{"corpus_id":252659166,"paper_sha":"91f6b5ea571e4f33c3716d4665146b503f1a28bf","doi":"10.18290/rf22703.4","arxiv_id":null,"pmid":null,"pmcid":null,"mag_id":null,"dblp_id":null,"acl_id":null,"title":"Język ruchu Gaga jako wyraz ukrytej dynamiki emocji","year":2022,"publication_date":"2022-09-30","venue":"Roczniki Filozoficzne","journal":{"name":"Roczniki Filozoficzne","pages":null,"volume":null},"journal_issn":null,"journal_title":null,"publication_types":[],"pubmed_pub_types":null,"s2_fields_of_study":[],"reference_count":0,"citation_count":1,"influential_citation_count":0,"is_open_access":true,"arxiv_categories":null,"arxiv_license":null,"arxiv_journal_ref":null,"mesh_headings":null,"chemicals":null,"comments_corrections":null,"source_flags":1,"s2_open_access_pdf_url":"https://ojs.tnkul.pl/index.php/rf/article/download/17405/16557","s2_open_access_landing_url":"https://www.semanticscholar.org/paper/91f6b5ea571e4f33c3716d4665146b503f1a28bf","s2_open_access_license":null,"s2_open_access_status":"GOLD","pmc_open_access_pdf_url":null,"pmc_open_access_landing_url":null,"pmc_open_access_license":null,"pmc_open_access_status":null,"unpaywall_open_access_pdf_url":null,"unpaywall_open_access_landing_url":null,"unpaywall_open_access_license":null,"unpaywall_open_access_status":null,"abstract":"W ramach badań nad emocjami w tańcu naukowcy koncentrują się głównie na ich ruchowej ekspresji. Niniejszy artykuł traktuje o konceptualizacji emocji w specyficznej praktyce ruchu — języku ruchu Gaga, stworzonej przez izraelskiego choreografa Ohada Naharina, która jest oparta na ruchowej interpretacji werbalnych instrukcji podczas improwizacji tanecznej. System werbalnej komunikacji odgrywa istotną rolę w praktyce Gaga. Emocje w ruchowych wskazówkach funkcjonują implicite i są ważnym elementem pracy z ruchem i ciałem tancerzy. Istotne w refleksji o funkcjonowaniu emocji w języku Gaga są rozważania fenomenologiczne Edmunda Husserla oraz Marice’a Merleau-Ponty’ego na temat ciała, które wpłynęły również na współczesną koncepcję poznania ucieleśnionego. Kluczowym w analizie funkcjonowania emocji w języku ruchu Gaga jest zagadnienie dynamiki ujęte z perspektywy fenomenologicznej oraz językoznawczej. Celem niniejszego artykułu jest wykazanie, że: 1) emocje, choć nie pojawiają się bezpośrednio w instrukcjach Gaga, stanowią ważny element pracy twórczej tancerza; 2) ich funkcjonowanie, rozumienie i ruchowa interpretacja opiera się na metaforycznym rozumieniu różnych aspektów dynamiki; 3) dla zrozumienia funkcjonowania emocji podczas tańca istotne są fenomenologiczne analizy ciała.","claims":[{"public_id":"cl_8359f33b153f5bd32b5754dc37316cfd","status":"active","text":"Emotions do not appear directly in Gaga movement instructions but function implicitly as an important element of a dancer's creative work.","confidence":0.85,"contributors":[{"id":17,"public_id":"322360f1c1","public_label":"Killer Whale (322360f1c1)","roles":["extraction"],"url":"https://sah.borca.ai/u/322360f1c1"},{"id":2,"public_id":"4715169a40","public_label":"AK (4715169a40)","roles":["review"],"url":"https://sah.borca.ai/u/4715169a40"},{"id":1165,"public_id":"ezd9qvkvax","public_label":"The Reverser‮ 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