80 Jahre vollakademische Sportlehrerausbildung

On 1 August 1929 the Prussian Minister of Education enacted a regulation establishing“exercise and physical education” as an academic field of study to be offered at all universities and institutes of technology under his jurisdiction. This action served to successfully complete the process that had been evolving since the middle of the nineteenth century to recognize the discipline as a university level specialty in the face of considerable longstanding opposition. The gravest forms of opposition emanated from the universities themselves and starting in the middle of the 1920s were ultimately overcome by proceedings and argumentation. These circumstances are described in this contribution based on accessing and evaluating new sources. The central focus is on a memorandum written in February 1929 by the Göttingen University physical education lecturer Bernhard Zimmermann. The article concludes by classifying and assessing the act of 1929 with a view to the further development of the academic education of sports instructors in the ensuing era of National Socialism and the postwar period in West Germany and the Federal Republic of Germany.     

Was macht den Sport zum Mediensport?

The popularity of sports varies to different extents around the world and leads to the question: what is a media sport? This contribution discusses definitional principles with the goal of using a model to establish the basis of categorization for future empirical analysis of diverse sports types. Media sports are defined as characteristic of movement structures in the culturally differentiated media sports complex. Features of media sports are distinguished according to the dimensions of context, organization, and (interactive) structure. It becomes clear that media sports types are not only characterized by cultural grounding, success, and charismatic stars, but can also exhibit structural distinctions. In conclusion, real, media-driven, and medial media sports are differentiated to demonstrate application of the model.     

A modified TRIMP to quantify the in-season training load of team sport players

The aims of the study were to modify the training impulse (TRIMP) method of quantifying training load for use with intermittent team sports, and to examine the relationship between this modified TRIMP (TRIMP(MOD)) and changes in the physiological profile of team sport players during a competitive season. Eight male field hockey players, participating in the English Premier Division, took part in the study (mean+/-s: age 26+/-4 years, body mass 80.8+/-5.2 kg, stature 1.82+/-0.04 m). Participants performed three treadmill exercise tests at the start of the competitive season and mid-season: a submaximal test to establish the treadmill speed at a blood lactate concentration of 4 mmol . l(-1); a maximal incremental test to determine maximal oxygen uptake ([V]O(2max)) and peak running speed; and an all-out constant-load test to determine time to exhaustion. Heart rate was recorded during all training sessions and match-play, from which TRIMP(MOD) was calculated. Mean weekly TRIMP(MOD) was correlated with the change in [V]O(2max) and treadmill speed at a blood lactate concentration of 4 mmol x l(-1) from the start of to mid-season (P<0.05). The results suggest that TRIMP(MOD) is a means of quantifying training load in team sports and can be used to prescribe training for the maintenance or improvement of aerobic fitness during the competitive season.     

The undulating contours of sōgō geijutsu (total work of art), or Hanada Kiyoteru's thoughts on transmedia in postwar Japan

This article provides an insight into the theorization of sōgō geijutsu or the work of total art during the postwar decades in Japan, primarily through the language of Hanada Kiyoteru, a notable communist critic during the 1950s, as a way to present a discursive precursor to what would be explored as intermedia in the 1960s. It is an attempt to trace the debates that were seen in journal Sōgō Bunka, which was established immediately after the war, and how the question of collectivity and collective production of art was discussed among the contributing critics, artists, and intellectuals. Totality as some may know already, is a problematic term that comes close to the wartime notion of ‘totality’, as it was employed for Japanese government's ideological deployment for its war efforts. Although the term has accrued a sinister ring, the critics mentioned in the article, especially Hanada, were determined to reclaim the term as a way of devising a postwar aesthetic-political platform. One important component of sōgō geijutsu was popular art and its relationship to the masses, as it was designed to relocate avant-garde art practices to the juncture of popular space and political praxis, while critiquing the modernist avant-garde art associated with high art. In addition to providing a fuller historiography of intermedia (or transmedia) in Japan, interrogating sōgō geijutsu also serves to shed some light on the complex and multivalent discourse of locating a ‘people’ and their communicative action. Through this history, the term totality gains a greater texture, no longer dismissible as a mere vestige of fascism in the minds of the Japanese artists and critics.     

The Film as a source of History

In order to gain clarity about historical facts the historian requires as wide and as varied a range of informative documents as possible. These documentary sources include all texts, objects or facts, from which knowledge of the past can be gained; texts such as annals, chronicles, letters, reports, certificates; things like relics, buildings, ruins, primers, stone axes; and facts or conditions still in existence based on historical premises.