Aikido and the Harmony of Nature by Mitsugi Saotome

By Mitsugi Saotome

Here's a special approach to the lessons of the founding father of Aikido, Morihei Ueshiba, as interpreted through his direct pupil of fifteen years. Mitsugi Saotome examines the religious philosophy of the Founder, the warrior beliefs of feudal Japan because the foundation of his martial arts philosophy, and the medical rules underlying the philosophy of Aikido technique.

The writer exhibits that the actual circulate of Aikido is the embodiment of rules of the spirit. unfavorable strength isn't really countered with aggression yet is managed and redirected during the energy and stability of spiral flow. this is often the form of Aikido and the dynamic form on the beginning of all energies of life. Aikido move can basically be understood from its roots in common legislation and the tactics of nature. The honest perform and research of Aikido deepens our appreciation for the perfection of nature's stability and brings us again into concord with the environment, people, and ourselves.

Abundantly illustrated with the author's drawings, diagrams, and calligraphies, in addition to images demonstrating Aikido innovations, the ebook additionally bargains a background of Aikido, own anecdotes concerning the Founder, and translations of a number of of his lectures.

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According to Butler, it is common for historical reception scholars to extrapolate meanings from secondary sources which may or may not accurately represent the perceptions of real audiences. However, is there a ‘real’ audience in film studies? If the writings of critics and columnists cannot be equated with the opinions of ‘actual viewers’, empirical audience research is similarly unable to offer a reliable access to ‘real audiences’ because respondents’ personal investments and researchers’ mediations and distortions always exist.

As Yingjin Zhang puts it, ‘the meaning of Chiau’s [Chow] nonsense or irrationality derives from its outrageous deconstruction of reason and nonsense and its staging of a carnival subversion of normality and decency’ (2004: 263). Despite not being a martial arts star, Chow contributed to the popularity of new wuxia films by starring in numerous wuxia comedies such as Justice, My Foot (Johnnie To, 1992), Royal Tramp (Ching Siu-tung and Wong Jing, 1992), Royal Tramp II, King of Beggars (Gordon Chan, 1992), and Flirting Scholar (Lik-chi Lee, 1993).

In an area that is predominantly defined by appeal, pleasure and identification, audience reception is as important as the film to our understanding of star image. The audience ‘is also part of the making of the image’ (Dyer 1986: 5), not simply something manipulated or controlled by marketing strategies of the industry. This especially applies to a transnational star like Jet Li, who appeals to diverse audiences around the world: it is often the position of the audience rather than the film itself that decides Li’s meanings for audiences in different cultural and historical contexts.

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