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노엄 촘스키(Noam Chomsky)의 비판적 교육론에 대한 반성적 고찰
김운종 ( Uhn Jong Kim ) 한국교육철학학회(구 교육철학회) 2014 교육철학연구 Vol.36 No.4
노엄 촘스키(Noam Chomsky)는 세계적인 언어학자이자 철학 및 심리학 등의 다방면에서 심성주의와 합리주의를 가장 설득력 있게 주창한 사상가이다. 그는 미국 정부의 대외정책뿐만 아니라 기업과 언론에 의한 통제와 억압에 대하여 정면으로 도전하는 정치평론가이자, 실천적 지식인으로 평가되고 있다. 특히 최근 들어 지배 이데올로기의 압력에 의해 왜곡되고 있는 미국의 교육현실에 대하여 냉철하게 비판하고, 교육의 본질과 학교의 본래적 역할의 회복할 것을 주장한다. 국가는 학교를 ``순종을 강요하고 독립적 사고의 가능성을 저해하기 위한 교화기관``으로 전락시켰고, 교사는 문화의 중간전달자로서 진실을 말하는 대신 소수집단에 의하여 결정된 지식을 비민주적인 방식으로 학생에게 충실히 전달하는 역할을 수행하고 있다는 것이다. 그 결과로 학교는 사회에 순응하는 학생으로 길러낸다고 비판하면서, 학생을 ``방관자``가 아닌 ``행동하는 참여자``로 이끌어야 한다는 비판적 교육론을 주장한다. 이를 위하여 교육의 목적은 인간의 타고난 본성인 정신(mind)을 계발하는 데 두고, 실천적 측면에서는 학생의 자유와 창의성 계발을 위한 발견학습과 학습자 중심의 민주주의 교육을 강조한다. 이러한 촘스키의교육적 신념은 플라톤으로부터 데카르트를 거쳐 칸트, 그리고 훔볼트 등으로 계승된 합리주의와 고전적 자유주의의 전통을 이어 받아 인간의 타고난 본성인 정신(mind) 능력에 대한 절대적인 신뢰를 사상적 배경으로 하고 있며, 방법론적으로는 러셀의 인간 중심 교육과 듀이의 민주주의 교육철학을 지지한다. 촘스키의 비판적 교육론은 입시위주의 교육, 성적 제일주의, 무한 경쟁의 조장으로 얼룩진 우리나라의 교육 현실이 바람직한 교육의 방향성을 정립하는 데 일정한 시사점을 준다. Noam Chomsky is a world famous linguist and thinker who advocated rationalism and mentalism most persuasively in various fields of philosophy and psychology etc. However, he has been evaluated as a practical intellectual as well as political commentator that challenged against not only the foreign policy of the America government but the control and oppression by corporations and the media. In particular, recently he criticized the education reality of the America that had been distorted by the pressure of the dominating ideology and claimed for recovering the nature of education and the inherent role of schools. According to him, the government enforced obedience and degenerated schools to enlightened institutions to enforce obedience and inhibit the possibility of independent thought; and teachers serve sincerely to pass over knowledge decided by a small group in a way of civilization rather than tell truth as middle deliverers of culture. He criticized that schools raised students who conform to society accordingly and suggested the practice of democratic education. His beliefs are based on rationalistic tradition, which were inherited by Kant and Humboldt from Plato through Descartes, and the trust on human nature, which was formed influenced by classic liberalism. Accordingly, He strongly argues that the purpose of education should be the development of mind as innate nature, and raise students as active participants rather than bystanders by encouraging creativity and criticism in a way of democratic education. He especially emphasizes Russell`s human-centered education and Dewey`s practice of democratic education. Chomsky`s suggestion may provide many implications in reestablish the genuine direction of Korean education that is stained with college entrance focus, achievement priority, and limitless competition.
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한국 모노크롬 회화의 ‘沈黙’ 노엄 촘스키의 사상적 관점에서 분석 고찰
김현화 한국미술연구소 2013 美術史論壇 Vol.- No.37
Korean Monochrom painting started from the discourse about ‘White Color’ after “the Exhibition of five Korean painters, five kinds of White Colors”, held in a Tokyo Gallery on May 6-24, 1975. Korean Monochrom painters had neither organized a group sharing a specific view of art nor announced (declared) any specific statement elucidating their identity. Their main objective was to minimize the image and to respect the surface of the canvas. They were largely influenced by Minimalism, Arte-Povera, Support-Surface, etc., based on Formalism of Modernism Art. In addition, Korean Monochrom painting was founded upon traditional Korean thoughts and art theory. Korean Monochrom painting has its roots in ‘Korean Scholarly Painting(文人畵muninhwa)’ in the era of Chosun as a reference source of their concepts. It can be regarded as the modernization of Korean Scolarly Painting(muninhwa). Korean Monochrom painting purely shows Formalism, ‘Art for Art’s sake.’ This is not a remembrance of the political situation of the Military government in the 1970s. However, most Art Historians strenuously emphasize that Korean monochrom painters are in alignment with the military government in the 70s under the cloak of ‘Silence’. Korean Monochrom painting was actually able to develop with the support of the military government. It participated in not only a global ideology of Modernism Art, but also the governance ideology of the Park regime. Former President Park Jeong-hui contributed to the resurgence of Nationalism. He established the Cultural Properties Protection Law in 1962, and had a strong will to protect and encourage traditional art. The military government of Park played a substantial role in promoting Korean Monochrom painting. Although Korean monochrom painters never declared to support the military government, they shared the governance ideology of the Park regime. As Park Jeong-hui made an effort to reform society, they insisted on reforming the conventional art world. The Abstract art was a symbolic sign of reforming the conventional society and constructing a new purified advanced society, namely, a Utopia. Korean Monochrome painting has been viewed as a sign of remodeling society and suggesting a vision of utopianism to construct a powerful rich nation. It has been presented as a partner of the national development during the industrial modernization era. Korea in the 1970s depended on and was protected by the America in terms of economy, culture, art, politics, etc. Noam Chomsky has strongly criticized the foreign policy of the United States and is obviously against the military government. Chomsky is critical of both the American state capitalist system and the authoritarian of dictatorship. He believes that society should be highly organized and based on democratic control of communities and workplaces. In this article, I attempted to re-read Korean Monochrom painting under the political progressivism of Noam Chomsky. I would like to remove the blurry line between what is progressive and what is conservative in the paintings. This article aims to deconstruct the implication of the political stereotype by tracing the concept and style of Korean Monochrom painting as an ultimate sign of Korean identity.
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