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<正> 在我们学习和宣传奥林匹克运动的时候,不能不首先对它的创始人皮埃尔·德·顾拜旦(Pierre deCoubertin)的体育思想有所了解。《奥林匹克宪章》基本原则第一条指出:“现代奥林匹克主义是皮埃尔·德·顾拜旦提出的。” 相似文献
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顾拜旦体育思想研究系列之三--顾拜旦与奥林匹克理想 总被引：7，自引：0，他引：7
奥林匹克理想是顾拜旦首先提出的一个概念，它是以奥林匹克主义为奋斗目标的一种对未来的设想和信念，并经过实践而形成的一种思想体系。本文作者从以下5个方面来论述：1.奥林匹克理想是体育文化概念；2．奥林匹克主义是奥林匹克理想的核心；3．奥林匹克运动是奥林匹克理想的实践；4．奥林匹克精神是奥林匹克理想的体现；5．《体育颂》是奥林匹克理想的升华。 相似文献
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顾拜旦体育思想的教育价值 总被引：2，自引：0，他引：2
教育是顾拜旦体育思想的核心,其体育思想中的运动参与精神、竞争奋斗精神、"费厄泼赖"精神和爱国主义、"和平、友谊、进步"的国际主义思想具有特殊的教育价值。 相似文献
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顾拜旦体育思想研究系列之四--教育是顾拜旦体育思想的核心 总被引：20，自引：0，他引：20
顾拜旦是一位伟大的教育家，他复兴奥运是从教育出发的，也可以说，这是他教育改革思想的发展。本文从以下4个方面论述这一问题：①顾拜旦是一位伟大的教育家；②顾拜旦复兴奥运的出发点是教育；③奥林匹克主义离不开教育；④奥林匹克教育是奥林匹克运动的重要组成部分。 相似文献
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当19世纪末欧洲哲学家们讨论抽象道德时,顾拜旦采用奥林匹克美学理念启发人们对美的欣赏意识,实现奥林匹克道德教育的效果.顾拜旦通过运动员和观众对奥林匹克之美的感受和感知,促进构建审美、道德、人性化社会的发展.顾拜旦的奥林匹克美学思想得到哲学家的支持.顾拜旦的奥林匹克主义美学灵感派生于古希腊奥运会和当时欧洲哲学家们的美学理论,奥林匹克主义的贡献在于将二者的链接. 相似文献
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顾拜旦是一位伟大的思想家，他除了潜心于教育改革和复兴奥运以外，对大众体育、体育与文化、体育与历史、体育与新闻媒体非常关注，本文对这些问题加以论述，并对结束这一系列研究进行了小结。 相似文献
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顾拜旦与奥林匹克运动之六《体育颂》是奥林匹克理想的升华 总被引：2，自引：0，他引：2
我在学习和研究顾拜旦的体育思想和奥林匹克理论过程中,很自然地产生一种想法,或者说有一种心得体会:就是我们要想真正了解和理解奥林匹克运动,必须了解和理解顾拜旦的体育思想;要想真正了解和理解顾拜旦的体育思想,必须了解和理解他的不朽诗篇<体育颂>.因为这篇诗作不是顾拜旦的一般抒情之作. 相似文献
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我在学习和研究顾拜旦的体育思想和奥林匹克理论过程中,很自然地产生一种想法,或者说有一种心得体会:就是我们要想真正了解和理解奥林匹克运动,必须了解和理解顾拜旦的体育思想;要想真正了解和理解顾拜旦的体育思想,必须了解和理解他的不朽诗篇《体育颂》。因为这篇诗作不是顾拜旦的一般抒情之作。而是他对体育的深刻理解和热情赞颂。古人云:“诗言志”。顾拜旦正是运用诗的语言来抒发他的奥林匹克理想,使人们对现代体育的社会功能、特别是教育功能有所认识;而且他希望以文艺作品为武器,击中时弊,纠正当时奥林匹克运动中出现的不正之风。他… 相似文献
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现代奥林匹克运动之父顾拜旦,由于受到古希腊唯美文化、家庭艺术背景、欧洲现代艺术、欧洲哲学美学理论的影响,成为了奥林匹克应与艺术结缘最积极和最坚定的倡导者。为了加速这一倡导的实现,顾拜旦于1906年5月23日在巴黎发起召开了关于艺术,文学与体育关系的研讨会。顾拜旦邀请了不同领域的专家、学者参与会议。讨论范围涉及了社会、文化、哲学、体育、艺术、美学的话题。大会通过了七项决议。大会一致同意体育应与艺术结合,提高体育的审美价值和艺术氛围。尽管会议决议,从1912年开始的奥林匹克的艺术比赛在1948年终止,但大会的价值为奥林匹克运动奠定了美学理论基础,1906大会具有现代奥林匹克运动发展的里程碑意义。 相似文献
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Yves Bonlongne 《天津体育学院学报》1993,8(1):15-18
本期刊载法国顾拜旦委员会副主任伊夫·布隆勒(yves Bonlongne)的两篇短文:《顾拜旦与体育教育》和《顾拜旦与“大众体育”》。教育是奥林匹克运动的核心。顾拜旦从青年时代起,就立志“把自己的名字和伟大的教育改革联系在一起”。他曾说过:“古希腊人组织竞赛活动,不仅为了锻炼体格和显示一种廉价的壮观场面,而是为了教育人。”奥林匹克运动和奥运会是为民族和广泛的和平国际主义服务,并促进社会和平、完善的道德和良好的教育。”所以通过体育竞赛来教育青年是他复兴奥运会最根本的宗旨。“一切体育为大众”这一口号首先出自奥林匹克运动创始人之口也鲜为人知。如果我们认真研究《奥林匹克宪章》就不难发现,在基本原则第7条明文规定:“奥林匹克运动的活动是经常的、普遍的。活动的高潮是全世界运动员相聚在一起的盛大节日——奥林匹克运动会”。(根据法文版,与国内翻译出版的译文略有出入。)所以大众体育即我国所推行的群众体育或社会体育是奥林匹克运动的基础。 相似文献
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顾拜旦体育思想是继承前人的哲学思想和社会实践而形成的对体育、文化与教育相结合的奥林匹克运动的总结．也是适应世界潮流而不断发展的。本文通过解读他的不朽诗篇《体育颂》,来探讨顾拜旦体育思想的深刻内涵。 相似文献
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Sandra Heck 《国际体育史杂志》2013,30(7):719-735
In London, in 2012, the modern pentathlon (fencing, swimming, horse riding, shooting and running) celebrated its centenary. In its 100 years of Olympic history several rule changes have taken place. Directly after its Olympic debut in Stockholm in 1912, the International Olympic Committee headed by Pierre de Coubertin evaluated the event and criticised the shortcomings between the supposed idea behind the sport and its implementation. After Coubertin's death, the sport continued to develop; recently running and shooting have been joined in a so called combined event. In all cases, the presidents of the Union Internationale de Pentathlon Moderne (UIPM) argued the associated rule changes by referring to the original idea of the modern pentathlon. The sport's insecure future after the Games in Rio in 2016 provides sufficient reason to investigate the discrepancy between the marketing strategy of the UIPM and the ideological origins of the modern pentathlon. It finally allows an analysis of select historical rule changes that fitted the original idea behind the events and those that served purely modern strategies of survival. Thus, the topic also stands as an example of the policies of a contemporary international sports federation that uses (select parts of its) history and (invented) traditions as strong and successful marketing tools. 相似文献
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《Sport in History》2013,33(4):457-475
ABSTRACTIn 1948, the seventh Olympic Art Competitions took place in London. The fact that such artistic competitions were conceptualized by Pierre de Coubertin and formed part in the Olympic program in the first half of the twentieth century is not commonly known. And although international sport historians researched different aspects of the Olympic Art Competitions since the 1980s, they have not sufficiently addressed possible artistic influences for such a concept and therefore treat them as a matter of fact. Particularly the fact that Pierre's father, Charles Louis Frédy de Coubertin (1822–1908), had been a famous painter at his time is overlooked up to now. This article traces the artistic background of the father and illustrates how his profession as Fine Art Salon painter influenced Pierre de Coubertin's concept of the Olympic Art Competitions. Subsequently, the paper compares organizational elements of the Fine Art Salons with those of the Olympic Art Competitions and unveils interesting parallels. Concerning the sources used, this article draws on art history sources as well as on unpublished material which was discovered in the archives of the descendants of the Coubertin family. 相似文献
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《体育哲学杂志》2012,39(2):185-199
In the Olympic Art Competitions (1912–1948) Pierre de Coubertin expresses his conception of both sport and art as instruments of moral renewal. In this paper, this conception is criticised for failing to appreciate art and sport as necessary manifestations of modernism. The Art Competitions were informed by a traditionalist aesthetic, and thus played a highly conservative role within Olympism. A modernist art about sport, in contrast, would have been a source of critical reflection, potentially protecting the Olympic movement from corrupting exploitation by commercial and nationalistic interests. The conclusion defends the need for Cultural Olympiads, as a source of such critical reflection, that are at once modernist in conception and yet, unlike their current expression, are centrally about sport. 相似文献
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Natalia Camps Y Wilant 《国际体育史杂志》2016,33(13):1483-1499
AbstractOlympic Art Competitions were part of the Olympic programme for 36 years in the first half of the twentieth century. According to sport history research, one of the reasons for their suspension was the participation of unknown artists. A careful analysis of the sources used by sport historians reveals that little is known about the artists. Even less is known about female artists in this context. Investigating the example of the German sculptress Renée Sintenis (1888–1965), medallist of the 1928 Olympic Art Competitions, is an attempt to address this research gap. Biographical research about the sculptress provides art historical evidence for her successful career, her impressive oeuvre and her outstanding societal position as a female artist; and, in doing so, backs up the publications by sport historians. Furthermore, the paper illustrates the circumstances under which female artists participated in the Olympic Art Competitions, evidencing that the artistic competitions had not been a topic on the agenda of the International Olympic Committee. Importantly, it also demonstrates that Pierre de Coubertin’s artistic family environment influenced his thinking about female artists in the Olympic Art Competitions. 相似文献