Northern Michigan University Research Articles

Animal-Assisted Interventions on a College Campus to Improve Wellness: Adventures With the Northern Michigan University Wildpups.

The prevalence of anxiety and stress among university students has been well established. However, limited studies document the effects of animal-assisted interventions (AAI) on college campuses. An AAI program was created and implemented during the 2021-2022 academic year to study the effects on students' stress and anxiety. Five faculty dog and handler teams, called the "Wildpups," participated in events that allowed individuals to interact with registered therapy dogs. Nursing students assessed vital signs including heart rate, respiratory rate, and blood pressure before and after events. The State-Trait Anxiety Inventory survey was used to assess pre- and postperceived anxiety, and a visual analog scale was used to assess pre- and postperceived stress. Participants' blood pressure, heart and respiratory rates, and perceived stress and anxiety decreased significantly after events. Embedded AAI programs on college campuses positively affect the life and mental well-being of individuals. [J Nurs Educ. 2023;62(11):631-637.].

Plaster Whales

Research Article| May 01 2023 Plaster Whales Sara Solberg Sara Solberg Sara Solberg is a writer from Michigan’s Upper Peninsula. She graduated with her MFA from Northern Michigan University, where she also served as an editor for Passages North. Aside from writing, she’s passionate about human rights and environmental issues, and she hopes to pursue a career in the nonprofit sector. She has strong opinions about octopuses, messenger bags, and Marvel movies. Sara’s work has appeared or is forthcoming in the Pinch, X-R-A-Y, Hippocampus, MoonPark Review, and elsewhere. Search for other works by this author on: This Site Google the minnesota review (2023) 2023 (100): 25–29. https://doi.org/10.1215/00265667-10320842 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Sara Solberg; Plaster Whales. the minnesota review 1 May 2023; 2023 (100): 25–29. doi: https://doi.org/10.1215/00265667-10320842 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll Journalsthe minnesota review Search Advanced Search The text of this article is only available as a PDF. © 2023 Sara Solberg2023 Article PDF first page preview Close Modal You do not currently have access to this content.

Here Comes Mister Fingers

Research Article| May 01 2022 Here Comes Mister Fingers Michael Giddings Michael Giddings Michael Giddings is a writer, cartoonist, and musician from Brooklyn, New York. He studied creative writing at Sarah Lawrence College and Northern Michigan University, and was a member of Grubstreet’s Novel Incubator Workshop. His work has appeared in HASH Journal and is forthcoming in Pidgeonholes, Scribble Lit, and Reservoir Road Review. He was a finalist in the Ember Chasm Review’s 2021 novel excerpt contest and is a reader for Flaw and Masters Review. He currently teaches toddlers about literacy, cartooning, and the Falstaffiad. He can be found on Twitter @mikexgiddings. Search for other works by this author on: This Site Google the minnesota review (2022) 2022 (98): 2–5. https://doi.org/10.1215/00265667-9563541 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Michael Giddings; Here Comes Mister Fingers. the minnesota review 1 May 2022; 2022 (98): 2–5. doi: https://doi.org/10.1215/00265667-9563541 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll Journalsthe minnesota review Search Advanced Search The text of this article is only available as a PDF. © 2022 Michael Giddings2022 Article PDF first page preview Close Modal You do not currently have access to this content.

Northern Michigan University online campus: A case of digital transformation in higher education

The Northern Michigan University (NMU) online campus, fondly known as the “Global Campus,” is now 5 years old. Launched in 2016, this online and distance education initiative had as its mission to create academic programs that meet students’ learning and service needs “at the same high standard we do for on-campus students” (NMU). This was a kind of organic final step in the journey of digital transformation that began sixteen years before. Nonetheless, how does NMU make a pivot from 117 years of traditional face-to-face learning model to create value and compete in the digital education space? Worse still, when the Covid-19 global pandemic hits in March 2020 and the campus is forced to shut down (mandating all face-to-face teaching and learning, and to transition to online delivery within just two business days and a weekend); how does the university handle this new set of challenges as its online model gets tested in real-time? The story of NMU’s evolution to online education is told by intrinsic and extrinsic factors including declining enrollments due to changing local economics and regional demographics, an old business model now compounded by a global pandemic. This mix of factors would seem to present NMU with both an opportunity to refine its online model and some new challenges to overcome. This evolution also speaks to the importance of having an overarching digital strategy that can drive true digital transformation.

Cozies, Capers, and Other Criminal Endeavors: Utilizing Taxonomies of Mystery Fiction to Improve Genre Access

Catherine Oliver (coliver@nmu.edu) is Metadata & Cataloging Services Librarian and Assistant Professor, Library and Instructional Support, Northern Michigan University.

Prioritize collegiality, respect, innovation in your interactions with faculty, staff

From nurse‐practitioner and nurse‐midwife to Provost and Vice President for Academic Affairs at Northern Michigan University, Kerri Schuiling's career has been interesting and challenging.

On Haltof's Screening Auschwitz

On Haltof's Screening Auschwitz Michał Oleszczyk Screening Auschwitz: Wanda Jakubowska's The Last Stage and the Politics of Commemoration. By Marek Haltof. Evanston, IL: Northwestern University Press, 2018. 198 pp., ISBN 978-0810136083. US $34.95. With his latest book, devoted entirely to a single film but drawing on years of studious research, Marek Haltof confirms his stance as the leading historian of Polish film working abroad. Based at Northern Michigan University, Haltof has significantly contributed to the field of Polish film studies (with his 2002 Polish National Cinema still serving as the basic single-volume history of Polish film, reissued in an expanded edition in 2018), and he has done much to remain in touch with the latest developments in Polish arts and politics, making him a uniquely equipped commentator on Polish film culture past and present. That Haltof should devote a nearly 200-page study to a film not currently available from any major distribution companies or streaming services is indicative of the film's richness and the dire need of reintroducing it to a wider public in a worthy edition that would highlight its aesthetic qualities and political significance. The work in question, Wanda Jakubowska's The Last Stage (Ostatni etap, 1948), is no ordinary film. Shot and released within three years after the liberation of the Auschwitz-Birkenau death camp (which has since become a metonymic symbol of the Holocaust), the film was made by a survivor and shot on the very location the horrific events took place. Co-written by Jakubowska and a fellow political prisoner Gerda Schneider, The Last Stage was not just a pioneering work of feature-length narrative cinema dealing with the still-recent [End Page 104] Nazi genocide but also a fierce act of faith in filmmaking's power to write history (and stop history from replaying itself). Haltof 's approach is multidimensional and methodical. He offers a detailed production history of the film (significantly indebted to Alina Madej's archive findings and featuring a number of freshly unearthed facts) and Jakubowska's meticulously rendered biography as a political prisoner in a number of camps. The film receives a close reading, leaving practically no scene uncommented on, after which Haltof draws attention to the film's reception (in communist Poland and abroad), its implications for the wider politics of preserving Auschwitz-Birkenau as a historical site, and its eerie afterlife through other films in which it has been quoted—often as supposed documentary footage (Alain Resnais's Night and Fog [1955] and George Stevens's The Diary of Anne Frank [1959] provide just two famous examples of such self-effacing appropriation). Perhaps the most interesting reading Haltof provides has to do with the film's ideological aspects, none of which could have been discussed freely in the director's homeland (and were largely ignored by international audiences) at the time of its original release. As Haltof reminds us, Jakubowska (who died in 1998 and thus saw the fall of communism) stayed a lifelong communist stalwart. She inscribed her vision of history into The Last Stage, in which the horror of the death camps is ultimately shown as an environment in which the power of the human spirit is forged and from which the new communist mindset emerges into its postwar dominance of Eastern Europe (here equated with salvation). In this respect, the key character of the film is Marta Weiss (played by Barbara Drapińska), a Jewish communist political prisoner whose multilingual skills save her from immediate death in the gas chambers and allow for her gradual gain of ideological awareness, culminating in a neophyte revolutionary confession: "It's only here in the camp that I understood how things are." Within the multibranched and rather unfocused narrative of The Last Stage, which doesn't follow any single conflict and doesn't focus on any particular character's arc, Marta serves as the closest thing to a stand-in for the audience. Through her eyes we learn about the inner workings of the camp. Her bravery and martyrdom is celebrated in the much-discussed final reel, in which the imminent Soviet intervention is seen not only as bringing about the dismantling...

Thinking Outside the Box in Rural Trauma Transport

Katherine Menard is an associate professor at Northern Michigan University, Marquette, MI. Joshua Menard is a flight nurse/medic at Guardian Flight, Escanaba, MI.

Alleluia

Alleluia Lynn Domina (bio) Apples tempt the orchard keeper to praisebinges of heat, blustery light, seasonal frost, so he grafts Gala to Ambrosia,calling his hybrid Alleluia. Solid buds, pink blossoms tinged with cream,drooping and fallen petals lead to Alleluia. He's usually reserved,easy in silence, in evening stillness and hushed dawn. During spring, he listensfor crickets and bullfrogs belching praise of themselves, their owngreat bellies, their unending wakefulness. He believes he hearshoneybees fertilizing his Alleluia, their faithful hum stoking hisimagination, his conviction—bees delight in joyous pollen. Couldn't fantasy bejuxtaposed with fact, everything a bold hybrid, orchards and orchardkeepers, blossoms and fruit, beetles and blight leaping from God's own mind, everylast creature chanting Alleluia. Lately, he hopes God's appetite growsmarvelously, God's desire expansive and anticipant. You surelynever imagined such variety, he whispers, peeling spirals of red skin. He juicesoverripe Braeburns. He bakes apple strudel, dumplings, apple walnutpie, every serving rich with cinnamon and nutmeg, sweet with cream.Quince seeds quickened to life in mulched earth, their brambly twigsresurrected every June, bursting with fruit by fall, false apples he admits,seldom shapely or quite ripe, but quince jelly quavers and glistens,translucent and brimming with secret praise. His own praiseushers in mornings damp with fog, hums through humid afternoons, raucous as God's ownvoice, lyrical as God's own command: let creation bewithout limit, let abundance burst from Baldwin, Jonathan, Golden Delicious. Let wind soften toxylophonic breeze, leaf skittering against leaf, limbs arced with fruit,yellow and red and green, sweet, tart, crisp, every applezealous with praise, fervent with song, singing, yes, say it, Alleluia. [End Page 187] Lynn Domina Lynn Domina is the author of two collections of poetry, Framed in Silence (Main Street Rag, 2011) and Corporal Works (Four Way Books, 1995), and the editor of a collection of essays, Poets on the Psalms (Trinity University Press, 2008). Her recent work appears or is forthcoming in Nimrod, Alaska Quarterly Review, Kenyon Review, and others. She currently serves as head of the English Department at Northern Michigan University and as creative writing editor of the Other Journal. Copyright © 2020 Middlebury College Publications

On Haltof's <em>Screening Auschwitz</em>

On Haltof's Screening Auschwitz Michał Oleszczyk Screening Auschwitz: Wanda Jakubowska's The Last Stage and the Politics of Commemoration. By Marek Haltof. Evanston, IL: Northwestern University Press, 2018. 198 pp., ISBN 978-0810136083. US $34.95. With his latest book, devoted entirely to a single film but drawing on years of studious research, Marek Haltof confirms his stance as the leading historian of Polish film working abroad. Based at Northern Michigan University, Haltof has significantly contributed to the field of Polish film studies (with his 2002 Polish National Cinema still serving as the basic single-volume history of Polish film, reissued in an expanded edition in 2018), and he has done much to remain in touch with the latest developments in Polish arts and politics, making him a uniquely equipped commentator on Polish film culture past and present. That Haltof should devote a nearly 200-page study to a film not currently available from any major distribution companies or streaming services is indicative of the film's richness and the dire need of reintroducing it to a wider public in a worthy edition that would highlight its aesthetic qualities and political significance. The work in question, Wanda Jakubowska's The Last Stage (Ostatni etap, 1948), is no ordinary film. Shot and released within three years after the liberation of the Auschwitz-Birkenau death camp (which has since become a metonymic symbol of the Holocaust), the film was made by a survivor and shot on the very location the horrific events took place. Co-written by Jakubowska and a fellow political prisoner Gerda Schneider, The Last Stage was not just a pioneering work of feature-length narrative cinema dealing with the still-recent [End Page 104] Nazi genocide but also a fierce act of faith in filmmaking's power to write history (and stop history from replaying itself). Haltof 's approach is multidimensional and methodical. He offers a detailed production history of the film (significantly indebted to Alina Madej's archive findings and featuring a number of freshly unearthed facts) and Jakubowska's meticulously rendered biography as a political prisoner in a number of camps. The film receives a close reading, leaving practically no scene uncommented on, after which Haltof draws attention to the film's reception (in communist Poland and abroad), its implications for the wider politics of preserving Auschwitz-Birkenau as a historical site, and its eerie afterlife through other films in which it has been quoted—often as supposed documentary footage (Alain Resnais's Night and Fog [1955] and George Stevens's The Diary of Anne Frank [1959] provide just two famous examples of such self-effacing appropriation). Perhaps the most interesting reading Haltof provides has to do with the film's ideological aspects, none of which could have been discussed freely in the director's homeland (and were largely ignored by international audiences) at the time of its original release. As Haltof reminds us, Jakubowska (who died in 1998 and thus saw the fall of communism) stayed a lifelong communist stalwart. She inscribed her vision of history into The Last Stage, in which the horror of the death camps is ultimately shown as an environment in which the power of the human spirit is forged and from which the new communist mindset emerges into its postwar dominance of Eastern Europe (here equated with salvation). In this respect, the key character of the film is Marta Weiss (played by Barbara Drapińska), a Jewish communist political prisoner whose multilingual skills save her from immediate death in the gas chambers and allow for her gradual gain of ideological awareness, culminating in a neophyte revolutionary confession: "It's only here in the camp that I understood how things are." Within the multibranched and rather unfocused narrative of The Last Stage, which doesn't follow any single conflict and doesn't focus on any particular character's arc, Marta serves as the closest thing to a stand-in for the audience. Through her eyes we learn about the inner workings of the camp. Her bravery and martyrdom is celebrated in the much-discussed final reel, in which the imminent Soviet intervention is seen not only as bringing about the dismantling...

Prioritize collegiality, respect, innovation in your interactions with faculty, staff

From nurse‐practitioner and nurse‐midwife to Provost and Vice President for Academic Affairs at Northern Michigan University, Kerri Schuiling's career has been interesting and challenging.

September 2019 Placement Ads

September 2019 Placement Ads

Detroit 1967: Origins, Impacts, Legacies by Joel Stone

Book Reviews 149 A small group, including Hale, managed to launch an open life-raft stored on the wheelhouse roof. As his companions on the raft succumbed to the cold, Hale survived until unexpected rescue by a Coast Guard helicopter. Particular strengths of Torn in Two are Schumacher’s riveting portrayal of the violence of the sinking and slow death of the few men who initially reached safety on the raft, and the contentious investigation and inevitable litigation. Schumacher is a gifted writer with some very fine work to his credit, particularly an extensive study of Allen Ginsberg culminating in a comprehensive biography as well as editing a wide-ranging collection of his poems and letters. Torn in Two does a masterful job of closely focusing on the human element of the overall disaster, something we often ignore. In the end, the Morrell is just a pile of steel on the bottom of Lake Huron. It is the story of her crew and their survivors we all need to remember. Thank you, Michael, for writing this remarkable book. Frederick Stonehouse Northern Michigan University Joel Stone, ed. Detroit 1967: Origins, Impacts, Legacies. Detroit: Wayne State University Press, 2017. Pp. 328. Bibliography. Illustrations. Index. Cloth: $39.99. Detroit 1967: Origins, Impacts, Legacies is a compelling read for anyone seeking to understand Detroit’s torrid history of race relations, and what led to the police raid on an after-hours “blind pig” on July 23, 1967. The subject is organized around thirty-one accounts by authors familiar with the metro region, who provide history, critiques and personal recollections about the development of a city grounded in a racial atmosphere that should not have made the disturbance a surprise to anyone. What comes across throughout these mostly brief but intense vignettes is a city perched for an ultimate black-white clash that more than anything resulted from systemic and cumulative misgovernance, and institutional neglect. Posed throughout the readings are three questions. Was ’67 a riot, rebellion or revolution? Were persons having taken to the streets vile looters or proponents of legitimate grievances? And were they all blacks? Consensus on the questions is inconclusive, whether the authors are conservative, moderate or militant, including those who were victims of the melee or were first-hand observers. Each essay is a progression to the next as Detroit’s contentious racial history unfolds. And apparently, as noted early in the text, city leaders 150 The Michigan Historical Review continued to avoid grappling with Detroit’s racial problem as part of a nationwide pattern. Thus, 1967 was a major disturbance preceded by smaller racial clashes in the city in addition to the other significant encounters of 1863 and 1943. Roy Finkenbine notes this in his discussion of the Underground Railroad, stating that “at least six fugitive-slave riots occurred in Detroit before the Civil War” (p. 24). The essays are detail-driven, and the picture is the growing trail of events that made that fateful Sunday morning a predictable event, although the story of everyday African American life could at times slacken the hellish racial experience. De Witt Dykes points to the strides African Americans made in business and professional endeavors in the nineteenth and twentieth centuries. His account and others note alternatively that race relations were not always antagonistic. Yet, even as these round out the bigger picture of life in Detroit, palpable racial discrimination tended to erase the happy talk of African American success stories as the years advanced. The almost doom-haunted narrative becomes stronger post 1945, and by the early 1960s, despite the goodtimes propaganda of Detroit Mayor Jerome Cavanaugh, the pattern of intense housing segregation, jobs discrimination, and discrepancies in the quality of education between whites and blacks were irrevocably in place. Probably most important during these years was the deteriorating white police-black community relationship. Several authors mention this, but Melba Joyce Boyd gives it particular attention as a boiling-point circumstance central to the times. In essence, hardened social patterns between the races were inevitable. Moreover, because the media could be a catalyst in shaping how residents viewed these tensions, Tim Kiska takes aim at the media when ’67 occurred. The infamous...

Mexico City's October 2017 Theatre Season, with a Bonus Performance in Querétaro

Mexico City's October 2017 Theatre Season, with a Bonus Performance in Querétaro Timothy G. Compton For more than 25 consecutive years, I have travelled each year to Mexico City to study its theatre. Because of my school-year obligations at Northern Michigan University, I have always gone in the spring or summer. For the first time, in October of 2017, I experienced Mexican theatre at a different time of year. Although the primary purpose of my trip was not related to theatre, I managed to see nine absolutely first-rate plays in Mexico City and an astonishing performance in Querétaro. La espera, written and directed by Conchi León, had the biggest impact on me. I had heard of "teatro penitenciario," but this was my first experience with it. The Foro Shakespeare works with the Teatro Penitenciario theatre company, which started in the Santa Marta Acatitla prison. The company performs both at the prison and at the Foro. I saw La espera in the Foro's Espacio Urgente 2, with a cast of four actors whose training as actors began while they were inmates at Santa Marta. In the play, they told of/represented key moments of their own lives: their crimes, their arrests, their jail time, and their post-release experiences. They described and performed events and scenes that were at times violent and at other times humiliating, but with touches of humor, reflection, and hope. León deserves praise for interviewing the four actors, culling their testimonies, organizing and intertwining them, and giving them a dramatic frame. I admired her work as a director equally. She achieved a beautiful combination of narration and representation, giving the actors the power to communicate in little more than an hour enormous insights into their lives, but also making the audience a witness to many of the most dramatic and influential moments of the actors' lives. They represented themselves most of the time, but occasionally played other key people in their own lives or in the lives of their companions, whether family [End Page 189] members, police officers, prison guards, fellow inmates, or victims of their crimes. The play used a variety of theatrical elements to present harsh topics and scenes without traumatizing audience members. For example, the actors attacked a chalk outline on the wall to illustrate the abuses endured at prison and used toy cars to show how one of them had stolen cars. On the other hand, they also used real props, such as knives. The guns they used were not real, but their sounds were loud and realistic, and they pointed them several times at some spectators. In fact, they came very close to the spectators on the first row and would occasionally dissolve the fourth wall to talk with them. The intimate space of the small foro suited the intimate subject matter perfectly. The organizing frame León created to introduce the play seemed exceptionally clever to me: each actor introduced himself and launched a Mexican top. As the tops spun, the actors compared our lives to theirs in the way they spin, sometimes high and sometimes low (they picked up the tops as they spun, to mirror the words). After each actor-character told his story, he placed his top on the stage next to a sign indicating his crime and the number of years he served in prison, which cleverly signaled the transitions from one story to the next. The autobiographical testimonies of La espera were compelling and of considerable sociological, psychological and historical value, but Conchi León turned them into art. Javier Cruz, Ismael Corona, Feliciano Mares, and Héctor Maldonado also deserve praise for their acting. With other actors the play would have been memorable, but it reached a new dimension knowing that the actors were telling and showing their own stories. I continue to process what it means for human beings to have lived through the experiences of losing their freedom, of being abused and humiliated, of recognizing and lamenting the damage they did to society and fellow human beings (both direct victims as well as indirect ones such as spouses and children), of trying to return to...

March

March Rebecca Pelky (bio) When feathers frosted cinder blocks and boathouse glass,we leaned on cracking ice and watched our breath becomeAurora, exhaled our ancestors into constellations. We spoke of wispy things—how earth and ox and air becameour words, how we lost ki and káhsh and wapunak, how evensilence dims the dark in storms, but more, a distant moan, a boat to open sea, the long eye of a red beam sweeping,telling us it's time to quit the rim, time to turn in, it's timefor roads laid out like spokes to lead us home. [End Page 82] Rebecca Pelky Rebecca Pelky is Ridgel Fellow in the PhD program at the University of Missouri. She also holds an MFA from Northern Michigan University. She is an enrolled member of the Brothertown Indian Nation of Wisconsin. Her work has appeared in The Chattahoochee Review, Booth, and River Styx, among other journals. Copyright © 2018 University of Wisconsin Board of Regents

Of Elephants and Toothaches: Ethics, Politics, and Religion in Krzysztof Kieślowski’s Decalogue

Book Review| October 01 2017 Of Elephants and Toothaches: Ethics, Politics, and Religion in Krzysztof Kieślowski’s Decalogue Eva Badowska and Francesca Parmeggiani, eds. Of Elephants and Toothaches: Ethics, Politics, and Religion in Krzysztof Kieślowski’s Decalogue, (New York: Fordham University Press, 2016), 243 pp. ISBN: 978-08232-6710-1 (hardcover), 978-0-8232-6927-3 (paperback). Marek Haltof Marek Haltof Northern Michigan University Search for other works by this author on: This Site Google The Polish Review (2017) 62 (3): 99–101. https://doi.org/10.5406/polishreview.62.3.0099 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Marek Haltof; Of Elephants and Toothaches: Ethics, Politics, and Religion in Krzysztof Kieślowski’s Decalogue. The Polish Review 1 October 2017; 62 (3): 99–101. doi: https://doi.org/10.5406/polishreview.62.3.0099 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressThe Polish Review Search Advanced Search The text of this article is only available as a PDF. Copyright 2017 by the Board of Trustees of the University of Illinois2017 Article PDF first page preview Close Modal You do not currently have access to this content.

A Man for All Seasons: Robert J. Joynt, MD, PhD

*[email protected] Department of Communication Sciences and Disorders College of Allied Health Sciences Oklahoma University Health Sciences Center Oklahoma City, Oklahoma †[email protected] Department of Psychology Northern Michigan University Marquette, Michigan The reviewers declare no conflicts of interest.

The Creation of Wing Chun: A Social History of the Southern Chinese Martial Arts

Book Review| October 01 2016 The Creation of Wing Chun: A Social History of the Southern Chinese Martial Arts Judkins, Benjamin N. and Jon Nielson. The Creation of Wing Chun: A Social History of the Southern Chinese Martial Arts. Albany: State University of New York Press, 2015. Pp. 364. Maps, glossary, works cited, index. $90.00, hb. Gabe Logan Gabe Logan Northern Michigan University Search for other works by this author on: This Site Google Journal of Sport History (2016) 43 (3): 352–353. https://doi.org/10.5406/jsporthistory.43.3.0352 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Gabe Logan; The Creation of Wing Chun: A Social History of the Southern Chinese Martial Arts. Journal of Sport History 1 January 2016; 43 (3): 352–353. doi: https://doi.org/10.5406/jsporthistory.43.3.0352 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of Sport History Search Advanced Search The text of this article is only available as a PDF. Copyright 2016 by the Board of Trustees of the University of Illinois2016 Article PDF first page preview Close Modal You do not currently have access to this content.

The Perceived Demands of CrossFit®

Rhabdomyolysis is the breakdown of muscle tissue causing myoglobin, creatine kinase, and other intracellular proteins and electrolytes to leak into circulation, disrupting cell homeostasis. Exertional rhabdomyolysis (ER) occurs after extremely rigorous physical training that could include high amounts of strenuous eccentric exercise. There has been an increase in reports for mild to severe ER as well as other musculoskeletal injuries as the popularity of extreme conditioning programs (e.g., CrossFit®) increases. PURPOSE: The main purposes of this investigation were to identify: primary risk factors associated with ER during CrossFit®, CrossFit® workouts that might induce a higher risk for the development of ER, and ratings of perceived exertion (RPE) for CrossFit® vs. American College of Sports Medicine (ACSM) training guidelines. METHODS: An online questionnaire (Qualtrics, Qualtrics, LLC) was completed by 101 CrossFit® participants and 56 ACSM guided participants (n = 157). Statistical analysis utilized an independent t-test analysis via SPSS (IBM® SPSS® Statistics Version 21). This was used to compare the statistical significance of the means for each group related to the average RPE for workouts, the number of weeks the individual participated in the program, and the perceived average number of hard days completed during a week. RESULTS: CrossFit® and ACSM groups reported significantly different RPEs of 7.29 ± 1.74 and 5.52 ± 1.35 (p ≤ 0.001), and performed significantly different hard days per week of 3.99 ± 1.07 and 3.55 ± 1.39 (p = 0.044), respectively. The top five perceived hardest workouts based on frequency were Fran (47), Murph (27), Fight Gone Bad (10), Helen (9) and Filthy 50 (9). One occurrence of ER was reported out of 101 CrossFit® participants. CONCLUSION: The overall risk of developing ER may be minimal, especially if a participant understands their body’s limitations in regard to the intensity of CrossFit®. Supported by Northern Michigan University Spooner Grant Winter 2014

Leadership Education as Character Development: Best Practices from 21 Years of Helping Graduates Live Purposeful Lives

Developing character, ethical values, social responsibility, and productive citizenship is identified in the mission of many colleges and universities. However, accomplishing and measuring such growth in students is often questionable. This article describes Northern Michigan University’s Student Leader Fellowship Program, discusses development and implementation of the program, identifies several of the program’s learning objectives, presents quantitative and qualitative outcomes assessment data demonstrating the program’s impact on students, and discusses factors key to the twentyplus years of program success.