Academic literature on the topic 'Skis and skiing – Colorado – History'

We explore here the evolution of skiing locomotion in the last few thousand years by investigating how humans adapted to move effectively in lands where a cover of snow, for several months every year, prevented them from travelling as on dry ground. Following historical research, we identified the sets of skis corresponding to the ‘milestones’ of skiing evolution in terms of ingenuity and technology, built replicas of them and measured the metabolic energy associated to their use in a climate-controlled ski tunnel. Six sets of skis were tested, covering a span from 542 AD to date. Our results show that: (i) the history of skiing is associated with a progressive decrease in the metabolic cost of transport, (ii) it is possible today to travel at twice the speed of ancient times using the same amount of metabolic power and (iii) the cost of transport is speed-independent for each ski model, as during running. By combining this finding with the relationship between time of exhaustion and the sustainable fraction of metabolic power, a prediction of the maximum skiing speed according to the distance travelled is provided for all past epochs, including two legendary historical journeys (1206 and 1520 AD) on snow. Our research shows that the performances in races originating from them (Birkebeiner and Vasaloppet) and those of other modern competitions (skating versus classical techniques) are well predicted by the evolution of skiing economy. Mechanical determinants of the measured progression in economy are also discussed in the paper.

In 1932, author and outdoorsman Carl Luther diagnosed the pathologies of modern life and prescribed their ideal cure, writing:Because our work in the daily routine and in the cities, in factories, and in offices has become prosaic, atomizing, and devoid of adventure—because we live faster and must demonstrate greater resistance—because we do not wish to age, but rather wish to remain young, fresh, and slender—because we are anxious and know that only new thrills and new visions can rejuvenate us . . . Spring, summer, and fall, the former seasons of relaxation, no longer suffice for us . . . We have also discovered the winter, the most alien to us of all manifestations of nature, thus for us nature in its most modern and most youthful form . . . The ski entered into the world . . . to allow men to flee excessive snow and cold. Today, however, skiing is also flight, but flight from the metropolis [in search of] all remote winter environments . . . Fortune is with the skis, because they overcome the awkwardness of nature-estranged urbanites and have so evaded natural [limits upon] speed, that in them man and speed become consubstantial.

The Carpathian Skiing Society in LvivVery few people interested in the history of Polish skiing realise that it began in the second half of the 19th century in Galicia. It was first in the Eastern Carpathians that skis began to be used by foresters wanting to move more easily in their work and slightly later by tourists in their highland treks. In the late 19th century skiers appeared in Lviv, where in the early 20th century the sport began to be promoted by the Popular Entertainment Society. This was also where various institutions dealing with skiing were established, institutions like the Skiing Section of the Czarni Sports Club and, above all, the Carpathian Skiing Society founded in early 1907, the first Polish association seeking to popularise skiing as its main objective. The society’s founders included Kazimierz Panek, Maksymilian Dudryk, Zygmunt Klemensiewicz, Roman Kordys and Eugeniusz Romer, i.e. well-known mountaineers, tourists or even skiers. In addition to popularising skiing, e.g. by conducting training courses and publishing various manuals, the Society soon brought about a construction of a hostel in Sławsko. The resort became a favourite among Lviv skiers because of the excellent skiing conditions and good railway connection to Lviv. Burned during the war in May 1915, it was quickly rebuilt after the war and faithfully served tourists throughout the interwar period. On the day of its reopening, 11 March 1923, the Polish Skiing Association organised the 4th Polish Skiing Championship in Sławsko. By establishing its regional branches, the Carpathian Skiing Society promoted tourism in the Carpathians, initially in Galicia, and then throughout the Carpathian region in the Second Polish Republic. Kraków was the seat of a branch of the Society, which gave rise to another association, another important contributor to the development of Polish skiing — the Tatra Skiing Society. In 1919 the two organisations, together with three others, founded the Polish Skiing Association. Initially, the Society was active both in sport and tourism; later, given the easier access to Alps-type mountains with better snow conditions the Tatras for skiers from Zakopane, skiers from the region achieved much better results than their Lviv counterparts. The most important sporting achievements that should be noted include the successes of Janina Loteczkowa, who for several years in the second half of the 1920s had no equals in Europe. The Society was represented at the St. Moritz Olympics by Franciszek Kawa. In addition, the Society was instrumental in the construction of a professional ski jumping hill in Lviv. The 1930s were marked by a clear turn towards tourism, resulting in the construction and opening, in 1936, of a mountain hostel on Maryszewska. It is worth stressing, therefore, that such a relatively small organisation its membership never exceeded 400 in one year could do so much for the development of skiing in Poland.

Images of anal flesh have been flashed on Australian television in the popular animated American 'kidult' cartoon series, Ren and Stimpy (1991-95) and South Park (1997-). Ren and Stimpy relates the tales of two male human-voiced animals: Ren, a skinny hyperactive chihuahua, and Stimpy, his stupid fat cat friend. The "Son of Stimpy" and "Blazing Entrails" episodes of the series contain landmark references to the anus which have informed the broader range of representations of the orifice in the South Park series. South Park explores the lives of four pre-pubescent Colorado schoolboys -- Stan, Kyle, Cartman and Kenny. Commentary about the excessive depictions of violence and viscera in these masculinist comedy cartoons has avoided analysis of their representations of anal flesh. How have ani been represented in these popular cultural productions? "Son Of Stimpy" pioneered with a narrative of male anal birth. At Christmas, Stimpy passes his first fart. His bare buttocks gurgle and a fart cloud rises and disappears. Stimpy's anus is not visually (re)presented. His attempts to produce another fart fail. Stimpy and "Stinky" search desperately for each other. Stinky, the personified fart, resembles a wrinkled hybrid of Casper The Friendly Ghost and Tweety Bird. Appearing outside the closed window of Ren and Stimpy's bedroom, Stinky ogles the sleeping Stimpy's unreachable buttocks. "Oh why did I leave home? I'll never find a home as warm and snuggly as the one I left", he reflects on Stimpy's anus. Father and son eventually meet, the adult Stinky marries a rotting dead codfish, and the newly-weds then live in Ren's nostrils. As probably the most conspicuously homoerotic televised cartoon, "Son of Stimpy" also shows Ren flirtatiously snuggling up to Stimpy under some mistletoe, the pair sharing a bed, and reminiscences about their nuptials. Thus, the unavoidable thrust of this play is that Stinky-the-fart (the son) was farted (born) through the anus of Stimpy (the male mother) after sodomitical penetration by Ren (Stinky's father). Moreover, Stimpy's search for his fart-child and Ren's relishing of Stinky's smell provide a clear metaphor for Ren and Stimpy's continuing desire for more fun, fart-producing, "gay", an(im)al sex. Although Stimpy's anus and Ren's penis are not depicted, the fleshy intercourse between them (that produced the cherished Stinky) can hardly be ignored in the imagination of the viewer. "Blazing Entrails" includes a groundbreaking image of inner male anal flesh. The title refers to Blazing Saddles with its famous comedy scene involving bean-eating, farting cowboys. The plot loosely reworks that of Fantastic Voyage, with Ren taking a crazed Stimpy to see a scientist who inflates him into a giant. Ren then travels through Stimpy's (unseen) anal sphincter (in a significant departure from the plot of Voyage). Ren is shown reading The Bowel Daily News on a speeding subway train that travels along the giant Stimpy's rectum. After this close-up depiction of Ren's (total body) penetration of Stimpy's anal canal, Ren travels via various vital organs to Stimpy's brain, which he shatters. Stimpy soon recovers. The fundamental thrust is that Ren 'fucks Stimpy brainless' through his anus for another mutually happy ending. The South Park series (Parker and Stone) also contains spectacular depictions of anal birth, a personified anal product, and anal sex between male animals. However, none lead to consensual homoerotic ecstasy. In "Cartman Gets an Anal Probe", which spoofs Communion, Cartman is raped in his sleep by male space aliens who penetrate his anus with a probe. Thus 'impregnated', he experiences immense pain (and ridicule), until his blazing anus delivers an enormous satellite dish. Instead of Stinky-the-fart, South Park features the more 'fleshy' Mr Hankey, a non-denominational talking Christmas turd that resembles Mr Potato Head. "Big Gay Al's Gay Boat Ride" contains the only reference to 'gay' male sex in the series. Sparky, a stray "gay homosexual" dog mounts another male canine before anally raping yet another. The anus is not depicted in these scenes. Anything but eroticised, the unexposed human male anus is valorised in South Park as an arsenal of multiple farts which are either deployed as weapons against male enemies, or shared between male friends as penultimate acts of affection and sacrifice. In "Not without My Anus", Terrance and Phillip organise a stadium full of Canadians to don gasmasks and fart on cue, thus generating an enormous cloud of gas that kills Saddam Hussein. In "Chicken Pox", Phillip worries that he "won't be able to fart anymore", due to his anal cancer. After he and Terrance appear in surgery with their buttocks and heads (but not ani) exposed, the two men literally 'bond' through an (unseen) "anal transplant". Terrance donates half his anus to Phillip, who happily farts again after the successful operation. The "Cow Days" episode of South Park includes close-up images depicting the outside and inside of an anus. The Chamber of Farts sideshow ride first appears from the outside as a giant pair of pink body-less buttocks, decorated with a vampire bat, spider and cobwebs. After buying tickets, the schoolboys take the traincar ride into the Chamber through the front door -- a giant asterisk which designates the anal sphincter. Inside, the boys pass clothed male dummies (one with a bare front bottom) and a farting black oval anus. They exit through a back door between the spread legs of a farting clothed female dummy. This arrangement codes the anal chamber as female (or feminised), with the rear door configured as a 'pussy-farting' vagina, or (to borrow a gay term for the male anus), as 'backpussy'. Therein, the confusing boys-in-the-train-in-the-haunted-Chamber-of-Farts scenario seemingly expresses heterosexual male anxieties about engaging in (paid group) penetration of a female anus, because the act too readily evokes visions of the beastly queer male things gay men and Sparky do with (their or other) male ani. Eve Sedgwick has stressed that "there has been no important and sustained [modern] Western discourse in which women's anal eroticism means anything" (129). In the form of the Chamber of Farts, the eroticised female anus has been conflated by hysterical heterosexual males to mean something horrific. There are few other farting females in these cartoons. In the "Powdered Toast Man with Vitamin 'F'" segment of Ren and Stimpy, a girl and boy fart after eating Powdered Toast. An empowering image of an exploding atomic bomb is superimposed only over the fart-inflated pants of the girl. In South Park's "Not Without My Anus", Terrance's baby daughter farts once, but only to establish her resemblance to her father. Women contribute only in long shot to the fart cloud that kills Saddam Hussein. While the female anus is demeaned in South Park, other female flesh is overwhelmingly cast as terrifying. Barbara Creed has demonstrated that classic horror films feature seven female archetypes (archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator) that express male fears of the mythical vagina dentata. Versions of these 'monstrous-feminine' figures in South Park include the Conjoined Fetus Lady; Frieda (the herpes-spreading prostitute); Cartman's highly-sexed hermaphrodite-born mother; Aunt Flo (the red-haired "monthly visitor" who personifies menstruation and gives away a serial killer fish), Barbra Streisand's "spooky" face; Wendy and Ms Crabtree (with their gnashing teeth); and Stan's mother with her herpes-infected genitalia. While male genitals are celebrated in South Park, the anus is configured as the most grotesque zone of male flesh, sometimes through misogynist references. The penis and "chocolate salty balls" of the black man, Chef, are praised through descriptive (heterosexual) innuendo. One father's insult to another, "I wasn't born with a silver enema up my ass", exploits the experiences of birthing women who have received enemas. In Ren and Stimpy, on the other hand, horrific (hairy, muscled, excretive, male) flesh belongs to hyper-masculine bodies, and sex organs other than male genitalia are celebrated. The joyous anal birth of Stinky mimics, yet edifies, non-vaginal birth. Stinky-the-fart and his female codfish wife celebrate the joining of the odours of anal and vaginal flesh, which they respectively incarnate. Key episodes of Ren and Stimpy provided the seminal subversive representations of ani in the history of televised animated cartoons. In "Son of Stimpy" and "Blazing Entrails", the meta(eu)phoric valorisation of the creativity of gay anal eroticism, orgasmic farting, and gay fatherhood (through metadiegetic narratives of inter-male conception and anal birth) challenges the dominant homophobic culture which demonises the (anal) sexuality of gay men and denies them access to reproductive technologies and families. Ren and Stimpy also pioneered with a skit celebrating the farting power of the female anus. In South Park, these subversive themes have been twisted into misogynist and homophobic contexts. Perhaps the anal transplant innovatively satirises the seriousness of rectal (bowel, colon, and prostate) cancers. However, this scenario is overshadowed by the show's gynophobic grotesquerie of female flesh, exemplified by the disturbing graphic imag(in)ing of the sexualised farting female anus as a chamber of horrors. The representation of collective killer ani and inter-male (human and animal) anal rape as comedy, is also disturbing. There are no references to fleshy practices -- such as anal masturbation, pleasurable inter-male or inter-female human anal eroticism, or female penetrations of male ani -- which could upset the hetero-masculinist homosocial phallologocentric order. How sad. References Blazing Entrails." Dir. Bob Camp. Ren and Stimpy 4.43 (1994).Nickelodeon. The Ren and Stimpy Prime Time Show. TVQ10, Brisbane. 9 April 1995. Blazing Saddles. Dir. Mel Brooks. Warner Bros., 1974. Communion. Dir. Philippe Mora. Allied Vision, 1989. Creed, Barbara. The Monstrous~Feminine: Film, Feminism, Psychoanalysis. London: Routledge, 1993. Fantastic Voyage. Dir. Richard Fleischer. 20th Century Fox, 1966. "Powdered Toast man with Vitamin 'F'." Dir. John Kricfalusi. Ren and Stimpy 3.27 (1993). Nickelodeon. Big Breakfast. TVQ10, Brisbane. 14 May 1994. "Son of Stimpy." Dir. John Kricfalusi. Ren and Stimpy 2.19 (1992). Nickelodeon. The Ren and Stimpy Prime Time Show. TVQ10, Brisbane. 1995. Parker, Trey, and Matt Stone, dirs. "Big Gay Al's Big Gay Boat Ride." South Park 1.4 (1997). Comedy Partners/Celluloid Studios, U.S.A. SBS, Brisbane. 19 Oct. 1998. ---, dirs. "Cartman Gets an Anal Probe." South Park 1.1 (1997). SBS, Brisbane. 28 Sept. 1998. ---, dirs. "Chicken Pox." South Park 2.10 (1998). SBS, Brisbane. 12 Oct. 1998. ---, dirs. "Cowdays." South Park 2.13 (1998). SBS, Brisbane. 23 Nov. 1998. ---, dirs. "Mr Hankey." South Park 1.10 (1997). SBS, Brisbane. 5 Oct. 1998. ---, dirs. "Not Without My Anus." South Park 2.01 (1998). SBS, Brisbane. 31 Aug. 1998. Sedgwick, Eve K. "A Poem Is Being Written." Representations 17 (1987): 110-143. Citation reference for this article MLA style: Simon-Astley Scholfield. "How Funny?: Spectacular Ani in Animated Television Cartoons." M/C: A Journal of Media and Culture 2.3 (1999). [your date of access] <http://www.uq.edu.au/mc/9905/funny.php>. Chicago style: Simon-Astley Scholfield, "How Funny?: Spectacular Ani in Animated Television Cartoons," M/C: A Journal of Media and Culture 2, no. 3 (1999), <http://www.uq.edu.au/mc/9905/funny.php> ([your date of access]). APA style: Simon-Astley Scholfield. (1999) How funny?: spectacular ani in animated television cartoons. M/C: A Journal of Media and Culture 2(3). <http://www.uq.edu.au/mc/9905/funny.php> ([your date of access]).

I have attempted to denaturalize and historicize tourism in Crested Butte as an economic, social, and physical phenomenon that fits into the broader histories of Colorado and the West, as well as the broader histories and realities of travel and tourism. Why do people seek out certain places and experiences in the name of pleasure? How did these activities and spaces come to qualify as desirable? What about people who fall outside temporally limited definitions of tourist, such as those who come to Crested Butte for only a season or a year, or second homeowners who stay for months at a time, or, really, any resident? All these people value the place and their experiences in the exact same ways, influenced by the same physical and psychic constructions of desirability. These current constructions are informed by a long history of evolving tastes and interests, the products of converging local, national, and international dynamics. In tracing a history of tourism and especially tourism in the West, I used a variety of secondary sources authored by scholars of tourism, the West, and Colorado. In charting a history of Crested Butte, I utilized archived local newspapers. I spoke to a number of current Crested Butte residents to understand how Crested Butte locals view themselves, their community, their lifestyles, and their town.

Thesis (M.A.)--University of Wisconsin, Madison, 1994.
Typescript. Title from cover. Title from title screen (viewed Sept. 5, 2007). Includes bibliographical references (leaves 211-220). Online version of the print original.

This chapter briefly details the history of skiing. It begins with skiing's ancient roots and how it was used in everyday life. From skiing's origins in the Baikal and Altai mountain regions, the chapter traces its spread through the nomadic peoples of Northern Asia. From there, skiing traveled east across the Bering Straits into North America and to the west into Sweden and Norway. In present-day Finland, using skis was common earlier than anywhere else in Europe. The ancient epic Kalevala makes clear that the Finns knew how to prepare and use skis early on and that the preparation and use of skis were known to the Finns long ago. Indeed, skiing has passed so deeply into Finland's concept of nationalism that it is an accepted truism that a Finn could catch any type of animal on skis.