Abstract
The paper discusses two opposite understandings of how the kinaesthetic experience of movement translates into the development of subjectivity. One of them, in which somatically experienced movement is regarded as a positive source of authentic self-fashioning, will be described within the framework of phenomenology. The other, which emphasises the inauthentic nature of movement, will be described in term of psychoanalysis. Subsequently, the two opposite interpretations will be discussed in the conciliatory perspective of aesthetic experience, in which the contradiction of spontaneity and conformity will be shown as a quasi-artistic factor which bolsters the dynamics of subjectivity development.
Highlights
Edited by: Valerie van Mulukom, Coventry University, United KingdomReviewed by: Michal Przemyslaw Muszynski, Université de Genève, SwitzerlandAndreea Ioana Sburlea, Graz University of Technology, AustriaAlfonsina Scarinzi, CY Cergy Paris Université, FranceSpecialty section: This article was submitted to Theoretical and PhilosophicalPsychology, a section of the journal Frontiers in PsychologyReceived: 30 March 2021 Accepted: 02 August 2021 Published: 30 August 2021Citation: Dobrowolski R and Pezdek K (2021) Movement as a SomaestheticSource of Subjectivity
The philosophical imperative of seeking fully rational knowledge is usually associated with an utter repudiation of the body; allegedly, the thinking subject must first shake off the yoke of the senses and go out of the Platonic cave of appearances into the full light of abstract reason in order to eventually perceive the unchangeable truth of him/herself and the world in the environment of pure concepts, which is uncontaminated by mutability
This paper discusses two opposite understandings of how the kinaesthetic experience of movement translates into the development of subjectivity
Summary
The paper discusses two opposite understandings of how the kinaesthetic experience of movement translates into the development of subjectivity. In which somatically experienced movement is regarded as a positive source of authentic selffashioning, will be described within the framework of phenomenology. The other, which emphasises the inauthentic nature of movement, will be described in term of psychoanalysis. The two opposite interpretations will be discussed in the conciliatory perspective of aesthetic experience, in which the contradiction of spontaneity and conformity will be shown as a quasi-artistic factor which bolsters the dynamics of subjectivity development
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