| Sažetak | Rad prikazuje istraživanje kojim su analizirani uvjeti, okolnosti i praktična provedba reformne pedagogije u Hrvatskoj s naglaskom na umjetnički odgoj. U fokusu je bilo razdoblje prva dva desetljeća 20. stoljeća, što je povezano s objavljivanjem časopisa Preporod i djelovanjem Hrvatskog društva za unapređenje uzgoja. Sukladno potrebama, vremenski okvir bio je prikladno proširivan. To je proširenje najčešće bilo odraz kompleksnosti teme; naime, tijekom 19. stoljeća došlo je do društvenih i kulturnih promjena koje se odražavaju na pedagogiju. Ističe se industrijska revolucija koja je omogućila značajan napredak znanosti. To je posljedično izmijenilo svakodnevicu i redefiniralo potrebe pojedinca. Pojavio se otpor prema herbartističkom pedagoškom sustavu koji je od strane pojedinih pedagoga ocijenjen kao neadekvatan i nepodoban odgojno-obrazovni pristup. Njihova je intencija bila reformirati školstvo kako bi ono moglo efikasno odgovoriti na novonastale društvene i praktične potrebe. Sudionici toga pokreta uskoro stječu naziv pedagozi nove škole (nove pedagogije). Odlika toga pristupa je usmjerenost na aktivnost djeteta, odnosno samostalno učenje uz vodstvo učitelja čija je dužnost bila identificirati i poticati (kreativne) sposobnosti svakoga učenika. Premda je postojalo više metoda rada (pravaca i koncepata) u sklopu reformne pedagogije, zajedničke karakteristike bile su individualizirani pristup djetetu i otpor herbartizmu. Na prijelazu iz 19. u 20. stoljeće reformski pokret pojavio se i na hrvatskom prostoru, potaknut razvojem brojnih novih pedagoških pravaca u Zapadnoj Europi (najčešće u Njemačkoj). Kao alternativa dotadašnjoj praksi započelo je promicanje drugačijih pedagoških koncepcija. Pojedini hrvatski pedagozi, među kojima se ističe Vjekoslav Koščević, prepoznali su novu školu kao rješenje u borbi protiv tada dominantnog herbartizma. Reformna pedagogija inicirala je sustav u kojemu su do izražaja došli djetetovi kreativni potencijali i razvoj vlastitih kompetencija, koncipirajući nastavu na estetskom odgoju. Vjekoslav Koščević se sa svojim istomišljenicima, među kojima prednjači Ivan Tomašić, priklonio pokretu za umjetnički odgoj koji je naglašavao potrebu za jačanjem djetetovih sposobnosti, prvenstveno pomoću metode slobodnoga risanja. Koščević je teorijski okvir umjetničkoga odgoja izlagao kao pedagoški pisac i urednik časopisa Preporod (1905.-1914.), dok je praktično djelovanje provođeno preko Hrvatskog društva za unapređenje uzgoja (1904.-1920.) kojemu je bio tajnik. Časopis je relevantno povijesnopedagoško vrelo jer predstavlja suvremene ideje i aktivnosti. Značenje Preporoda ogleda se u tome što se radi o prvom pedagoškom časopisu u Hrvatskoj koji je nedvosmisleno zagovarao implementaciju nekog od pravaca reformne pedagogije (umjetničkog odgoja). To ga je početkom 20. stoljeća svrstalo u oporbu dominantnom pedagoškom sustavu utemeljenom na Herbartovoj teoriji nastave, a koji su podržavali Hrvatski pedagoško-književni zbor te uredništvo i suradnici Napretka. Preporod je bio usmjeren prema učiteljima i pedagozima, ali je diskursom zadržao poveznicu sa širom publikom kako bi nove metode rada doprijele do što šireg kruga čitatelja. Propagiranjem umjetničkoga odgoja na teorijskoj i praktičnoj razini – što se ogledalo u vidu izvještaja učiteljstva i aktivnosti Hrvatskog društva za unapređenje uzgoja, ali i objavljivanja iskustava hrvatskih učitelja – časopis je bio jedan od inicijatora nove pedagogije na hrvatskom prostoru, čime je slijedio moderna pedagoška nagnuća u Europi i SAD-u. Premda se u prva dva desetljeća 20. stoljeća ne može govoriti o široj recepciji ideja reformne pedagogije – pa tako ni onih pokreta za umjetnički odgoj – razdoblje je i dalje važno jer je senzibiliziralo stručnu zajednicu za novu pedagošku paradigmu. Istodobno, postavljeno je temelje za pedagoški pluralizam. Reformna pedagogija u Hrvatskoj bila je intenzivnije podržana u periodu između dva svjetska rata, kada joj se kvalitetnije pristupa na teorijskoj i praktičnoj razini. |
| Sažetak (engleski) | This paper is a representation of a research which analyzed the conditions, circumstances and practical implementation of reform pedagogy, with an emphasis on the artistic education. The focus was on the period of the first two decades of the 20th century, which is conjugated with the publication of the Preporod magazine and the Croatian Society for the Advancement of Upbringing. Accordingly, the time frame was appropriately extended. This expansion was mostly a reflection of the complexity of the topic; namely, during the 19th century a number of social and cultural changes occured which had reflected on pedagogy. The industrial revolution, which enabled significant process in scientific matters, is emphasized. Consequently, this changed the everyday life and redefined the needs of an individual. This also resulted with a resistance towards the Herbartis pedagogic system, which was assested by some pedagogues as a an inadequate and unsuitable pedagogical approach. Their intention was to reform the school system so it could be able to efficiently respond to the newly emerging social and practical needs. Participants of that movement soon acquired the name new school (new pedagogy). A feature of this approach was the focus on the child's activity, i.e. independent learning with the teacher's guidance, whose duty was also to identify and encourage (creative) student's abilities. Although there were several methods (directions and concepts) within the reform pedagogy, main characteristics were the individual approach to the child and a resistance towards Herbartism. At the turn of the 19th and the 20th centuries, a reform movement appeared in Croatia as well, stimulated by the development of numerous new pedagogical movements in Western Europe (mostly Germany). As an alternative to the existing practice, the promotion of different pedagogical concepts began. Some Croatian pedagogues, among which Vjekoslav Koščević stands out, recognized the new school as a solution in the conflict against the then dominant Herbartism. Reform pedagogy initiated a system in which the child's creative potentials and the development of their own competences came to the fore, with aesthetic education as the base for that approach. Along with his associates, with Ivan Tomašić leading among them, Vjekoslav Koščević joined the movement for the artistic education, which emphasized the need to strenghten the child's abilities, primarily using the method of free drawing. Koščević presented the theoretical framework of artistic education as a pedagogical author and the editor of Preporod magazine (1905.-1914.), while practical activities were carried out through the Croatian Society for the Advancement of Upbringing (1904.-1920.), of which he was the secretary. A magazine is a relevant source, both from a historical and pedagogical aspect, because it presents contemporary ideas and activities. Preporod's significance is reflected in the fact that it is the first pedagogical magazine in Croatia that has unequivocally advocated implementation of one of the concepts of reform pedagogy (artistic education). At the beginning of the 20th century, this placed it in opposition to the dominant pedagogical system based on Herbart's theory of teaching, which was supported by the Croatian Pedagogical and Literary Association, as well as the editorship and the associates of Napredak magazine. Preporod was aimed at teachers and pedagogues, but using a light discourse it managed to maintain a link with a wider audience so that the new methods of teaching could reach as wide a circle of readers as possible. By promoting art education on a theoretical and practical level – which was reflected in a form of teacher's reports and the activities of the Croatian Pedagogical and Literary Association, as well as publishing the experiences of Croatian teachers – the magazine was one of the initiators of the new pedagogy in the Croatian area, thus following the modern pedagogical tendencies in Europe and the USA. Although one cannot speak of a wider reception of the ideas of the reform pedagogy – let alone those of the movement for the artistic education – within the first two decades of the 20th century, the period is nevertheless an important one because it sensitized the professional community to a new pedagogical paradigm. Simultaneously, the foundations for pedagogical pluralism were laid. Reform pedagogy in Croatia received significantly better support in the period between the two world wars, when the approach on both theoretical and practical level was of a higher quality. |
