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?
KEIN SCHLUSSSTRICH! Bundesweites dezentrales Theaterprojekt zum NSU-Komplex : Die Nachbetrachtung
(2022)
Locating authenticity in artworks that are remade (all or in part) or re-performed over time presents a unique challenge for art conservators, whose activities have traditionally been oriented toward caring for the material aspects of art objects. The paper offers a brief overview of perspectives on authenticity and discusses various theoretical models that have been developed to conceptualize how media, installation, and performance artworks are displayed and cared for over time. These include the score/performance model, the concepts of autographicity and allographicity, the concept of iteration, and authenticity as a practice. The author proposes a theoretical model based on the ritual aspects of presenting artworks, arguing that authenticity, repetition, and community participation can be reconciled within a ritual context.
Neben einer guten Tanztechnik spielt die Körperform von professionellen Tänzer*innen eine entscheidende Rolle. Im klassischen Tanz gilt eine leptosom-grazile Form mit langen Gliedmaßen bei Frauen als ideal. Dementsprechend ist die Prävalenz von Untergewicht hoch. Dabei ist es nicht ausgeschlossen, dass dieses physische Erscheinungsbild mittels Diäten erreicht wird. Auffällig ist eine höhere Prävalenz von Störungen des Essverhaltens und Essstörungen vor allem bei Tänzerinnen im Vergleich zu nicht tanzenden Vergleichsgruppen. Im Zusammenhang mit dem Untergewicht können hormonelle Störungen, wie Amenorrhoe, Osteoporose oder Leistungseinschränkungen auftreten. Daher ist es wichtig, Tänzer*innen regelmäßig zu untersuchen und präventive Maßnahmen zu ergreifen. Ziel der vorliegenden Übersicht ist die Darstellung der Literatur zu diesem Thema.
Germany experienced a 6-month second lockdown (November 2020–April 2021) during the COVID-19 pandemic, which included the closure of all physical activity (PA) facilities. The use of online exercise classes (OECs) was promoted by public health and exercise organizations. Using the present cross-sectional online survey, we assess the use of and opinion towards OECs in Germany during the second lockdown. We used contingency tables and the Chi2 test to calculate the frequency of awareness and use of OECs according to PA status, well-being and demographic data, and conducted a binary logistic regression with OEC awareness or use and dichotomized independent predictors. The associations between opinion and activity status, frequency of use, educational attainment, age and body mass index were calculated using Spearman correlations. A total of 993 datasets were analyzed in detail. Of the 785 (79.1%) participants reporting awareness of OECs, 536 tried them, and 262, 188 and 85 used them <1 per week, 1–2 per week and ≥3 per week, respectively. The users were typically active, female participants with poorer mental well-being. The opinions towards OECs varied according to participant characteristics, such as activity status, BMI and age. Overall, regular OEC use was quite limited, and, as such, cannot replace in-person exercise opportunities. Keeping physical activity facilities open and safe must be prioritized in the ongoing pandemic.
Many sports employ caloric restriction (CR) to reduce athletes’ body mass. During these phases, resistance training (RT) volume is often reduced to accommodate recovery demands. Since RT volume is a well-known anabolic stimulus, this review investigates whether a higher training volume helps to spare lean mass during CR. A total of 15 studies met inclusion criteria. The extracted data allowed calculation of total tonnage lifted (repetitions × sets × intensity load) or weekly sets per muscle group for only 4 of the 15 studies, with RT volume being highly dependent on the examined muscle group as well as weekly training frequency per muscle group. Studies involving high RT volume programs (≥ 10 weekly sets per muscle group) revealed low-to-no (mostly female) lean mass loss. Additionally, studies increasing RT volume during CR over time appeared to demonstrate no-to-low lean mass loss when compared to studies reducing RT volume. Since data regarding RT variables applied were incomplete in most of the included studies, evidence is insufficient to conclude that a higher RT volume is better suited to spare lean mass during CR, although data seem to favor higher volumes in female athletes during CR. Moreover, the data appear to suggest that increasing RT volume during CR over time might be more effective in ameliorating CR-induced atrophy in both male and female resistance-trained athletes when compared to studies reducing RT volume. The effects of CR on lean mass sparing seem to be mediated by training experience, pre-diet volume, and energy deficit, with, on average, women tending to spare more lean mass than men. Potential explanatory mechanisms for enhanced lean mass sparing include a preserved endocrine milieu as well as heightened anabolic signaling.
Tensiomyography measures the radial displacement of a muscle during an electrically evoked twitch contraction. The rate of muscle displacement is increasingly reported to assess contractile properties. Several formulas currently exist to calculate the rate of displacement during the contraction phase of the maximal twitch response. However, information on the reproducibility of these formulas is scarce. Further, different rest intervals ranging from 10 s to 30 s are applied between consecutive stimuli during progressive electrical stimulation until the maximum twitch response. The effect of different rest intervals on the rate of displacement has not been investigated so far. The first aim of this study is to investigate the within and between-day reliability of the most frequently used formulas to calculate the rate of displacement. The second aim is to investigate the effect of changing the inter-stimulus interval on the rate of displacement. We will determine the rectus femoris and biceps femoris rate of displacement of twenty-four healthy subjects’ dominant leg on two consecutive days. The maximum displacement curve will be determined two times within three minutes on the first day and a third time 24 h later. On day two, we will also apply three blocks of ten consecutive stimuli at a constant intensity of 50 mA. Inter-stimuli intervals will be 10 s, 20 s or 30 s in each block, respectively, and three minutes between blocks. The order of inter-stimulus intervals will be randomized. This study will allow a direct comparison between the five most frequently used formulas to calculate the rate of displacement in terms of their reproducibility. Our data will also inform on the effect of different inter-stimulus intervals on the rate of displacement. These results will provide helpful information on methodical considerations to determine the rate of displacement and may thus contribute to a standardized approach.
In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell's historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: 'How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?' 'Whose bodies remain present, and which bodies are lost?' The framework of the work - its repetition with variations and its artistic and queer feminist methodologies - enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action - through performance.
In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in "The Biography" (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.
State security archives in Eastern Europe are shedding new light on the operative practices of the secret services and their interaction with performance art. Surveillance, tracking, undermining, disruption, writing of reports, and measure plans were different operative methods to be carried out in continuous repetitive processes. This paper argues that, through these repetitive working processes, state security agencies were permanently engaged in different forms of reenactments: of orders, legends, report writing, and inventing measure plans. With this operative reenactment, state security agencies not only tried to track down facts but also created 'fake facts' serving their agenda. These 'fake-facts' were then again repeated and reenacted by informants endlessly to be 'effective' in the surveillance and elimination of performance art.
Tracing the complex history of the term 'reenactment', back to R.G. Collingwood's philosophy of history, on the one hand, and popular practices of war reenactments and living history museums, on the other, a survey of its current contribution in art and museum practices highlights the importance of historicity - a category the postmodern was supposed to have vacated - in a wide range of examples, from Rod Dickinson and Jeremey Deller to Alexandra Pirici, Manuel Pelmuş, and Milo Rau. Performance reenactments, in particular, are premised on performance art having become historical, but also threaten to digest history in favour of a mere productivist mobilization for the needs of current attention economies. An alternative could be the attempt to counter historical with dramatic time in order to unlock unrealized possibilities and futures, as the term preenactment promises.