The phrase "bodily feeling" is correct and can be used in written English.
It describes the physical sensation or experience that a person has in their body. Example: "The athlete's bodily feeling of exhaustion was a clear indication of how hard he had trained for the marathon."
Overall, we postulate that feeling back stiffness represents a protective, perceptual inference: a bodily feeling created to provide the critical homeostatic function of preventing movement and potential re-injury.
A feeling of joint stiffness has been shown to remain despite loss of the limb15 suggesting that the bodily feeling of stiffness can be independent to the biological state of the tissues.
He said he had no particular thought on his mind; what he did have was a bodily feeling, a hunger in his gut to get started with his new life.
He, however, seems to identify affective feeling with motivation and to regard these as depending on brain areas different from, although related to, those for interoceptive bodily feeling.
Arthur Craig (2002) provides new evidence for scientifically distinguishing interoceptive bodily feeling from garden variety outwardly directed sensations that might, perhaps, be used to make a case against a sharp sensory/affective distinction.
By stating that "all sensations and vibrations are infinitely divisible," Hartley is elaborating on a point made by George Berkeley, in his Essay Towards a New Theory of Vision ([1709 ] 1948, that a being born "blind" to bodily feeling and possessing only sight would have no concept of space and would be unable to perceive a geometrically ordered world.
Thus, feeling must include not only bodily feelings but the cognitively rich experiences of knowing, engaging, and caring.
This has far-reaching implications for treatment of pain/stiffness but also for our understanding of bodily feelings.
This pushing action turns out to be important, because people's beliefs are often influenced by bodily feelings and movements.
Emotions – already classified "conscious states" – were shunned in favour of "affects", those nameless "bodily feelings" that could be shown, but not told.
Three clusters of scenes are foregrounded: how the actors emotively interact with the heteronormative interpellation of religious doctrines; their subjective engagement with spiritual forces; and their experiences of bodily feelings in inhabiting piety and sexuality.
