AF Vol 29 Num 5
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Novel Lunge Biomechanics in Modern Sabre Fencing
Available online at www.sciencedirect.com ScienceDirect Procedia Engineering 112 ( 2015 ) 473 – 478 7th Asia-Pacific Congress on Sports Technology, APCST 2015 Novel Lunge Biomechanics in Modern Sabre Fencing Kevin C. Moorea; Frances M. E. Chowb; John Y. H. Chowb a Re-embody,b 1300 Asia Standard Tower, 59-65 Queen’s Road Central Hong Kong SAR Sydney Sabre, Level 1, 112-116 Parramatta Road Stanmore NSW 2048, Australia Abstract Sabre is one of the three disciplines in the sport of fencing, characterised by the use of a lightweight cutting weapon to score hits on an opponent while maneuvering for position with rapid and dynamic footwork. One of the main techniques is the lunge: an explosive extension of the fencer’s body propelled by the non-dominant (ND) leg in which the dominant (D) leg is kicked forward. The lunge provides both power and range (up to 3m) to the fencer and helps accelerate the sword for a rapid strike. Classical fencing lunges differ in style but share a common mechanism: a forward leap originating in the ND leg that powers rotation in a highly mobile thoracic cage. A new generation of fencers has begun to deviate from the classical lunge mechanism in recent years with a ND leg adopting a rigid momentum-conserving structure. This constant ND knee extension yields a constant rotational acceleration of the pelvis toward the dominant side and emphases scapular rotation to transfer power to the sword arm compared to thoracic rotation in classical lunges. We hypothesized that the new lunge mechanism delivers greater power, efficiency, range, and acceleration than the classical lunge. -
Records of the Medieval Sword Free
FREE RECORDS OF THE MEDIEVAL SWORD PDF Ewart Oakeshott | 316 pages | 15 May 2015 | Boydell & Brewer Ltd | 9780851155661 | English | Woodbridge, United Kingdom Records of the Medieval Sword by Ewart Oakeshott, Paperback | Barnes & Noble® I would consider this the definitive work on the development of the form, design, and construction of the medieval sword. Oakeshott was the foremost authority on the subject, and this work formed the capstone of his career. Anyone with a serious interest in European swords should own this book. Records of the Medieval Sword. Ewart Oakeshott. Forty years of intensive research into the specialised subject of the straight two- edged knightly sword of the European middle ages are contained in this classic study. Spanning the period from the great migrations to the Renaissance, Ewart Oakeshott emphasises the original purpose of the sword as an intensely intimate accessory of great significance and mystique. There are over photographs and drawings, each fully annotated and described in detail, supported by a long introductory chapter with diagrams of the typological framework first presented in The Archaeology of Weapons and further elaborated in The Sword in the Age of Chivalry. There are appendices on inlaid blade inscriptions, scientific dating, the swordsmith's art, and a sword of Edward Records of the Medieval Sword. Reprinted as part Records of the Medieval Sword Boydell's History of the Sword series. Records of the Medieval Sword - Ewart Oakeshott - Google книги Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. -
The European Bronze Age Sword……………………………………………….21
48-JLS-0069 The Virtual Armory Interactive Qualifying Project Proposal Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for graduation by _____________________________ ____________________________ Patrick Feeney Jennifer Baulier _____________________________ Ian Fite February 18th 2013 Professor Jeffrey L. Forgeng. Major Advisor Keywords: Higgins Armory, Arms and Armor, QR Code 1 Abstract This project explored the potential of QR technology to provide interactive experiences at museums. The team developed content for selected objects at the Higgins Armory Museum. QR codes installed next to these artifacts allow visitors to access a variety of minigames and fact pages using their mobile devices. Facts for the object are selected randomly from a pool, making the experience different each time the code is scanned, and the pool adapts based on artifacts visited, personalizing the experience. 2 Contents Contents........................................................................................................................... 3 Figures..............................................................................................................................6 Introduction ……………………………………………......................................................... 9 Double Edged Swords In Europe………………………………………………………...21 The European Bronze Age Sword……………………………………………….21 Ancient edged weapons prior to the Bronze Age………………………..21 Uses of European Bronze Age swords, general trends, and common innovations -
Swordsmanship and Sabre in Fribourg
Acta Periodica Duellatorum, Hands-on section, articles 103 Hands-on section, articles Sweat and Blood: Swordsmanship and sabre in Fribourg Mathijs Roelofsen, PhD Student, University of Bern [email protected], and Dimitri Zufferey, Independant Researcher, GAFSchola Fribourg, [email protected] Abstract – Following a long mercenary tradition, Switzerland had to build in the 19th century its own military tradition. In Cantons that have provided many officers and soldiers in the European Foreign Service, the French military influence remained strong. This article aims to analyze the development of sabre fencing in the canton of Fribourg (and its French influence) through the manuals of a former mercenary (Joseph Bonivini), a fencing master in the federal troops (Joseph Tinguely), and an officer who became later a gymnastics teacher (Léon Galley). These fencing manuals all address the recourse to fencing as physical training and gymnastic exercise, and not just as a combat system in a warlike context. Keywords – Sabre, Fribourg, Valais, Switzerland, fencing, contre-pointe, bayonet I. INTRODUCTION In military history, the Swiss are known for having offered military service as mercenaries over a long time period. In the 19th century, this system was however progressively abandoned, while the country was creating its own national army from the local militias. The history of 19th century martial practices in Switzerland did not yet get much attention from historians and other researchers. This short essay is thus a first attempt to set some elements about fencing in Switzerland at that time, focusing on some fencing masters from one Swiss Canton (Fribourg) through biographical elements and fencing manuals. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
Swords and Sabers During the Early Islamic Period
Gladius XXI, 2001, pp. 193-220 SWORDS AND SABERS DURING THE EARLY ISLAMIC PERIOD POR DAVID ALEXANDER ABSTRACT - RESUMEN The present article offers a discussion on early swords and sabers during the Early Islamic Period, from the Topkapí Sarayi collection to written, iconographic and archeological sources. El presente artículo trata las espadas y sables utilizados en los primeros tiempos del Islam a partir de la co- lección del Topkapí Sarayi y de las fuentes escritas, iconográficas y arqueológicas. KEY WORDS - PALABRAS CLAVE Swords. Sabers. Islam. Topkapí Sarayi, Istambul. Espadas. Sables. Islam. Topkapí Sarayi. Estambul. SWORDS DURING THE EARLY ISLAMIC PERIOD The recent discovery in Spain of a ninth century sword represents a remarkable advance in our knowledge of early Islamic swords. This archaeological find is discussed in detail by Alberto Canto in this volume, the present article offers a discussion of early swords and sa- bers in general. Reference is also made to the so called saif badaw^ used in the investiture of ¿Abbasid caliphs under the Mamluks; and to the origins of the saber which represents an eastern influence on the Islamic world A sword is a weapon with a straight double-edged blade, generally pointed at its tip, and can be used for both cutting and thrusting; the hilt of a sword is generally symmetrical in form. A s ab er ca n b e de fi n ed a s a we a p on wi th a s i ng le - ed ge d b la de , s omet i me s s ha rp en e d a dd it io n al ly al on g t he l o we r pa r t of it s ba c k ed g e, d es i gn ed fo r cu t ti ng an d sl a sh in g .1 Al th ou g h s ab er s a re u s ua ll y c ur ve d , ea rl i er e x ampl es ar e l es s so an d s ome ar e v ir t ua ll y s tr ai g ht . -
Fencing - Overview Fencing Is a Game in Which Is Played Between Two Fencers
COMPILED BY : - GAUTAM SINGH STUDY MATERIAL – SPORTS 0 7830294949 Fencing - Overview Fencing is a game in which is played between two fencers. Both the fencers use swords to attack the opponent and to defend self. There are some rules and regulations which the players have to follow while attacking or defending. Three different groups of weapons are used in fencing and each weapon has its own set of rules and regulations. Most of the fencers select one so as to specialise in using any one of these weapons. This is a sword exerting game where two fencers try to touch each other with the tip of their sword. The main objective of this game is to touch the other player and score enough points required to win the game before the opposite player scores points. There are different approved target zones based on the weapon used and players have to touch those target zones to score points. A Brief History of Fencing Fencing was initiated in the 12th century though the oldest surviving manual on swordsmanship dates around 1300. In ancient days in Rome and Egypt, fencing was quite popular and was an essential part of life in the form of swordsmanship. In the middle age, i.e. around 1400, the use of armours was introduced in order to make the game more defensive and interesting. THANKS FOR READING – VISIT OUR WEBSITE www.educatererindia.com COMPILED BY : - GAUTAM SINGH STUDY MATERIAL – SPORTS 0 7830294949 Spain was the first one to practice fencing. Several books related to fencing have been written by Spanish authors. -
Downloaded and Shared for Private Use Only – Republication, in Part Or in Whole, in Print Or Online, Is Expressly Forbidden Without the Written Consent of the Author
The International Armizare Society Presents: Beginning Armizare An Introduction to Medieval Swordsmanship Gregory D. Mele © 2001 - 2016 Beginning Armizare: An Introduction to Medieval Swordsmanship Copyright Notice: © 2014 Gregory D. Mele, All Rights Reserved. This document may be downloaded and shared for private use only – republication, in part or in whole, in print or online, is expressly forbidden without the written consent of the author. ©2001-2016 Gregory D. Mele Page 2 Beginning Armizare: An Introduction to Medieval Swordsmanship TABLE OF CONTENTS Foreword 4 Introduction: The Medieval Art of Arms 5 I. Spada a Dui Mani: The Longsword 7 II. Stance and Footwork 9 III. Poste: The Guards of the Longsword 14 IV. Learning to Cut with the Longsword 17 V. Defending with the Fendente 23 VI. Complex Blade Actions 25 VII. Parrata e Risposta 25 Appendix A: Glossary 28 Appendix B: Bibliography 30 Appendix C: Armizare Introductory Class Lesson Plan 31 ©2001-2016 Gregory D. Mele Page 3 Beginning Armizare: An Introduction to Medieval Swordsmanship FOREWORD The following document was originally developed as a study guide and training companion for students in the popular "Taste of the Knightly Arts" course taught by the Chicago Swordplay Guild. It has been slightly revised, complete with the 12 class outline used in that course in order to assist new teachers, small study groups or independent students looking for a way to begin their study of armizare. Readers should note that by no means is this a complete curriculum. There is none of the detailed discussion of body mechanics, weight distribution or cutting mechanics that occurs during classroom instruction, nor an explanation of the number of paired exercises that are used to develop student's basic skills, outside of the paired techniques, or "set-plays," themselves. -
Fencing: a Modern Sport
Fencing: A Modern Sport (Recreated from the document that formerly resided on the USFA website [and we would link to it if it was still available on the USFA site!]) The sport of fencing is fast and athletic, a far cry from the choreographed bouts you see on film or on the stage. Instead of swinging from a chandelier or leaping from balconies, you will see two fencers performing an intense dance on a 6-feet by 44-feet strip. The movement is so fast the touches are scored electrically – a lot more like Star Wars than Errol Flynn. The Bout Competitors win a fencing bout (what an individual “game” is called) by being the first to score 15 points (in direct elimination play) or 5 points (in preliminary pool play) against their opponent, or by having a higher score than their opponent when the time limit expires. Each time a fencer lands a valid hit – a touch - on their opponent, they receive one point. The time limit for direct elimination matches is nine minutes - three three-minute periods with a one minute break between each. Fencers are penalized for crossing the lateral boundaries of the strip, while retreating off the rear limit of their side results in a touch awarded to their opponent. Team matches feature three fencers squaring off against another team of three in a "relay" format. Each team member fences every member of the opposing team in sequence over 9 rounds until one team reaches 45 touches or has the higher score when time expires in the final round. -
Basic Actor Combatant Glossary 2012
= BASIC ACTOR COMBATANT GLOSSARY March 2, 2012 This is a living document and while Fight Directors Canada seeks to keep this glossary up to date it is simply impossible to list all terms or techniques. Individual teachers may add to what is listed or suggest an alternative meaning or explanation for a particular term or technique. If there is a disagreement between what is written and what is taught in class the written test will err on side of the instructor. Section 1: General Stage Combat Terms Section 2: Footwork, Stance and Posture Section 2: Unarmed Section 3: Quarterstaff Section 4: Single Sword Section 5: Weapons and Accoutrements Section 6: Theatrical & Performance Section 7: Alternate Terms Section 8: Diagrams All references and definitions originally taken from, ‘The Complete Encyclopedia of Arms and Armour’ Claude Blair & Leonid Tarassuk, ‘The Martini A-Z of Fencing’ E.D. Morton, ‘The Art and History of Personal Combat’ Arthur Wise. They were subsequently edited by Todd Campbell, Siobhán Richardson, Kevin Robinson, Casey Hudecki, Daniel Levinson, Paul Gelieanu, Ian Rose, Simon Fon and Kirsten Gundlack Fight Directors, Canada wishes to express their gratitude to the above named authors and editors for their invaluable assistance. FDC Basic Actor Combatant Glossary – 02 25 2012 page 1 of 18 SECTION 1: GENERAL STAGE COMBAT TERMS SECTION 1: GENERAL STAGE COMBAT TERMS aikido roll: A roll that resembles the shoulder roll but rather than using both hand and arms to lower the body to the floor the dominate arm is curved and used to guide the upper body to the floor. -
Fencing Club By-Laws: Ranking System
Fencing Club By-Laws: Ranking System Ranks are marked by colored bands beneath the shoulder patch. Testing occurs on individual occasions as determined by the Head Instructor. Members wishing to test can do so only if the Head Instructor offers to perform the testing. If a member wishes for a testing, the candidate cannot bring the request to the Head Instructor's attention, but must instead convince a member in good standing of at least the rank he/she wishes to test for (and at least the 2nd rank) to act as a sponsor on his/her behalf. This sponsor is also responsible for making sure the candidate is adequately prepared for the rank testing. When the testing occurs, all actions requiring 2 people will be performed by the candidate and her/his sponsor. The Head Instructor (the tester) will direct the actions and observe so as to score the candidate. The candidate should not be penalized for mistakes made by the sponsor; instead, the Head Instructor should ask them to repeat the action. Each rank confers upon the fencer a set of permissions to accompany their new rank. First Rank – Yellow Band - Beginning Foil Requirements: A) Length of attendance: Minimum attendance time before testing: 15 practices, with discretion for those with previous experience B) Candidate should have participated in at least two assaults previously with instructors. The Testing: The purpose of the 1st rank testing is for the candidate to demonstrate the knowledge and ability needed to fence safely with the foil in a bout. A) Candidate must demonstrate the following skills/techniques: Notice, all techniques should be done from a proper guard, attacks should be done with a properly executed lunge, etc. -
The Most Common Mistakes Beginning Rapier Students Make - Their Consequences and How to Avoid Them
The Most Common Mistakes Beginning Rapier Students Make - Their Consequences and How to Avoid Them. by Tom Leoni ©2005 As with most demanding disciplines, fencing has its set of common beginners’ mistakes. Having practiced, taught and observed historical fencers of all levels for over a decade, I have compiled a list of the more obvious and recurring ones. Interestingly, these are mistakes that, if not cured early, crystallize into bad habits that are very hard to amend later on. These mistakes are in both understanding and performance - often in both at the same time (the former being a prerequisite for the latter). I have outlined each point so as to list the mistake, the negative consequences deriving from it and my recommendations on how to correct it. Although I have purposely confined this discussion to the rapier, please note that many of these mistakes/habits are applicable to other fencing disciplines. Also, please note that the actions and situations I describe imply a somewhat formalized training intent based on historical sources. Many who enjoy swords casually and do not have the opportunity to train more formally may not identify with these points. Mistake: Obsessing too much about ideal rapier length. Consequences: Illusion that technical or theoretical shortcomings are "the rapier’s fault," resulting in failure to address them. Correction: Get a well-balanced rapier that works for you and then give it no more thought. Masters such as Alfieri and Capoferro specify that a rapier should be proportionate to the height of the fencer - it should comfortably stand under the armpit.