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University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 a Xerox Education Company 73-2145 INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 A Xerox Education Company 73-2145 THOMAS, Carolyn Elise, 1943- THE PERFECT MOMENT: AN AESTHETIC PERSPECTIVE OF THE SPORT EXPERIENCE. The Ohio State University, Ph.D., 1972 Education, physical University Microfilms, A XEROX Company, Ann Arbor, Michigan © Copyright by j Carolyn Elise Thomas 1972 I THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE PERFECT MOMENT: AN AESTHETIC PERSPECTIVE OF THE SPORT EXPERIENCE DISSERTATION Presented in Partial F ulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of T le Ohio State University By Carolyn Elise Thomas, B.S., M.S, ***** The Ohio State University 1972 Approved by Ad vis :hool of HeaJ^h, Physical Education and Recreation 1 PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms, A Xerox Education Company For Dad, Cheryl, Jim and for those who have understood and shared with me the perfect moments of sport and life long before the concept was a germ in my thinking. Between the idea And the reality Between the motion And the act Falls the shadow Between the conception And the creation Between the emotion And the response Falls the shadow — T. S. Eliot iii ACKNOWLEDGMENTS My sincere thanks to Sy Kleinman for his criticism and for the freedom he has allowed me in both this paper and my doctoral work. I am more significantly indebted to him as an adviser for the freedom to be myself in my personal and professional expression. I wish to thank my reading committee: Dee Morris, who saw possibilities in the research design and whose excitement about "Fred" was encouragement in itself; and Margaret Mordy, whose questioning and insist­ ence on scholarship have been an implicit challenge in my work at Ohio State. My thanks to Grace and Cheryl for their assistance, in typing and duplicating at various stages, to Dorothy for use of her professional library, and to those of my friends and colleagues who questioned premises and stimu­ lated "Fred's" growth. VITA March 8, 1943 .... Born - Mt. Clemens, Michigan 1965................. B.S., Western Michigan University, Kalamazoo, Michigan 1965-1966 ........... Teaching Fellow, University of Washington, Seattle, Washington 1967 ........ M.S., University of Washington, Seattle, Washington 1966-1970 Assistant Professor, University of Idaho, Moscow, Idaho 1971-1972 Assistant Professor, Denison Uni­ versity, Granville, Ohio FIELDS OF STUDY Major Field: Physical Education Studies in Philosophy and Movement Theory. Dr. Seymour Kleinman Studies in Sport Sociology. Dr. Margaret Mordy Studies in Research Design. Dr. Delyte Morris Studies in Teacher Education. Drs. Mary Yost and Charles Mand Studies in Self-Concept. Dr. Barbara Nelson Minor Field: Sociology Studies in Small Groups and Independent Study. Dr. Robert Ross Studies in Social Psychology. Dr. Clyde Franklin v Related Studies: Philosophy Studies in Aesthetics. Dr. Peter Machamer Studies in Existentialism. Dr. Lee Brown Studies in Philosophy of Mind. Dr. Andrew Oldenquist TABLE OF CONTENTS Page PREFACE ............................................. iii ACKNOWLEDGMENTS .................................... iv VITA ................................................. V Chapter I. INTRODUCTION ................................ 1 Proposed Criteria II. REVIEW OF LITERATURE......................... 10 Plato Eugene Veron Leo Tolstoy Benedetto Croce R. G. Collingwood Curt Ducasse John Dewey Ernst Cassirer Susanne Langer III. THE NATURE OF THE AESTHETIC EXPERIENCE . 41 IV. THE NATURE OF THE SPORT E X P E R I E N C E......... 55 V. AN INITIAL CONSIDERATION OF SPORT AS AN AESTHETIC EXPERIENCE: SOME GENERAL PARALLELS .................................. 68 VI. DEVELOPMENT OF SPECIFIC CRITERIA ........... 78 Intent Expertise Whole Man Acting Involvement vii Chapter Page VII. THE PERFECT MOMENT IN SPORT 100 Part 1 Sartre Maslow and the Peak-Experience Straus and the Pathic Moment Buber and the I-Thou Relationship McLuhan and the Hot-Cool Part 2 The Perfect Moment VIII. FEELING, REFLECTION, AND DESCRIPTION IN THE PERFECT MOMENT, A CONCLUDING SUMMARY .................................. 124 Feeling in the Aesthetic Experience and Perfect Moment The Nature of Experiential Description Examples of Experiential Descriptions Concluding Summary BIBLIOGRAPHY ........................ ............. 148 viii CHAPTER I INTRODUCTION Traditional aesthetic theories and philosophies of art1 have been concerned with the art object and usually with the beauty of the object via some mode of sense percep­ tion. The artist has been considered only in relationship 2 to his having produced the object. Some dancers, for example, suggest that dance as an art experience is essen­ tially a creative process. However, often this definition and aesthetic which examines, or is based upon, the process still concerns itself with the object— the dance. Ulti­ mately, it concerns itself with the elements of the art object— color, space, shape, flow, time, and continuity— rather than with the dancer's experience of dancing. In short, the aesthetic experience and its examination has almost always presupposed an object. Although the sport Particularly those of Jacques Maritain, George Santayana, and Henry Marshall. 2 Selma Jean Cohen, The Modern Dance: Seven State­ ments of Belief (Middletown: Wesleyan University Press, 1965). Also, Alma Hawkins, Creating Through Dance (Engle­ wood Cliffs: Prentice-Hall, Inc., 1964); Araminta Little, "Concepts Related to the Development of Creativity in the Modern Dance" (unpublished doctoral dissertation, University of Southern California, 1965). aesthetic necessarily presupposes an object— the body and its movement— it will be the contention in this paper that it does so only insofar as it allows facilitation of the athletes' experience. To follow traditional aesthetic theories in the development of a sport aesthetic, the focus would be on the beauty of the human body in motion and would consider the grace, efficiency, and effortlessness of movement achieved in skilled performance. Some sports movements such as those in gymnastics, figure skating, synchronized swimming, and diving which have dance overtones have often been termed beautiful and artistic. However, in other sports this expertise and "beauty" conjures a utilitarian, structured, and mechanistic process rather than the expressive reactions which have served as criteria for aesthetic theories. Since it is theoretically apparent that this objectification of the body and its movements cannot be considered artistic, the necessity arises to look away from the art object and toward the artists' experience and the nature of the aes­ thetic experience as a probable alternative in the develop­ ment of a sport aesthetic. Although a few papers appear in physical education 3 literature dealing with sport aesthetics and sport in 3 For example, see: Benjamin Lowe, "The Aesthetics of Sport: The Statement of a Problem," Quest. May 1971 (NAPECW-NCPEAM); and Eugene Kaelin, "The Well-Played Game: Notes Toward an Aesthetics of Sport," Quest, May 1968 (NAPECW-NCPEAM). 4 art, i.e., sport in sculpture, painting, and literature, little has been done to construct a theoretical basis for dealing with the movement form of sport, per se. as an aesthetic act. A number of aesthetic theories, particularly those of Veron, Tolstoy, Collingwood, Dewey, and Langer, have taken into account the affective, experiential, and symbolic aspects of the artist in the aesthetic encounter. These theories and others are briefly delineated in Chap­ ter II. The aesthetic experience has been defined broadly as a feeling attributed to an experience
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