Naked Gymnast Poses
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Lavinia Milosovici, 26, who won two golds at the 1992 BarcelonaOlympic Games; Claudia Presecan, 23, who won a gold medal at the2000 Sydney Olympics; and Corina Ungureanu, 22, denied disgracingthe image of Romanian gymnastics.
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The 22-year-old UCLA alum, who went viral for her floor routine in Jan. 2019, is one of the cover stars for ESPN The Magazine's 11th Annual BODY Issue. Katelyn, who proudly posed naked for her cover story, also wrote an essay in which she candidly discussed overcoming eating disorders and body shaming. In her piece for the magazine, Katelyn took readers back to the early days of her gymnastics career, when she was just 3.
\"It took a full year for me to miss gymnastics. That's when I called Miss Val [Valorie Kondos Field] at UCLA,\" Katelyn wrote. \"I started taking ownership of my path. I told her I didn't want to do the Olympics anymore. I changed my path to college gymnastics and knew I wanted to go to UCLA. That's what brought me back.\"
\"I feel really accepting of the things I used to be insecure about,\" she shared. \"I have gone through eating disorders and body shaming, and here I am today standing [laughs] naked in front of a camera doing this shoot for millions of people to see.\"
NEW YORK, NY - SEPTEMBER 08: Olympic gymnast Aly Raisman poses for a portrait during the Daily Front Row's Fashion Media Awards at Four Seasons Hotel New York Downtown on September 8, 2017 in New York City.
According to the publication, \"In Her Own Words\" is a \"continuation and evolution of the essence of Sports Illustrated Swimsuit.\" The magazine calls the project a \"platform\" that enables the \"voice, the strength and the passion of these women to be expressed in the rawest form ... on the naked body.\"
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1. The description of Hellerau which opens Upton Sinclair’s novel, World’s End, is partly fictional and should not be taken as historical evidence. Sinclair claims that the opera began with the overture and ended with the blissful reunion of Orpheus and Eurydice, for example. These are literary details invented by Sinclair for the purposes of his novel. 2. Bie, like other critics, did not seem to recognize this as a yin-yang symbol. Instead, he described it as “an S in a circle” (“eine S-Linie im Kreis”). See also Seidl 28.
23. Jaques-Dalcroze used and studied primarily music by Chopin, Berlioz, and Liszt in his classes on rhythmic gymnastics. He made a particular point of buying all his students copies of Beethoven’s Symphony No. 7, so that they could study the dance rhythms (See Suzanne Perrottet 48, 53, 54; and Martin 324). Like many of his contemporaries, Jaques-Dalcroze also admired Richard Strauss’s music because of its potential for modern dance. After seeing the closing dance of Strauss’s Elektra in Munich in 1909, Jaques-Dalcroze exclaimed “[Elektra] dances, and we realize how much more expressive the body is than words, even when they are sung.” (“elle danse, et l’on se rend compte alors combien le corps est plus expressif que la parole, même chantée … ”) (qtd. in Berchtold 81). Jaques-Dalcroze’s contemporaries likewise associated Strauss’s operas (especially Feuersnot, Salome, and Elektra) with a new sensibility that would lead to the physical expression of music (Riesenfeld 472, and Marsop 382–85).
28. Jaques-Dalcroze owned Angélique Arnaud, François Del Sarte, ses découvertes en esthétique, sa science, sa méthode (Paris: A. Giraudet, 1895); and François Del Sarte, Physionomie et gestes (see Appia 28). Jaques-Dalcroze criticized Isadora Duncan’s students for adopting such poses from Greek statues, thereby neglecting spontaneous, “sincere” feelings of the music (qtd. from unnamed source in Dutoit-Carlier 352). Jaques-Dalcroze’s supporters likewise linked his approach to bodily movement back to Del Sarte, rejecting Isadora Duncan’s work as inadequate to the music. See Storck 28–29.
38. Adolphe Appia was the guiding influenced in the choice of costumes for this scene. Jaques-Dalcroze had been using marine blue gym suits since 1908. Adolphe Appia fought bitterly with the actual designer, the doctor Léon Weber-Bauler, over the costumes for the furies, and left Hellerau in a fit of rage. He was so distraught at the thought of the furies wearing anything fancy or colorful instead of plain blue gym suits that he was supposedly sick for eight days and cried more than he ever had in his life. In 1922, he commented to his doctor that he had wanted the furies to perform nude, and had thus resisted any attempts to give them costumes resembling clothes (Appia 111–14). There was much dispute about whether the gym suits were blue, black, or grey. In his writings on the subject, Appia favored grey as a color that could best absorb and reflect light. See “Du costume pour la gymnastique rythmique,” in Appia 160. 59ce067264