Theme parks frequently draw not only on historical themes, from antiquity to the roaring twenties, but also on their own history – that is, the history of the medium of the theme park itself. This article uses the example of the Happy World ride at Happy Valley Beijing (China) to discuss theme park imitations, that is, the fact that theme parks frequently borrow individual elements (themes, technologies, visuals, layouts, names) and/or entire units (rides, restaurants, themed areas) from each other. Opened in 2014 in the Greek-themed Aegean Harbour section of Happy Valley Beijing, Happy World may upon first sight look like an almost exact copy of Disney’s ‘it’s a small world’ (opened at Disneyland in California in 1966) but turns out to be, upon closer examination, a complex refunctionalization of central elements of ‘it’s a small world’ that establishes meaningful connections between (ancient) Greece and the city of Beijing via the theme of the Olympic Games: drawing on the origins of ‘it’s a small world’ in the 1964–5 New York World’s Fair and the latter’s motto of ‘Peace through Understanding’, Happy World takes visitors on a journey from the ancient Olympiad to contemporary Beijing (the site of the 2008 Summer and the 2022 Winter Olympic Games) to offer a theme park rendition of the 2008 Olympic torch relay as an homage to ‘the spirit [of peace, respect, and friendship] in the people’s [sic] of the world’.

Der Beitrag befasst sich mit der Möglichkeit, Computerspiele aufgrund der bildlichen Stilmittel parallel zu Entwicklungen der Kunstgeschichte zu untersuchen. Hierzu wird auf die Stilanalyse des Schweizer Kunstwissenschaftlers Heinrich Wölfflin zurückgegriffen, der den Wandel der realistischen Malerei von der Renaissance zum Barock am Übergang von ‚flachen‘ zu ‚tiefen‘ Darstellungen festmacht. In einem zeitlich wesentlich kürzeren Abstand lässt sich die gleiche Veränderung am Übergang früher realistischer Computerspiele vom Anfang der 1990er Jahre bis zu den 2000er Jahren feststellen. Damit zeigt sich sowohl die Relevanz der kunstgeschichtlichen Auseinandersetzung mit Computerspielen, wie sich auch eine neue Perspektive auf die Frage nach digitalen Spielen ‚als Kunst‘ eröffnet.

Background and objectives: Drop jumps (DJs) are well-established exercise drills during plyometric training. Several sports are performed under unstable surface conditions (e.g., soccer, beach volleyball, gymnastics). To closely mimic sport-specific demands, plyometric training includes DJs on both stable and unstable surfaces. According to the mechanical properties of the unstable surface (e.g., thickness, stiffness), altered temporal, mechanical, and physiological demands have been reported from previous cross-sectional studies compared with stable conditions. However, given that the human body simultaneously interacts with various factors (e.g., drop height, footwear, gender) during DJs on unstable surfaces, the investigation of isolated effects of unstable surface conditions might not be sufficient for designing an effective and safe DJ stimulus. Instead, the combined investigation of different factors and their interaction with surface instability have to be taken into consideration. Therefore, the present doctoral thesis seeks to complement our knowledge by examining the main and interaction effects of surface instability, drop height, footwear, and gender on DJ performance, knee joint kinematics, and neuromuscular activation. Methods: Healthy male and female physically active sports science students aged 19-26 years participated in the cross-sectional studies. Jump performance, sagittal and frontal plane knee joint kinematics, and leg muscle activity were measured during DJs on stable (i.e., firm force plate) and (highly) unstable surfaces (i.e., one or two AIREX® balance pads) from different drop heights (i.e., 20 cm, 40 cm, 60 cm) or under multiple footwear conditions (i.e., barefoot, minimal shoes, cushioned shoes). Results: Findings revealed that surface instability caused a DJ performance decline, reduced sagittal plane knee joint kinematics, and lower leg muscle activity during DJs. Sagittal plane knee joint kinematics as well as leg muscle activity decreased even more with increasing surface instability (i.e., two vs. one AIREX® balance pads). Higher (60 cm) compared to lower drop heights (≤ 40 cm) resulted in a DJ performance decline. In addition, increased sagittal plane knee joint kinematics as well as higher shank muscle activity were found during DJs from higher (60 cm) compared to lower drop heights (≤ 40 cm). Footwear properties almost exclusively affected frontal plane knee joint kinematics, indicating larger maximum knee valgus angles when performing DJs barefoot compared to shod. Between the different shoe properties (i.e., minimal vs. cushioned shoes), no significant differences during DJs were found at all. Only a few significant surface-drop height as well as surface-footwear interactions were found during DJs. They mainly indicated that drop height- and footwear-related effects are more pronounced during DJs on unstable compared to stable surfaces. In this regard, the maximum knee valgus angle was significantly greater when performing DJs from high drop heights (60 cm), but only on highly unstable surface. Further, braking and push-off times were significantly longer when performing DJs barefoot compared to shod, but only on unstable surface. Finally, analyses indicated no significant interactions with the gender factor. Conclusions: The findings of the present cumulative thesis indicate that stable rather than unstable surfaces as well as moderate (≤ 40 cm) rather than high (60 cm) drop heights provide sufficient stimuli to perform DJs. Furthermore, findings suggest that DJs on highly unstable surfaces (i.e., two AIREX® balance pads) from high drop heights (60 cm) as well as barefoot compared to shod seem to increase maximal knee valgus angle/stress by providing a more harmful DJ stimulus. Neuromuscular activation strategies appear to be modified by surface instability and drop height. However, leg muscle activity is only marginally effected by footwear and by the interactions of various external factors i.e., surface instability, drop height, footwear). Finally, gender did not significantly modulate the main or interaction effects of the observed external factors during DJs.