Programska knjižica - Hrvatsko filozofsko društvo

IVANA ČOVIĆ
Filozofski fakultet, Sveučilište u Splitu, Hrvatska /
Faculty of Philosophy, University of Split, Croatia
FILOZOFSKI DOPRINOSI DANKA GRLIĆA
U ovome ćemo radu prikazati doprinos koji je Danko Grlić ostavio baštini
hrvatske filozofije, posebice u području estetike. Kako bismo ponudili zaokruženu
sliku njegova lika i djela, uz osnovne biografske podatke, njegovo ćemo
mišljenje pokušati kontekstualno smjestiti te promotriti kako je njegova pripadnost
zagrebačkoj školi filozofije prakse oblikovala njegova uvjerenja i njegovu
filozofsku misao. Pritom ćemo se posebno osvrnuti na njegov poznati
stav kako smrt estetike omogućuje život umjetnosti. S obzirom na to da je
Danko Grlić najutjecajniji estetičar druge polovice 20. stoljeća na ovim prostorima,
koji je zadužio hrvatsku filozofiju svojim ukupnim opusom, a posebno
sustavnim i enciklopedijskim prikazom razvoja estetike od početaka do suvremenog
doba, nesumnjivo je da se u njegovoj filozofiji mogu naći i poticaji za
produktivno razmišljanje.
PHILOSOPHICAL CONTRIBUTIONS OF DANKO GRLIĆ
In this paper we shall show the contributions Danko Grlić made to Croatian
philosophy, especially in the field of aesthetics. In order to provide a rounded
picture of his character and work, with basic biographical information, in regarding
his positions we will try to take context into consideration and observe
how his association with the Zagreb school of Praxis philosophy has shaped
his beliefs and his philosophical thought. We will specifically look at his well
known position that the death of aesthetics gives life to art. Given that Danko
Grlić certainly is the most influential aesthetician of the second half of the 20th
century in this region, and that, in general, Croatian philosophy owes much to
his work, especially to his systematic and encyclopaedic presentation of the
development of aesthetics from its beginnings to modern times, there is no
doubt that in his philosophy we could find incentives for productive thinking.
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