Abstract
The purpose of the study is to cover the phenomenon of gesture in a wide range of its consideration as the inseparable integrity of the content and form of the subject, which is expressed in a space-time dimension; identifying patterns of gesture existence in various aspects of human life and in art; comprehending the gesture as an aesthetic category that embraces both the different types of art and the branches outside of it - psychology, philosophy, aesthetics. The research methodology is based on a complex approach, which makes it possible to consider the phenomenon of gesture as a fragment of scientific reality in a wide range. The scientific novelty of the research lays in referring to the gesture as a semiotic object that has three semiotic functions: semantic, syntactic, and pragmatic. It was concluded in the study that gesture, as a fact of culture, acts simultaneously as a phenomenon of culture, which reveals itself not only as a sphere of gesture display but also as an environment of its existence and functioning. Today the study of gesture in art has evolved into a particular area of science with rich traditions and numerous scientific schools where the gesture is considered as a component of an integrated language system and as an important component in the creation and perception of art.
Highlights
The purpose of the study is to cover the phenomenon of gesture in a wide range of its consideration as the inseparable integrity of the content and form of the subject, which is expressed in a space-time dimension; identifying patterns of gesture existence in various aspects of human life and in art; comprehending the gesture as an aesthetic category that embraces both the different types of art and the branches outside of it - psychology, philosophy, aesthetics
“we find a gesture” in the center of the system (2008)
Summing up all the considered definitions, we find it possible to add that gesture as a real-bodily formation has the dual nature of existence
Summary
The course of history in studying the question of the human body significance resembles a pendulum: after the body-oriented antiquity, the disembodied concept of man and culture prevailed in the 18th century. Merleau-Ponty put forward the idea of man in the world as a body that possesses consciousness and defines its being with the help of the body, which is the incorporation of the universe (Merlot Ponti, 1992). M. Merleau-Ponty’s “Phenomenological Body” provides for a constant dialogue between man and the world and the source of any sense lies in the human animated body. Since the end of the 80s of the last century, there has been a growing interest in the study of expressive gesture in Western musicology, as well as in psychology, semiotics, neuroscience and other related fields. The purpose of the study is to identify the complexity and multidimensionality of the categories "movement" and "musical movement"; study of their etymology, various definitions; analysis of their interaction due to human biological nature; carrying out a comparative characteristic and delineation of the definitions “movement in music”, “musical development”, “musical plasticity”, “musical maturity”
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