Abstract
The chapter puts forward the role emotions enact in perceptual processes. Katan suggests that although emotions do not have an explicit role in the practice of Gaga, they are implicitly comprehended and analyzed. The chapter explores the implicit information within emotions, analyzing them as embodied reactions that evaluate life situations in relation to a personal significance. Katan suggests that in dance, emotions can function as informative sources concerning the quality of attunement between intentionality and sensory information. Focusing on the case study of mental instructions in Gaga, the chapter indicates that feelings assist dancers adjusting their intentionality according to the work’s purpose.
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Notes
- 1.
See: Giovanna Colombetti, Enaction, Sense-Making, and Emotion. In: Stewart, Gapenne, Di Paolo (ed.) Enaction; Toward a New Paradigm for Cognitive Science, Massachusetts: MIT Press, 2010, pp. 145–64.
- 2.
Aristotle, TS (1981), p. 19.
- 3.
Giovanna Colombetti and Evan Thompson The Feeling Body: Toward an Enactive Approach to Emotion. In: Developmental Perspectives on Embodiment and Consciousness. W.F. Overton, U. Müller, and J. Newman (ed.), New York: Lawrence Erlbaum, 2008, pp. 45–68. p. 47.
- 4.
As translated by Colombetti and Thompson. See: ibid.
- 5.
William James, What is Emotion? Mind 9, 1884, pp. 188–205.
- 6.
See as well: Colombetti and Thompson (2008).
- 7.
See. Gibbs, V. Raymond, Embodiment and Cognitive Science. New York: Cambridge University press, 2005, pp. 259–70.
- 8.
M.D. Robinson, Running from William James’ Bear: A Review of Preattentive Mechanisms and their Contributions to Emotional Experience, In: Cognition and Emotion, 12 (5) 1998. p. 667.
- 9.
Dewey (1934;1980), pp. 43–44.
- 10.
Jesse J. Prinz Gut Reactions: A Perceptual Theory of Emotion. New York: Oxford University Press, 2004.
- 11.
Dewey (1934;1980), p. 15: “The rhythm of loss of integration with environment and recovery of union not only persists in man but becomes conscious with him; its conditions are material out of which he forms purposes. Emotion is the conscious sign of a break, actual or impending. The discord is the occasion that induces reflection.”
- 12.
Ibid, pp. 46–47: “The sentimentalist and the day-dreamer may have more fancies and impressions pass through their consciousness than has the man who is animated by lust for action. But his experience is equality distorted, because nothing takes root in mind when there is no balance between doing and receiving.”
- 13.
Ibid, p. 15: “Desire for restoration of the union converts mere emotion into interest in objects as conditions of realization of harmony.”
- 14.
Dewey (1934; 1980), pp. 43–4.
- 15.
See: Gadamer (1975; 2004), p. 385.
- 16.
Merleau-Ponty discusses the ontic character of having a personal quality and parallels the verbs “have” and “be” in: Merleau-Ponty (1945; 2007), p. 202.
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Katan, E. (2016). Comprehending Emotions and Directing a Mood. In: Embodied Philosophy in Dance. Performance Philosophy. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-60186-5_13
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DOI: https://doi.org/10.1057/978-1-137-60186-5_13
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