héxis. Pareyson osobito osvjetljava vezu u kojoj éthos završava da bi dao mjesto héxisu te objašnjava kako héxis može proizići iz éthosa. U prvom redu iznijet ćemo razliku i odnos između héxis i éthosa te kako oni mogu biti izvor navici, koja je kao takva rezultat i uvjet čovjekova djelovanja. Po Aristotelu, preko ponavljanja čina navika omogućava da čovjek bude onakvim kakvim se sam čini, pri čemu se događa prijelaz sa slobode na neophodnost, te s truda na spontanost. Drugim riječima, one radnje koje su samoj volji u početku predstavljale napor i trud, nakon postizanja navike iste radnje obavlja spontano i lako. Ovu vlastitost navike Aristotel smatra vrlo važnom u odgoju i politici radi čega se može reći kako je ova tema i u današnjem vremenu vrlo aktualna.Besides being important and rich in itself, Aristotle’s concept of habit represents the foundation of a more comprehensive understanding of his theory of virtues, and with it his ethics as a whole. Throughout the entire history of philosophy the underlying ideas of this issue have frequently generated interest; even today his teachings lie at the very core of one’s reflections on habit and are inevitably the very starting point of contemporary speculations. Thus, in addition to analysing Aristotle’s main texts on habit, this paper also examines the interpretations given by the Italian philosopher Luigi Pareyson, who holds that Aristotle’s originality lies in the idea of linking two different concepts, namely éthos and héxis. Pareyson sheds light on the relation in which ethos ends in order to make room for héxis, and further explains that the latter can issue from the former. The authoress first expounds the difference and relation between éthos and héxis, as well as the way in which they can be the source of habit, which is – as such – both the outcome and condition of man’s deeds. According to Aristotle, by repeating acts, habits enable man to be such as he appears to be to himself, in which freedom transforms into necessity and effort into spontaneity. In other words, once the acts that were initially effortful and laborious to the will become a habit, the will does them spontaneously and with ease. Aristotle considers this property of habit vitally important in education and politics, due to which it can indeed be said that this topic is current even today

The development of aesthetics after Croce

Filozofska promišljanja neoidealističkog usmjerenja Benedetta Crocea i Giovanni Gentila imala su u prvoj polovici dvadesetog stoljeća vrlo snažan utjecaj ne samo na talijansku kulturu nego i na promišljanje estetičkih pitanja u Hrvatskoj. Nakon Drugog svjetskog rata u Italiji više ne postoji snažan utjecaj samo jednog filozofskog pravca, nego se talijanska estetika otvara prema pragmatizmu, fenomenologiji, egzistencijalizmu, personalizmu i hermeneutici, no rasprave hrvatske estetike s ostalim talijanskim autorima nisu nastavljene s jednakim intenzitetom. U obradi filozofske misli izabranih autora usmjerit ćemo se prema onim estetičkim pitanjima koja izviru iz različitih polemika suvremenih talijanskih estetičara s Croceovom estetikom, a pokušavaju dati adekvatan odgovor estetike na odnos suvremenog društva prema lijepom i umjetnosti.Philosophical neoidealistic reflection of Benedetto Croce´s and Giovanni Gentile´s thought during the first half of the twentieth century had an enormous effect not only on the Italian culture but on reflection of aesthetical questions in Croatia as well. After the Second World War Italy was no longer marked by a strong influence of a single philosophical movement and its aesthetical thought was opening up to pragmatism, phenomenology, existentialism, personalism and hermeneutics. In Croatia, on the other hand, aesthetical discussions with other Italian thinkerswere not continued with the same intensity. Our analysis, which deals with specific authors, will be directed towards those aesthetical questions which emerged from different polemics of the contemporary Italian aestheticians with Croce´s aesthetics and their attempt to give, from the aesthetical point of view, an adequate answer about the relation of the contemporary society towards the beautiful and the art.</p

University and Culture

U radu se kritički analizira Pareysonova koncepcija krize kulture i kulture slobode, kojom pokazuje da ova posljednja ima za cilj iskristalizirati ideju kulture koja bi mogla donijeti odgovor na svaku situaciju uzrokovanu krizom. Tijekom vrlo zahtjevnog vremena od 1941. do 1948. Luigi Pareyson objavljuje niz tekstova nadahnutih egzistencijalističkom i personalističkom filozofijom kulture kojima se intenzivno uključuje u kulturno-političku raspravu o reformi obrazovanja u Italiji. Pareyson u tim tekstovima problematiku sveučilišta ne odjeljuje od problema školskog sustava. Čista ideja školstva i sveučilišta je upravo ono što čuva od redukcionističke vizije osobe, a time i kulture. Niz ideja koje Pareyson donosi ulaze u projekt opće reforme edukacijskog sustava od kojih su neke i danas aktualne.The article offers critical analysis of Pareyson´s conception of the crisis of the culture and the culture of freedom, and tries to show that the culture of freedom has, as its goal, clarification of the idea of culture which might give an answer for any situation of crisis. During a very demanding period between 1941 and 1948, Luigi Pareyson published a number of papers inspired by existentialistic philosophy and personalistic philosophy of culture, which testify to his intensely active role in the cultural-political discussion concerning the reform of education in Italy. Pure idea of education and university safeguards from reductionist view of a person and culture. Number of ideas which Pareyson gives, enter into the project of a general reform of educational system and some of them are present to this day

University and Culture

U radu se kritički analizira Pareysonova koncepcija krize kulture i kulture slobode, kojom pokazuje da ova posljednja ima za cilj iskristalizirati ideju kulture koja bi mogla donijeti odgovor na svaku situaciju uzrokovanu krizom. Tijekom vrlo zahtjevnog vremena od 1941. do 1948. Luigi Pareyson objavljuje niz tekstova nadahnutih egzistencijalističkom i personalističkom filozofijom kulture kojima se intenzivno uključuje u kulturno-političku raspravu o reformi obrazovanja u Italiji. Pareyson u tim tekstovima problematiku sveučilišta ne odjeljuje od problema školskog sustava. Čista ideja školstva i sveučilišta je upravo ono što čuva od redukcionističke vizije osobe, a time i kulture. Niz ideja koje Pareyson donosi ulaze u projekt opće reforme edukacijskog sustava od kojih su neke i danas aktualne.The article offers critical analysis of Pareyson´s conception of the crisis of the culture and the culture of freedom, and tries to show that the culture of freedom has, as its goal, clarification of the idea of culture which might give an answer for any situation of crisis. During a very demanding period between 1941 and 1948, Luigi Pareyson published a number of papers inspired by existentialistic philosophy and personalistic philosophy of culture, which testify to his intensely active role in the cultural-political discussion concerning the reform of education in Italy. Pure idea of education and university safeguards from reductionist view of a person and culture. Number of ideas which Pareyson gives, enter into the project of a general reform of educational system and some of them are present to this day

LUIGI STEFANINI’S PERSONALISTIC CONCEPTION OF THE ART

Niz estetičkih problema poput umjetničkoga izražaja, stila, osjećaja, otvorenih od Benedetta Crocea i Giovanija Gentilea, u Luigiju Stefaniniju u isto vrijeme pronalaze bliskoga sugovornika i kritičara. Umjetnost je za njega „apsolutna riječ“ preko dovršenosti kojom djelo živi vlastitim životom, preko autonomnosti po kojoj forma ne upućuje na drugo nego na samu sebe. U umjetnosti su biti i izraziti jedno te isto. Djelo sadržava beskraj jer u sebi nosi sve što mu je potrebno kako bi se pokazalo u svojoj cjelovitosti. Kao iz svoje jezgre, forma djela nastaje u aktivnosti umjetnika, stoga je načelo jedinstva djela više u osobi autora negoli u intimnoj svrsi samoga djela. Iako u svojim promišljanjima o umjetnosti prihvaća idealističke teme, Stefanini im preko personalističkoga utemeljenja daje sasvim novo usmjerenje čime njegova misao ni danas ne gubi na važnosti unutar spekulativnoga diskursa suvremene talijanske estetike.A whole ray of aesthetical problems like artistic expression, style, feeling, which were opened in the works of Bennedeto Croce and Giovanni Gentile, found a close interpreter and critic in Luigi Stefanini. For him, art was an “absolute word” because of the completeness through which the work lives its own life, because of the autonomy through which the form signifies nothing else but itself. In the art “to be” and “to express” are the same thing. The work includes infinity, because it carries in itself everything necessary to show its own wholeness. As from its core, the form of the work is created in the activity of the artist, so the principle of the unity of the work is in the person of the author rather than in the intimate purpose of the work itself. Although in his thoughts on art he accepts idealistic themes, Stefanini gives them a totally new direction through personalistic foundation and for this his thought even today does not lose its importance in the speculative discourse of the contemporary Italian aesthetics

Poetics and the Probable

Jedan od temeljnih pojmova Aristotelove teorije o pjesništvu je ‘vjerojatno’. Obično se o ‘vjerojatnom’ misli kao o onom što je slično istini, no za Aristotela to je tek jedna od njegovih značajki. Sam pojam vjerojatnog produbljuje iznoseći razlike između povijesnog i pjesničkog govora, preko dogođenog i onoga što bi se moglo dogoditi. Članak donosi analizu Aristotelovog nadilaženja Platonovog shvaćanja umjetnosti, u prvom redu shvaćanjem umjetnosti kao vještine te novim odnosom prema oponašanju, zatim proučava razvoj razlike između istinitog i sličnog, između mogućeg i nemogućeg. Izravni je interes ove studije pokazati kako Aristotel preko navedenih razlika ukazuje ne samo na filozofsku dimenziju pjesništva, nego i da preko pojma vjerojatnog umjetničkom djelu potvrđuje njegovu unutarnju koherenciju i vezu koja ne ovisi o izvanjskim zakonitostima te da umjetničko djelo u sebi pronalazi svoj princip, sredstvo i cilj.One of the fundamental concepts of Aristotle’s theory of poetry is ‘probable’. ‘Probable’ is usually thought of being similar to truth, as for Aristotle it is but one of its features. Reflecting the differences between historical and poetic expression, through what happened and what might happen, Aristotle deepens the concept of ‘probable’. The article analyzes Aristotle’s surpassing Plato’s comprehension of art, primary through perceiving art as a skill and the new attitude toward imitation. Thereupon, the development of the difference between true and similar is being studied: between the possible and the impossible. The main interest of this study is to present how Aristotle, through mentioned differences, indicates not only the philosophical dimension of poetry, but through the concept of ‘probable’, confirms inner coherence and connection of a work of art which does not depend on external laws but finds its own principle, means and objectives within itself