How to Do Things with Tense and Aspect - Performativity before Austin was the first monograph in the English language, which deals with the origins, definitions of problems and performativity in the work of the monk Stanislav Škrabec. The discovery of performativity, the basic impulse in 20th century most influential pragmatic theories, the theory of speech acts, is usually attributed to the English philosopher J. L. Austin (How to Do Things with Words, Oxford University Press, 1962). The book 'How to Do Things with Tense and Aspect - Before Austin Performativity' shows in the detailed analysis that the definition of the problem of performativity, through discussion on the use of verbal aspect in Slovenian, had been already developed by Stanislav Škrabec, in the late 19th or in the early 20th century.
COBISS.SI-ID: 2276695
In the article Kodelja presents open dilemmas concerning the citizenship education. If patriotism is morally unacceptable, as some philosophers believe, then also education for patriotism could not be tolerated, although some other non-moral reasons might be in favour of such education. Although teachers are not required to cultivate it, they may promote morally acceptable types of patriotism such as “moderate patriotism” (Nathanson), “constitutional patriotism” (Habermas), “republican patriotism” (Viroli) and “cosmopolitan patriotism” (Appiah). On the contrary, extreme patriotism which leads to hostility towards other countries, international tensions and conflicts should not be promoted in schools. Therefore, the answer to the question as to whether education for patriotism is morally required, permitted or unacceptable depends on which kind of patriotism is discussed.
COBISS.SI-ID: 2208343
This paper (published in one of the three leading British journals in the area of film studies) examines the historical and social context of Filip Robar-Dorin’s film Ovni in mamuti (Rams and Mammoths, 1985), which revealed ethnic tensions in Slovenia at a critical time before the demise of communism and the looming break-up of multi-ethnic Yugoslavia. Robar-Dorin’s film subversively reveals the ideology of national identity, and therefore does not represent a mirror for Slovenians to see themselves as they would prefer to. Instead, it is a film in which they are compelled not to miss the gaze of the other. Education in a multi-cultural context is discussed in view of the film's presentation of the vocational school in the socialist Slovenia.
COBISS.SI-ID: 2301015