Tae Kwon Do Pumsae Practice and Non-Western Embodied Topoi

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Tae Kwon Do Pumsae Practice and Non-Western Embodied Topoi University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 6-23-2020 Rhetorical Roundhouse Kicks: Tae Kwon Do Pumsae Practice and Non-Western Embodied Topoi Spencer Todd Bennington University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Rhetoric Commons Scholar Commons Citation Bennington, Spencer Todd, "Rhetorical Roundhouse Kicks: Tae Kwon Do Pumsae Practice and Non- Western Embodied Topoi" (2020). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/8436 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Rhetorical Roundhouse Kicks: Tae Kwon Do Pumsae Practice and Non-Western Embodied Topoi by Spencer Todd Bennington A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Rhetoric and Composition Department of English College of Arts and Sciences University of South Florida Major Professor: Carl Herndl, Ph.D. Lisa Melonçon, Ph.D. Steven Jones, Ph.D. Cathryn Molloy, Ph.D. Date of Approval: June 19th, 2020 Keywords: martial arts, Daoism, commonplaces, embodied rhetoric, writing studies, pedagogy Copyright © 2020, Spencer Todd Bennington Dedication To Mike and Susie Bennington and the memory of Betty J. Todd. Mom, Dad, Mama--if it weren’t for you, I wouldn’t be here today; I wouldn’t be writing a dissertation at all. And, if by some miracle I did make it to this point all by myself, I would have quit a long time ago without your support. I love you. Thank you. Forever. Acknowledgements Annyeong hashimnikka! The production of this manuscript would not be possible without many loving friends, wicked smart colleagues, and inspiring mentors. First, thank you to Dr. Carl Herndl for agreeing to take on the project of supervising that eccentric Kung Fu Kid who wrote about Batman comics and the “cyborg manifesto” in what was clearly his first rhetoric seminar four years ago. Carl, you were the one who opened my eyes to a world of possibility within Rhetoric as a discipline--I can’t thank you enough for that. It's only fitting for you to see me through the end of this scholarly journey since you were the one who welcomed me to the fold. Next, I have to recognize Dr. Lisa Melonçon, senior member of the “Shrimp Basket” and the best mentor to the field of Professional and Technical Communication a graduate student could ever ask for. Lisa, not only did you humor me during numerous brainstorming and vent sessions, including the one where the concept “embodied topoi” was first named, you kept me fed and sane during the process. I owe you more than I can ever hope to repay, but I’ll still try. I’m also very lucky to have Dr. Steven Jones and Dr. Cathryn Molloy as readers on my committee. Steve, if it weren’t for your digital humanities capstone course and the encouragement from you and my classmates to “do something fun,” I doubt I would have ever designed and launched rhetoricalroundhouse.com. Without thinking through my own personal process of critical reflexive pumsae practice, the impetus for the original site, I would not have arrived at this project as my dissertation. Finally, Cathryn, I cannot tell you how delighted I was to meet you in Pittsburg--your warmth, enthusiasm, and thoughtful commentary throughout this process have made this project (and my life) rich. To all of my committee members, thank you for your hard work and sacrifice. To all other faculty at USF, Radford, and Averett who made similar sacrifices to help get me to this point as a scholar, I thank you as well. Every English teacher I ever had--this is your gold star. Special recognition here goes to Dr. Nate Johnson for introducing me to embodied rhetorics and Debra Hawhee’s Bodily Arts (2004). Additionally, I’m excited by and thankful for the friendships and connections I’m making in the Martial Arts Studies community, particularly people like Paul Bowman and Ben Judkins whose work is continually shaping my research agenda. My scholarly community also includes all my students--you were the ones who made my research ideas and pedagogical skills sharper through constant conversation and practice. In addition to a scholarly community, I am blessed to be continually taught by a martial arts community, all of whom, in some way, contributed to this project. These include instructors like Grandmaster Jin Young “Dragon” Kim, Dr. Stephen Ausband, Master Kelvin Miller, Master (Coach) Marco Nogueira, Master Woo Namkyu, Master Ling, Master Jung, Master Thai, Jun Kim, Master Rupert Cox, Master Hoon Park, Master Tommy Carpenter, Instructor Young, Coach Phil, and Master Vahid Smith as well as their families. In addition to my past/present teachers, I’d like to recognize members of my Tae Kwon Do Family for their contribution to this project and my holistic development as a martial artist, teacher, and human being: Bill and Adam McMullen, Matt, Katrina, Keegan, Liam, and Rhodey Dohman, Cassie Linkous, Rich Burgess, and Rupert Cox (friend version). Just as important for my emotional well-being, professional development, and overall sanity (kind of), are the two remaining “shrimps,” Dr. Tanya P. Zarlengo and Dr. Josh Rea. We wrote together, suffered together, learned to pick each other up, and had a LOT of fun. Tanya, thank you for your everwise prophecies about my future self and the best training montage video of all time. Josh, thanks for being a friend, mentor, and for taking me to the JCPenney portrait studio--best birthday ever. Lisa, Tanya, and Josh, grad school would not have been any fun without you. Many other friends and loved ones have offered various other kinds of support (critical feedback, a sounding board, rest and relaxation, etc.) and I’d like to thank them all here for their help as well, especially Peyton Keesee. Not only did you listen to me ramble on about academics or put up with me when I lost my funny bone, you even watched my Youtube videos. Thanks for being my best friend, BOOODY. Also, Jeremy, you’ll never read this, but thanks for the ice cream--sincerely. Finally, I have to thank Mom and Dad in very material ways. Mom--you drove me to Tae Kwon Do even when you really didn’t want to. I learned commitment from you, the little mountain. Dad, you gave me the book that ended up starting this whole dissertation. I learned openness and how to be a receptive man from you. Without the both of you, together, I’d be nothing. This project, this whole degree, I did it for you just as much as I did it for me. Thank you for giving me that chance. With love and sincerity--thank you all. Table of Contents Abstract ........................................................................................................................... iii Chapter One .................................................................................................................... 1 Overview of Chapter One ..................................................................................... 1 My Favorite Suit .................................................................................................... 2 Misconceptions and Revisions ............................................................................. 4 A Rhetorical History of Tae Kwon Do ................................................................. 10 Tae Kwon Do Pumsae in Relation to Rhetorical Scholarship ............................. 21 Aims for this Project and Chapter Overview ....................................................... 32 Chapter 1 References ........................................................................................ 34 Chapter Two .................................................................................................................. 39 Chapter Two Overview ....................................................................................... 39 I’m not Street I’m Drug Free and Education is the Key! ...................................... 39 Topos: Not Tiny Spanish Plates? ....................................................................... 44 Let the Bodies Hit the Floor: A Rhetorical History of Flesh ................................. 51 Eastern Rhetorical Traditions ............................................................................. 60 Chapter 2 References ........................................................................................ 67 Chapter Three ............................................................................................................... 73 Chapter Three Overview .................................................................................... 73 Research Questions ........................................................................................... 73 Objects of Study ................................................................................................. 76 Sampling Plan .................................................................................................... 76 The Sample ........................................................................................................ 78 Data Collection Methods .................................................................................... 80 Interpretive Method ............................................................................................
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