26 KB558 KB23 KB200620202006Ženko, Ernestštevilka:1/2letnik:17str. 165-173COBISSID:1477719ISSN:1581-6036URN:URN:NBN:SI:doc-ZUFLCOICslSlovensko društvo raziskovalcev šolskega poljaŠolsko poljefilozofija jezikajezikovni obratliteracypismenostJezik podobe in podoba jezika|The article deals with the relationship between the discursive and the pictorial, which is expressed in philosophy and theory in the second half of the 20th century as a shift from the linguistic turn (Rorty) to the pictorial turn (Mitchell) but which at the empirical level appears as the primacy of theworld of fixed and moving images. In the 1930s the multifaceted artist and teacher László Moholy-Nagy declared that the illiterate of the future would be'the man who cannot take a photograph'. It appears that the future he had inmind is already part of the age we live in, although the unusual thing here is that at the level of everyday life we are clearly already aware of this process, since we attribute an extraordinary role and power to images. Unfortunately this is not the case in education, as is demonstrated by a simple look at primary and secondary school curricula, where for example in the final year of nine-year primary education almost ten times as many hours are dedicated to languages as to art education. The author further establishesthat the views of some teachers who claim that the omnipresence of images today is already threatening language, literature and reading are exaggerated and inappropriate, since in the name of the protection of language they advocate a form of education that is one-sided and does not enable the understanding and interpretation of images. In this way they do notallow the balanced education of new generations but instead force them intonew, more contemporary forms of illiteracyBesedilo obravnava razmerje med diskurzivnim in slikovnim, ki se v drugi polovici 20. stoletja v filozofiji in teoriji izraža kot premik od jezikovnega(Rorty) k slikovnemu obratu (Mitchell), na izkustveni ravni pa se kaže kot primat sveta negibnih in gibljivih podob. V 30. letih preteklega stoletja je vsestranski umetnik in pedagog László Moholy-Nagy zapisal, da bodov prihodnosti nepismeni tisti, ki ne bodo znali fotografirati. Vse kaže, da je prihodnost, ki jo je imel v mislih, že del našega časa, nenavadno ob tempa je, da se na ravni vsakdanjega življenja tega procesa očitno že zavedamo, saj podobam pripisujemo izjemno vlogo in moč, v okviru izobraževanja pa žal še ne, kar pokaže že preprost pogled na učni načrt za osnovne in srednje šole, ko je npr. v zadnjem razredu devetletke za jezike na voljo skoraj desetkrat toliko ur kot za likovno vzgojo. Avtor ob tem ugotavlja, da so pogledi nekaterih pedagogov, ki trdijo, da je danes vseprisotnost podobe že ogrozila jezik, literaturo in branje, pretirani in tudi neustrezni, ker v imenu zaščite jezika prisegajo na zgolj enostransko vzgojo in izobraževanje, ki ne omogoča razumevanja in interpretacije podob. Nata način ne omogočajo uravnotežene vzgoje in izobraževanja novih generacij, temveč jih silijo zgolj v nove, sodobnejše oblike nepismenostiTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo raziskovalcev šolskega polja