International Journal of the History of Sport最新文献

During the 1890s, in Australia and around the world, there was a convergence of the cycle, the camera and women. With the advent of the revolutionary safety bicycle, cycling had become a craze. At the same time, photographic technology had undergone changes that meant photographs were cheaper and more accessible. Women became avid consumers of both these new technologies; they became cyclists in unprecedented numbers for the first time, and they also became the popular subjects, and proud owners, of photographic portraits. These two trends converged, resulting in a proliferation of photographic portraits of women cyclists, many of which were published in newspapers and magazines. These bicycle portraits have now become a rich source for historians. More than just visually interesting artefacts, these photographic depictions of the Australian woman cyclist are important windows into the history of Australian women's cycling in the last decade of the nineteenth century. Bicycle portraits provide significant insights into the study of Australian women cyclists, from historical detail ranging from costume, bicycle and cycling activity choices to more complex understandings of the expression of feminine identity among Australian women cyclists in the 1890s.

The revelation that women first played Australian Rules football during the period of the Great War is an important element in overall understandings of how both masculine and feminine ideals were challenged and redefined by sporting practices in a time of general social flux. This paper reveals that the genesis of the women's code was in Western Australia, where contests occurred as early as 1915. Three years later, with the war nearing its conclusion, the template of women's involvement in charity matches with strong military and patriotic overtones was adopted in the state of Victoria, the code's heartland. Investigations such as this one, indicative of the complex relationships between sport and gender during the First World War, offer scope for deeper comprehension of a much-studied military conflict, and point the way forward for those that bemoan the static agenda of research into women's football.

During the belle époque, Belgium was a trend-setting nation in many domains, including motorised sports. Belgian automobile racers and pilots shattered world records and became international stars. Striking was the shift in sports. Indeed, around 1896, sporting members of the leisure class stepped from the bicycle into the automobile and, around 1908, from the automobile into the airplane. Although these motorised sports were extremely expensive, this article shows that sportsmen and sportswomen from the working class could achieve upward social mobility through their performances. The achievements of these motorised pioneers had a major impact and wide-ranging significance. They laid the foundations for the expansion of the automobile industry and the emergence of civilian and military aviation.

The First World War is traditionally considered in history as a temporary halt for cultural and sporting activities. If the Olympic Games and the Tour de France were actually cancelled, football and rugby were in fact stimulated by the circumstances of war. Indeed, the gathering of allied nations behind the Western Front emerged as the main factor in the development of these two sports. Reading the sporting press and military archives shows that international sporting exchanges were stimulated during the Great War. To be specific, France benefited from the golden opportunity provided by the presence of the masters of the game to strengthen its practices and affirm its status as a sporting nation. Inter-allied sporting exchanges were primarily characterised by informal encounters between military selections. Then, following the recognition of these sports by the military authorities, the number of exchanges increased. At the end of 1917, the official status acquired by sport within the military forces created the conditions for the structuring of the French sporting elite. From that point, we can witness the birth of the first French military rugby and football teams, as they demonstrate, through their good performances during the demobilisation period, the progressive build-up of the international dimension of French sport during the war years.

As practitioners of the imperial sport of the Victorian age, cricketers rallied whenever war descended upon England and its colonies. The South African War of 1899-1902 was no different. Adding to existing work on cricket's imperial development within South Africa, this study marks a significant contribution to research on the link between masculinity, war and sport during the Victorian era. A concept emerging from the English public schools of the mid- to late nineteenth century, the masculine ethos of sport and military honour had reached colonial South Africa by the outbreak of war in 1899. In its analysis of cricket and masculinity, this essay examines the events surrounding the war in South Africa and provides an example of the distinct relationship that existed between the military and the masculinity of sport and its organisation during this era.

This essay explores the growth of boxing among the African populations on the Witwatersrand region of South Africa between 1924 and 1959. It details how the sport's jump in popularity with Africans paralleled migration to Johannesburg. Africans increasingly saw boxing as an activity and skill conducive with survival in this new environment, and thus the sport grew in popularity, stature, and skill-level amongst this emergent urban population. The essay further explores the various ways that the sport was disseminated and popularized during the era, thus detailing how the sport reached both the African masses and petit-bourgeois educated elite. As their presence in Johannesburg became more and more permanent, boxing came to encompass various meanings and ideals, such as notions of discipline, independence and civility, to these urban populations.

Since economic reform in the 1980s, Chinese sport has undergone an extraordinary transformation. The most distinguishing phenomenon is the rapid growth of mass sport at the grassroots level with increasing demands for physical activities in women's daily lives. The rapid growth of women's sports participation at the grassroots is deeply embedded in the process of social stratification as a result of the urbanisation of Chinese society. The purpose of this paper is to use the socialist, feminist and theoretical framework to explore how Chinese women's different economic, educational, domestic and cultural situations shape their sports values and patterns of participation, marking social boundaries in Chinese urban communities. Semi-structured interviews and observations were conducted with 60 female physical exercisers in sports clubs, parks and neighbourhood playgrounds. Documentary research was also applied as a complement method to the interview. The findings indicate that within different classes (middle class, working class and a group who were unemployed), many different opportunities for and limitations on women to participate in sport are noticed. Chinese women have not fully and equally utilised sports opportunities created by urbanisation. Most Chinese women still live within patriarchal arrangements. Consequently, they do not completely fulfil their ambitions in sport.

In July 1944 cross-country races and parades of physical culturists were prominently used to celebrate Soviet liberation from German occupation. While journalistic accounts stressed the manly health and vigour of the victorious Red Army, press photographs in Pravda and Red Sport, and Aleksandr Deneika's monumental painting 'Liberation', emphasised images of the young female physical culturist. This essay explores what a contextualised analysis of these images may have to tell historians about the connections between women, physical culture and liberation being projected. The argument suggests that, on one level, the images straightforwardly symbolised and celebrated the liberation of the Soviet 'Motherland'. On another, more complex level, the images represented a particularly nuanced notion of constricted liberation for Soviet women deriving from 1920s eugenic and evolutionary discourse, inscribed into the contemporary imperative for engagement with physical culture as a necessary stage of healthful body discipline on the path to hygienic and successful motherhood.

This essay examines the images and looking practices central to Bess M. Mensendieck's (c.1866-1959) 'functional exercise' system, as documented in physical culture treatises published in Germany and the United States between 1906 and 1937. Believing that muscular realignment could not occur without seeing how the body worked, Mensendieck taught adult non-athletes to see skeletal alignment and muscular movement in their own and others' bodies. Three levels of looking practices are examined: didactic sequences; penetrating inspection and appreciation of physiological structures; and ideokinetic visual metaphors for guiding movement. With these techniques, Mensendieck's work bridged the body cultures of German Nacktkultur (nudism), American labour efficiency and the emerging physical education profession. This case study demonstrates how sport historians could expand their analyses to include practices of looking as well as questions of visual representation.

The mass popularity of sport in Britain during the inter-war years was a source of fascination and inspiration for a group of artists working at the Grosvenor School of Modern Art in London. Although largely neglected by their contemporaries, sport was embraced by Grosvenor School artists as a means to engage with both modernity and tradition within contemporary British culture. This essay examines one work, Cyril Power's 1930 linocut print, 'The Eight', as a case study to investigate the interrelationship between two cultural activities frequently regarded as at opposing ends of the cultural spectrum: art and sport. By simultaneously drawing upon a rich heritage of visual culture conventions and deploying new media and methods to represent the excitement, dynamism and sheer energy of sport, Power's work offers an insight into how visual culture can engage with, and enhance, our understanding of contemporary debates and practices in both fields of activity.