DOCSLIB.ORG

Gdańskie Studia Azji Wschodniej

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gdańskie Studia Azji Wschodniej Komitet redakcyjny prof. zw. dr hab. Waldemar Jan Dziak, prof. zw. dr hab. Edward Haliżak, prof. zw. dr hab. Ewa Oziewicz (przewodnicząca), prof. zw. dr hab. Jerzy Zajadło, dr hab. Tadeusz Dmochowski, prof. UG, dr hab. Krzysztof Gawlikowski, prof. SWPS, dr hab. Sylwia Pangsy-Kania, prof. UG, dr hab. Jakub Potulski, prof. UG, dr hab. Józef Arno Włodarski, prof. UG, prof. dr Wu Lan, dr hab. Kamil Zeidler, prof. UG (dyrektor CSAW UG), dr Marceli Burdelski (wiceprzewodniczący), dr Adam Marszałek, Edward Kajdański Sekretarz redakcji Joanna Kamień Adres redakcji Centrum Studiów Azji Wschodniej ul. Armii Krajowej 110, 81-824 Sopot Redaktor Wydawnictwa Joanna Kamień Skład i łamanie Michał Janczewski Projekt okładki i stron tytułowych Andrzej Taranek Na okładce obraz autorstwa Edwarda Kajdańskiego przygotowany przez Comex S.A. Streszczenia w języku angielskim przygotowane przez autorów Publikacja sfinansowana przez Centrum Studiów Azji Wschodniej Uniwersytetu Gdańskiego © Copyright by Centrum Studiów Azji Wschodniej Uniwersytetu Gdańskiego © Copyright by Wydawnictwo Uniwersytetu Gdańskiego ISSN 2084-2902 Wydawnictwo Uniwersytetu Gdańskiego ul. Armii Krajowej 119/121, 81-824 Sopot tel./fax 58 523 11 37, tel. 725 991 206 wyd.ug.edu.pl, kiw.ug.edu.pl SPIS TrEśCI WYKŁAD Dr hab. Kamil Zeidler, prof. UG, Uniwersytet Gdański Aforyzm chiński jako wypowiedź normatywna (wykład inauguracyjny, Uroczysta Inauguracja roku Akademickiego 2012/2013, Wydział Prawa i Administracji Uniwersytetu Gdańskiego, 2 października 2012 r.) ..... 7 ArTYKUŁY Dr hab. Józef Włodarski, prof. UG, Uniwersytet Gdański Mgr Jerzy Stankiewicz, Gdańsk „Boks z Putny” jako sztuka wojenna. Praktyczne znaczenie systemu w okresie powstań tajpingów i bokserów w Chinach ............................ 12 Dr Przemysław Dąbrowski, Uniwersytet Gdański Myśl polityczno-prawna starożytnych Chin – próba syntezy ...................... 29 Dr Marcin Lech, Akademia Obrony Narodowej republiki Austrii w Wiedniu Wzmocnienie przejrzystości i przewidywalności w legislacji dla stabilnego prowadzenia działalności gospodarczej w Chińskiej republice Ludowej ............................................. 50 Mgr Ewelina Koszel, Gdańsk Przebudzenie Smoka – droga Chin do uregulowania prawa kontaktów .............. 62 Mgr Jakub Urbański, Stołeczny Uniwersytet Pedagogiczny w Pekinie Wyburzać czy restaurować? rys historyczny sporu o tradycyjną zabudowę Pekinu .... 71 Mgr Marek Sfugier, Uniwersytet Gdański Droga, którą kroczył samotnie – postać Miyamoto Musashiego w kontekście jego Dokkōdō ................................................. 81 Mgr inż. Edward Kajdański, Uniwersytet Gdański Beniowski u wybrzeży Japonii ............................................... 99 Mgr Małgorzata Bandzo-Antkowiak, Uniwersytet Warszawski Odnaleziona mapa Maurycego Augusta Beniowskiego. Komunikat ................. 111 GDAŃSKIE STUDIA AZJI WSCHODNIEJ 2012/2 3 Dr Jacek Splisgart, Uniwersytet Gdański Obrzędowość okresu dorastania jako istotny składnik procesu kształtowania się tożsamości kulturowej i etnicznej we współczesnej Japonii ......... 114 Dr Bartosz Michalski, Uniwersytet Wrocławski Handlowa neutralność w reżimie światowej Organizacji Handlu. Przypadek Mongolii ............................. 130 PrÓBY STUDENCKIE Dawid Jacek Michalski Kara śmierci w prawie karnym Chińskiej republiki Ludowej – zarys instytucji ........ 150 rECENZJE Zbigniew Wiktor, Mieczysław rakowski, Rozwój i prognozy przyszłości Chin w zmieniającym się świecie, Wydawnictwo Adam Marszałek, Toruń 2012, ss. 511 (Ewa Oziewicz) .................. 159 Meir Shahar, Klasztor Shaolin. Historia, religia i chińskie sztuki walki, Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków 2011, ss. 310 (Krzysztof Brzozowski) .................................... 161 SPrAWOZDANIA Sprawozdanie z VI Międzynarodowej Konferencji Naukowej „Dylematy współczesnej Azji”, Toruń, 17–18 maja 2012 r. (Marta Dargas) ............. 166 Sprawozdanie z pobytu studentów z Harbina na Uniwersytecie Gdańskim w roku akademickim 2010/2011 i 2011/2012 (Monika Pytel) ........................ 168 Sprawozdanie z 1. Festiwalu Kultury Azjatyckiej Uniwersytetu Gdańskiego „Made in Azja: Made in China”, Gdańsk 24–27 maja 2012 r. (Marta Maciejewska) .................................. 170 DOKUMENTY Porozumienie między Ministrem Nauki i Szkolnictwa Wyższego rzeczypospolitej Polskiej a Ministerstwem Edukacji Chińskiej republiki Ludowej o współpracy w dziedzinie szkolnictwa wyższego, podpisane w Pekinie dnia 20 grudnia 2011 r. (M.P. z 2012 r., poz. 122) .................................. 174 Protokół o współpracy kulturalnej między Ministrem Kultury i Dziedzictwa Narodowego Rzeczypospolitej Polskiej a Ministerstwem Kultury Chińskiej republiki Ludowej na lata 2012–2015, podpisany w Warszawie dnia 25 kwietnia 2012 r. (M.P. z 2012 r., poz. 351) .............. 188 CONTENTS LECTUrE Prof. Kamil Zeidler, University of Gdańsk Chinese aphorism as a normative statement (inaugural lecture, Inauguration of the Academic Year 2012/2013, Faculty of Law and Administration, University of Gdańsk, on October 2, 2012) ..... 7 ArTICLES Prof. Józef Włodarski, University of Gdańsk MSc Jerzy Stankiewicz, Gdańsk ‘The Boxing from Putna’ as a Martial Art. Practical Meaning of the Style in the Period of the Taiping and the Boxer rebellions in China ......... 12 Dr Przemysław Dąbrowski, University of Gdańsk Legal and Political Thought of Ancient China – an Attempt of Synthesis ........... 29 Dr Marcin Lech, Austrian National Defence Academy in Vienna Strengthening of Transparency and Anticipation in Legislation for the Stable Conducting of Business Activity in the People’s republic of China ........ 50 MSc Ewelina Koszel, Gdańsk Awaking Dragon – Chinese Path to regulate the Contract Law .................... 62 MSc Jakub Urbański, Beijing Capital Normal University Demolish or restore? A Historical Outline of the Debate about the Traditional Architecture of Beijing .................................. 71 MSc Marek Sfugier, University of Gdańsk The Way He Walked Alone – Miyamoto Musashi’s Character in the Context of His Dokkōdō .............................................. 81 MEng Edward Kajdański, University of Gdańsk Benyowsky at the Shores of Japan ........................................... 99 MSc Małgorzata Bandzo-Antkowiak, University of Warsaw Found Maurice Augustus Beniowski’s Map. The Announcement .................. 111 GDAŃSKIE STUDIA AZJI WSCHODNIEJ 2012/2 5 Dr Jacek Splisgart, University of Gdańsk Adolescent rituals as an Important Component of the Forming of Cultural and Ethnic Identity in Modern Japan ............................... 114 Dr Bartosz Michalski, University of Wrocław Trade Neutrality in the WTO regime. The Case of Mongolia ..................... 130 STUDENTS ATTEMPTS Dawid Jacek Michalski The Death Penalty in the Criminal Law of China – an Outline of the Institution ..... 150 REVIEWS Zbigniew Wiktor, Mieczysław rakowski, The development and the forecast of China’s future in a changing world, Adam Marszałek Publishing House, Toruń 2012, pp. 511 (Ewa Oziewicz) .............. 159 Meir Shahar, The Shaolin Monastery. History, Religion and the Chinese Martial Arts, Jagiellonian University Press, Cracow 2011, pp. 310 (Krzysztof Brzozowski) ............ 161 Reports The report from the 6th International Scientific Conference ‘Dilemmas of Contemporary Asia’, Toruń, 17th–18th May 2012 (Marta Dargas) .......... 166 The report of residence of students from Harbin at the University of Gdańsk in the academic year 2010/2011 and 2011/2012 (Monika Pytel) ...................... 168 The report from the 1st Asian Culture Festival at University of Gdańsk ‘Made in Asia: Made in China’, Gdańsk 24th–27th May 2012 (Marta Maciejewska) .................................. 170 DOCUMENTS Agreement between the Minister of Science and Higher Education of the Republic of Poland and the Ministry of Education of the People’s republic of China on cooperation in the area of higher education, signed in Beijing on 20 December 2011 (M.P. z 2012 r., poz. 122) ..................... 174 Protocol on cultural cooperation between the Minister of Culture and National Heritage of the republic of Poland and the Ministry of Culture of the People’s republic of China in the years 2012–2015, signed in Warsaw on 25 April 2012 (M.P. z 2012 r., poz. 351) ......................... 188 KAMIL ZEIDLEr AFOrYZM CHIŃSKI jako wypowiedź NOrmatywna (WYKŁAD inauguracyjny, Uroczysta Inauguracja Roku AKADEMICKIEGO 2012/2013, WYDZIAŁ Prawa I ADMINISTracji UNIWErSYTETU Gdańskiego, 2 paźDZIErNIKA 2012 r.) W historii starożytnych Chin pojawia się opowieść o wyścigu konnym pomiędzy władcą Qi Wei Wang a generałem T’ien Chi. Doradcą T’ien Chi był Sun Pin. T’ien Chi stawał do wyścigów z władcą Qi, jednak przegrywał za każdym razem, ponie- waż konie Qi były lepsze. Najlepszy koń Qi biegł z prędkością 45 li na godzinę (co stanowiło odpowiednik 15 mil lub 24 km na godzinę), podczas gdy najlepszy koń T’ien Chi osiągał tylko 43 li. Następny w kolejności koń Qi biegł z prędkością 41 li, podczas gdy drugi koń T’ien Chi – 40 li. Najsłabszy koń Qi osiągał 38 li, zaś naj- słabszy koń T’ien Chi – tylko 36 li. W każdym wyścigu T’ien Chi wystawiał konie w tych kategoriach i przegrywał w każdej. Po przemyśleniu sytuacji Sun Pin zasuge- rował T’ien Chi, aby w pierwszym biegu wystawił przeciw najlepszemu koniowi Qi swojego najsłabszego konia, który wyścig bez wątpienia przegra. W drugim biegu powinien wystawić swojego najlepszego konia przeciwko drugiemu wierzchowco- wi Qi, co powinno zapewnić mu wygraną. Wreszcie
Load more

Recommended publications
  • Texto Completo (Pdf)
    ISSN 2318-5104 | e-ISSN 2318-5090 CADERNO DE EDUCAÇÃO FÍSICA E ESPORTE Physical Education and Sport Journal [v. 16 | n. 1 | p. 167-178 |2018] RECEBIDO: 13-03-2018 APROVADO: 16-05-2018 ARTIGO DE REVISÃO DOSSIÊ LUTAS Sobre o estilo de kung-fu garra de águia About the kung-fu style eagle claw DOI: Rafael Carvalho da Silva Mocarzel1,2 1Universidade do Porto (UP) 2Faculdade Redentor Metropolitana (Facredentor) RESUMO Como uma prática milenar, o kung-fu é um objeto de difícil estudo quando se observa as grandes transformações histórico- socioculturais ocorridas na China. Tal fato se agrava ainda mais quando se busca fontes de origem acadêmicas ou mesmo de confiança fora do idioma chinês. Objetivou-se neste trabalho apresentar uma revisão histórica de um popular estilo de Kung- Fu com quase mil anos de existência – o Garra de Águia. Metodologicamente, este estudo é de natureza qualitativa e nele fez-se uso da revisão de literatura e narrativas orais com a Grã-Mestra do estilo hoje no mundo. Foi possível observar diversas influências diretas e indiretas de ordem política, social e cultural na história do estilo e de seus praticantes até dias atuais. PALAVRAS-CHAVE: Kung-fu; História do esporte; Arte Marcial. ABSTRACT As a millenarian practice, Kung-Fu is an object of difficult study when one observes the great historical-sociocultural transformations that took place in China. This fact is further aggravated when one searches for academic sources of origin or even for trust outside the Chinese language. The objective of this work was to present a historical review of a popular Kung-Fu style with almost a thousand years of existence - the Eagle Claw.
    [Show full text]
  • The Martial Masterâ•Žs Mistresses: Forbidden Desires and Futile Nationalism in Jet Liâ•Žs Kung-Fu Films
    UCLA Thinking Gender Papers Title The Martial Master’s Mistresses: Forbidden Desires and Futile Nationalism in Jet Li’s Kung-Fu Films Permalink https://escholarship.org/uc/item/6jf832fv Author Meng, Victoria Publication Date 2007-02-01 eScholarship.org Powered by the California Digital Library University of California 1 Title: The Martial Master’s Mistresses: Forbidden Desires and Futile Nationalism in Jet Li’s Kung-Fu Films Author: Victoria Meng, Candidate of Philosophy, Cinema and Media Studies, UCLA Abstract: During his 24 years as a kung-fu film icon, Jet Li has repeatedly portrayed the conventional Chinese martial master: the righteous but reluctant leader who ultimately retreats from the world after redirecting his own desires to support supposedly greater moral claims of master and nation. Too preoccupied by his fights and flights, Li’s characters seem unable to give much thought to the women who love him. This consistent failure for Li to “get the girl”—especially given a series of hyper-feminine heroines who should, by rights, be irresistible—suggests that these popular films enact some trauma or taboo for their local audiences. Indeed, I argue that these heroines, each of whom bears a mixed cultural heritage, personify the impossibility of imagining a unified modern Chinese identity, because the films cannot imagine these heroines as fit candidates to raise “culturally pure” children. Li’s steadfast reincarnation as the martial master, then, represents the contemporary Chinese need to elegize a common cultural past as a compensation for the loss of a common cultural future. This essay thus pays homage to and extends feminist film scholar Gina Marchetti’s groundbreaking Romance and the “Yellow Peril,” in which she describes how Hollywood has used the trope of romance to perform and displace its racial fears and fantasies.
    [Show full text]
  • The Body in Chinese Cosmology and Religion: Health, Nation, and Transcendence
    The Body in Chinese Cosmology and Religion: Health, Nation, and Transcendence David A. Palmer PRE-PUBLICATION VERSION [Published in David A. Palmer, Glenn Shive and Philip Wickeri eds., Chinese Religious Life. New York: Oxford University Press, 2011, pp. 87-106.] In the final scene of the 2006 film Fearless, the famous Chinese martial artist Huo Yuanjia, played by Jet Li, faces his Japanese challenger Anno Tanaka for a climactic kung fu combat. The place is Shanghai, the year is 1910. The imperial Qing dynasty is on the verge of collapse. The Western powers and Japan have defeated China in several wars and carved up the Middle Kingdom into concessions and zones of influence. And to add insult to injury, muscular foreign bullies and ruffians, such as the American Hercules O’Brien, have come to beat Chinese in wrestling matches, knocking them off as “the sick men of the East.” But Huo Yuanjia has stepped forth to meet the challenge and restore China’s dignity. Using the secrets of Chinese fighting, he has defeated O’Brien and others, earning their admiration for his grace and chivalry. Now comes the final combat, against Anno Tanaka. The first round is a draw. During the intermission, the Japanese consul switches Huo’s teacup with one laced with arsenic; within minutes Huo starts gasping and vomiting blood. Knowing that he will die anyway, he decides to continue the fight. Breathless and weakened, he is no match for Tanaka. He sees an opening to give a fatal blow to his Japanese adversary—but, in a show of mercy, delivers it without any force, and collapses to his own death.
    [Show full text]
  • How to Meet Girls, for Voice Actors
    How to Meet Girls, for Voice Actors by Adam Nakama Adam Nakama 41 Dover St. Apt. 3 Worcester, MA 01609 [email protected] 3100 words Adam Nakama / How to Meet Girls 3100 words / Page 2 of 20 Cast of Characters Corey – A shy voice actor who stutters in normal conversation, but is a brilliant and talented voice actor with no speech impediments when in a role. Larissa – A voice actor who is something of a firebrand. Duke – Another voice actor, and definitely a crude man-jerk. Huo Yuanjia – Legendary Chinese martial artist and folk hero. Huang Feihong – Another legendary Chinese martial artist and folk hero. Yee – Daughter of Huo Yuanjia Princess – A princess trapped in a tower. Prince 2 – A prince who has come to rescue her. Quiet Tiger – A top secret agent sneaking through enemy territory. Kent Archer – His friend helping out on site. Awesome – The enemy commander, she is, in fact, awesome. Biggs – The communications officer of a starship. Wedge – The science officer of a starship. Piette – The captain of a starship. Note: Every character below “Duke” is physically acted by the same three actors, and voiced by the three above. Note: Script from “Princess and the Body Snatchers” used with permission of Shannon “Haz” Harrower. It was first performed in New Voices 25. Adam Nakama / How to Meet Girls 3100 words / Page 3 of 20 Throughout the script, there are two sets of actors: voice actors and physical actors. Neither group interacts directly with the other. The voice actors are just that, and will periodically voice act various scripts.
    [Show full text]
  • Historicizing Martial Arts Cinema in Postcolonial Hong Kong: the Ip Man Narratives
    IAFOR Journal of Cultural Studies Volume 4 – Issue 2 – Autumn 2019 Historicizing Martial Arts Cinema in Postcolonial Hong Kong: The Ip Man Narratives Jing Yang, Guangdong University of Foreign Studies, China Abstract: The surge of Hong Kong martial arts films in the new millennium transformed the classic genre with a keen consciousness of history. Based loosely on the life experiences of the Cantonese master Ip Man (1893–1972), Ip Man (Yip, 2008) and The Grandmaster (Wong, 2013) utilize the genre to examine the dynamics between Hong Kong and mainland China by integrating the personal with the national. Against the shifting industrial and cultural orientations of Hong Kong cinema and society, the paper argues that the multifarious discourses in both films exemplify the effort to construct a post-colonial identity in negotiation with mainland China. Keywords: Hong Kong martial arts cinema, history, national discourse, postcolonial identity 59 IAFOR Journal of Cultural Studies Volume 4 – Issue 2 – Autumn 2019 Introduction The martial arts trainer of Bruce Lee, Ip Man (1893–1972), has become a recurrent subject matter of Hong Kong cinema more than a decade after China’s resumption of sovereignty over the territory. In a string of Ip Man films released from 2008 to 2015 (Ip Man [Yip, 2010, 2015], The Legend is Born: Ip Man [Yau, 2010], Ip Man: The Final Fight [Yau, 2013] and a 50- episode TV drama Ip Man [Fan, 2013]), Wilson Yip’s Ip Man (2008) and Wong Kar-wai’s The Grandmaster (2013) recount the life experiences of the Cantonese master whose legacy is the global popularity of Wing Chun art.
    [Show full text]
  • Study on the Inheritance of Wushu Teaching and Traditional Culture in Colleges and Universities
    2019 International Conference on Arts, Management, Education and Innovation (ICAMEI 2019) Study on the Inheritance of Wushu Teaching and Traditional Culture in Colleges and Universities Li Jisong Mianyang Normal University, Sichuan Mianyang, China, 621000 Keywords: university; martial arts teaching; traditional culture; inheritance Abstract: With the development of the times, people pay more attention to Chinese martial arts, and some people think that they do not have the technical content. However, Chinese martial arts belong to our traditional culture and are loved by international friends. In recent years, martial arts teaching has been integrated into colleges and universities in China, but its teaching focus is on promoting the development of colleges and universities. In order to change this situation, colleges and universities should not only teach students martial arts skills, but also promote Chinese martial arts culture. This paper expounds the meaning of Chinese martial arts, studies the relationship between Chinese martial arts and traditional culture, and analyzes the inheritance of martial arts teaching and traditional culture in colleges and universities. 1. Introduction Martial arts culture is an important part of Chinese traditional culture, which can reflect the value orientation and behavior methods of Chinese traditional culture. The integration of martial arts into teaching in colleges and universities is of great significance to the promotion and dissemination of Chinese martial arts culture. The martial arts culture has many functions such as entertainment, competition and fitness. It is an entertainment performance as early as the slave society. With the continuous development of human society, it gradually forms a traditional culture with Chinese characteristics.
    [Show full text]
  • Wuxia Fictions: Chinese Martial Arts in Film, Literature and Beyond
    EnterText 6.1 LEON HUNT Introduction For a genre that could be seen, not unreasonably, to be living on borrowed time, Chinese Martial Arts narratives have enjoyed a remarkable amount of critical attention and global visibility in recent years. It is hard to separate this phenomenon from the international impact of Crouching Tiger, Hidden Dragon (Ang Lee, China/US/Taiwan/Hong Kong, 2000) and the subsequent cycle of Pan-Chinese (and Pan-Asian) “Martial Arthouse” films that have followed it—Hero (Zhang Yimou, China/Hong Kong, 2002), House of Flying Daggers (Zhang Yimou, China/Hong Kong, 2004), The Promise (Chen Kaige, China/Hong Kong/Japan/South Korea, 2005), Seven Swords (Tsui Hark, Hong Kong/China/South Korea, 2005) and Huo Yuanjia/Fearless (Ronny Yu, Hong Kong/China, 2006). While this cycle might be located within what Dean Chan here calls a “fashionably nostalgic imaginary” in an East Asian context, in Western film criticism it popularised a previously unfamiliar generic label, the wuxia pian, which amongst other things served to differentiate the films from the more lowbrow “kung fu films” that met with considerable international success (if rather less critical recognition) in the 1970s. “Martial Arthouse” cinema was greeted by many Western critics as an apparently new trend in transnational action cinema, but as also indicative of a larger generic heritage that lent it cultural “authenticity.” This has often posed problems when, for example, reading the gender politics of wuxia heroines—is the “feminism” of Crouching Tiger evidence of the genre’s “Westernisation” or simply a more self-conscious elaboration on Leon Hunt: Introduction 1 EnterText 6.1 a tradition of women warriors that stretches back to the origins of the genre (and, indeed, its historical-mythical basis)? Significantly, the title of this issue is not “Kung Fu (or gongfu) Fictions,” the (Cantonese) term that entered Western discourse in the 1970s and acted as a catch-all label for the Chinese Martial Arts “craze” (including its pedagogic industries).
    [Show full text]
  • Mainstream Culture Refocused
    MAINSTREAMMAINSTREAM CULTURECULTURE REFOCUSEDREFOCUSED 4%,%6)3)/.$2!-! 4%,%6)3)/.$2!-! 3/#)%49 !.$3/#)%49 !.$ 4(%02/$5#4)/.4(%02/$5#4)/. /&-%!.).')./&-%!.).'). 2%&/2- %2!#().!2%&/2- %2!#().! ZHONGZHONG XUEPINGXUEPING Mainstream Culture Refocused Mainstream Culture Refocused Television Drama, Society, and the Production of Meaning in Reform-Era China ZHONG XUEPING University of Hawai‘i Press Honolulu © 2010 University of Hawai‘i Press Library of Congress Cataloging-in-Publication Data Zhong, Xueping. Mainstream culture refocused : television drama, society, and the production of meaning in reform-era China / Zhong Xueping. p. cm. Includes bibliographical references and index. ISBN 978-0-8248-3417-3 (hardcover : alk. paper) ISBN 978-0-8248-3469-2 (pbk. : alk. paper) 1. Television plays, Chinese—History and criticism. 2. Television—Social aspects—China. 3. Popular culture—China. I. Title. PL2368.T44Z46 2010 791.45'70951—dc22 2010010583 An electronic version of this book is freely available thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. The open-access ISBN for this book is 9780824882501 (PDF). More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org. The open access version of this book is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0), which means that the work may be freely downloaded and shared for non-commercial purposes, provided credit is given to the author. Derivative works and commercial uses require permission from the publisher.
    [Show full text]
  • King's Research Portal
    King’s Research Portal DOI: 10.18573/j.2017.10096 Document Version Publisher's PDF, also known as Version of record Link to publication record in King's Research Portal Citation for published version (APA): Wong, W. (2017). Synthesizing Zhenshi (Authenticity) and Shizhan (Combativity): Reinventing Chinese Kung Fu in Donnie Yen’s Ip Man Series. Martial Arts Studies Journal, (3), 71-88. https://doi.org/10.18573/j.2017.10096 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • No, Not Really, but If You Care to Take a Swing At
    © Idōkan Poland Association “IDO MOVEMENT FOR CULTURE. Journal of Martial Arts Anthropology”, Vol. 19, no. 1S (2019), pp. 25–31 DOI: 10.14589/ido.19.1S.5 ANTHROPOLOGY Stefania Skowron-Markowska Institute of Classical, Mediterranean and Oriental Studies of the University of Wroclaw (Poland) e-mail: [email protected] Chinese guó shù (國術 “national art”) in Shaolin Temple Submission: 12.11.2018; acceptance: 12.01.2019 Key words: Shaolin temple, Chinese martial arts, kung fu, martial arts tourism, guo shu Abstract Background. The Shaolin monastery offers a meeting with Chinese culture by implementing a guo shu, program that the Chinese government supports and helps develop. Guo shu, implemented during the republican era in China supported the development of national arts, including Chinese martial arts. It was developed to rebuild a sense of patriotism and national pride in the Chinese nation after the Opium Wars and the Boxer Rebellion. Problem and Aim. The purpose of this paper is to present the new challenges that the Shaolin monastery has faced in modern times and how is it currently implemented based on the guo shu concept. Because the Shaolin monastery is also seen as a great emissary of the culture of the Middle Kingdom, students also have the opportunity to get acquainted with Chinese culture. Methods. The theoretical perspective is based on the sociology and anthropology of martial arts. For the theoretic background, an analysis of specialist text and documents was applied. The author also applied participant observation and interviews with foreign Shaolin kung fu students, visiting Shaolin temple in 2007, 2012.
    [Show full text]
  • Him Mark Lai Papers, 1778-[On-Going] (Bulk 1970-1995)
    http://oac.cdlib.org/findaid/ark:/13030/kt7r29q3gq No online items Finding Aid to the Him Mark Lai Papers, 1778-[on-going] (bulk 1970-1995) Processed by Jean Jao-Jin Kao, Yu Li, Janice Otani, Limin Fu, Yen Chen, Joy Hung, Lin Lin Ma, Zhuqing Xia and Mabel Yang The Ethnic Studies Library. 30 Stephens Hall #2360 University of California, Berkeley Berkeley, California, 94720-2360 Phone: (510) 643-1234 Fax: (510) 643-8433 Email: [email protected] URL: http://eslibrary.berkeley.edu © 2003 The Regents of the University of California. All rights reserved. Finding Aid to the Him Mark Lai AAS ARC 2000/80 1 Papers, 1778-[on-going] (bulk 1970-1995) Finding Aid to the Him Mark Lai Papers, 1778-[on-going] (bulk 1970-1995) Collection number: AAS ARC 2000/80 The Ethnic Studies Library University of California, Berkeley Berkeley, California Contact Information: The Ethnic Studies Library. 30 Stephens Hall #2360 University of California, Berkeley Berkeley, California, 94720-2360 Phone: (510) 643-1234 Fax: (510) 643-8433 Email: [email protected] URL: http://eslibrary.berkeley.edu/ Collection Processed By: Jean Jao-Jin Kao, Yu Li, Janice Otani, Limin Fu, Yen Chen, Joy Hung, Lin Lin Ma, Zhuqing Xia and Mabel Yang Date Completed: May 2003 Finding Aid written by: Jean Jao-Jin Kao, Janice Otani and Wei Chi Poon © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Him Mark Lai Papers, Date: 1778-[on-going] Date (bulk): (bulk 1970-1995) Collection number: AAS ARC 2000/80 Creator: Lai, H. Mark Extent: 130 Cartons, 61 Boxes, 7 Oversize Folders199.4 linear feet Repository: University of California, BerkeleyThe Ethnic Studies Library Berkeley, California 94720-2360 Abstract: The Him Mark Lai Papers are divided into four series: Research Files, Professional Activities, Writings, and Personal Papers.
    [Show full text]
  • The Chinese Internal Martial Arts As Discourse, Aesthetics, and Cultural Trope (1850-1940)
    Strength From Within: the Chinese Internal Martial Arts as Discourse, Aesthetics, and Cultural Trope (1850-1940) By Pei-San Ng A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Chinese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Andrew F. Jones, Chair Professor Mark Csikszentmihalyi Professor Thomas W. Laqueur Fall 2016 1 Abstract Strength From Within: the Chinese Internal Martial Arts as Discourse, Aesthetics, and Cultural Trope (1850-1940) by Pei-San Ng Doctor of Philosophy in Chinese Language University of California, Berkeley Professor Andrew F. Jones, Chair My dissertation explores a cultural history of the body as reflected in meditative and therapeutic forms of the Chinese martial arts in nineteenth and early twentieth-century China. Precursors of the more familiar present-day taijiquan 太極拳 and qigong 氣功, these forms of martial arts techniques focus on the inward cultivation of qi 氣 and other apparently ineffable energies of the body. They revolve around the harnessing of “internal strength” or neigong 內功. These notions of a strength derived from an invisible, intangible, yet embodied qi came to represent a significant counterweight to sports, exercise science, the Physical Culture movement, physiology, and other Western ideas of muscularity and the body that were being imported into China at the time. What role would such competing discourses of the body play in shaping contemporary ideas of embodiment? How would it raise the stakes in an era already ideologically charged with the intertwined issues of nationalism and imperialism, and so-called scientific modernity and indigenous tradition? This study is an inquiry into the epistemological and ontological ramifications of the idea of neigong internal strength, tracing the popular spread of the idea and its impact in late Qing and Republican China vernacular discourse.
    [Show full text]