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Japanese Women, Hong Kong Films, and Transcultural Fandom
SOME OF US ARE LOOKING AT THE STARS: JAPANESE WOMEN, HONG KONG FILMS, AND TRANSCULTURAL FANDOM Lori Hitchcock Morimoto Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Communication and Culture Indiana University April 2011 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _______________________________________ Prof. Barbara Klinger, Ph.D. _______________________________________ Prof. Gregory Waller, Ph.D. _______________________________________ Prof. Michael Curtin, Ph.D. _______________________________________ Prof. Michiko Suzuki, Ph.D. Date of Oral Examination: April 6, 2011 ii © 2011 Lori Hitchcock Morimoto ALL RIGHTS RESERVED iii For Michael, who has had a long “year, two at the most.” iv Acknowledgements Writing is a solitary pursuit, but I have found that it takes a village to make a dissertation. I am indebted to my advisor, Barbara Klinger, for her insightful critique, infinite patience, and unflagging enthusiasm for this project. Gratitude goes to Michael Curtin, who saw promise in my early work and has continued to mentor me through several iterations of his own academic career. Gregory Waller’s interest in my research has been gratifying and encouraging, and I am most appreciative of Michiko Suzuki’s interest, guidance, and insights. Richard Bauman and Sumie Jones were enthusiastic readers of early work leading to this dissertation, and I am grateful for their comments and critique along the way. I would also like to thank Joan Hawkins for her enduring support during her tenure as Director of Graduate Studies in CMCL and beyond, as well as for the insights of her dissertation support group. -
Strategic Representations of Chinese Cultural Elements in Maxine Hong Kingston's and Amy Tan's Works
School of Media, Culture and Creative Arts When Tiger Mothers Meet Sugar Sisters: Strategic Representations of Chinese Cultural Elements in Maxine Hong Kingston's and Amy Tan's Works Sheng Huang This thesis is presented for the Degree of Doctor of Philosophy of Curtin University December 2017 Declaration To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Signature: …………………………………………. Date: ………………………... i Abstract This thesis examines how two successful Chinese American writers, Maxine Hong Kingston and Amy Tan, use Chinese cultural elements as a strategy to challenge stereotypes of Chinese Americans in the United States. Chinese cultural elements can include institutions, language, religion, arts and literature, martial arts, cuisine, stock characters, and so on, and are seen to reflect the national identity and spirit of China. The thesis begins with a brief critical review of the Chinese elements used in Kingston’s and Tan’s works, followed by an analysis of how they created their distinctive own genre informed by Chinese literary traditions. The central chapters of the thesis elaborate on how three Chinese elements used in their works go on to interact with American mainstream culture: the character of the woman warrior, Fa Mu Lan, who became the inspiration for the popular Disney movie; the archetype of the Tiger Mother, since taken up in Amy Chua’s successful book Battle Hymn of the Tiger Mother; and Chinese style sisterhood which, I argue, is very different from the ‘sugar sisterhood’ sometimes attributed to Tan’s work. -
Cai Li Fo from Wikipedia, the Free Encyclopedia (Redirected from Choy Lee Fut)
Cai Li Fo From Wikipedia, the free encyclopedia (Redirected from Choy Lee Fut) Cai Li Fo (Mandarin) or Choy Li Fut (Cantonese) (Chinese: 蔡李佛; pinyin: Cài L! Fó; Cantonese Yale: Choi3 Lei5 Fat6; Cai Li Fo aka Choy Lee Fut Kung Fu) is a Chinese martial art founded in Chinese 蔡李佛 [1] 1836 by Chan Heung (陳享). Choy Li Fut was named to Transcriptions honor the Buddhist monk Choy Fook (蔡褔, Cai Fu) who taught him Choy Gar, and Li Yau-San (李友山) who taught Mandarin him Li Gar, plus his uncle Chan Yuen-Wu (陳遠護), who - Hanyu Pinyin Cài L! Fó taught him Fut Gar, and developed to honor the Buddha and - Wade–Giles Ts'ai4 Li3 Fo2 the Shaolin roots of the system.[2] - Gwoyeu Romatzyh Tsay Lii For The system combines the martial arts techniques from various Cantonese (Yue) [3] Northern and Southern Chinese kung-fu systems; the - Jyutping Coi3 Lei5 Fat6 powerful arm and hand techniques from the Shaolin animal - Yale Romanization Kai Li Fwo forms[4] from the South, combined with the extended, circular movements, twisting body, and agile footwork that characterizes Northern China's martial arts. It is considered an Part of the series on external style, combining soft and hard techniques, as well as Chinese martial arts incorporating a wide range of weapons as part of its curriculum.[5] Choy Li Fut is an effective self-defense system,[6] particularly noted for defense against multiple attackers.[7] It contains a wide variety of techniques, including long and short range punches, kicks, sweeps and take downs, pressure point attacks, joint locks, and grappling.[8] According to Bruce Lee:[9] "Choy Li Fut is the most effective system that I've seen for fighting more than one person. -
Download Issue
ISSUE 10 EDITORS Fall 2020 Paul Bowman ISSN 2057-5696 Benjamin N. Judkins MARTIAL ARTS STUDIES EDITORIAL PAUL BOWMAN & BENJAMIN N. JUDKINS Five Years and Twelve Months that Changed the Study of Martial Arts Forever ABOUT THE JOURNAL Martial Arts Studies is an open access journal, which means that all content is available without charge to the user or his/her institution. You are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles in this journal without asking prior permission from either the publisher or the author. The journal is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. Original copyright remains with the contributing author and a citation should be made when the article is quoted, used or referred to in another work. C b n d Martial Arts Studies is an imprint of Cardiff University Press, an innovative open-access publisher of academic research, where ‘open-access’ means free for both readers and writers. cardiffuniversitypress.org Journal DOI 10.18573/ISSN.2057-5696 Issue DOI 10.18573/mas.i10 Accepted for publication 30 October 2020 Martial Arts Studies Journal design by Hugh Griffiths MARTIAL issue 10 ARTS STUDIES FALL 2020 1 Editorial Five Years and Twelve Months that Changed the Study of Martial Arts Forever Paul Bowman and Benjamin N. Judkins ARTICLES 9 Tàolù – The Mastery of Space Daniel Mroz 23 Marx, Myth and Metaphysics China Debates the Essence of Taijiquan Douglas Wile 40 Rural Wandering Martial Arts Networks and Invulnerability Rituals in Modern China Yupeng Jiao 51 The Construction of Chinese Martial Arts in the Writings of John Dudgeon, Herbert Giles and Joseph Needham Tommaso Gianni 66 The Golden Square Dojo and its Place in British Jujutsu History David Brough 73 Wrestling, Warships and Nationalism in Japanese-American Relations Martin J. -
Petit Guide Des Pratiques Martiales
Petit guide des pratiques martiales. Antoine Thibaut Avant propos Les pratiques martiales qu’il s’agisse d’arts martiaux, de sports de combats ou de méthodes de self défense sont un élément important de l’histoire de l’humanité. Au même titre que des choses comme la musique, la cuisine, la peinture… ils sont le fruit de sociétés et d’époques et ont évolué au fil du temps. Or, si aujourd’hui en parlant de pratiques martiales on se limite souvent aux simples arts martiaux du Japon, de la Chine de la Corée et de l'Europe de l’ouest voire de l'Asie du sud est, on trouve des pratiques martiales sur tous les continents et beaucoup d’entre elles sont méconnues. Le présent livret a pour but de vous amener à la découverte de manière très succincte d’un certain nombre de pratiques plus ou moins connues. Loin d’être exhaustif, il cherche simplement à être un point de départ pour attiser votre curiosité concernant le monde très vaste et riche des pratiques martiales. De pratiques connues comme le judo japonais à d’autres bien plus confidentielles comme le donga éthiopien, vous devriez découvrir un monde plus vaste que celui que vous imaginiez. Créé à l’occasion des 6 ans de « L’Art de la voie » il sera disponible gratuitement en téléchargement sur le site et mis à jour régulièrement. 2 Aïkido Origines: Lieu: Japon Date: 1930-1960 Fondateur: Moriheï Ueshiba (1877-1969) Bref historique : Si l’aïkido est d’origine récente (XXème siècle) ses racines sont très anciennes. -
Struktura Stylů V Kung-Fu“ a Pokusím Se Rozdělit Jednotlivé Styly Čínského Bojového Umění Kung-Fu
ÚVOD Ve své bakalářské práci se budu zabývat problematikou na téma „Struktura stylů v kung-fu“ a pokusím se rozdělit jednotlivé styly čínského bojového umění kung-fu . Co mě k tomu vedlo? Byl to především nedostatek informací o obsáhlejším, systematickém a současně jasném rozdělení, pokud možno co největšího počtu stylů čínského kung-fu , v česky psané literatuře. Dalším důvodem je skutečnost, že již několik let toto bojové umění praktikuji, a přestože mne tato problematika zajímá a rád bych se v ní orientoval, neustále se mi těchto informací nedostává. Zároveň vím, že existuje mnoho lidí, kteří by si rádi udělali představu o tom, jak jednotlivé styly zařadit. A právě těm by přečtení mé práce mohlo obzvlášť pomoci. Na našem trhu existuje množství publikací. Některé jsou úzce specializované na jeden styl, jiné jsou zase příliš všeobecné, zaobírající se nejrůznějšími bojovými systémy světa bez jejich hlubšího zkoumání. Ale nesetkal jsem se s takovou literaturou, která by obsahovala ucelený přehled stylů a jejich zařazení v rámci systému bojového umění kung-fu. Navíc se různí autoři, popisující stejné styly, dost často názorově rozchází. Předpokládám, že z těchto důvodů se mi všechny styly zařadit nepodaří. K tomu, aby bylo možno jednotlivé styly v rámci čínského bojového umění kung-fu strukturovat, je nutno si utvořit představu o historii boje lidstva všeobecně, abychom viděli kung-fu v širších souvislostech, ne pouze jako izolovaný systém. Dále je nutné znát historii samotného bojového umění kung-fu kvůli pochopení hlubších souvislostí nejen mezi jednotlivými styly, ale také o jejich provázanosti s kulturou, geografickou polohou atd., které hrají důležitou roli při rozdělení stylů. -
The Mastery of Space Daniel Mroz
A professor in the Theatre Department of the University of Ottawa CONTRIBUTOR since 2005, Daniel Mroz is director of the BFA program in stage acting and the MFA program in directing for the theatre. In the 1990s, he apprenticed as an actor with director Richard Fowler. In the early 2000s he earned his Doctorat en études et pratiques des arts from l’Université du Québec à Montréal. Daniel has directed in Canada and the United States and taught actors, directors, dancers and choreographers in Canada, the United States, Great Britain, France, the Netherlands, Denmark, and China. His scholarly and artistic work focusses on the use of Chinese martial arts and physical culture in contemporary theatre and dance. He is a long-time practitioner of the Chinese martial arts including Choy Li Fut Kuen 蔡李佛拳, Tong Ping Taigek Kuen 唐鹏太极拳, Chén Tàijíquán 陈太极拳 and 武当swordplay. His principal teacher is Tàijíquán 陈中华. Daniel Mroz is the author of The Dancing Word, a book about the Chinese martial arts in the creation of contemporary theatre, published by Brill (2011). Tàolù THE MASTERY OF SPACE DANIEL MROZ DOI ABSTRACT 10.18573/mas.111 This paper explores the experience of space afforded by the practice of tàolù 套路, the prearranged movement patterns of the Chinese martial arts. It examines the roots of tàolù in Chinese martial preparation, religious self-consecration and theatrical performance. It develops the structure and phenomenology of KEYWORDs this practice with special attention to its exponents’ perceptions of negative space. Following an interdisciplinary approach, the Chinese martial arts, author contextualizes embodied, martial knowledge in terms of tàolù, theatre, religious Chinese social history, theatre and religious praxis. -
The First International Wushu Competition Was Held
The United States Plum Blossom Federation Competes in Xuwen China Report by Sifu Alan B. Hubbard Eastern Ways Martial Arts, Sacramento, CA The First International Xuwen Huajian Garden Cup Wushu Invitational Tournament was held August 5 and 6 2006 in Xuwen China in the Guangdong Province, an unlikely yet fitting place for such a significant competition. Xuwen is located on the most southern tip of mainland China, and it has been said that Xuwen is the start of the Chinese civilization. Even more unlikely is that a team from the other side of the world could attend this event and compete with such success. Grand Opening of Chan Heung’s House After Renovation The Plum Blossom International Federation team made this happen under the leadership of the Plum Blossom Federation founder Grandmaster Doc-Fai Wong. The Plum Blossom Group brought 48 members from the United States and United Kingdom traveled through Hong Kong and met the China’s Plum Blossom members (a total 50 of us), and then traveled by bus to King Mui (Jing Mei), a village of the Xinhui district of Jiangmen city in Guangdong province, China. This is the birthplace of the Choy Li Fut founder, Chan Heung. We arrived there on August 3rd to a warm welcome from the people of the small village. This was the 200th birthday of the founder and a huge celebration was planned and executed at the original home and the original training hall of Chan Heung. The villagers say that it has never rained on Chan Heung’s birthday so there was little concern or preparation for rain. -
Copyright © Ronald James Dziwenka 2010 a Dissertation
‘THE LAST LIGHT OF INDIAN BUDDHISM’ - THE MONK ZHIKONG IN 14TH CENTURY CHINA AND KOREA by Ronald James Dziwenka ______________________ Copyright © Ronald James Dziwenka 2010 A Dissertation Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Ronald James Dziwenka entitled ‘The Last Light of Indian Buddhism’ – The Monk Zhikong in 14th Century China and Korea and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy ________________________________________________Date: March 5, 2010 Jiang Wu ________________________________________________Date: March 5, 2010 Chia-lin Pao Tao ________________________________________________Date: March 5, 2010 Noel Pinnington ________________________________________________Date: March 5, 2010 Yetta Goodman ________________________________________________Date: March 5, 2010 Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and Recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________Date: March 5, 2010 Dissertation Director: Jiang Wu 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. -
Programa Básico De Iniciación Zhong Guo Wushu-Kung Fu Choy Lee Fut Ng Lun Ma & Chui
PROGRAMA BÁSICO DE INICIACIÓN ZHONG GUO WUSHU-KUNG FU (CHOY LEE FUT) Prohibida la reproducción total o parcial de este libro/manual, así como su tratamiento informático, la transcripción de alguna forma o por cualquier medio, ya sea electrónico, mecánico, por fotocopia, por registro u otros métodos, sin el permiso previo y por escrito de los titulares del copyright. E-mail: [email protected] http://www.taichichuanoficialmurciawushu.com/ Materia específica para Wushu - Kung Fu Choy Lee Fut LA FRONTERA ENTRE LO INTERNO Y LO EXTERNO REFERENCIAS A NG LUN MA TAOLU Y EL EFECTO DEL QIGONG WAI-DAN (Chi Kung Weai – Tan o “elixir externo del Chi Kung”) EFECTO DEL VACÍO: Durante toda la forma de la rueda de cinco caballos del monje Choy Fook, en el Wushu - Kung-Fu Choy Lee Fut, aunque no se es consciente en los niveles técnicos iniciales de estudiante; se estimulan y proporcionan grandes beneficios tanto en el campo físico- energético, como en el refuerzo del campo mental-emocional y psicológico. Esta postura básica “SEI PING MA o MABU” que constituye la llave maestra o puerta fundamental, no se diferencia mucho de las similares de otros estilos o sistemas del Wushu - Kung-Fu, pero se caracteriza porque en su trabajo específico, se “crea el vacío al Xia DanTian (Sie Tan Tien o Campo de Cinabrio inferior) , provocando así un efecto fuelle de llamada energética de Qi hacia el QIHAI (Océano de Qi) y, así; con el trabajo de la cintura se permite y proyecta el Qi para que se expanda por todo el cuerpo.