'Commemorating a Disputed Past: Football Club and Supporters' Group War Memorials in the Former Yugoslavia

This article documents the existence of numerous football-related war memorials throughout the former Yugoslavia. Utilizing photographic evidence of these monuments, plaques and other methods of memorialization, it illuminates the ways in which those involved in the game have written the deeds of their fallen members into the historical record, often harnessing these sacrifices in the service of a variety of political causes in the process. These commemorative gestures include socialist patriotic memorials erected in the aftermath of the Second World War Partisan victory, as well as monuments and murals created in honour of football supporters who went into battle as paramilitaries and members of incipient national armies during the dissolution wars of the 1990s. It is argued that the deeds of the fallen have been elevated, and at times manipulated, while the creativity of the latest wave of football remembrance is arguably heavily influenced by the traditional epic poetry and mythologized histories of the region. The fact that these disparate memorials have survived from various historical periods means that the region's built environment offers problematic and conflicting accounts of Yugoslav football's violent past. Memorials which honour impossibly pure socialist heroes coexist awkwardly alongside those dedicated to supporters who gave their lives in pursuit of ethnically exclusive states. In the case of one desecrated monument, these distinct periods are somewhat paradoxically remembered by the same symbolic object

Os desafios levantados pelo doping do século XXI: Um "bravo mundo novo" do doping ou "vinho antigo em novas garrafas"?

In this paper, I will present several nanotechnologies and prosthetic devices with applications and potential harmful effects to sport. Then, by drawing on the World Anti-Doping Agency’s (WADA) three criteria to regard a substance, technology, or medical intervention as doping, I will to analyse three ethical concerns raised by such technologies, namely: (1) the intrinsic nature of sport; (2) the physical harm and risks involved; and (3) the role sport plays in society.En este artículo presentaré diversas nanotecnologías y prótesis cuya aplicación al deporte podría tener un impacto negativo en el mismo. Luego, utilizaré los tres criterios que la Asociación Mundial Antidopaje (AMA) emplea para identificar una sustancia, tecnología o intervención como dopaje para presentar las preocupaciones que podrían generar las tecnologías mencionadas arriba. Estas preocupaciones serán: (1) la posibilidad de eliminar la prueba, o pruebas, que presenta el deporte; (2) el daño físico y los riesgos ligados a la modificación de la naturaleza humana; y (3) el impacto en el papel que el deporte juega en la sociedad.Neste artigo, apresentarei várias nanotecnologias e próteses cuja aplicação ao esporte poderia ter um impacto negativo sobre ele. Depois, usarei os três critérios que a Associação Mundial de Antidoping (WADA) usa para identificar uma substância, tecnologia ou intervenção como um doping para apresentar as preocupações que poderiam ser geradas pelas tecnologias mencionadas acima. Essas preocupações serão: (1) a possibilidade de eliminar o teste, ou testes, que o esporte apresenta; (2) os danos físicos e riscos ligados à modificação da natureza humana; e (3) o impacto no papel que o esporte desempenha na sociedade

Kairos

Kairos is a dance for six dancers. The central idea explores ways in which people spend the valued element of time, through work, play, travel, existence and even death. The dance consists of three sections illustrating three separate aspects of time: Section I - "Passing," Section II - "Nevermore," and Section III - "Always." The first section begins with all six dancers entering the stage at different times carrying on five various properties to be placed in designated areas of the stage. The properties represent different ways in which people spend their time. These properties are used in Section I only. Since Section I deals with the passing of people in time, thin section is composed mainly of all types and tempos of crossing patterns as the dancers move across the stage, often relating to each other and the properties. Section II is concerned with limited tine and mental or physical death. The sharp, mechanical, percussive movements of the three unrelated dancers in this section are extremely important in conveying the emotionalism of despair and loneliness that accompany this aspect of time

Lanthorn, vol. 8, no. 15, January 22, 1976

Lanthorn is Grand Valley State\u27s student newspaper, published from 1968 to the present