An ontological and epistemological framework and foundation for the psychological symptom 'neurosis'.

Jeder Wahrnehmung liegen Kinästhesen zugrunde, doch tritt die Bewegung am deutlichsten im Tasten hervor. Untersucht wird hier die phänomenologische Auffassung vom Zusammenhang zwischen Tasten und Kinästhesen bei Husserl und Erwin Straus, im Vergleich zu der Tanzwissenschaft . Diese Interpretation wird teilweise durch andere Perspektiven ergänzt, die aus der pränatalen Anthropologie, Psychiatrie und den Ingenieurwissenschaften stammen. Das Vorbild ist bei Husserl die mechanische Bewegung zu Erkenntniszwecken; Straus entdeckt die Tierwelt und ihre appetitiven Bewegungen. Keine von diesen Analysen entspricht völlig dem Phänomen (...) des Tanzes als Ausdruck der propriozeptiv empfundenen Harmonie zwischen dem Leib und seiner Welt. (shrink)

The purpose of this article is to present a phenomenological description of how athletes in specific risk sports explore human interaction with natural elements. Skydivers play with, and surf on, the encountering air while falling towards the ground. Kayakers play on the waves and with the stoppers and currents in the rivers. Climbers are ballerinas of the vertical, using cracks and holds in the cliffs to pull upwards against gravity forces. The theoretical background for the description is found in the (...) phenomenology of Heidegger and Merleau-Ponty. The phenomenology of Husserl focused on the theoretical intentionality of the transcendental ego. With Heidegger the human being's concrete and practical interaction with the environing world moved to the foreground. Heidegger's analyses of ?equipmentality? also throw important light on equipmentality in sports and how we deal with tools and equipment in sports. However, in Heidegger's analyses the body resides in the background both as subject and object. The importance of the active body-subject is well documented in the work of Merleau-Ponty, and also Todes. The human being is a bodily ?being-in-the-world? and the body is the active medium through which the world is grasped. The body is however also situated and aligned with the fundamental dimensions of the world, with vertical gravity and with horizontal action space. In this article I show in a concrete way how in some sports we use fundamental characteristics of the environing world in a mode of playfulness. In these sports human beings play in an extreme way with fundamental elements of nature. The article thus puts phenomenology to a test. It should be able to move from general characteristics to specific features of our bodily human involvement with the environing world. (shrink)

The visual creativity of famous Russian ballerina Anna Pavlova is studied in the article within the context of the synthetic approach to working on stage roles. There are data on Anna Pavlova that have not been included in existing publications concerning her artistic, mainly sculptural experiments. This information provides understanding of not only professional tasks that the ballerina has set, but of the tools through which these tasks have been dealt with in a gradual process of formation of (...) plastic dance images. At the same time, the data reflect the very essence of her unordinary poetically-plastic talent. The author systemizes and analyzes extant sculptural and graphic works created by the ballet dancer that are scattered on various, mostly private collections and often known only by copies. There are rare documentary material and sources confirming the basic conclusions of the article. The main purpose of the article is to reveal visually depictive aspects of the formation of the stage means of А. Pavlova, which have played important role in her art, to trace way to the mastery of the concrete stage subjects, which go through the mastery of plastic material. Accentuation of the synthetic sense of A. Pavlova’s heritage is determined by the fact that her sculpture has focused or refracted the dance. After mastering academic construction of form, ballerina filled it with new content provided not only by her fantasy, but also by detailed study of the phenomena of nature, plastic of organic forms. It is possible to say with confidence that the fixed image could serve as the excellent model of the study of the motives of stage behavior and dynamic manifestations of her personality in choreography. It is obvious that the study of the artistic style of A. Pavlova reveals not only her plastic uniqueness, but also the mysterious aspiration of the skill of ballerina to the embodiment of her romantic searching in the dance. (shrink)

Le lien mère/fille, ou éducatrice/danseuse, tel qu’il s’exprime au cours de l’apprentissage de la danse classique, est ici discuté à deux époques différentes, le xixe siècle et la période actuelle, à partir de témoignages écrits sur la vie des élèves dans l’Opéra ancien et d’enquêtes orales auprès de danseuses contemporaines. Il en ressort qu’au xixe siècle comme aujourd’hui, mères et éducatrices ne permettent pas à ces jeunes filles d’accéder facilement au statut de femme ; les jeunes danseuses du xixe siècle (...) n’avaient pour certaines pas de liberté dans leur choix matrimonial, devaient pour d’autres subvenir aux besoins de leur famille, tandis qu’aujourd’hui mères et éducatrices les maintiennent dans le statut de « fille ». (shrink)