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"The Invention of Martial Arts examines the media history of what we now call 'martial arts' and argues that martial arts is a cultural construction that was born in film, TV and other media. It argues that 'martial arts' exploded into popular consciousness entirely thanks to the work of media. Of course, the book does not deny the existence of real, material histories and non-media dimensions in martial arts practices. But it thoroughly recasts the status of such histories, combining recent myth-busting findings in historical martial arts research with important insights into the discontinuous character of history, the widespread 'invention of tradition', the orientalism and imagined geographies that animate many ideas about history, and the frequent manipulation of history for reasons of status, cultural capital, private or public power, politics, and/or financial gain. In doing so, The Invention of Martial Arts argues for the primacy of media representation as key player in the emergence and spread of martial arts. This argument overturns the dominant belief that 'real practices' are primary, while representations are secondary. The book makes its case via historical analysis of the British media history of such Eastern and Western martial arts as Bartitsu, jujutsu, judo, karate, tai chi and MMA across a range of media, from newspapers, comics and books to cartoon, film and TV series, as well as television adverts and music videos, focusing on key but often overlooked texts such as adverts for 'Hai Karate', the 1970s disco hit 'Kung Fu Fighting', and many other mainstream and marginal media texts"--
The phrase “martial arts studies” is increasingly circulating as a term to describe a new field of interest. But many academic fields including history, philosophy, anthropology, and Area studies already engage with martial arts in their own particular way. Therefore, is there really such a thing as a unique field of martial arts studies? Martial Arts Studies is the first book to engage directly with these questions. It assesses the multiplicity and heterogeneity of possible approaches to martial arts studies, exploring orientations and limitations of existing approaches. It makes a case for constructing the field of martial arts studies in terms of key coordinates from post-structuralism, cultural studies, media studies, and post-colonialism. By using these anti-disciplinary approaches to disrupt the approaches of other disciplines, Martial Arts Studies proposes a field that both emerges out of and differs from its many disciplinary locations.
This meticulously researched and eminently readable study considers the economic, political, and religious factors that led Shaolin monks to disregard the Buddhist prohibition against violence and instead create fighting techniques that by the 21st century have spread throughout the world.
Did Buddhist monks and Daoist priests really practice martial arts? Is the practice of Chinese martial arts religious? What are the White Lotus Sect and the Heaven and Earth Society? Did martial artists really think they could resist bullets using their internal power? What is the "internal school" of martial arts? These and many more questions are addressed and potentially answered by the new volume "Chinese Martial Arts, A Historical Outline." This is the first work of its kind in the English language. Beginning with the earliest historical records regarding the practice of martial arts, it progressively outlines the development of martial arts within the larger context of Chinese society. In doing so, it presents the many important events, issues and challenges which have shaped the traditions we now practice. Particular attention is paid to the evolution of the concept of using "Qi" in the martial arts, the doomed Boxer Uprising, and developments during the Republican era. Designed to be an outline rather than an exhaustive work on any one particular issue, "Chinese Martial Arts" is 226 pages with over 340 footnotes and an extensive bibliography. Destined to change the way martial artists perceive and understand what they practice. Table of Contents includes "MILITARY METHODS" "THE FOUR STAFF OCCUPATIONS" "CONFLICT AND VIOLENCE" "THE WHITE LOTUS SECT" "THE HEAVEN AND EARTH SOCIETY" "THE TAIPING CIVIL WAR" "THE BOXER UPRISING" "NEI JIA QUAN" "NEW CULTURE MOVEMENT" "NATIONAL ARTS" and "SHAOLIN LEGENDS."
Folk tales of the Shaolin Temple depict warrior monks with superhuman abilities. Today, dozens of East Asian fighting styles trace their roots back to the Buddhist brawlers of Shaolin, although any quest for the true story soon wanders into a labyrinth of forgeries, secret texts and modern retellings. This new study approaches the martial arts from their origins in military exercises and callisthenics. It examines a rich folklore from old wuxia tales of crime-fighting heroes to modern kung fu movies. Centre stage is given to the stories that martial artists tell themselves about themselves, with accounts (both factual and fictional) of famous practitioners including China's Yim Wing-chun, Wong Fei-hong, and Ip Man, as well as Japanese counterparts such as Kano Jigoro, Itosu Anko and So Doshin. The history of martial arts encompasses secret societies and religious rebels, with intimate glimpses of the histories of China, Korea and Japan, their conflicts and transformations. The book also charts the migration of martial arts to the United States and beyond. Special attention is paid to the turmoil of the twentieth century, the cross-cultural influence of Japanese colonies in Asia, and the post-war rise of martial arts in sport and entertainment - including the legacy of Bruce Lee, the dilemma of the ninja and the global audience for martial arts in fiction.
Lord Hideyoshi, the regent of Japan at the time, took the first step toward the control of firearms. It was a very small step, and it was not taken simply to protect feudal lords from being shot at by peasants but to get all weapons out of the hands of civilians. He said nothing about arms control. Instead, he announced that he was going to build a statue of Buddha that would make all existing statues look like midgets. It would be so enormous (the figure was about twice the scale of the Statue of Liberty), that many tons of iron would be needed just for the braces and bolts. Still more was required to erect the accompanying temple, which was to cover a piece of ground something over an eighth of a mile square. All farmers, ji-samurai, and monks were invited to contribute their swords and guns to the cause. They were, in fact, required to. -- from publisher description.
Is it really true that martial arts, in spite of their popularity in this day and age of ours, have, at their deepest level, the promised land of “self-knowledge,” “the expression of beauty,” or something highly spiritual to be pursued for the human soul? Or, to put it in a different way, what exactly makes martial arts so amazing that, somehow, they will eventually lead the practitioners to the spiritual realm of self-cultivation in its highest depth? Contrary to the conventional wisdom about martial arts as held by many over the ages, this popular view about martial arts has become so legendary that their dark sides have yet to be systematically explored and that the lofty aims of martial arts are neither possible nor desirable to the extent that their proponents would like us to believe. Of course, this is not to say that the very tradition of martial arts is absolutely useless, or that the literature on martial arts hitherto existing in history is spiritually unworthy to be appreciated. Instead, this book constructively offers an alternative (better) way to understand the nature of martial arts, in special relation to the body and spirit of warriors—while learning from different views in the literature, without favoring any one of them (nor integrating them, as they are not necessarily compatible with each other), and, in the end, transcending them towards a new horizon not conceived before. This seminal view, if proven valid, will fundamentally change the legendary way that people have thought about martial arts—from the combined perspectives of the mind, nature, society, and culture, with enormous implications for the human future and what I originally called its “post-human” fate. _____________________
'If I had to pick a single general martial arts history book in English, I would recommend A Brief History of the Martial Arts by Dr Jonathan Clements' RICHARD BEITLICH, Martial History Team blog From Shaolin warrior monks to the movies of Bruce Lee, a new history of the evolution of East Asian styles of unarmed combat, from Kung Fu to Ninjutsu Folk tales of the Shaolin Temple depict warrior monks with superhuman abilities. Today, dozens of East Asian fighting styles trace their roots back to the Buddhist brawlers of Shaolin, although any quest for the true story soon wanders into a labyrinth of forgeries, secret texts and modern retellings. This new study approaches the martial arts from their origins in military exercises and callisthenics. It examines a rich folklore from old wuxia tales of crime-fighting heroes to modern kung fu movies. Centre stage is given to the stories that martial artists tell themselves about themselves, with accounts (both factual and fictional) of famous practitioners including China's Yim Wing-chun, Wong Fei-hong, and Ip Man, as well as Japanese counterparts such as Kano Jigoro, Itosu Anko and So Doshin. The history of martial arts encompasses secret societies and religious rebels, with intimate glimpses of the histories of China, Korea and Japan, their conflicts and transformations. The book also charts the migration of martial arts to the United States and beyond. Special attention is paid to the turmoil of the twentieth century, the cross-cultural influence of Japanese colonies in Asia, and the post-war rise of martial arts in sport and entertainment - including the legacy of Bruce Lee, the dilemma of the ninja and the global audience for martial arts in fiction.
This collection of essays challenges the notion that Japan's present cultural identity is the simple legacy of its pre-modern and insular past. Scholars examine "age-old" Japanese cultural practices and show these to be largely creations of the modern era.
Xiang Kairan, who wrote under the pen name “the Unworthy Scholar from Pingjiang,” is remembered as the father of modern Chinese martial arts fiction, one of the most distinctive forms of twentieth-century Chinese culture and the inspiration for China’s globally popular martial arts cinema. In this book, John Christopher Hamm shows how Xiang Kairan’s work and career offer a new lens on the transformations of fiction and popular culture in early-twentieth-century China. The Unworthy Scholar from Pingjiang situates Xiang Kairan’s career in the larger contexts of Republican-era China’s publishing industry, literary debates, and political and social history. At a time when writers associated with the New Culture movement promoted an aggressively modernizing vision of literature, Xiang Kairan consciously cultivated his debt to homegrown narrative traditions. Through careful readings of Xiang Kairan’s work, Hamm demonstrates that his writings, far from being the formally fossilized and ideologically regressive relics their critics denounced, represent a creative engagement with contemporary social and political currents and the demands and possibilities of an emerging cultural marketplace. Hamm takes martial arts fiction beyond the confines of genre studies to situate it within a broader reexamination of Chinese literary modernity. The first monograph on Xiang Kairan’s fiction in any language, The Unworthy Scholar from Pingjiang rewrites the history of early-twentieth-century Chinese literature from the standpoints of genre fiction and commercial publishing.