Abstract

Bodily expression of affection through movement is both simple and complex: simple insofar as it puts us into immediate communion with the affective lives of others; complex insofar as it relies on rapid and subtle movements that generally escape explicit notice. The difficulty in understanding the bodily basis of intersubjectivity comes in understanding how in and through complex movement the simplicity of expression is possible. It is here that reflection on the arts proves valuable. Hans-Georg Gadamer points to the role of art in contemplating the truth of appearance, and he observes that nature appears as self-renewing play. Drawing on these insights, this paper considers the treatment of bodily expression in the work of three artists: the portraiture of El Greco, a novel by Charlotte Brontë, and several poems by Gerard Manley Hopkins. All three artists employ the imagery of fire to represent bodily expression. Fire recommends itself because of its subtle movement and its radiance. In light of these artists’ approach to the phenomenon, the paper argues that “radiant interplay” characterizes the how of bodily expressiveness. Our bodies radiate our felt affectivity through the play of our features, and this play is always reciprocally related to the play of others radiating their felt affectivity. Reflection on art enriches the phenomenology of intersubjectivity.