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In La Moitié de la Gloire, Axel Mayenfisch’s documentary about the 1952 Swiss expedition to Chomolungma (Mount Everest), André Roch recalls how the retreating climbers simply abandoned much of their gear, either leaving it where it was or “throwing it into holes [crevasses].” Roch’s tale was by no means unusual, as mountaineers at that time gave little thought to what became of their waste. By the 1970s, however, climbers were becoming increasingly aware of their impact on the environment. The resulting change of attitude led many mountaineering organizations to take concrete steps to protect the mountains (e.g., cleanup campaigns) and to issue waste management guidelines for trips into the high mountains. The Union internationale des associations d’alpinisme 1982 Kathmandu Declaration—a charter of ten principles for achieving greater harmony with the mountain environment—was an important milestone in this process. Drawing on documents held in the extensive archives of the Union internationale des associations d’alpinisme, the current paper retraces the path that led to the Kathmandu Declaration and the process by which the environment became an important aspect of the aforementioned organization’s work. It also examines the hypothesis that the organization has progressively adopted a conservationist stance toward protecting nature; its aim is to reconcile environmental protection and economic development (especially tourism). The history of the Kathmandu Declaration supports this hypothesis, as it shows how the notion of sustainable development, which emerged in the 1980s, came to dominate conceptions of mountain protection.

Traditional games are often situated in counter distinction to modern sport forms and are not well understood in Western society or scholarship. However, from these games, we have the opportunity to learn much about local play and physical culture. This article focuses on traditional Indigenous games in Oceania and how they can be used as a lens for the development of environmental stewardship or ecological sensibilities. The aims of this study are twofold: (1) to lay a foundation for future research in this area and (2) to situate traditional games within the broader sport ecology conversation. By deconstructing the embodied nature of traditional games and overviewing the histories of environmentalism in Oceania, a more grounded claim can be made for the relevance of traditional games within sport and leisure studies scholarship, including sport history, sport sociology, sport anthropology, and sport ecology. The nature games of Oceania yield diverse insights into Indigenous epistemologies, ecological sensibilities, and how outdoor play can be understood as a form of climate action.

À partir des années cinquante, l’alpinisme connaît une évolution éthique et idéologique. Icône de cette période, Lionel Terray promeut un modèle performatif dont les soubassements se situent dans son parcours. Alors que les Premières constituaient un objectif majeur, désormais, le record devient légitime. Cette nouvelle conception va contribuer à ériger le style alpin en modèle de référence. Mobilisant des données issues des revues fédérales de l’univers montagnard, de la presse généraliste et des comptes-rendus d’expédition, cette étude saisit les fondements de l’évolution de l’alpinisme au regard du positionnement de Lionel Terray. Il amorce sa sportivisation par l’intermédiaire de la rationalisation de sa pratique comme de l’évolution des objectifs. L'émergence de cette conception sportive et performative repose sur des innovations matérielles et conceptuelles qui infléchissent les usages, et dont L. Terray a contribué à leur diffusion.

In 1904, Edmond Desbonnet launched La Culture Physique, a magazine that presented itself as scientific and entertaining in its promotion of strength athletes. La Culture Physique prioritized photomechanical imagery to demonstrate the visual merits of the conditioned human body. A surprising number of women feature in nearly each month’s issue. The magazine represented these athletes using a number of editing techniques that made their bodies seem remarkably muscular and yet conventionally feminine. But the specific formal qualities of the publication—such as paper quality, printing technology, and size—helped mask the work that went into making its subjects appear real. La Culture Physique is one of very few extant sources wherein the muscularity of specific women is promoted alongside men’s during a period when gender disparity was deeply engrained in French society. La Culture Physique worked within and at times pushed against dominant French cultural values articulated around concepts of gender and belonging, using a set of tools that packaged its contents and form as works of art: as legible, desirable, and collectable. This paper demonstrates that these same tools also helped the publication maintain its veneer of authority. La Culture Physique has yet to be examined from an art historical perspective. This paper seeks to remedy this by arguing that La Culture Physique’s 1904 issues are a crucial source of historical and visual documentation for scholars interested in how women participated and were represented in early French physical culture.