The Beach in Anglophone Literatures and Cultures: Reading Littoral Space

From early colonial encounters to the ecological disasters of the twenty-first century, the performativity of contact has been a crucial element in the political significance of the beach. Conceptualising the beach as a creative trope and as a socio-cultural site, as well as an aesthetically productive topography, this collection examines its multiplicity of meanings and functions as a natural environment engendering both desire and fear in the human imagination from the Victorian period to the present. The contributors examine literature, film, and art, in addition to moments of encounter and environmental crisis, to highlight the beach as a social space inspiring particular codes of behaviour and specific discourses, as a geographical frontier between land and water, as an historical site of contact and conflict, and as a vacationscape promising regeneration and withdrawal from everyday life. The diversity of the beach is reflected in the geographical range, with essays on locales and texts from Britain, Ireland, the Caribbean, South Africa, the United States, Polynesia, and New Zealand. Focusing on the changed function of the beach as a result of processes of industrialisation and the rise of a modern leisure and health culture, this interdisciplinary volume theorises the beach as a demarcater of the precarious boundary between land and the sea, as well as between nature and culture.

Effectiveness of the Call in Beach Volleyball Attacking Play

In beach volleyball the setter has the opportunity to give her or his hitter a “call”. The call intends that the setter suggests to her or his partner where to place the attack in the opponent’s court. The effectiveness of a call is still unknown. We investigated the women’s and men’s Swiss National Beach Volleyball Championships in 2011 and analyzed 2185 attacks. We found large differences between female and male players. While men called in only 38.4% of attacks, women used calls in 85.5% of attacks. If the male players followed a given call, 63% of the attacks were successful. The success rate of attacks without any call was 55.8% and 47.6% when the call was ignored. These differences were not significant (χ2(2) = 4.55, p = 0.103). In women’s beach volleyball, the rate of successful attacks was 61.5% when a call was followed, 35% for attacks without a call, and 42.6% when a call was ignored. The differences were highly significant (χ2(2) = 23.42, p < 0.0005). Taking into account the findings of the present study, we suggested that the call was effective in women’s beach volleyball, while its effect in men’s game was unclear. Considering the quality of calls we indicate that there is a significant potential to increase the effectiveness of a call.

Perceptual Training in Beach Volleyball Defence: Different Effects of Gaze-Path Cueing on Gaze and Decision-Making

For perceptual-cognitive skill training, a variety of intervention methods has been proposed, including the so-called “color-cueing method” which aims on superior gaze-path learning by applying visual markers. However, recent findings challenge this method, especially, with regards to its actual effects on gaze behavior. Consequently, after a preparatory study on the identification of appropriate visual cues for life-size displays, a perceptual-training experiment on decision-making in beach volleyball was conducted, contrasting two cueing interventions (functional vs. dysfunctional gaze path) with a conservative control condition (anticipation-related instructions). Gaze analyses revealed learning effects for the dysfunctional group only. Regarding decision-making, all groups showed enhanced performance with largest improvements for the control group followed by the functional and the dysfunctional group. Hence, the results confirm cueing effects on gaze behavior, but they also question its benefit for enhancing decision-making. However, before completely denying the method’s value, optimisations should be checked regarding, for instance, cueing-pattern characteristics and gaze-related feedback.

New Myths of OZ: The Australian Beach and the Negotiation of National Belonging by Refugee Background Youth

In this article we consider the Australian beach as a material, imaginary and social arena in which different versions of national belonging are performed and contested. Focusing on two short films produced by young people from refugee backgrounds, we explore the negotiation of national belonging on the beach by people who occupy identity categories that are typically excluded from idealising Australian beach mythologies. We argue that both the production and distribution of these films contribute to a reimagining of the Australian beach that creates new opportunities for people from migrant backgrounds to engage in the co-production of Australian identities in their own terms.

Le personnage de la femme-artiste chez l'écrivain polonaise Narcyza Żmichowska (1819-1876) : Helusia héritière de Corinne de Mme de Staël et de Consuelo de George Sand

Si les hommes bénéficient d’emblée de mythes (Pygmalion, Orphée) qui légitiment et motivent leur créativité, il faut attendre Corinne (1807) de Mme Staël et Consuelo (1842) de George Sand pour que le mythe de la femme créatrice trouve enfin, dans la littérature européenne, à se concrétiser et à se développer sous la forme de Künstlerromane féminins. Corinne la poétesse et Consuelo la cantatrice sont devenues des exemples littéraires non seulement pour les femmes victoriennes, comme le montre par exemple le livre de Linda Lewis intitulé Germaine de Staël, George Sand and the Victorian Woman Artist, mais également pour les femmes polonaises issues des classes favorisées - qui lisaient d’ailleurs couramment en français. En effet, même si elles ont été officiellement décriées par la critique conservatrice polonaise pour leur « immoralité », George Sand et Mme de Staël ont été lues, bien lues et même beaucoup lues par leurs contemporaines polonaises - comme le témoigne la correspondance de ces dernières, dans laquelle elles ont moins de peine à se livrer. Le thème de la femme artiste déchirée entre la carrière publique et la vie privée, tel qu’il est représenté dans Corinne et dans Consuelo, a en particulier attiré toute leur attention et suscité chez les femmes écrivains le désir d’apporter de nouvelles manières de résoudre ce conflit. Dans cet article, le Künstlerinroman polonais Książka Pamiątek (Livre des souvenirs, 1846) de Narcyza Żmichowska fait l’objet d’une analyse comparative détaillée avec les deux Künstlerinromane français dont par ailleurs il se réclame.