scholarly journals The strength-endurance continuum revisited:a critical commentary of the recommendation ofdifferent loading ranges for different muscular adaptations

2020 ◽  
Vol 9 (1) ◽  
pp. 1-8 ◽  
Author(s):  
James P. Fisher ◽  
James Steele ◽  
Patroklos Androulakis-Korakakis ◽  
Dave Smith ◽  
Paulo Gentil ◽  
...  
2015 ◽  
Vol 12 (4) ◽  
pp. 479-495 ◽  
Author(s):  
Vito Adriaensens ◽  
Steven Jacobs

Few directors are so closely associated with the genre of the artist biopic as Ken Russell who made several films dedicated to composers, dancers and writers. Only three of these, however, have visual artists as their protagonists: Always on Sunday (1965), Dante's Inferno (1967) and Savage Messiah (1972), dealing with Henri ‘Le Douanier’ Rousseau, Dante Gabriel Rossetti and Henri Gaudier-Brzeska respectively. There has also been relatively little critical commentary on these films compared with the discussion devoted to Russell's films dealing with the lives of composers. This article attempts to remedy this situation by considering the ways in which Russell tackles some of the thematic and formal challenges inherent to the genre of the artist biopic, such as the representation of the artist's personality, the visualisation of the process of artistic creation, and the relation between the style of the film and that of the artist portrayed. We will argue that, to a large extent, Russell's protagonists in these films conform to the romantic stereotype of the tormented and alienated artist. However, and perhaps contrary to what one would associate with the director, we will demonstrate that Russell's biopics also demystify this cult of artistic genius by focusing on the mundane or laborious activities involved in the process of artistic creation, which is at odds with genre conventions that normally glorify this process.


2015 ◽  
Vol 4 (1) ◽  
pp. 7-34
Author(s):  
Shawna Malvini Redden

Invoking the styling of classic spy stories, this essay provides an account of a commercial aviation emergency landing that blew the agent/author's “cover” as a full participant ethnographer. Using an experimental autoethnographic format, the piece offers an evocative portrayal of a perceived near-death experience and its aftermath, as well as critical commentary on writing autoethnography with a fictionalized framing. In the closing “debrief,” the author sheds her agent persona to describe the process of writing about traumatic events and to analyze how those events focus attention on methodological and ethical considerations for qualitative research.


2020 ◽  
Author(s):  
Harry Robert McSweeney Purser ◽  
Craig A. Harper

A recent study by Baltiansky, Craig, & Jost (2020) tested two hypotheses related to system justification and the perception of stereotypical humor. They reported to have found evidence for a cross-over interaction, with judgments of jokes being contingent on a combination of the social status of the targets of jokes and raters’ system justification motivations. Here, we discuss the original analysis, presentation, and interpretation of the data in Baltiansky et al. (2020), before presenting a re-analysis of the authors’ shared data file. We show that the framing of claims such as “high system-justifiers found jokes targeting low-status groups (e.g., women, poor people, racial/ethnic minorities) to be funnier than low system-justifiers did” (p. 1) are misleading in their framing. Instead, our re-analyses suggest that ideological differences in joke perception are driven primarily by those scoring low on the system justification motivation rating jokes about ostensibly low-status groups as less funny than jokes about other social groups.


Author(s):  
Gabriela Sułkowska

A critical commentary on Liliana Piskorska's work in progress project "Sourcebook/Książka źródeł".


Author(s):  
William Weber

This chapter shows how selections from English operas composed between the 1730s and the 1790s—chiefly by Thomas Arne, Charles Dibdin, William Shield, and Stephen Storace—became standard repertory in concerts throughout the nineteenth century. Such pieces were performed at benefit concerts organized by individual musicians and at events given by local ensembles that blended songs with virtuoso pieces and orchestral numbers. Critical commentary on such songs justified their aesthetic legitimacy as groups separate from pieces deemed part of classical music. By 1900, songs by Arne, Storace, and even Dibdin were often sung in recitals along with German lieder and pieces from seventeenth- or eighteenth-century Italy or France. The solidity of this tradition contributed to the revival of the operas themselves from the 1920s, most often Arne’s Artaxerxes (1762). This chapter is paired with Rutger Helmers’s “National and international canons of opera in tsarist Russia.”


Author(s):  
Alfonso Moreno‐Cabañas ◽  
Juan Fernando Ortega ◽  
Felix Morales‐Palomo ◽  
Miguel Ramirez‐Jimenez ◽  
Laura Alvarez‐Jimenez ◽  
...  

2021 ◽  
pp. 146247452110016
Author(s):  
Michaela M McGuire ◽  
Danielle J Murdoch

Indigenous women are vastly overrepresented in Canada’s federal prisons and represent the fastest growing prison population in Canada. This critical commentary utilizes a decolonial framework to examine how being Indigenous and female increases one’s risk of being victimized, murdered, and subject to colonial control by exploring the connections between the construction of Indigenous women as less than human and the use of carceral space to control, destroy, and assimilate this population. Specifically, the authors apply Woolford and Gacek’s notion of genocidal carcerality to the intersectional forces of systemic racism and discrimination that result in their overincarceration. Further, the article critiques the Indigenization of Canada’s federal correctional service for failing to meet the needs of this population and for perpetuating an assimilative and stereotypical portrayal of Indigenous women that perpetuates colonial harm.


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