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1
Crossman, Jane E. "Spectators' Behavior at Minor League Hockey Games: An Exploratory Study." Perceptual and Motor Skills 63, no. 2 (October 1986): 803–12. http://dx.doi.org/10.2466/pms.1986.63.2.803.
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The purpose of this study was to assess the behavior of spectators viewing minor league hockey in Thunder Bay, Ontario, Canada. The behavior of 272 (142 men, 130 women) randomly selected spectators was assessed using a special code. Spectators were observed for 10-sec. time blocks and the predominant behavior they were emitting was recorded. During each observation session, three subjects were observed in serial order for the duration of the hockey game. Significant differences were found for some behaviors of the spectators when the level of the athletes in the competition, the importance of the contest, and the sex of the spectator were considered. Spectators viewing hockey played at older ages (Bantam, Midget) watched the game more and were more negative toward the athletes. Spectators seemed to be more attentive to the game during houseleague games than to tournament and play-off games. Males tended to watch the game more than females who interacted with other spectators. The findings did not support the popular notion that spectators viewing minor league hockey are a verbally abusive group.
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Kringstad, Morten, Tor-Eirik Olsen, Tor Georg Jakobsen, Rasmus K. Storm, and Nikolaj Schelde. "Match Experience at the Danish Women’s Soccer National A-Team Matches: An Explorative Study." Sustainability 13, no. 5 (March 2, 2021): 2642. http://dx.doi.org/10.3390/su13052642.
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Women’s soccer is more popular than ever, but match attendance is still relatively low. In order to develop sustainable revenue streams for women’s football, and help it grow further, it is necessary to understand what drives spectator’s overall demand. We explore factors that affect the overall match experience for spectators (i.e., spectator satisfaction) attending Danish women’s national soccer A-team games in the 2016 to 2019 period as a proxy for this. Using survey data gathered by the Danish Football Association (DBU) consisting of 4010 individuals and 13 matches, coupled with other match-specific data, we employ multilevel regression modelling. The results at the individual level suggest that female spectators are significantly more content with the overall match experience, while several additional factors are also important at the match-specific level, such as kick-off time and the result. Furthermore, there are indications that match significance and derby matches affect overall match experience. An important implication of these results is that they can aid national and international federations and other governing bodies in promoting women’s soccer in general, and women’s national A-team soccer specifically, in order to help the sport to become more financially viable. Although numerous initiatives have been designed to increase the attractiveness of women’s soccer, these are yet to materialize into long-term effects.
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Reynolds, Dee. "‘Glitz and Glamour’ or Atomic Rearrangement: What do Dance Audiences Want?" Dance Research 28, no. 1 (May 2010): 19–35. http://dx.doi.org/10.3366/drs.2010.0003.
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While popular dance shows on stage and screen frequently attract audiences seeking the ‘glitz and glamour’ of spectacle and celebrity, much contemporary, experimental work holds more appeal for spectators in search of challenge and even disorientation. However, a significant element of viewing pleasure which cuts across these distinctions is the spectator's feeling of involvement with the dancer and/or the kinesthetics of the choreography. Indeed, facilitating audiences’ sense of intimacy/involvement with dancers can impact dramatically on the effect of cutting-edge choreography which might otherwise be experienced as difficult and obscure. I shall discuss audiences’ response and attraction to popular shows such as Strictly Come Dancing and compare these with responses to William Forsythe's choreography as performed by the ‘Ballet Boyz’.
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Ullah, Farman, Yigang Wu, Khalid Mehmood, Fauzia Jabeen, Yaser Iftikhar, Ángel Acevedo-Duque, and Ho Kwong Kwan. "Impact of Spectators’ Perceptions of Corporate Social Responsibility on Regional Attachment in Sports: Three-Wave Indirect Effects of Spectators’ Pride and Team Identification." Sustainability 13, no. 2 (January 10, 2021): 597. http://dx.doi.org/10.3390/su13020597.
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The professional sports events industry is becoming immensely popular due to a global social shift toward larger numbers of spectators at sports events and an ever-increasing variety of such events. This study aimed to investigate the impact of spectators’ perception of corporate social responsibility on regional attachment by applying social identity theory. The present study introduces two mediators, namely, spectators’ pride and team identification, to enlighten the relationship between spectators’ perception of corporate social responsibility and regional attachment, thus contributing to the literature on corporate social responsibility in sports. This quantitative study used a time-lagged approach to collect data in three waves at a time interval of one week and the final sample consisted of 511 respondents (i.e., spectators). Hierarchical regression analysis bootstrapping approach was utilized to analyze the hypothesis. We found that the spectators’ perceptions of corporate social responsibility positively influenced their team identification, and this relationship was mediated by spectators’ pride. In addition, spectators’ pride positively influences regional attachment, and this relationship is mediated by team identification. These findings provide new directions for understanding corporate social responsibility, team identification, spectators’ pride, and regional attachment in sports contexts. The practical and theoretical implications are discussed.
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Ullah, Farman, Yigang Wu, Khalid Mehmood, Fauzia Jabeen, Yaser Iftikhar, Ángel Acevedo-Duque, and Ho Kwong Kwan. "Impact of Spectators’ Perceptions of Corporate Social Responsibility on Regional Attachment in Sports: Three-Wave Indirect Effects of Spectators’ Pride and Team Identification." Sustainability 13, no. 2 (January 10, 2021): 597. http://dx.doi.org/10.3390/su13020597.
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The professional sports events industry is becoming immensely popular due to a global social shift toward larger numbers of spectators at sports events and an ever-increasing variety of such events. This study aimed to investigate the impact of spectators’ perception of corporate social responsibility on regional attachment by applying social identity theory. The present study introduces two mediators, namely, spectators’ pride and team identification, to enlighten the relationship between spectators’ perception of corporate social responsibility and regional attachment, thus contributing to the literature on corporate social responsibility in sports. This quantitative study used a time-lagged approach to collect data in three waves at a time interval of one week and the final sample consisted of 511 respondents (i.e., spectators). Hierarchical regression analysis bootstrapping approach was utilized to analyze the hypothesis. We found that the spectators’ perceptions of corporate social responsibility positively influenced their team identification, and this relationship was mediated by spectators’ pride. In addition, spectators’ pride positively influences regional attachment, and this relationship is mediated by team identification. These findings provide new directions for understanding corporate social responsibility, team identification, spectators’ pride, and regional attachment in sports contexts. The practical and theoretical implications are discussed.
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Fernández, Carolina Ramos. "El ánima sola : Enrique Buenaventura adapta a Tomás Carrasquilla." Acta Hispanica 15 (January 1, 2010): 69–81. http://dx.doi.org/10.14232/actahisp.2010.15.69-81.
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The Colombian playwright Enrique Buenaventura adapted for the scene the story of qualified Tomás Carrasquilla “The alone soul”. It is not the first time that the first one adapts to the second one so his pieces: In the God's righthand side father, The Guariconga (inspired by the work Palonegro); San Antoñito also they inspired also by the work of the novelist, taking it as a point of item for his theatrical theory. In all the cases, Enrique Buenaventura searches, in Tomás Carrasquilla's work, the popular voice, the autochthonous speech, the known topic and the direct communication with the spectators and spectators of his epoch. Ingredients with which it re-elaborates the popular history opening new points of view, renewing prominent figures and introducing new characters without interferences.
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Guneratne, Anthony R. "Religious conflict, popular culture and the troubled spectators of recent Indian film." Contemporary South Asia 6, no. 2 (July 1997): 177–89. http://dx.doi.org/10.1080/09584939708719812.
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Ruvalcaba, Omar, Jeffrey Shulze, Angela Kim, Sara R. Berzenski, and Mark P. Otten. "Women’s Experiences in eSports: Gendered Differences in Peer and Spectator Feedback During Competitive Video Game Play." Journal of Sport and Social Issues 42, no. 4 (May 15, 2018): 295–311. http://dx.doi.org/10.1177/0193723518773287.
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Despite the growing popularity of eSports, the poor representation of women players points to a need to understand the experiences of female players during competitive gaming online. The present study focuses on female gamers’ experiences with positive and negative feedback and sexual harassment in the male-dominated space of eSports. In Study 1, gender differences were analyzed in online gamers’ experience with feedback from other players and spectators during online play. In Study 2, gender differences were analyzed in observations of real gameplay that focused on the types of comments spectators directed toward female and male gamers on Twitch (a popular video game streaming website). The findings suggest a mixed experience for women that includes more sexual harassment in online gaming compared with men.
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Király, Hajnal. "Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 57–71. http://dx.doi.org/10.2478/ausfm-2020-0003.
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AbstractThe paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literary theory, intermediality studies and empirical psychological research of the literary effect) in order to elucidate how intermedial, painterly references in midcult and arthouse films mobilize the associative dimensions of film viewing and may have an impact on spectatorial self-reflexion and emotional growth. Moreover, films that rely on the associative power of still(ed) images, painterly references bring into play the personal and cultural experiences of the viewer. As such, they can be effectively used in professional and cultural sensitivization.
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Holman, Brett. "The meaning of Hendon: the Royal Air Force Display, aerial theatre and the technological sublime, 1920–37*." Historical Research 93, no. 259 (January 14, 2020): 131–52. http://dx.doi.org/10.1093/hisres/htz001.
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Abstract The annual Royal Air Force Display at Hendon was a hugely popular form of aerial theatre, with attendance peaking at 195,000. Most discussions of Hendon have understood it as ‘a manifestation of popular imperialism’, focusing on the climactic set-pieces which portrayed the bombing of a Middle Eastern village or desert fortress. However, scenarios of this kind were a small minority of Hendon’s set-pieces: most depicted warfare against other industrialized states. Hendon should rather be seen as an attempt to persuade spectators that future wars could be won through the use of airpower rather than large armies or expensive navies.
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Baumbach, Sibylle. "The Fascination with Crisis and the Crisis of Perception in Contemporary British Drama." Journal of Contemporary Drama in English 8, no. 1 (May 11, 2020): 47–64. http://dx.doi.org/10.1515/jcde-2020-0005.
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AbstractBased on considerations of the connection between fascination, crisis, and the “Medusa effect,” this paper argues that contemporary drama tends to challenge the audience’s sense of safe spectatorship by stimulating perceptual crises, returning the spectators’ gaze, and exposing their tendencies of (in)attentional blindness. Besides plays by Martin Crimp, Carol Ann Duffy, and Rufus Norris, the analysis focuses on James Graham’s Quiz (2017), which dramatizes one of the most popular scandals in the history of British game shows and challenges the audience’s capacity of moral attention. As I argue, Quiz engages the audience in multi-levelled crises (a crisis of knowledge, a crisis of perception, and a crisis of judgement), which stimulates conceptual blending, tests spectators’ response-ability on an ethical, aesthetic, and political level, and eventually allows them to overcome the perceptual crisis created in the course of the play.
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Stankevičiūtė, Kristina. "Stereotyping Scandinavia in popular spy films: The image of the female." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 311–28. http://dx.doi.org/10.1386/jsca_00006_1.
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Stereotyping, though considered ‘politically incorrect’, is viewed by some as a culturally economical choice that helps us save energy by simplifying the process of perceiving the world and its people. Spy films, in turn, are often constructed from certain clichés that some viewers expect, while more sophisticated spectators find them discrediting. Yet intentional use of clichés, including national and cultural stereotypes, may serve the purpose of conscious criticism or cultural irony, as is often the case in spy film parodies or spoofs. Referring to the widespread spy narrative character typology embodied in James Bond films, the article considers the popular stereotype of the Scandinavian woman observed in twenty-first-century espionage films for wide audiences, focusing on the Hamilton and Kingsman series to examine the effects that serious or ironic use of the stereotype has on the representation of female characters.
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Griffin, Brian. "‘The More Sport the Merrier, Say We’: Sport in Ireland during the Great Famine." Irish Economic and Social History 45, no. 1 (August 16, 2018): 90–114. http://dx.doi.org/10.1177/0332489318793044.
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Scholars have made considerable progress in recent years in researching the history of sport in Ireland, yet there are still important areas that have not received scholarly attention. One of these is the topic of sport during the Great Famine. A close perusal of contemporary newspapers reveals that large numbers of Irish people, from all social groups, continued to enjoy sports, either as participants or as spectators, during the Famine years. Horse races, especially steeplechases, were universally popular, with many meets attracting attendances that numbered in the thousands. Other popular sports included fox hunting, stag hunting, greyhound coursing, sailing, cricket and cockfighting. This article illustrates the widespread popularity of sport in Ireland in this period, based mainly on a reading of newspaper accounts, and discusses why the subject of sport does not feature in folk or popular memory of the Famine.
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Hartmann, Tilo, Daniela Stuke, and Gregor Daschmann. "Positive Parasocial Relationships with Drivers Affect Suspense in Racing Sport Spectators." Journal of Media Psychology 20, no. 1 (January 2008): 24–34. http://dx.doi.org/10.1027/1864-1105.20.1.24.
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Abstract. The present study examines determinants of suspense on viewers observing sports on television. As an explanatory framework, an integrated model is proposed, linking the concept of (positive and negative) parasocial relationships (PSR) to the concept of affective dispositions as used in the affective disposition theory of drama. In the context of the popular sport of “Formula 1” racing, the hypothesized causal structure of the formation of suspense was tested in an empirical survey study. A structural equation model was calculated. Results show a significant influence of positive forms of PSR toward a favorite driver, either mediated by viewers' hopes for a positive outcome or influenced directly by the experienced level of suspense. While negative forms of PSR toward a disliked driver affect viewers' hopes for a negative outcome, they do not add to the level of suspense.
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GILMAN, LISA, and JOHN FENN. "Dance, gender, and popular music in Malawi: the case of rap and ragga." Popular Music 25, no. 3 (September 11, 2006): 369–81. http://dx.doi.org/10.1017/s026114300600095x.
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Rap and ragga musics have found a place on the musical landscape of Malawi over the last decade, exemplified in a nation-wide scene characterised by competitions. Recordings and associated materials of rap and ragga that inform Malawian youth interpretations tend to emphasise male participation and masculine symbols. Competitions are male-dominated in their organisational structure and participatory roles. Though the articulated focus of these events is the musical component, movement practices are at the core of the scene, comprising part of contestants' performances and the more informal activities of spectators. Female involvement as dancers is much greater than as music-makers, making attention to dance crucial for understanding gender dynamics. Our exploration of intersections between dance, music, gender and class provides insight into the reasons for and implications of male dominance in this popular music/dance scene.
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Acevedo, William, and Mei Cheung. "Una visión histórica de las artes marciales mixtas en China." Revista de Artes Marciales Asiáticas 6, no. 2 (May 27, 2012): 29. http://dx.doi.org/10.18002/rama.v6i2.6.
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Mixed martial arts (MMA) has become one of the fastest-growing combat sports in the twenty-first century, drawing millions of Pay-Per-View spectators since the inception of the Ultimate Fighting Championship (UFC) in 1993. Popular conceptions have credited the creation of MMA to Bruce Lee, a Chinese-American actor and martial artist who became an icon in the 1970s and who is still considered by many as a revolutionary figure in the field. This paper will present, in chronological order, examples of ancient Chinese martial arts concepts preceding the creation of modern MMA.
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Hodin, Mark. "Class, Consumption, and Ethnic Performance in Vaudeville." Prospects 22 (October 1997): 193–210. http://dx.doi.org/10.1017/s0361233300000107.
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During the last decade of the 19th century, vaudeville became the nation's most popular entertainment form, drawing unprecedented numbers of spectators and appealing to members of diverse socioeconomic groups by staging a rapid succession of acrobats, comedians, legitimate theater stars, pet-tricks, and dramatic sketches. In a cultural scene that Lawrence Levine and others tell us was marked by the historical separation between legitimate and mass cultural practices, critical observers (then and since) have greeted the diversity of vaudeville's audience and the range of its performance with a mixture of surprise and liberal enthusiasm.
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Kwiatkowski, Grzegorz, and Thomas Könecke. "Tourism and recurring sport events." Sport, Business and Management: An International Journal 7, no. 5 (November 13, 2017): 464–82. http://dx.doi.org/10.1108/sbm-11-2016-0070.
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Purpose Both groups are profiled in terms of travel-related and socio-demographic characteristics. Furthermore, the purpose of this paper is to address determinants of spending for each spectator group. Data collection was conducted using an on-site questionnaire. Analysis of variance between profile characteristics is based on χ2 and Wilcoxon-Mann-Whitney tests, whereas the analysis of determinants of spending builds on the Tobit model. Design/methodology/approach Recurring sport events that do not count among the mega sport event category have become a popular means of attracting tourists to a destination. Thus, research on different spectator groups attending such events is very relevant, yet surprisingly scarce. This study helps filling this void by a comparative analysis of two types of spectators present at the Professional Windsurf Association Windsurf World Cup on the German island of Sylt: travellers who come to Sylt solely for the event (event tourists) and travellers whose motivation to visit the island was not primarily driven by the event (regular tourists). Findings The results show that the two examined groups are clearly distinguishable, both in terms of profile characteristics and determinants of spending. This indicates that specific strategies seem advisable for sport event and tourism destination managers at mature tourist destinations. Originality/value The study’s major contribution to both tourism and event management literature is that it exposes key characteristics of and differences between both groups within a specific setting at a non-mega sport event at a mature tourist destination.
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Budiawan, Ramdan Dede, Arif Satria, and Megawati Simanjuntak. "The quasi experimental study of the influence of advertising creativity and exposure intensity toward buying action with aida approach." Independent Journal of Management & Production 8, no. 2 (June 1, 2017): 378. http://dx.doi.org/10.14807/ijmp.v8i2.526.
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Advertisement is one of marketing communication forms made by companies to reach sales goal of certain product. Advertising creativity is one of important factors that determines the success of television advertisement, beside that the exposure intensity also be determining factor to make the television advertisement get attention from spectators. To measure the spectators response toward advertisement in this research, the researcher used AIDA model. AIDA (attention, interest, desire, action) model is one of popular response hierarchy models for marketer as guidance to implement the marketing communication activities. The thesis analyzes the influence of advertising creativity and exposure intensity toward the buying action as the final stage of consumer in deciding the decision to buy product. The research used quasi experimental study to 80 respondents as the target market of the advertised, that is ice cream of Haan brand. The experiment as done in 2 treatments, treatment 1: one advertising exposure and treatment 2: three advertising exposures. The Mann Whitney difference test with SPSS program showed no significant differences between treatment of 1 exposure and 3 exposures. The SEM PLS analysis showed that advertising creativity influenced significantly to attention, interest, desire and action in buying product.
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Dickson, Gary. "Encounters in Medieval Revivalism: Monks, Friars, and Popular Enthusiasts." Church History 68, no. 2 (June 1999): 265–93. http://dx.doi.org/10.2307/3170858.
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Any consideration of the half-millennium of Western European popular enthusiasm from ca. 1000 to ca. 1500—beginning, say, in 994 at the Council of Anse in Burgundy with the intervention of Abbot Odilo of Cluny in the Peace of God movement, and terminating (again with an arbitrary date) on May 23, 1498, in Florence, with the hanging and burning of Fra Girolamo Savonarola, O.P.—must involve the role of the regular clergy, the professed religious of Latin Christendom. Medieval collective religious enthusiasm, especially when it was not inaugurated by ecclesiastical authority, was often divisive, attracting converts and distracting or repelling others. Monks and friars could not remain indifferent to such movements. For one thing, if their stance was deemed inappropriate, their relationship with the laity (perhaps fellow townsfolk), or the papacy, or their rich and powerful benefactors might be compromised. Nor was their role necessarily that of spectators. Members of the regular clergy sometimes participated in medieval revivals. Possibly still more important is the fact that during most of our period the regulars had the lion's share of chronicling popular enthusiasm. It is in their historical writings that medieval popular religious revivals were mythologized and memorialized. Our view of such movements, therefore, has been shaped by their perceptions and prejudices. Their narratives also provide us with a rich source from which to gauge their interpretations of medieval revivalism. For they make no attempt to conceal their attitudes toward lay enthusiasts—their suspicion, animosity, fear, approbation, sympathy, empathy.
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Klugman, Matthew, and Francesco Ricatti. "‘Roma non dimentica i suoi figli’: love, sacrifice and emotional attachment to football heroes." Modern Italy 17, no. 2 (May 2012): 237–49. http://dx.doi.org/10.1080/13532944.2012.665289.
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Italian football is renowned as much for the passion of its spectators as it is for the quality of its players, yet these spectators are understudied. Those studies that have been conducted have generally focused on the problems of violence and racism associated with some of the more extreme supporters, the so-called ultras. This paper aims to complement that research by analysing a different aspect of the passions of Italian spectators, namely the emotional ties they create with particular players upon whom they confer a special, hero-like status. Our interest lies not in questioning the legitimacy of this status, but rather in looking at what the history of these emotional attachments reveals of the football supporters themselves, and of their relationship to the football club they support. This paper focuses on the intense relationship supporters of Associazione Sportiva Roma have had with two key players: Agostino Di Bartolomei and Francesco Totti. Drawing on a large body of texts including graffiti, newspapers, talkback radio, popular accounts and internet fan forums, along with psychoanalysis and classical mythology, the authors trace the way each of these players was granted a specific heroic status that evolved and changed over time, and how the passions they provoked became part of the ever transforming culture and identity of Rome. In particular we explore how the tales and cultural texts devoted to football players can reveal something of the emotional worlds and experiences of a city's inhabitants, and the way local memories and identities are remembered, retold and forgotten through passionate engagement with the football players who represent them on the broader national and international stage.
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Wiles, David. "The Lewes Bonfire Festival." New Theatre Quarterly 12, no. 46 (May 1996): 177–91. http://dx.doi.org/10.1017/s0266464x00009994.
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The Lewes Bonfire Festival is an important piece of popular theatre, which has largely resisted attempts by higher authority to control and redefine it. Annually some 2,000 costumed participants, watched by up to 80,000 spectators, take over the streets of the usually staid county town of East Sussex, and effigies of contemporary politicians and of the Pope are burnt during six hours of carnivalesque rule. Here, David Wiles analyzes the history and organizational structure of the festival, and examines the ideology of Englishness upon which the event turns. David Wiles is Reader in Drama at Royal Holloway College, University of London. His interest in popular theatre has principally been historical, and he has published books on the Robin Hood play and on the Elizabethan clown. Most recently, in Shakespeare's Almanac (D. S. Brewer, 1993) he has explored the structural logic of the festive calendar.
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Schwede, Indrek. "Jalgpalli populaarsus Eesti Vabariigi spordielus 1920–40 [Abstract: The Popularity of Football in the Sporting Life of the Republic of Estonia in 1920–1940]." Ajalooline Ajakiri. The Estonian Historical Journal, no. 3/4 (June 16, 2020): 331–63. http://dx.doi.org/10.12697/aa.2019.3-4.02.
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Attention has not hitherto been turned intently to the popularity of particular branches of sports in the research of the history of Estonian sports. It has more intuitively been believed that the most popular branch of sports in the pre-war Republic of Estonia (1918–1940) was football. The conspicuously extensive coverage of football in the periodical press has provided grounds for this belief. Compared to other sports games and the more major individual branches, football had the most international matches at the level of national teams, which attracted thousands of spectators. Estonian clubs annually hosted squads from neighbouring countries. Professional clubs mainly from Central Europe brought thousands of spectators to the stadiums in the latter half of the 1920s and in the early 1930s. Rivalries between squads at home were also of great interest to the public and the media. The other primary ball games, basketball and volleyball, started being played in Estonia some ten years after football, and their position was weaker internationally as well: contacts between countries were infrequent. The international basketball association was established in 1932 and its analogue in volleyball was founded in 1947. Track and field, the largest branch of individual athletics, also could not compete with football in terms of matches and international contacts.
This article is the first more serious attempt to compare the popularity of branches of sports in Estonia in the 1920s and 1930s. I compared the more major branches of sports in four categories: the number of participants in the particular branch of sports, the sizes of audiences, their ability to cope economically (balance sheets and revenue reports), and their position in the print media.
The fact that there are gaps in the data in both the archives and in periodicals, and that the information for different years does not always match, made comparison of the numbers of participants difficult. The methodology used for ascertaining the number of participants was also not necessarily the same. An adequate comparison to the more important individualsports branches is complicated to arrive at because until 1933, the Eesti Kerge-, Raske- ja Veespordiliit (Estonian Association of Track and Field, Heavy Athletics and Aquatic Sports) was the umbrella organisation for major branches of sports such as track and field, wrestling, weightlifting, boxing, swimming, diving, gymnastics and cycling, whereas the last two sports branches are not even mentioned in the association’s name. Conclusions can nevertheless be drawn concerning the number and proportions of persons active in different branches of sports based on indirect data. I compared the size of the membership of the separate sports associations and the number of participants in the Estonian championships of the three largest sports games (football, basketball, volleyball).
Periodicals proved to be the most reliable in ascertaining the numbers of spectators since they unfailingly noted the larger attendance numbers based on spectator ticket information or visual observation. The sketchy information on attendance at competitions in individual sports is a problem, but from the standpoint of this article’s research problem, the fact that before World War II there was not a single large sports arena in Estonia is important. The gymnasiums that were in use accommodated slightly over 500 spectators in total. This means that a thousand and more spectators could gather only at stadiums, where primarily football matches and track and field competitions were held. The print media reported the numbers of spectators at those competitions. I compared the attendance numbers for football and track and field competitions, and calculated the average number of spectators.
There are gaps in the balance sheets and revenue reports of the separate sports associations for the period under consideration, yet the Eesti Spordi Keskliit (Central Association of Estonian Sports) published them in its yearbooks for 1935–1939, which makes it possible to draw correct conclusions concerning the economic viability of the separate sports associations.
While I used the method of source criticism for the preceding three categories, I studied the representation of branches of sports in print media together with Kristjan Remmelkoor using content analysis. We focused exclusively on print media because that was the primary means of mass communication at that time, and it covered the entire period under consideration, unlike radio, which began broadcasting for the first time in 1926. On the basis of circulation numbers, we selected two dailies with nationwide circulation that were published in Tallinn (Vaba Maa was published only until 1938, thus it was replaced for final comparison with another Tallinn daily paper Uus Eesti) and one daily from southern Estonia for content analysis. We studied the newspaper issues from the years 1921, 1925, 1930, 1935 and 1939. Based on the pilot project, we identified the branches of sports that were reported the most and worked out a methodology on the basis of which to search for and categorise branches of sports. After six months, I carried out a repeat analysis for one month of each year that was under consideration. The repeat analysis covered all four dailies. The results differed by 3.97%. Thereat in comparing the two branches of sports that were reported on most, the difference in football was 0.69% and 0.43% in track and field.
It became evident as a result of the study that compared to basketball and volleyball, there were almost four times more football enthusiasts. Compared to the other more popular individual sports, we can indirectly conclude that football was the branch of sports with the largest number of enthusiasts. Football had the most spectators in Estonia in the interwar period because branches of sports practiced in indoor conditions could not fit more than 500 spectators into gymnasiums, since there was no large sports arena. Football had the largest audiences when considering the track and field competitions and football matches held at stadiums. In 1935–1939, the Eesti Jalgpalli Liit (Estonian Football Association) was Estonia’s most prosperous separate sports association. It became evident on the basis of content analysis that the two most widely reported branches of sports in print media were football, and track and field. Thereat the number of reports on track and field grew in the latter half of the 1930s and surpassed the figures for football. At the same time, the number of texts on Estonian football was the largest over the entire period that has been studied. The greatest number of texts on football were in journalistic genres that required absorbed reading, which stood out better in newspapers.
Due to these circumstances, football became the most popular branch of sports in Estonia in the interwar period. The Estonian national squad’s international match against Latvia held on 18 June 1940 characterises football’s symbolic capital. This match that took place at Kadriorg stadium at a turning point in history evolved into a nationalist demonstration against the Soviet Union’s occupying regime. The crowd went from the stadium to Kadriorg Palace, where President Konstantin Päts was under the guard of the foreign regime. This match and the events that followed it are etched in the people’s collective memory. They have made their way into many published memoirs and also into belles-lettres, and have been echoed in both poetry and prose.
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THUILLIER, JEAN-PAUL. "Athletic exercises in ancient Rome. When Julius Caesar went swimming." European Review 12, no. 3 (July 2004): 415–26. http://dx.doi.org/10.1017/s1062798704000353.
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Roman ludi circenses are well known, especially chariot-racing, which was extremely popular during the Roman Empire. In many aspects, this competition even foreshadows modern sport seen as show business (the Circus Maximus could accommodate about 150,000 spectators). One could not say the same thing about the athletic exercises of Roman citizens: the common view is that Romans had a negative attitude towards athletics, which were not regarded as useful and were sometimes considered as scandalous. But Roman citizens did, in fact, practise much sport, for instance in the Campus Martius in Rome, and in the palaestrae of public baths. They were particularly fond of ball-games and of swimming in very large cold pools.
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Wood, Mark A. "‘I just wanna see someone get knocked the fuck out’: Spectating affray on Facebook fight pages." Crime, Media, Culture: An International Journal 14, no. 1 (September 16, 2016): 23–40. http://dx.doi.org/10.1177/1741659016667437.
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Spurred by the advent of the Internet and the camera phone, in the early 21st century street fighting met the information superhighway. Today, one of the key vehicles accelerating this turn are Facebook fight pages: user-generated content aggregation pages that publicly host footage of street fights, and other forms of bare-knuckle violence on the popular social networking site. Drawing on observational data collected from five popular fight pages, and survey data from 205 fight page users, this article explores the different forms of bare-knuckle violence hosted on these online domains and their users’ motivations for viewing it. Through doing so, it examines eleven distinct modes of spectating bare-knuckle violence on fight pages: entertainment, consumptive deviance, righteous justice, amusement, self-affirmation, nostalgia, boredom alleviation, intrigue, self-defence training and risk awareness. Additionally, I argue that to understand these modes of spectating bare-knuckle violence, we have to address the codes of masculinity that underlie not only much of the violence hosted on fight pages, but also spectators’ readings of these events.
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Vergnas, Olivier Las, and Eric Piednoël. "The “Nuits des étoiles” events (1991–2008) and their impact on the French astronomical leisure landscape." Proceedings of the International Astronomical Union 5, S260 (January 2009): 725–32. http://dx.doi.org/10.1017/s1743921311003097.
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AbstractThe popular event Nuits des étoiles has become in France the summer encounter with the sky. More than 400 events are set up for three consecutive days each year: several thousands of voluntary organisers invite more and more people to observe the heavens and discover astronomy. Each summer, those collective star parties reach about one hundred thousand people, several millions of sky maps are printed and distributed by newspapers and the associated TV live program broadcast by France 2 channel interested 1 to 3 millions spectators. Since 1991, Nuits des étoiles has helped to develop organisations at the local level and increased the stakeholders' interest in general public awareness. It contributed in France to strengthen and professionalise an astronomical leisure offer.
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Brown, Matthew. "Cycling in South America, 1880-1920." Anuario Colombiano de Historia Social y de la Cultura 48, no. 1 (December 15, 2020): 287–325. http://dx.doi.org/10.15446/achsc.v48n1.91552.
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Historians have tended to ignore the South American experience of cycling. The continent’s diverse history of sports has been effaced by a popular and academic focus on soccer. The global history of cycling has therefore omitted South America from its analysis, perpetuating mistaken assumptions about the continent’s absence from technological and social innovation. This article analyses the sources located across the continent to demonstrate that cyclists raced, toured, and did acrobatics, often watched by thousands of spectators, attracting the attention of chroniclers and the media. The physical sensations of travelling through the environment on a pedal-powered machine were new and unexpected. With its focus on cycling as sport, recreation and mode of transport, this article inserts South America into the early global history of cycling.
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Zembura, Paweł. "Success of Mixed Martial Arts Video Topics on YouTube." Sport Science Review 22, no. 1-2 (April 1, 2013): 129–50. http://dx.doi.org/10.2478/ssr-2013-0007.
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The purpose of this study was to identify if the YouTube viewership is related to a subject of mixed martial arts (MMA) videos. To do so passive and active viewership were featured, based on Checchinato, Disegna & Gazolla (2009) work. Content analysis was used as the method and the sample consisted of 200 most popular videos gathered from supreme canals belonging to MMA organizations. Over half of the videos were classified into previews and whole fights categories. The robust least square regression explained 27% of passive viewership, and whole fights were the predictor of highest passive attention. Just two categories were found significant as the predictors of active viewership in the logit regression. Whole fights generated more active response in contrary to previews. Pure sport-related videos were generally found to generate higher interest among YouTube MMA spectators.
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CHOI, SEOKHUN. "The Marionette: Intermedial Presence and B-Boy Culture in South Korea." Theatre Research International 42, no. 2 (July 2017): 132–45. http://dx.doi.org/10.1017/s0307883317000268.
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In this essay, I argue that human performers and technological media can work together as equal partners rather than as rivals competing for the audience's attention. Understanding presence in the ‘strong’ sense of the word – namely the actor's ability to draw the spectators’ undivided attention as opposed to the ‘weak’ sense of simply being present – I substantiate this claim with a model of intermedial presence inThe Marionette, a popular Korean b-boy show that combines live dancing with video and black light. The show's central motif of puppetry puts the live dancers and the media elements in a highly integrated relationship while their distinct ontological identities are maintained. Understanding the show's intermedial dynamics in terms of collaboration and hypermediacy challenges the conventional binary between the live and the mediatized, as well as the assimilationist position that regards the two as fused in intermedial performance.
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Van den Bulck, H., and A. Hyzen. "Of lizards and ideological entrepreneurs: Alex Jones and Infowars in the relationship between populist nationalism and the post-global media ecology." International Communication Gazette 82, no. 1 (October 12, 2019): 42–59. http://dx.doi.org/10.1177/1748048519880726.
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This contribution analyses the nexus between contemporary US populist nationalism and the post-global media ecology through the case of US radio show host and ‘most paranoid man in America’ Alex Jones and his Infowars. It evaluates the role of Alt Right alternative/activist media and global digital platforms in the success of Jones as ideological entrepreneur. To this end, it looks at Jones’ and Infowars' message (mostly Falls Flag conspiracy theories and pseudo-science-meets-popular-culture fantasy), persona as celebrity populist spectacle, business model, political alliances with Alt Right and Trump, audience as diverse mix of believers and ironic spectators and, most of all, media. In particular, we analyse the mix of legacy and social media and their respective role in his rise and alleged downfall. We evaluate Jones’ efforts as effective ideological entrepreneur, pushing his counter-hegemonic ideology from the fringes to the mainstream.
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Koma, Kyoko. "Introduction: Modern Japan and Korea seen through various media." Acta Orientalia Vilnensia 12, no. 1 (January 1, 2011): 7–9. http://dx.doi.org/10.15388/aov.2011.0.1093.
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Vytautas Magnus UniversityThis issue discusses cultural aspects of modern Japan and Korea seen through various media. Media in this issue is not simple mass media like newspapers, journals, and TV, but media in a much broader meaning. According to Helen Katz, media has two roles: to inform and to entertain. Newspapers inform but also entertain readers. Literature could also be considered a medium to entertain readers. Autobiographic literature or non-fiction literature informs a kind of reality. Fashion could be also considered a medium for a human being to transmit information (occupation, taste, identity) and entertain (for example, the fashionable style of singers permits them to entertain TV spectators). In this issue, we approach some cultural aspects of modern Japan and Korea as seen through several types of media from popular culture, film, fashion and newspapers to cultural media as a tool of public diplomacy. Our topics are as follows....
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Jacke, Christoph. "Locating Intermediality: Socialization by Communication and Consumption in the Popular Cultural Third Places of the Music Club and Football Stadium." Culture Unbound 1, no. 2 (December 21, 2009): 331–48. http://dx.doi.org/10.3384/cu.2000.1525.09120331.
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Based on two different case studies in the realm of popular culture, my contribution will clarify the mechanisms involved in the (symbolic) production and consumption of space. The music club and the soccer stadium function much in the same way, as interfaces between producers and consumers of places, prompting “prosumption of space” (Raumprosumenten). A loss of function in such “third places” cannot be linked to the transition from informal cellar clubs to (soberly designed) regional discos outside the city – or from the national-league stadium to the World Cup arena (also outside the city). Nor can it be attributed to the mediatization of these spaces by technology. On the contrary, we find an exponentiation of what third places had always already been, spaces of “intermediality” (between work and leisure, between seriousness and play, between young people and adults). In the World Cup stadium, unique events, experiences and communicative propensities are produced in a highly consistent manner by means of communication on different levels in series. In such cases, the spectators in the stadium, just like visitors to music clubs, rarely behave as passive consumers of what is staged, yet both groups contribute by their presence and symbolic activity to the success of such productions in the stadium and the club.
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Bellisario, Antonio, and Leslie Prock. "Arte ConTexto." Latin American and Latinx Visual Culture 2, no. 3 (2020): 29–52. http://dx.doi.org/10.1525/lavc.2020.2.3.29.
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The article examines Chilean muralism, looking at its role in articulating political struggles in urban public space through a visual political culture perspective that emphasizes its sociological and ideological context. The analysis characterizes the main themes and functions of left-wing brigade muralism and outlines four subpolitical phases: (i) Chilean mural painting’s beginnings in 1940–1950, especially following the influence of Mexican muralism, (ii) the development of brigade muralism for political persuasion under the context of revolutionary sociopolitical upheaval during the 1960s and in the socialist government of Allende from 1970 to 1973, (iii) the characteristics of muralism during the Pinochet dictatorship in the 1980s as a form of popular protest, and (iv) muralism to express broader social discontent during the return to democracy in the 1990s. How did the progressive popular culture movement represent, through murals, the political hopes during Allende’s government and then the political violence suffered under the military dictatorship? Several online repositories of photographs of left-wing brigade murals provide data for the analysis, which suggests that brigade muralism used murals mostly for political expression and for popular education. Visual art’s inherent political dimension is enmeshed in a field of power constituted by hegemony and confrontation. The muralist brigades executed murals to express their political views and offer them to all spectators because the street wall was within everyone's reach. These murals also suggested ideas that went beyond pictorial representation; thus, muralism was a process of education that invited the audience to decipher its polysemic elements.
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Wijaya, Fenny, and Dyah Gayatri Puspitasari. "Perancangan Komunikasi Visual Film Animasi Pendek “Sitiha dan Sisiti”." Humaniora 1, no. 2 (October 31, 2010): 489. http://dx.doi.org/10.21512/humaniora.v1i2.2890.
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The purpose of this research is to acquire, collect and analyze data needed to realize the design of short animated 3D films with a folklore theme which is presented with a visually appeal to interest spectators, especially children, so the moral message can be conveyed. The research method is to survey directly to the field, namely the cultural center of Indonesia TMII, playground and library. In addition to the literature media such as books, magazines and journals and supported with references from the internet media relating to the topic. Results to be achieved are for the moral message conveyed in this animated folklore film can be received and understood by the audience, especially children. Conclusion at the present time, visual communications media such as movies and television shows are very popular among children. So by using the medium of animated films, children will be more interested and may like local folklore again, since local productions are not of lesser quality than the outside impressions.
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Anisimov, Alexander V. "The environment of the cinematic spectacle. The architecture of the early Russian movie theaters." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 8–20. http://dx.doi.org/10.17816/vgik1128-20.
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The emergence of cinema brought about the issue of forming a comfortable environment for film screenings. This essay analyzes the characteristics of the first spaces used for film exhibition in St. Petersburg and Moscow and the architecture of the movie theaters built in these cities in the first decades of the 20th century and characterized by a combination of theatrical architectural traditions, eclectic restaurant design and elements of the fading Art Nouveau style.
Film exhibition was a profitable business. Initially, screenings were held in rented spaces but soon specialized buildings were designed and constructed. The essay looks at the largest and most popular movie theaters built in St. Petersburgs main street, Nevsky Prospect, and in the center of Moscow, discussing their architectural features and their historical development. Thus, during the 1920s and 1930s, large movie theaters included a foyer with a stage for variety shows and a theater-like auditorium with a high-mounted, dark-framed screen; the spectators entered the auditorium via the main entrance and, after the screening, exited directly to a street or a yard.
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Wood, Amy Louise. "“Killing the Elephant”: Murderous Beasts and the Thrill of Retribution, 1885–1930." Journal of the Gilded Age and Progressive Era 11, no. 3 (July 2012): 405–44. http://dx.doi.org/10.1017/s1537781412000266.
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At the turn of the last century, circus elephants who had, in fits of distemper, killed circus trainers, workers, or spectators were regularly put to death. That alone is not extraordinary. What is fascinating is that the killings of these animals were not infrequently staged as public executions, with the elephant playing the role of the menacing criminal facing his just rewards before a crowd of eager witnesses. News accounts in turn reported these events as they would criminal executions, framing them as stories of murder, remorse, and retribution. This article treats these remarkable events as complex rituals through which larger tensions and conflicts surrounding crime and punishment in this period became manifest. These executions, performed as extensions of the modern circus, were commercial spectacles in and of the industrial age. Still, like circuses, they were also events full of ambivalence about this new age, as they acted out popular controversies over the nature of criminality, the meaning of justice, and the role of vengeance in modern life.
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Lombardo, Michael P. "On the Evolution of Sport." Evolutionary Psychology 10, no. 1 (January 1, 2012): 147470491201000. http://dx.doi.org/10.1177/147470491201000101.
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Sports have received little attention from evolutionary biologists. I argue that sport began as a way for men to develop the skills needed in primitive hunting and warfare, then developed to act primarily as a lek where athletes display and male spectators evaluate the qualities of potential allies and rivals. This hypothesis predicts that (1) the most popular modern male sports require the skills needed for success in male-male physical competition and primitive hunting and warfare; (2) champion male athletes obtain high status and thereby reproductive opportunities in ways that parallel those gained by successful primitive hunters and warriors; (3) men pay closer attention than do women to male sports so they can evaluate potential allies and rivals; and (4) male sports became culturally more important when opportunities to evaluate potential allies and rivals declined as both the survival importance of hunting and the proportion of men who experience combat decreased. The characteristics of primitive and modern sports are more consistent with these predictions than those generated by intersexual sexual selection theories of sport.
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Ellis, Elizabeth Garrity. "The “Intellectual and Moral Made Visible”: The 1839 Washington Allston Exhibition and Unitarian Taste in Boston." Prospects 10 (October 1985): 39–75. http://dx.doi.org/10.1017/s0361233300004063.
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“I have Just come from the Gallery—my third visit,” announced a correspondent to the Boston Daily Advertiser on the second day of the Washington Allston retrospective at Harding's Gallery (Figures 1 and 2), “where I stood in the very midst… of the glowing colors and glorious subjects [of] the artist who stands alone in this his age, in this his art.” He was part of a chorus of dazzled spectators who crowded the exhibition, “filled with enthusiastic admiration” in “surveying forty-five pictures, many of which only the golden time of art could equal.” For the young Henry T. Tuckerman, who would recall it vividly in his influential Book of the Artists, the show “proved an epoch in the history of Art in the United States.” It was also the signal event of the artist's old age: a benefit exhibition that recalled the fifty-nine-year-old Allston from “a life of great seclusion” in suburban Cambridgeport, was extended from six to eleven weeks by popular demand, and fascinated some of the most critical minds in Boston.
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Karni, Eyal. "Retractable Spatial Structures for Swimming Pool Enclosures." International Journal of Space Structures 10, no. 4 (December 1995): 231–36. http://dx.doi.org/10.1177/026635119501000405.
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Retractable spatial structures are modern buildings designed to comply with the user's flexibility needs – concerning the complete or partial opening of a building's enclosure. Most sport activities are usually preferred, by spectators as well as by competitors, to be held in open air. Swimming, a popular sport activity, is highly sensitive to cold and wind. The need for retractable structures arises since weather conditions vary with seasons while current market demand is for year-round activity. Designing retractable enclosures for swimming pools involves specific criteria, resulting from the safety and operational demands of such facilities. The variety of swimming pool geometries and the nature of the user's needs has resulted in numerous solutions of retractable enclosures, varying in size, geometry, structural systems, building technology, opening and closing techniques, building materials, maintenance and cost. This paper addresses current solutions of light-weight retractable spatial structures – designed to enclose swimming pool facilities. Swimming pool types are described, followed by a list of design criteria. Classification of structural methods is then brought forward, represented by specific projects and drawings.
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Erickson, Timothy B., Max Koenigsberg, E. Bradshaw Bunney, Brian Schurgin, Paul Levy, Jacob Willens, and Logan Tanner. "Prehospital Severity Scoring at Major Rock Concert Events." Prehospital and Disaster Medicine 12, no. 3 (September 1997): 22–26. http://dx.doi.org/10.1017/s1049023x00037602.
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AbstractIntroduction:Rock and contemporary music concerts are popular, recurrent events requiring on-site medical staffing.Study objective:To describe a novel severity score used to stratify the level of acuity of patients presenting to first-aid stations at these events.Methods:Retrospective review of charts generated at the first-aid stations of five major rock concerts within a 60,000 spectator capacity, outdoor, professional sports stadium. Participants included all concert patrons presenting to the stadiums first-aid stations as patients. Data were collected on patient demographics, history of drug or ethanol usage while at the concert event, first-aid station time, treatment rendered, diagnosis, and disposition. All patients evaluated were retrospectively assigned a “DRUG-ROCK” Injury Severity Score (DRISS) to stratify their level of acuity. Individual concert events and patient dispositions were compared statistically using chi-square, Fisher's exact, and the ANOVA Mean tests.Results:Approximately 250,000 spectators attended the five concert events. First-aid stations evaluated 308 patients (utilization rate of 1.2 per 1,000 patrons). The most common diagnosis was minor trauma (130; 42%), followed in frequency by ethanol/illicit drug intoxication (98; 32%). The average time in the first-aid station was 23.5±22.5 minutes (± standard deviation; range: 5–150 minutes). Disposition of patients included 100 (32.5%) who were treated and released; 98 (32%) were transported by paramedics to emergency departments (EDs); and 110 (35.5%) signed-out against medical advise (AMA), refusing transport. The mean DRISS was 4.1 (±2.65). Two-thirds (67%) of the study population were ranked as mild by DRISS criteria (score = 1–4), with 27% rated as moderate (score = 5–9), and 6% severe (score >10). The average of severity scores was highest (6.5) for patients transported to hospitals, and statistically different from the scores of the average of the treated and released and AMA groups (p <0.005).Conclusion:The DRISS was useful in stratifying the acuity level of this patient population. This severity score may serve as a potential triage mechanism for future mass gatherings such as rock concerts.
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Lan, Nguyen To. "Entertainment as ritual: the Post-Reform transformation of Hát bội in Southern Vietnam." Asian Education and Development Studies 9, no. 1 (September 23, 2019): 15–25. http://dx.doi.org/10.1108/aeds-01-2018-0012.
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Purpose This article traces the transformation of hát bội, a form of traditional opera in Southern Vietnam, from its primary role as entertainment into a religious activity after the Reform (Đổi Mới) were enacted in 1986. Design/methodology/approach This research is based on ethnological fieldwork complemented by a review of historical documents and of the available literature on hát bội, cultural policies and on data collected from interviews with artists and spectators at the festival at the shrine to the Lady of the Realm. Findings Before 1986, hát bội was performed either as a stand-alone entertainment during the fair portion of community festivals or as part of religious ceremonies. The Reform and the accompanying relaxation of state control over religion and culture promoted the resurgence of popular religious fairs across the nation. New opportunities for hát bội to revive opened, artists left state-sponsored troupes to join private companies that catered to religious festivals. But almost exclusive involvement in religious rites has led to artistic stasis for private hát bội troupes. Originality/value This research constitutes novel insights of how the Reform in Vietnam affects the transformation of a traditional performance form.
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Leite, Verlaine, and Roberto Figueredo. "Is there a need to increase the number of substitutions in modern professional football?" Fizicka kultura 74, no. 1 (2020): 5–18. http://dx.doi.org/10.5937/fizkul2001005l.
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Football is the most important and popular sport in the world, being influenced by several aspects and generating a billion dollar financial income. The constant scientific advancement of the modality allows a rapid evolution of football, being important to constantly review aspects of its dynamics and, consequently, its laws. The aim of this work is to analyze and argue, based on several aspects, e.g., evolution of the modality, physiological aspects, incidence of injuries, relationship with the media and economic aspects, etc., if there is a need to increase substitutions in modern professional football matches. In order to achieve this objective, a wide bibliographic research on the most important aspects of football was used.. As demonstrated throughout the text, according to the constant changes that have occurred in various aspects related to football over the years, there is a need for changes in the regulations to meet the need and provide a greater evolution of the modality. In this way, we believe that the increase in the number of substitutions can be very beneficial for football in general, mainly to make the modality more dynamic and attractive to the spectators.
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Morris, Sarah N., Avinash Chandran, Landon B. Lempke, Adrian J. Boltz, Hannah J. Robison, and Christy L. Collins. "Epidemiology of Injuries in National Collegiate Athletic Association Men's Basketball: 2014–2015 Through 2018–2019." Journal of Athletic Training 56, no. 7 (July 1, 2021): 681–87. http://dx.doi.org/10.4085/1062-6050-436-20.
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Context Basketball has remained a popular sport for players and spectators in the United States since before the first National Collegiate Athletic Association men's championship tournament in 1939. Background Routine examinations of men's basketball injuries are important for identifying emerging temporal patterns. Methods Exposure and injury data collected in the National Collegiate Athletic Association Injury Surveillance Program during 2014–2015 through 2018–2019 athletic seasons were analyzed. Injury counts, rates, and proportions were used to describe injury characteristics, and injury rate ratios were used to examine differences in injury rates. Results The overall injury rate was 7.28 per 1000 athlete exposures, with competition rates twice those of practices (injury rate ratio = 2.07; 95% CI = 1.93, 2.22). Injuries to the ankle (22.2%), knee (13.0%), head/face (11.3%), and hand/wrist (10.1%) accounted for most reported injuries, with sprains (30.4%), contusions (14.3%), and strains (13.9%) most commonly reported. Ankle sprain rates initially trended upward and decreased between 2017–2018 and 2018–2019; concussion rates remained relatively stable during 2014–2015 through 2018–2019. Conclusions Findings suggest that common injury rates are trending downward relative to previous study findings.
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Gramsci, Antonio. "Gramsci on Theatre." New Theatre Quarterly 12, no. 47 (August 1996): 259–65. http://dx.doi.org/10.1017/s0266464x00010253.
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Our occasional series on early Marxist theatre criticism – which has already included Trotsky on Wedekind in NTQ28, Lunacharsky on Ibsen in NTQ39, and Mehring on Hauptmann in NTQ 42 – continues with two essays by the Italian Marxist philosopher Antonio Gramsci, whose concepts of hegemony, the national-popular, and the organic intellectual have had a profound influence on twentieth-century western thought. From 1916 to 1920 Gramsci was also a theatre critic, writing a regular drama review column in the Piedmont edition of the socialist daily newspaper Avanti! in which he first explored ideas about the ideological function of theatre. His review of a 1917 Italian production of Ibsen's A Doll's House is a particularly strong example of his attempt to generate notions of the theatre as an arena of political struggle in which the cultural values of the bourgeoisie were expressed, but which also had the potential to subvert these values and provide the proletariat with the critical wherewithal to express its hegemony. He saw the function of the theatre critic as promoting social, cultural, and moral awareness in the spectator, and Ibsen's play as a particularly apt vehicle for critiquing the moral superficiality of Italian bourgeois women in its powerful portrayal of the oppressions of a patriarchal society. While Gramsci's review of A Doll's House can be seen as a forerunner to contemporary feminist ideas, he saw Pirandello's use of the ‘power of abstract thought’ as making him a potentially revolutionary playwright, whom he described as ‘a commando in the theatre’. His plays were ‘like grenades that explode inside inside the brains of spectators, demolishing their banalities and causing their feelings and thoughts to crumble’. After reviewing ten of Pirandello's early plays for Avanti! Gramsci later expressed his intention of writing a full-length study of the playwright's ‘transformation of theatrical taste’. All that came of these intentions were the rather fragmented notes he made in the Prison Notebooks, in which he expressed his views on Pirandello in the context of the politics of culture and the idea of a national popular literature. Gramsci saw Pirandello's metatheatre as subverting traditional dramatic principles, but failing to establish new ones or to subvert the social and economic aspects of tradition. Gramsci responds to the critical debates on Pirandello in the 1920s by Tigher and Croce about Pirandellism's combination of art and philosophy and its conflict between ‘life’ and ‘form’, but his final comments about his views being taken with a ‘pinch of salt’ indicate that they are not definitive.
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Mereu, Myriam. "Cogas, janas e le altre: le creature mitiche e fantastiche nella letteratura e nel cinema sardi." Italianistica Debreceniensis 24 (December 1, 2018): 56–76. http://dx.doi.org/10.34102/italdeb/2018/4661.
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Sardinian contemporary literature and films have recently recovered an extensive heritage of folk myths and legends taken from the oral tradition. Legendary figures, such as accabadoras (female figure who was enabled with the task of easing the sufferings of the dying people), and fantasy creatures, such as cogas, surbiles (‘vampire witches’), janas (‘fairies, pixies’), and panas (‘the ghosts of women who died in childbirth’) are being revived by writers and film directors with the purpose to bring their memory back to life and share it with a wide audience of readers and spectators.
The analysis of imaginary and legendary creatures in Sardinian contemporary literature cannot overlook orality and its central role in shaping popular imagination over the centuries. Writing has replaced orality, whilst mass media and digital media are getting the upper hand over storytelling as a practice of community and family aggregation, meant to mark the long working hours and scare the children, amongst the most common functions of Sardinian oral storytelling.
The literary corpus includes fairy tales, novels, tales and legends dealing with the Sardinian oral tradition, whilst on the cinematic side I will examine short films, feature films and documentaries made in Sardinia over the last fifteen years.
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N.K, Amaljith. "FEMINISM AND REPRESENTATION OF WOMEN IDENTITIES IN INDIAN CINEMA: A CASE STUDY." Brazilian Journal of Policy and Development 3, no. 1 (April 8, 2021): 10. http://dx.doi.org/10.52367/brjpd.2675-102x.2021.3.1.10.
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The film is one of the most popular sources of entertainment worldwide. Plentiful films are produced each year and the amount of spectators is also huge. Films are to be called as the mirror of society. Because they portray the actual reality of the society through the cinematography. Thus, cinema plays an essential role in shaping views about, caste, creed and gender. There are many pieces of research made on the representation of women or gender in films. But, through this research, the researcher wants to analyse in-depth about the character representation of women in the Malayalam film industry how strong the so-called Mollywood constructs the strongest and stoutest women characters in Malayalam cinema in the 21st-century cinema. The study titled “Feminism and Representation of Women Identities in Indian Cinema. A Case Study” confers how women are portrayed in the Malayalam cinema in the 21st century and how bold and beautiful are the women characters in Malayalam film industry are and how they act and survive the social stigma and stereotypes in their daily life. All sample films discuss the plights and problems facing women in contemporary society and pointing fingers towards the representation of women in society. The case study method is used as the sole Methodology for research. And Feminist Film theory and theory of patriarchy applied in the theoretical framework.
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Anderson, Jocelyn. "Remaking the Space: the Plan and the Route in Country-House Guidebooks from 1770 to 1815." Architectural History 54 (2011): 195–212. http://dx.doi.org/10.1017/s0066622x00004044.
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In the late eighteenth and early nineteenth centuries, country-house tourism became increasingly popular in England. By 1770, hundreds of tourists were visiting the country’s greatest estates every summer. The nature of the attraction varied from house to house. Some, such as Kedleston Hall and Stowe, were considered ‘elegant’ modern buildings, while others, such as Blenheim Palace, were already seen as historical sites. Although country-house visiting as a concept dated back to the seventeenth century, there had never been so many tourists, nor such a variety of them. While one needed to be relatively wealthy and genteel in order to travel and gain admission to great houses, tourists included not only those who had their own estates but also those who could only be spectators. Early country-house tourists have been examined by a number of historians, but the ways in which the houses themselves were presented have hitherto been little studied. A better understanding of this manner of presentation illuminates the nature of tourists’ experiences and how the country house itself began to be identified as an attraction during this period. In essence, in an effort to cope with the influx of visitors, country-house owners began to formalize the terms under which their estates were open to the public. As part of this process, houses were metaphorically ‘remade’ in order to function as tourist attractions as well as private residences. It was not enough for owners simply to allow entry. They had to decide what would be shown to visitors, and how to provide visitors with information about the house and its contents. At first, these problems were solved by instructing housekeepers to guide visitors, but, as certain houses became exceptionally popular, a new practice developed: publishing guidebooks. This article considers the methodologies by which the interior spaces of country houses were remade in guidebooks (a type of re-presentation that can still be observed in many properties that are open to the public today), as well as the effects of this process.
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Bakanova, Anna Valentinovna. "“Danse Macabre” in Catalonia: historical-philological aspect." Litera, no. 6 (June 2020): 132–42. http://dx.doi.org/10.25136/2409-8698.2020.6.33183.
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The object of this research is the theatricalizes “Danse Macabre” in the Catalonian city Verges is the only extant in La Bisbal province testimony of the popular in Medieval Western Europe traditions of Macabre. “Danse Macabre” in Verges takes place on a Maundy Thursday: five actors-skeletons with the symbolic inventory in their hands – scythe, colors, urns with ash and hourglass – move to the sounds of drums and remind spectators on the brevity of life and implacable approach of death. The presence of Macabre images in the Medieval art and literature is substantiated by crisis mentality caused by the Black Death and military conflicts. The conclusions on the archetypical features and authentic elements in Catalonian “Danse Macabre” are based on the research of historical-literary context, examination of the main scientific hypothesis regarding the Iberian trace in the emergence of this synthetic genre form, analysis of the circle beginning of Catalonian “Dance Macabre” under the influence of oriental presence on the peninsula. The author assesses modern approaches towards “Danse Macabre” with their sad procession of the representatives of all social classes to mass manifestations of democratic spirit of irreconcilability and resistance, democratic satire that is fighting for social equality facing death and acting against impunity of the powers that be.
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Malmvig, Helle. "Soundscapes of war: the audio-visual performance of war by Shi'a militias in Iraq and Syria." International Affairs 96, no. 3 (May 1, 2020): 649–66. http://dx.doi.org/10.1093/ia/iiaa057.
Full textAbstract:
Abstract This article sets out to bring sound and music to the field of visual studies in International Relations. It argues that IR largely has approached the visual field as if it was without sound; neglecting how audial landscapes frame and direct our interpretation of moving imagery. Sound and music contribute to making imagery intelligible to us, we ‘hear the pictures’ often without noticing. The audial can for instance articulate a visual absence, or blast visual signs, bring out certain emotional stages or subjects’ inner life. Audial frames steer us in distinct directions, they can mute the cries of the wounded in war, or amplify the sounds of joy of soldiers shooting in the air. To bring the audial and the visual analytically and empirically together, the article therefore proposes four key analytical themes: 1) the audial–visual frame, 2) point of view/point of audition, 3) modes of audio-visual synchronization and 4) aesthetics moods. These are applied to a study of ‘war music videos’ in Iraq and Syria made and circulated by Shi'a militias currently fighting there. Such war music videos, it is suggested, are not just artefacts of popular culture, but have become integral parts of how warfare is practiced today, and one that is shared by soldiers in the US and Europe. War music videos are performing war, just as they shape how war is known by spectators and participants alike.
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ElHalawani, Amina. "The Dynamic and Theatrical Worlds of the ‘Midan’." Middle East Journal of Culture and Communication 9, no. 1 (2016): 49–61. http://dx.doi.org/10.1163/18739865-00901006.
Full textAbstract:
‘All the world’s a stage …’ tells us the Bard of Avon. Goffman’s application of Shakespeare’s age-old metaphor to our everyday practices helps us understand the complexity of social interaction. His dramaturgical sociology allows us to engage better with the frames of repeated behaviors that we ‘perform’ in social contexts. However, emphasizing the theatricality of action and interaction, especially for problems at the macro-level like acts of revolution, is crucial to make sense of the form of spectacle that results in popular demonstrations, sit-ins etc., in which everyone contributes as actors/spectators to imagine and/or negotiate a different way of being or governance. This paper aims to study the active dynamics of turning an everyday locale such as Midan al-Tahrir into a liminal space in which staged performances on political and artistic levels take place in an attempt to shed light on the inseparability of the political and the aesthetic, the event and the performance. The Egyptian revolution of 2011 highlights the public’s awareness of the symbolic and performative importance of occupying a space, and the creative power that both nurtures and feeds on this liminal experience. In this very example, the Arabic word midan is helpful because of its dynamic connotations as opposed to the static English ‘square’, as this paper examines the experience of Tahrir as a ‘Midan’ where the real, the ritualistic and the playful actively coexist.