Fenomenología de la danza:Merleau-Ponty versus Sheets-Johnston

  1. Mª Carmen López-Sáenz 1
  1. 1 Departamento de Filosofía. UNED. Madrid (España)
Journal:
Arte, individuo y sociedad

ISSN: 1131-5598

Year of publication: 2018

Volume: 30

Issue: 3

Pages: 467-481

Type: Article

DOI: 10.5209/ARIS.57686 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Arte, individuo y sociedad

Metrics

Cited by

  • Scopus Cited by: 0 (16-02-2024)
  • Dialnet Métricas Cited by: 4 (25-02-2024)
  • Web of Science Cited by: 0 (19-10-2023)
  • Dimensions Cited by: 0 (27-12-2023)

SCImago Journal Rank

  • Year 2018
  • SJR Journal Impact: 0.229
  • Best Quartile: Q1
  • Area: Visual Arts and Performing Arts Quartile: Q1 Rank in area: 47/556

Índice Dialnet de Revistas

  • Year 2018
  • Journal Impact: 0.240
  • Field: HISTORIA Quartile: C1 Rank in field: 45/312
  • Field: ARTE Quartile: C1 Rank in field: 1/135
  • Field: HISTORIA DEL ARTE Quartile: C1 Rank in field: 1/41
  • Field: EDUCACIÓN Quartile: C2 Rank in field: 100/241

CIRC

  • Social Sciences: C
  • Human Sciences: A

Scopus CiteScore

  • Year 2018
  • CiteScore of the Journal : 0.2
  • Area: Visual Arts and Performing Arts Percentile: 49

Journal Citation Indicator (JCI)

  • Year 2018
  • Journal Citation Indicator (JCI): 0.74
  • Best Quartile: Q2
  • Area: ART Quartile: Q2 Rank in area: 38/137

Dimensions

(Data updated as of 27-12-2023)
  • Total citations: 0
  • Recent citations (2 years): 0
  • Field Citation Ratio (FCR): 0.0

Abstract

This study takes as its starting point the core of the Merleau-Ponty’s Phenomenology: the body lived in relation to the objective body and the habitual body. From it derives the relation between the bodily space and the space of things, as well as the lived movement – the true origin of dance-, and the mere change of place. This article begins by contrasting the aforementioned nucleus with the Valery’s conception of dance. Both of them consider it to be the art of bodily movement, but the phenomenologist goes further by understanding the body as the source of symbolism and creative expression. I will show the peculiar relationship between dance, motor skills and perception. With the help of the phenomenology of genesis, I will discuss Sheets-Johnston’s thesis that it is impossible to see oneself dancing. We will conclude by describing the rhythm of the dance as a universal expression of the movement.

Funding information

Este trabajo se realizó en el marco del proyecto de investigación FFI2015-63794-P

Funders

Bibliographic References

  • López Sáenz, Mª C. (2006). La Parole as a Gesture of the Originating Differentiation. En Penas, B. López, Mª C. (eds.) Interculturalism. Between Identity and Diversity. (27-46). Berna: Peter Lang.
  • López Sáenz, Mª C. (2011). Merleau-Ponty, filósofo del cuerpo vivido. Paideia, (90), 25-51.
  • Bergonzoni, C. (2017). When Dance My Walk: A Phenomenological Analysis of Habitual Movement in Dance Practices. Phenomenology Practice, 11 (1), 32-42.
  • Dreyfus, H. & Dreyfus, S. (1999). The Challenge of Merleau-Ponty´s Phenomenology of Embodiment for Cognitive Science. En Weiss, G. (ed.) Perspectives on Embodiment: The intersections of Nature and Culture. (103-120). London: Routledge.
  • Husserl, E. [1909]. Ästhetik und Phänomenologie (Citamos la traducción castellana de 1995, de Vences, S. Vences, M. Edmund Husserl Estética y Fenomenología. La Coruña: Tórculo).
  • Levin, D.M. (2001). Los filósofos y la danza. A Parte Rei (14) Recuperado de: http://serbal. pntic.mec.es/~cmunoz11/levin.pdf
  • Merleau-Ponty, M. [1942] (2002). La structure du comportement. Paris : PUF
  • Merleau-Ponty, M. [1945] (1979). Phénoménologie de la Perception. Paris: Gallimard.
  • Merleau-Ponty, M. 1948 (2002). Causeries. Paris: Seuil, 2002 (Citamos la traducción castellana, El mundo de la percepción. Siete conferencias. México: FCE, 2003).
  • Merleau-Ponty, M. (1960). Signes. Paris: Gallimard.
  • Merleau-Ponty, M. (1964a). Le Visible et l´Invisible. Paris: Gallimard.
  • Merleau-Ponty, M. [1964b] (1990). L’Oeil et l’Esprit. Paris: Gallimard.
  • Merleau-Ponty, M. (1968). Résumés de Cours. Paris: Gallimard.
  • Merleau-Ponty, M. (1969). La Prose du Monde. Paris: Gallimard.
  • Merleau-Ponty, M. (1998). Merleau-Ponty à la Sorbonne. Résumé de Cours. 1949-1952. Paris: Cynara.
  • Merleau-Ponty, M. 2003). L´institution. La Passivité. Notes de cours au Collège de France 1954-5. Paris: Belin.
  • Merleau-Ponty, M. (2011). Le monde sensible et le monde de l’expression. Cours au Collège de France. Notes 1953. Geneve: MetisPresses.
  • Morales, E.G. (2012). El saber del cuerpo (Intuición y percepción como saber corporal en Bergson y Merleau-Ponty. Tesis Doctoral. Madrid: UNED.
  • Pakes, A. (2011). Phenomenology and Dance: Husserlian Meditations. En Congress on Research in Dance, 33-49.
  • Sheets-Johnston, M. (1990). The Roots of thinking. Philadelphia: Temple University Press.
  • Sheets-Johnston, M. (1994). The Body as Cultural Object.The Body as Pan-Cultural Universal. En Mano, D. Embree, L. (eds.) Phenomenology of the Cultural Disciplines, (85-114). Dordrecht: Kluwer.
  • Sheets-Johnston, M. (2009). The Corporeal Turn. An Interdisciplinary Reader. UK: Imprint Academic.
  • Sheets-Johnston, M. (2011a). The Primacy of Movement. The Netherlands: J. Benjamins Publishing,
  • Sheets-Johnston, M. (2011b). Movement and Mirror Neurons: A Challenging and Choice Conversation. Phenomenology and the Cognitive Sciences, 11 (3), 385-401.
  • Sheets-Johnston, M. (2012). From Movement to Dance. Phenomenology and the Cognitive Sciences, 11 (1), 39-57.
  • Sheets-Johnston, M. [1966] (2015). The Phenomenology of Dance. Philadelphia: Temple University Press.
  • Sheets-Johnston, M. (2016). Insides and Outsides. UK: Imprint Academic. Schütz, A. (2013). Collected Papers VI. Literary Reality and Relationships. London: Springer.
  • Valéry, P. (1936). Philosophie de la danse. Recuperado de: http://www.uqac.uquebec.ca/ zone30/Classiques_des_sciences_sociales/index.htmal
  • Valéry, P.[1938] (1965). Degas, Danse, Dessin. Paris: Gallimard.