790 Freizeitgestaltung, darstellende Künste, Sport
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Vielfalt im Hochschulsport
(2024)
Zum Sommersemester hat das Team vom Zentrum für Hochschulsport (ZfH) der Goethe-Universität wieder ein vielfältiges und buntes Programm auf die Beine gestellt. Dazu gehören natürlich Klassiker wie Fußball oder Volleyball, aber auch Trendsportarten und exotische Disziplinen. Einiges davon ist auch im laufenden Semester noch buchbar! Im Folgenden werden einige Angebote kurz beschrieben.
This study investigated the effects of a daily plyometric hopping intervention on running economy (RE) in amateur runners. In a randomized, controlled trial, thirty-four amateur runners (29 ± 7 years, 27 males) were allocated to a control or a hopping exercise group. During the six-week study, the exercise group performed 5 min of double-legged hopping exercise daily. To progressively increase loading, the number of hopping bouts (10 s each) was steadily increased while break duration between sets was decreased. Pre- and post-intervention, RE, peak oxygen uptake (VO2peak), and respiratory exchange ratio (RER) were measured during 4-min stages at three running speeds (10, 12, and 14 km/h). ANCOVAs with baseline values and potential cofounders as cofactors were performed to identify differences between groups. ANCOVA revealed an effect of hopping on RE at 12 km/h (df = 1; F = 4.35; p < 0.05; η2 = 0.072) and 14 km/h (df = 1; F = 6.72; p < 0.05; η2 = 0.098), but not at 10 km/h (p > 0.05). Exercise did not affect VO2peak (p > 0.05), but increased RER at 12 km/h (df = 1; F = 4.26; p < 0.05; η2 = 0.059) and 14 km/h (df = 1; F = 36.73; p < 0.001; η2 = 0.520). No difference in RER was observed at 10 km/h (p > 0.05). Daily hopping exercise is effective in improving RE at high running speeds in amateurs and thus can be considered a feasible complementary training program.
Clinical trial registration German Register of Clinical Trials (DRKS00017373).
Anarchival practises : the Clanwilliam Arts Project as re-imagining custodianship of the past
(2023)
Where is the past? It is not really behind us, but with us, constantly imagined and re-imagined in public discourse through historical narrations. Using the Clanwilliam Arts Project as a case study, this volume is founded on the 'anarchive', a conceptual constellation that positions the past in relation to the present, bringing into view strategies to facilitate remembering beyond the colonial archive.
In the reactivation of the feminist collective of artists Le Nemesiache, this paper looks at the tension between rhetoric and translation in relation to the dislocation of archival materials from their situatedness in place (Naples) and time (1970 to the present). Translation emerges as the conveyor of the conditions from which the addresser started, as well as the ones of the addressees, as a potential that takes place in the moment of enunciation through a plurality of subjects. Considering the epistemological tension between history and fiction, as well as the mediation that happens through the body and the different subjectivities triggered by intra-action, this essay will engage with the following question: if the archive is the memory, can dramaturgy and reenactment from the archive become the message of a prophecy?
A sense of repetition pervades contemporary South African political and cultural debate. Several recent studies have drawn attention to the fact that the renewed student protests since March 2015 parallel several features of the resistance and liberation movements of the 1970s and 1980s. At a pivotal position between the two moments of political struggle stands the 'miracle' of the peaceful transition in 1994. Within this set of circumstances a group of curators, artists, and writers, Gabi Ngcobo and Kemang Wa Lehulere, amongst others, formed a collective under the name CHR (Center for Historical Reenactments) in Johannesburg in 2010. The CHR has pursued several questions that interrogate the complexity of a shared memory bridging segregated Apartheid legacy: how do readings of the past inform contemporary urgencies, and what are the political potentials of artistic interpretations of histories? How do they participate in the formation of new subjectivities?