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Biomechanical Studies on Running the 400 M Hurdles

100%
Iskra J., Coh M.
Human Movement
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2011
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vol. 12
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issue 4
315-323
EN
Purpose. Biomechanical research conducted on hurdling are the basis for analysis of technique used in running disciplines. However, the 400 m hurdle run is an athletic discipline rarely subjected to individual biomechanical study. The aim of this study was to introduce the various forms of biomechanical studies on this difficult-to-quantify athletic event. Methods. In this study, 64 biomechanical articles were assessed, each covering various topics such as kinematics, dynamics, accelometrics and rhythm knowledge in the both the men's and women's 400 m hurdles. This was conducted with regard to the specificity of studies on the 400 m hurdles, including their types, methods and difficulties. The characteristics of the study were divided, among others, into: physiological effort, centrifugal force, dynamics of movement, stride rhythm, the level of abilities, laterality and type of body build. Results. Numerous sources allowed the creation of a general outline of present biomechanical studies. Conclusions. Within the context of the conducted analysis on the present state of biomechanical analysis on the 400 m hurdles, a number of basic principles were outlined that could determine the effectiveness of future research possibilities for scientists on the 400 m hurdles.
2
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Structure of Coordination Motor Abilities in Male Basketball Players at Different Levels of Competition

88%
Jerzy S., Paweł W., Janusz Z., Tomasz N., Mariusz B.
Polish Journal of Sport and Tourism
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2015
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vol. 21
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issue 4
234-239
EN
Introduction. The purpose of this investigation was to examine the structure of coordination motor abilities (CMA) in male basketball players at different levels of competition. Material and methods. The study included 183 male basketball players from 10 Polish sports clubs. The examined groups consisted of seniors (n=42) aged 24.5 (± 3.3), juniors (n=37) aged 16.8 (± 0.6), cadets (n=54) aged 14.5 (± 0.1) and children (n=50) aged 13.4 (± 0.2). A battery of motor tests was administered to assess the following CMA: kinesthetic differentiation of movements, spatio-temporal orientation, reaction time, movement coupling, sense of balance, sense of rhythm and adjustment of movements. The structure of CMA under investigation was determined based on the results of Hotelling's principal component analysis in Tucker's modification, completed with Kaiser's Varimax rotation [1, 2]. Results. The CMA structure of basketball players was composed of three or four factors. Most often these included rhythm, movement differentiation, movement coupling and adjustment of movements. Less frequently the structure consisted of spatio-temporal orientation, balance and reaction time. An in-depth analysis of the CMA structure revealed that factors ranged from heterogeneous (children and cadets) to homogeneous ones (juniors and seniors). The distribution of identified factors in the common variance was the smallest in children and cadets (58.9% and 62.9%, respectively) and the biggest in juniors and seniors (69.3% and 68.48%, respectively).
3
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Становлення та теоретичне осмислення поетики монтажу і кадру в кінематографі

63%
Покулевська (Pokulevska) А. A.
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe
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2022
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issue 6(3)
165-173
UK
Художня література і кіно перебувають у режимі постійних інтерактивних обмінів. На початковій стадії свого формування як виду мистецтва кінематограф не лише активно запозичував, використовував і обробляв популярні літературні сюжети, а й трансформував у свою виражальну систему (поетику) суто літературні виражально-зображальні засоби. Своєю чергою, художня література ще до появи кінематографу користувалася прийомами, які із сучасного погляду можуть кваліфікуватися як «кінематографічні». У процесі розвитку своєї мови (кінопоетики) мистецтво кіно не лише “відкривало”, трансформувало ці засоби, а й увиразнювало та вдосконалювало їх. У зв’язку з цим почався зворотний вплив – поетика кіно почала інтегруватися у виражально-зображальну систему мистецтва слова, й особливо активно – із 20-х років минулого століття. Цей процес слід розглядати в контексті синтезу мистецтв, інтенсифікація якого відбувалася на межі ХІХ–ХХ ст., коли стверджувалося, набувало нових виражальних форм мистецтво епохи модернізму. Задля глибшого вивчення елементів кінопоетики в літературних текстах необхідний ґрунтовний огляд основних складників кіномови – категорій “монтаж” та “кадр”, перші визначення яким дали кінорежисери (Л. Кулєшов, С. Ейзенштейн, В. Пудовкин, М. Ромм, А. Тарковський) та літературознавці (В. Шкловський, Ю. Тинянов, Ю. Лотман). Супровідними до них слід уважати кінематографічні засоби “план”, “ракурс” і “ритм”, розгляд яких включає також аналіз їх проявів у творах художньої літератури. Функціональність монтажу легше і точніше дослідити на даних історії його становлення та ставлення до нього. Тому ця розвідка присвячена початковим етапам розвитку кінематографу, зокрема його специфічних засобів, а також досягненням класиків кіно.
EN
Fiction and cinema are in the mode of constant interactive exchanges. At the initial stage of its formation as an art form, cinema not only actively borrowed, used and processed popular literary plots, but also transformed into its expressive system (poetics) purely literary means of expression. In its turn, fiction even before the advent of cinema used techniques that from a modern point of view can be classified as “cinematic”. In the process of developing its language (film poetics), the art of cinema not only “discovered”, transformed these means, but also expressed and improved them. As a result, the reverse effect arose and the poetics of cinema began to be integrated into the expressive and pictorial system of the art of speech, and especially actively from the 20s of last century. This process should be considered in the context of the synthesis of arts, the intensification of which took place at the turn of the nineteenth and twentieth centuries, when it was claimed that the art of the modern era acquired new forms of expression. In order to study the elements of film poetics in literary texts, it is necessary to thoroughly review the main components of film language, they are categories “editing” and “frame”, the first definitions of which were given by film directors (L. Kulieshov, S. Eizenshtein, V. Pudovkyn, M. Romm, A. Tarkovskyi). and literary critics (V. Shklovskyi, Yu. Tynianov, Yu. Lotman). Accompanying them should be considered cinematic means “plan”, “angle” and “rhythm”, the consideration of which includes the analysis of their manifestations in works of fiction. The functionality of the installation is easier and more accurate to explore the data of the history of its formation and attitude to it. Therefore, this exploration is devoted to the initial stages of development of cinema, in particular its specific means, as well as the achievements of the classics of cinema.
4
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Wpływ ćwiczeń według Emila Jaques-Dalcroz’a na kształtowanie koordynacji ruchowej u dzieci w wieku przedszkolnym

63%
Jaworska M., Wnuk B., Durmała J., Kolebacz M.
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issue 1-2
13-19
EN
BACKGROUND The main goal of the research program was to evaluate the infl uence of Emile Jaques-Dalcroze method on the formation of coordination of motor skills with children aged 6 according to the balance, rhythmicity, rapid response and space orientation. MATERIAL AND METHODS The content of the paper are the results of 40 healthy children of six years old, randomly divided into two groups – control (gymnastics) and test (Emile Jaques-Dalcroze method). In the course of study in both groups were measured motor abilities of coordination based on the following motor tests : test of spatial orientation “March to the point” balance test “Get Up and Go”, rhythmicity test” rhythmic drumming of hands, “a rapid response test” Stop falling sticks”. RESULTS The results obtained in the study group compared to the control group show an acceleration of the motor development of children with skills: balance, rapid response, and rhythmicity. CONCLUSION Comparison of the eff ect of standard exercise gym with classes consistent with the method of Emile Jaques-Dalcroze in the development of coordination of motor skills in children aged 6 years showed that the best results in preschool children is achieved through a combination of rhythmic elements of exercise gym
PL
WSTĘP Głównym założeniem programu badawczego była ocena wpływu metody Emila Jaques-Dalcroze’a na kształtowanie koordynacyjnych zdolności motorycznych z zakresu zachowania równowagi, rytmizacji, szybkiej reakcji oraz orientacji w przestrzeni u dzieci 6-letnich. MATERIAŁ I METODY Materiał opracowania stanowią wyniki badań 40 zdrowych 6-letnich dzieci, podzielonych losowo na dwie grupy – kontrolną (dzieci uczęszczające na gimnastykę korekcyjną) i badaną (dzieci uczestniczące w ćwiczeniach prowadzonych metodą Emila Jaques-Dalcroze’a). W trakcie badań w obu grupach dokonano pomiarów koordynacyjnych zdolności motorycznych opartych na następujących testach motorycznych: test orientacji w przestrzeni „Marsz do celu”, test równowagi „Wstań i idź”, test rytmizacji „Rytmiczne bębnienie rękami”, test szybkiej reakcji „Zatrzymanie opadającej laski”. WYNIKI Wyniki uzyskane w grupie badanej w porównaniu z wynikami grupy kontrolnej wskazują na przyspieszenie rozwoju motorycznego dzieci z zakresu umiejętności: równowagi, szybkiej reakcji oraz rytmizacji. WNIOSKI Porównanie wpływu standardowych ćwiczeń gimnastycznych z ćwiczeniami zgodnymi z metodą Emila Jaques-Dalcroze’a na rozwój koordynacyjnych zdolności motorycznych u dzieci 6-letnich wykazało, że najlepsze rezultaty osiąga się u nich poprzez połączenie rytmiki z elementami ćwiczeń gimnastycznych.
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