esports to be included at Olympics in 2024

Architecture

The 1928 Olympic Stadium, designed by Jan Wils, won the gold medal in architecture at the 1928 Olympics.

Until the Amsterdam Games in 1928, the architectural competition was not divided into categories. The 1928 games introduced a town planning category. However, the division was not always clear, and some designs were awarded prizes in both categories.

Entries in this category were allowed to have been "published" before the Olympics. A notable example of this is the 1928 gold medal for architecture awarded to Jan Wils for his design of the Olympic Stadium used in the same Olympics.

Literature

The literature competitions were divided into a varied number of categories. Until 1924 and again in 1932, there was only a single literature category. In 1928, separate categories were introduced for dramatic, epic, and lyric literature. Awards in these categories were also presented in 1948, while the drama category was dropped in 1936.

Entered works were limited in length (20,000 words) and could be submitted in any language, provided they were accompanied by English and/or French translations or summaries (rules varied over the years).

Music

A single event for music was held until 1936, when three categories were introduced: one for orchestral music, one for instrumental music, and one for both solo and choral music. In 1948, these categories were slightly modified into choral/orchestral, instrumental/chamber, and vocal music.

The juries often had trouble judging the pieces, which were entered on paper. Possibly related to the problematic judging, juries frequently decided to award only a few prizes. On two occasions, no award was given out at all (in the 1924 music category and in the 1936 instrumental music category).

1936 marked the only occasion when the winning musical works were actually played before an audience.

Painting

As with the other art forms, a single painting category was on the program until 1928, when it was split out into three sub-categories: drawings, graphic arts, and paintings. The categories then changed at each of the following Olympic Games. In 1932, the three categories were: paintings, prints, and watercolors/drawings. Four years later, the prints category had disappeared, and had been replaced by graphic arts and commercial graphic art. At the final Olympic art competition, the three categories were applied arts and crafts, engravings/etchings, and oils/water colours.

Sculpture

The sculpture class had only a single category until 1928, when two separate competitions were designated; one for statues and one for reliefs and medals. In 1936, this was split up further, separating reliefs and medals into their own categories.

Karl Hungus wrote:

I am not a fan of computer games, and just don't get it (age thing? gay thing?).

gaming culture privileges cisgender and heterosexual men, it consequently serves to perpetuate the oppression of “those who may not fit this mold.”

This study utilizes semiotic phenomenology as a method of inquiry to describe the lived experiences of Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ) gamers (gaymers). I begin by discussing my issues with the current gaming literature, arguing that the gamer community is a space that privileges cis, heterosexual, and hypermasculine men while oppressing those who may not fit this mold. I discuss the shortcomings of the current literature that attempts to critically look at race and gaming, noting that race in the gaming community is still portrayed as secondary. I focus special attention to how this space allows for more inclusion than the larger gamer and LGBTQ communities while also critiquing those whom this space privileges. Through interviews of members of the local gaymer organization, the Phoenix Gaymers, I discuss ways in which the gaymer community is more inclusive and conscious of others but still follows forms of what I describe to be gaymer privilege. I focus on gaymer privilege within the intersections of race, gender, and sexuality, where I argue from the phenomenological descriptions, reductions, and interpretations that there are still overt issues of sexism and transphobia as well as implicit issues of white privilege. While I describe the issues that are found within the Phoenix Gaymers, I also attempt to provide suggestions for change within the organization as well as in academic scholarship to create more awareness and inclusion for female, transgender, genderqueer, and queer people of color gaymers.