Orientador: Carlos José Martins / Resumo: As antigas artes marciais, sobretudo aquelas de origem japonesa, não possuem um acervo escrito que permita asseverar seguramente sua gênese. Seu conteúdo histórico ainda é transmitido de forma oral, por meio da “relação mestre-discipulo”, tal como no passado. Com o Karatê não é diferente, ainda que sua origem tenha se dado no arquipélago de Ryūkyū. Nesse contexto, essa narrativa que se inicia em Okinawa, passa pelas influências oriundas da China e Japão, segue pela escolarização, pela esportivização, pela chegada ao Brasil e pelas contribuições das Tecnologias de Informação e Comunicação (TIC) no alto rendimento foi amplamente apresentada. A metodologia utilizada foi a qualitativa, do tipo “Não Probabilística” e por “Tipicidade”, utilizando a escala do tipo “Likert” e o aplicativo de acesso remoto do tipo “SaaS”, o “Google Drive”. Com relação às tecnologias, os resultados revelaram que os professores/técnicos e atletas possuem pouco conhecimento das ferramentas - aplicativos e softwares – que podem contribuir em seus treinamentos, ainda que façam uso, em larga escala, das formas básicas da tecnologia. Existe, contudo, um desejo e uma expectativa considerável por novos conhecimentos que possam auxiliar no desempenho / Abstract: The ancient martial arts, especially those of Japanese origin, do not have a written collection that can safely assert its genesis. The historical content is still transmitted orally "master-disciple relationship" as in the past and with Karate is no different, although its origin happened in the archipelago gave Ryūkyū. In this context, a narrative that begins in Okinawa, passes through influences from China and Japan, followed by schoolarization, sportivization, arrival in Brazil and contributions of TIC in high performance were widely presented. The methodology used was qualitative, of the type "No Probabilistic" and "Typicity", using the "Likert" type scale, and the "SaaS" remote access application, Google Drive. Regarding technologies, the results revealed that teachers/coachs and athletes have a low knowledge of the tools - applications and software - that can contribute to their training, even if they use, in large scale, basic forms, however, there is a desire and a considerable expectation for new knowledge that may aid in performance / Doutor

L’objectif de cette thèse était d'évaluer la force d’impact dans des conditions proches de la pratique des Sports de Combat et des Arts Martiaux (SCAM) à l'aide d'un ergomètre composé d’un bloc-cible instrumenté avec un accéléromètre et un dynamomètre, et monté sur une lame flexible fixée verticalement sur le sol. La force d'impact a été calculée à partir des trois composantes mesurées par le dynamomètre, d'une part, et à partir de l'accélération du bloc-cible, grâce à un modèle mécanique original, d'autre part. Les mesures dynamiques ont été associées à des mesures cinématiques 3D à haute vitesse afin de caractériser les gestes de frappe de quatre boxeurs en situation d'entraînement, et d'en identifier les paramètres d'optimisation : gamme des énergies cinétiques pic et incidente du membre supérieur, gamme des pics de force d’impact, et forces intra articulaires au poignet, au coude et à l'épaule, calculées par dynamique inverse. Parallèlement, l’évaluation mécanique de quelques protections de boxe française (gants et bandages) et de karaté (gants, protège-pieds et protège-tibias) a montré que le test défini par la norme NF EN 13277-2 était insuffisant pour caractériser leurs propriétés amortissantes. Les résultats des mesures en situation et en laboratoire ont mis en évidence la qualité discutable de certains gants de boxe française et l'absence d’effet protecteur des bandages. La Fédération Française de Boxe Française (FFSBFDA) doit encore tirer toutes les conclusions de ces résultats. Les résultats des protections de karaté ont permis à la Fédération Française de Karaté (FFKDA) d'en définir les caractéristiques souhaitables, qui ont été approuvées par la Fédération Mondiale de Karaté (WKF). Au-delà de ces conséquences pratiques, la cible-ergomètre conçue, fabriquée et mise en oeuvre dans cette thèse, et le modèle mécanique associé présentent des avantages expérimentaux et ergonomiques qui ouvrent des perspectives d’évaluation de la force d'impact de nombreuses techniques de frappe utilisées dans les Sports de Combat et les Arts Martiaux. / The purpose of this thesis was to assess the impact force in conditions close to the practice of Fighting Sports and Martial Arts using an ergometer composed of a target-block instrumented with an accelerometer and a dynamometer, and mounted on a flexible lath vertically fixed on the floor. The impact force was computed from the three components measured by the dynamometer, and also from the acceleration of the target-block, using an original mechanical model. The dynamic measurements have been combined with those of a 3-D high speed kinematic analysis in order to characterize the striking movements of four French Boxers in training conditions, and to identify their optimization parameters : range of maximal and incident linear kinetic energies, range of impact force peaks, and joint forces at the wrist, the elbow and the shoulder, computed by inverse dynamics. Concurrently, the mechanical evaluation of some protective gears for French Boxing (gloves and handwraps) and Karate (gloves, leg-protections and shin protections) has shown that the test defined by the NF EN 13277-2 norm was not sufficient for assessing their damping properties. The results of practice and laboratory measurements exhibited the doubtful quality of some French Boxing gloves and the lack of damping effect of handwraps. The French Federation of French Boxing (FFSBFDA) should still draw all the conclusions of these results. The results of the Karate protective gears have allowed the French Karate Federation (FFKDA) to define their desirable characteristics, which have been approved by the World Karate Federation (WKF). Beyond these practical outcomes, the striking ergometer, designed, built and used in this thesis, and the associated mechanical model have / possess experimental and ergonomic advantages, which open wide perspectives for assessing the impact force of many striking techniques used in Fighting Sports and Martial Arts.

Athletes competing in the unarmed combat sport of mixed martial arts (MMA) are at an increased risk for long-term neurological consequences due to repetitive head trauma. Mass differentials as well as reported differences in fight styles between Lightweight and Heavyweight fighters in MMA may affect head impact kinematics creating different levels of head injury risk. Factors that influence the risk for head injury include the frequency, magnitude and interval of head impacts. The purpose of this study was to compare differences in frequency, frequency distribution of impact magnitudes, and time interval between head impacts per match between Lightweight and Heavyweight fighters in the Ultimate Fighting Championship (UFC). Head impacts of 60 fighters were documented from 15 Lightweight and 15 Heavyweight MMA fight videos. Impact type, frequency, and interval were recorded for each fighter, followed by the reconstruction of 345 exemplar impacts in the laboratory using a Hybrid III headform and finite element modeling to determine impact magnitudes. Next, head impacts (punches, kicks, knees and elbows) from fight videos were visually estimated to determine their corresponding magnitude range and establish the frequency distribution of impact magnitudes. The study revealed no significant differences in overall impact frequency and interval between Lightweight and Heavyweight fighters. The frequency distribution of different impact magnitudes was significantly different, with Lightweights sustaining significantly more Very Low, and High magnitude impacts. Overall, both Lightweight and Heavyweight MMA fighters sustain similar impact characteristics as other high-risk athletes including professional boxers and football players. Understanding the different factors that create brain trauma allows for the monitoring, identification, and protection of higher-risk athletes within these two weight classes.

My project tells the origins of the Cracker Kung-Fu system through personal narrative and government documents. The personal combat methods of the system are shown and described. The Tire Iron Form, or set of movements, is shown in its entirety, and each martial application is shown.

<p>Denna uppsats fokuserar på King Hus actionestetik och den montagekonstruerade rörelsen, enligt en konkret syftesformulering som lyder: Att öka förståelsen för King Hus estetiska val genom att belysa vissa rytmiska rörelsetendenser, såsom en konstruktion av filmens montage, och dess relation till två vitt skilda konstyttringar, med dessa avses Pekingoperan och cinéma pur. Ledande tes genom uppsatsen är att Hus visuella stil visserligen är starkt präglad av ett personligt intresse och en djup förståelse för estetiska normer i Pekingoperan, men att han samtidigt genom ett skickligt utnyttjande av cinematiska tekniker skapar en alldeles unik version av kinesisk estetik, som måste förstås som specifik för filmmediet. Sammantaget är förhoppningen att resultatet skall bidra till avmarginaliseringen av Hu som förvaltare till en förment essens av traditionell kinesisk kultur. Metoden består i en jämförande analys av rörligt bildmaterial i två steg, som illustrativ modell och teoretisk ingång till rörelsebegreppet tillämpas Heinrich von Kleists marionett och i dess förlängning även Sergei Eisensteins biomekaniska rakurs.</p><p>Min analys leder mig till slutsatsen att den rytmiska rörelsen i Hus actionscener har starka likheter med såväl Pekingoperan som cinéma pur, och jag vill på grundval av detta föreslå att Hu snarare bör förstås som en nyskapare av kinesisk estetik, då han positionerar sig någonstans mellan traditionalism och modernism genom att skapa en estetisk jämvikt mellan teater och film där ingenderas legat går förlorad.</p>

<p>Abstract</p><p>Purpose / Aim: The purpose of this study is to find out why people look at K-1. I wanted to investigate what it was about looking at televised martial arts, specifically K-1, that attracts peoples attention and interest, and what it needs it satisfies within the viewer.</p><p>Material / Method: This study consists of three separate parts, where I investigate and analyse the producer side of K-1, the receiver side, and the program in itself as a media text. For the producer part I performed interviews with the chairman of K-1 Sweden, the production manager at Eurosport Sweden and the Eurosport K-1 commentator. As for the receivers I interviewed six people who watch K-1 more or less regularly, in order to find out why the watch the show and what it gives them. The program text analysis I performed on two K-1 programs from Eurosport, and I based it on previous studies done of similar and other kinds of programs. After the separate analysises I discussed the different results in an overarching analysis.</p><p>Main Results: There are several main reasons for watching K-1 on TV. The reasons for watching vary between different persons, but it also vary inside one person depending on different outer and inner circumstances. The most important reasons for watching is to get excitement and as an outlet of inner needs, like cleansing of suppressed feelings of aggression and hostility. In different circumstances people watch K-1 to get pleasure and relaxation. One thing that makes it more interesting to watch is that you often identify either with individual fighters or with a “martial arts identity”. This can also hold a social function, for example in terms of watching the show together.</p>

Jackie Chan has had a long and consistently successful career in the entertainment industry, becoming the most universally recognized Chinese performer, second only perhaps, to Bruce Lee. His rags-to-riches path to stardom has been well documented and oft quoted. At a time when all the up-and-coming martial arts actors felt the pressure to be carbon copies of Bruce Lee, Chan made his mark on the screen by making his persona everything that Lee?s wasn?t. With 1978?s Snake in the Eagle?s Shadow and Drunken Master, Chan?s revolutionary comic and realistic persona was firmly established with audiences. Throughout the 80s and 90s, Chan remained undeniably the biggest star in the East, demonstrating wild popularity in not only Asia, but throughout Europe and Africa as well. After several failed attempts at breaking into the American market, Chan finally achieved success with 1998?s Rush Hour. Unfortunately, success in the West has come with strict limitations placed on the characters he has been allowed to play. These limitations most often manifest themselves in the sexuality and morality of the characters, as well as the dramatic opportunities available to Chan within the films. In order to keep Chan?s vast filmography ? which has recently seen him sign on to his 100th leading role ? I have separated it into three distinct stages. The first stage of his career begins with his groundbreaking turn in Snake in the Eagle?s Shadow and ends with his last Asian film before successfully breaking into Hollywood, 1998?s Who am I?. From this point on, his career takes two distinct paths: the path in Hollywood, beginning with Rush Hour, and the path in Asia, which begins with 1999?s Gorgeous. Each stage features distinct characteristics and trends with rare digression. I will provide examples from a selection of films within each stage of his career in order to clarify the traits and characteristics of the roles he has taken in each one. The purpose of this thesis is twofold. First and foremost, it will reveal the extent to which Chan faces negative stereotyping in the United States by clearly offering the contrasting positive representations he is able to achieve overseas. The second aim, which has naturally arisen from the workings of the first, is a critical look at a career that has found its actor bored with the kinds of films that have brought him worldwide fame.

Abstract Purpose / Aim: The purpose of this study is to find out why people look at K-1. I wanted to investigate what it was about looking at televised martial arts, specifically K-1, that attracts peoples attention and interest, and what it needs it satisfies within the viewer. Material / Method: This study consists of three separate parts, where I investigate and analyse the producer side of K-1, the receiver side, and the program in itself as a media text. For the producer part I performed interviews with the chairman of K-1 Sweden, the production manager at Eurosport Sweden and the Eurosport K-1 commentator. As for the receivers I interviewed six people who watch K-1 more or less regularly, in order to find out why the watch the show and what it gives them. The program text analysis I performed on two K-1 programs from Eurosport, and I based it on previous studies done of similar and other kinds of programs. After the separate analysises I discussed the different results in an overarching analysis. Main Results: There are several main reasons for watching K-1 on TV. The reasons for watching vary between different persons, but it also vary inside one person depending on different outer and inner circumstances. The most important reasons for watching is to get excitement and as an outlet of inner needs, like cleansing of suppressed feelings of aggression and hostility. In different circumstances people watch K-1 to get pleasure and relaxation. One thing that makes it more interesting to watch is that you often identify either with individual fighters or with a “martial arts identity”. This can also hold a social function, for example in terms of watching the show together.

Background: In the martial art of Muay Thai, techniques are used with hands, elbows, knees and kicks. The contestants are divided into different weight classes and experience levels. The Swedish martial arts association has decided that techniques with elbow are not allowed in B-class. Why is it so? Objective: The aim of this study was to investigate whether the martial arts delegation decision to restrict techniques with elbows to the head in the B-class is justified. To do this, comparison of peak force and impulse between elbow techniques and already authorized techniques with hand and kick was compared. Method: Ten Muay Thai practitioners of high class (Class A and Class B) hit a punching bag fitted with a triaxial accelerometer. The force was calculated by multiplying the mass of the bag with acceleration resultant. The peak force was taken out and compared between the techniques. A high-speed camera was used to record the techniques. The contact time was calculated through video analysis and through analyzing the power data of the techniques. The contact time was used to calculate the impulse. Results: Peak force for technique with the hand was 135 (SD 757) N greater than for technique with elbow. Peak force for technique with kick was 348 (SD 835) N less than the technique with elbow. The differences were not statistically significant. For impulse calculated by video analysis, technique with hand was 18 (SD 13) Ns greater than for technique with elbow and technique with kick was 13 (SD 27) Ns greater than for technique with elbow. Analysis of the force data showed the same trend. Technique with hand was 14 (SD 9) Ns greater than technique with elbow and technique with kick was 4 (SD 19) Ns greater than for technique with elbow. Impulse difference between hand techniques and elbow techniques was statistically significant. Conclusion: Techniques with elbow does not generate statistically significantly greater peak force or impulse than already permitted techniques. The martial arts delegation decision should be reviewed. / Bakgrund: Inom kampsporten Muay Thai används tekniker med händer, armbågar, knän och sparkar. De tävlande delas in i olika viktklasser och erfarenhetsklasser. Svenska kampsportsdelegationen har beslutat att armbågstekniker inte får användas inom B-klass. Varför är det så? Syfte: Syftet med studien var att undersöka ifall kampsportsdelegationens beslut om att begränsa tekniker med armbågar mot huvudet i B-klass är berättigad. För att göra detta jämfördes maxkraft och impuls mellan armbågstekniken och redan tillåtna tekniker med hand och spark. Metod: Tio Muay Thai utövare av hög klass (klass A och klass B) slog mot en boxningssäck utrustad med en treaxladaccelerometer. Kraften räknades ut genom att multiplicera säckens massa med accelerationsresultanten. Maxkraften togs ut och jämfördes mellan teknikerna. Det användes en höghastighetskamera för att spela in slagen. Kontakttiden räknades ut genom videoanalys och genom analys av kraftdata. Kontakttiden användes för att räkna ut impulsen. Resultat: Maxkraften för teknik med hand var 135 (SD 757) N större än för teknik med armbåge och för teknik med spark var 348 (SD 835) N mindre än för teknik med armbåge. Skillnaderna var inte statistiskt signifikanta. För impuls beräknad genom videoanalys var teknik med hand 18 (SD 13) Ns större än för teknik med armbåge och teknik med spark var 13 (SD 27) Ns större än för teknik med armbåge. Analys av kraftdata visade samma trend. Teknik med hand var 14 (SD 9) Ns större än teknik med armbåge och teknik med spark var 4 (SD 19) Ns större än för teknik med armbåge. Impulsskillnaden mellan hand och armbåge var statistisk signifikant. Slutsats: Teknik för armbåge genererar inte statistiskt signifikant större maxkraft eller impuls än för redan tillåtna tekniker. Kampsportsdelegationens beslut bör ses över.

Mitt arbete syftar till att åskådliggöra de genusföreställningar som skapas av vårt samhälle kring sättet vi lever och verkar på. Mitt fokus ligger på tjejer som tränar eller verkar inom kampsport, deras uppfattning av sig själva som kvinnliga utövare samt deras tolkning av samhällets syn på dem. Studien är kvalitativ och baseras på teoretisk forskning kring genus, kön, idrott och idrottshistoria. Till detta har jag valt att addera tolv intervjuer med personer som faller inom ramen av mitt urval, det vill säga personer som under en längre tid varit med och verkat för kampsporten. Då jag har riktat in mig på fyra olika kampsporter och för att få en bra bredd, har jag valt att intervjua en kille och två tjejer från varje sport.                       Resultatet redovisas i löpande text och är baserad på frågeställningen i den ordning de kommer. Vidare har jag också valt att diskutera kring respondenternas svar i förhållande till tidigare forskning för att undersöka om det finns olika föreställningar beroende på om du befinner dig inom kampsporten eller om du ser den utifrån. Målet är att få igång en diskussion och att väcka en tanke kring inverkan av genusuppfattningar och gränsbrytare. Slutsatsen syftar till att våga öppna dörrar och bortse från förlegade normer och regler, att det kanske är hög tid att förändra de regler som samhället skapat, för att kunna utvecklas åt det håll vi strävar efter. / This research is aiming to illustrate the views of gender, created by our society, around the way we live and act. My focus is girls who are training or acting within Martial Arts, their self-perception as a female practitioner together with their interpretation of the way the society see them.  The study is qualitative and based on theoretical research about gender, sex, sports and sports history. To this, I have chosen to add twelve interviews with people who fall within the frame of my selection, that is people who during a longer period of time has been within and acting for the Martial Art. Since I focus on four different types of Martial Arts, to create a good distribution, I have chosen to interview one boy and two girls from each sport within Martial Arts. The result will be reported in text and based on the questions in the aim of this research, in the same order as they are written. Furthermore I have also chosen to discuss the answers of the respondents, in relation to previous research, to investigate if there are different conceptions depending on if you are acting within the Martial Art or if you observe it from the outside. My aim with this is to start a discussion and to create a thought or an idea about gender conception and people who break the boundary. The intention of the conclusion is to dare to open new doors and to look beyond antiquated values and codes, maybe it is time to change the rules created by society, to be able to develop in the direction we are striving for.