Zugl.: Hamburg, Univ., Diss., 2006

Zugl.: Hannover, Med. Hochsch., Habil.-Schr., 2000

Thesis (doctoral)--Universität, Hamburg, 2006.

Orientador : Prof. Dr. Wanderley Marchi Junior / Dissertaçao (mestrado) - Universidade Federal do Paraná, Setor de Ciencias Biológicas, Programa de Pós-Graduaçao em Educaçao Física. Defesa: Curitiba, 22/03/2013 / Bibliografia : fls. 157-164 / Área de concentraçao: Exercício e esporte / Resumo: Discutir atualmente a China e sua cultura parece algo bastante útil, principalmente em decorrência da sua posição econômica, que exerce uma impactante influência mundial. Para buscar trazer alguma luz sobre a China, fizemos uso de um marcante e elucidativo elemento de sua cultura, a sua arte marcial. Mais ainda, buscamos avançar neste processo tratando não do Kung Fu em seu berço de origem, mas sim, olhando-o em sua vertente contemporânea, oriunda do processo de disseminação deste em nosso país iniciado em fins da década de 1950. As dificuldades de transmissão e de apropriação se mostram marcantes, e se consolidam diante das inúmeras dificuldades adaptativas, seja em decorrência da língua, do pouco conhecimento dos brasileiros acerca desta arte marcial, ou ainda pela imposição de valores e preceitos difundidos vagamente pelos meios midiáticos. Assim, entender como os mestres pioneiros superaram estas problemáticas e conseguiram disseminar e consolidar esta prática marcial em nosso país é o principal questionamento de nosso trabalho, cuja resposta a própria fala destes mestres irá cotejar. Foram as suas memórias que recordaram as estratégias adotadas para transmitir o Kung Fu, e para discutirmos seus relatos fizemos uso das teorias sociológicas de Norbert Elias e de Pierre Bourdieu, bem como as interpretações de sinólogos contemporâneos. Para tanto, fizemos uso também da metodologia adotada pela História Oral para, através do uso de entrevistas, discutir com os cinco mestres pioneiros, o processo de disseminação do Kung Fu em nosso país, entendendo o Estado de São Paulo como um polo disseminador desta prática. Abordamos também o processo imigratório chinês ao Brasil desde os primeiros registros datados de 1812, discutindo ainda conceitos relacionados a relação do Oriente com Ocidente. Desta forma, o Kung Fu se torna elemento marcante para a compreensão da cultura chinesa que em nosso país se dissemina, bem como da própria China no cenário global. Concluímos que o fato destes mestres terem vivido em Hong Kong transformou-se num elemento facilitador tanto para a transmissão do Kung Fu quanto para a própria adaptação dos mesmos ao nosso país. Apontamos ainda que a generalização interpretativa de termos como arte marcial e mesmo Kung Fu merecem cuidados, haja vista possuírem significados muito mais amplos do que costumeiramente indicamos, e entendemos o Kung Fu como uma prática multifacetada, influenciada por aspectos culturais e históricos enfrentados pela própria China. Apontamos também que a linguagem corporal que permeia as práticas marciais se mostrou elemento bastante frutífero para superação de barreiras que poderiam dificultar a transmissão do Kung Fu no Brasil. Em adição, tratamos o Kung Fu como uma prática em processo, construindo-se assim da mesma forma que o próprio pensamento clássico chinês, sendo necessário para um olhar mais amplo, o significativo exercício de desconstrução de mitos, e do despojamento de elementos culturais consolidados na perspectiva mítica dos quais muitas artes marciais costumeiramente se apropriam. / Abstract: Currently discussing China and its culture seems something quite useful, especially as a result of their economic position, which has an impressive global influence. To get shed light on China, we made use of a striking and instructive element of their culture, their martial art. Furthermore, we seek to move forward trying not Kung Fu in his birthplace of origin, but, looking at him in his contemporary strand, derived from the spread of this process in our country started in the late 1950s. The difficulties in transmission and appropriation are shown striking, and consolidate in the face of numerous difficulties adaptive, whether as a result of language, little knowledge of the Brazilian martial art about this, or by the imposition of values and precepts vaguely broadcast media by the media. Thus, understanding how the masters and pioneers overcame these problems could spread and consolidate this martial practice in our country is the main question of our work, whose own response to these talks will collate masters. Their memories were recalled that the strategies adopted to transmit Kung Fu, and to discuss their reports made use of sociological theories of Norbert Elias and Pierre Bourdieu, as well as interpretations of contemporary Sinologists. For this purpose, we also use the methodology adopted for the Oral History, through the use of interviews, discussions with the five masters pioneers, the process of dissemination of Kung Fu in our country, understanding the state of São Paulo as a disseminator of this practice polo. We also approach the Chinese immigration process in Brazil since the earliest records dating from 1812, still discussing concepts related to the relationship with East West. Thus, the Kung Fu becomes striking element to the understanding of Chinese culture that is spreading in our country, as well as China itself on the global stage. We conclude that the fact that these masters have lived in Hong Kong became a facilitator for both the transmission of Kung Fu as to adapt them to own our country. We point out also that the widespread interpretation of terms such as martial arts and Kung Fu deserve even care, considering they have meanings much broader than usually indicated, and we understand the Kung Fu practice as a multifaceted, influenced by cultural and historical aspects faced by China itself. Also point out that body language that permeates practices martial element proved quite fruitful for overcoming barriers that could hinder the transmission of Kung Fu in Brazil. In addition, we treat it as a practice Kung Fu in the process, thus building up the same way as classical Chinese thought itself, being necessary to a broader view, the meaningful exercise of deconstructing myths, and the dispossession of cultural elements consolidated the mythical perspective of which many martial arts customarily appropriated.

Thesis (M. Sc.)--University of Hong Kong, 1992. / Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 1971. / Copy 2: MM14. Mimeographed. Also available on microfilm.

Thesis (M.A.)--University of Hong Kong, 1971. / Also available in print.

Thesis (M. Sc.)--University of Hong Kong, 1992.

Introduction: Wushu, Chinese martial art, consists of modern and traditional groups of styles. Previously it was researched that modern and traditional martial arts have different outcomes. Since traditional wushu is said to be rooted in Chinese values, its environment is a unique place to research psychological collectivism. Moreover, mental toughness is a new topic in the field of martial arts, and its connection with psychological collectivism was only researched on the society, not personality level. Methods: This mixed methods research consisted of qualitative Study 1 and quantitative Study 2. Study 1 aimed to understand, what is the experience of psychological collectivism in traditional wushu training. Semi-structured interviews were conducted with eight European adult participants of traditional wushu and were analyzed using Interpretative Phenomenological Analysis. In the Study 2, 277 European adult respondents (111 modern wushu and 166 traditional wushu practitioners) filled in the Sport Mental Toughness Questionnaire and Psychological Collectivism Questionnaire. To research the relationship of practicing modern or traditional wushu with psychological collectivism and mental toughness, several steps were taken. First, the Exploratory and Confirmatory Factor Analysis were run to test both models. Next, the final model was tested using Structural Equation Modelling. Model comparisons, path analysis and effects were completed. Results: In Study 1, five themes emerged from the data. The first described how kung fu (traditional wushu) provided structure and direction for the interviewees. Also, it described how practitioners better adapted to the outer world and their ability to switch from being gentle to being ruthless. The second theme described perception of time. The third one explored the kung fu community, provided a probe into the group identity, and looked at how positioning closer to the master provided better learning options; the community served as the knowledge keeper. The fourth theme explored bridging gaps in communication. Finally, the fifth theme discovered seriousness of the practitioners, who had to endure mentally and physically torturous training. In Study 2, during the structural equation modeling the final model was confirmed as well as differences in the two groups of modern and traditional wushu. Moreover, it was found, that the number of joined competitions or years of training did not result in a significant path with mental toughness, but perceived level of skill did. The relationship between psychological collectivism and mental toughness was found only in the traditional wushu group, limited to a marginal p level. Conclusion: Psychological collectivism was explored in traditional wushu and helped to understand the structure and functioning of the wushu community. The seriousness of its members served as a commodity, to negotiate better position in the group. In the quantitative study, this seriousness seemed to be connected with the perceived level of skill. This variable resulted in the significant path with mental toughness. It is suggested that the social environment of the serious practitioners, who put themselves through demanding training, helped to develop mental toughness. This development is not based on the number of years in training, but rather on the way the practitioners perceive themselves.

Kung fu is a cinematic genre investing on the discourse of the “real”. From Kwan Tak Hing, Bruce Lee, Jacky Chan, Jet Li to Donnie Yen, cinematic representations of kung fu are inextricably intertwined with realism – real techniques, real fighting and real body. This paper is a theoretical reflection of “real kung fu” as a cultural imaginary and its transfiguration since the 1950s. The discussion will focus on recent developments of the genre in two major industries – digitalization of kung fu in Hollywood and recent return of kung fu masters in Hong Kong through coproduction. Through a parallel analysis of kung fu productions in a global context, this project outlines and predicts possible reinventions of the genre in the first decade of the 21st century. On the one hand, the notion of “real kung fu” is reinvented by digital technology. By applying Jean Baudrillard’s idea of “simulacra and simulation” to the context of kung fu cinema, Leon Hunt’s tripartite scheme of authenticity and Edward Said’s Orientalist discourse are (de/re)constructed in an age of digital production. Through a scrutiny of The Matrix (1999) and Kung Fu Panda (2008), I will demonstrate that the convergence of digital cinema and digital gaming creates a new spectatorship that redefines kung fu with an alternative understanding of body, time and space. On the other hand, the Ip Man trilogy (2008-2010) and Legend of the Fist: The Return of Chen Zhen (2010) show that there is a possible return of kung fu masters in local martial arts co-productions. Instead of a nostalgic return to the established genre in the 1970s, these realist kung fu films reinvent the genre by synthesizing different paradigms of realist styles and renegotiating the longstanding difficult relationship between nationalism and modernity. / published_or_final_version / Comparative Literature / Master / Master of Philosophy