The “Ultimate Athlete:” Bruce Lee, Martial Arts and the Pursuit of Human Perfection

Author(s):  
Scott Hurley
Keyword(s):  
2020 ◽  
pp. 189-202
Author(s):  
Rhett B. Larson

Bruce Lee, in speaking of his martial arts philosophy, said, “Be formless, shapeless—like water. Now you put water into a cup, it becomes the cup. You put water into a bottle it becomes the bottle. You put in a teapot, it becomes the teapot. Now water can flow, or it can crash. Be water, my friend.” This philosophy of martial arts illustrates two broad lessons for water governance. First, water is both a creative and destructive force, and water security requires an awareness of both sides of water. Second, water policies must be as dynamic and adaptive as water itself. Water laws must be more flexible to change with changing water conditions. This chapter discusses improving awareness of both the flow and the crash of water and how to find existing flexibility in water law and improve water law’s adaptive capacity. Finally, water is generous—it enlivens, cleanses, and beautifies. If we are to manage water, we must be water, adaptive and generous. And what better subject of our generosity than water itself. It is essential to life and is perhaps the essential cause and solution to many of life’s problems.


Author(s):  
Dorothy Wai Sim Lau

This chapter inquires Donnie Yen’s martial arts body in blogosphere. It analyses that Yen’s kinetic body, often the focus of bloggers’ interest, is not only the corporeal entity that appears in individual films he starred in and become famous for, such as SPL: Sha Po Lang, Ip Man, and Legend of the Fist: The Return of Chen Zhen. It is also an outcome of sundry participatory forces, bridging the martial arts body to the elements in extra-diegetic settings such as Hollywood sci-fi genre, martial arts culture and hip hop culture. It, hence, appears as an intertextual phenomenon which bloggers keep reworking and renegotiating Chinese nationalism in tandem with cyber legends of Ip Man, Bruce Lee, and Chen Zhen. This chapter also pursues to discuss how the Chinese body of Yen is further questioned and complicated when users mix symbolic components drawn from Chinese or non-Chinese systems, and how the offscreen existence of Yen shows both resonance and incongruity to his screen personae complicating his martial arts image. This chapter ultimately argues that these new forms allow bloggers to revisit, represent, and contend the ethnic representation of Yen.


2019 ◽  
Vol 4 (3) ◽  
pp. 312-324
Author(s):  
Kyle Barrowman

This article endeavors to understand the work of Bruce Lee, particularly his appearance on the US television series Longstreet (1971–1972), with reference to the philosophical concept of perfectionism. Although in extant scholarship Lee has often been presented as an anti-Confucian figure, this article reexamines Lee’s Confucian connections vis-à-vis perfectionism. By virtue of an investigation into the centrality of the concepts of character, volition, and self-actualization in Confucianism, in conjunction with an analysis of their prominence in Western (specifically, Aristotelian and Emersonian) philosophy, this article situates Lee between Eastern and Western perfectionist traditions. This article then examines Lee’s work on Longstreet in an effort to elucidate the perfectionist ethos that fueled Lee’s philosophy of Jeet Kune Do and, by extension, his media pedagogy regarding teaching and learning martial arts. Ultimately, this article argues that Lee represents a quintessential perfectionist pedagogue and that the most important lessons to be learned from Lee involve such perfectionist hallmarks as building character, cultivating virtue, and self-actualizing.


SAGE Open ◽  
2019 ◽  
Vol 9 (3) ◽  
pp. 215824401986145 ◽  
Author(s):  
Guo Ye

During the 20th century, a version of Kung Fu from the Guangdong region in Southern China became more widely known abroad as a result of Chinese migration to the West, as well as its exposure through popular culture, including the films of Bruce Lee. This article analyses the culture of Guangdong martial arts in the context of this growing exposure. A variety of martial arts sects and associated cultural expressions in other fields give a picture of the traditional martial arts culture in Guangdong. Underpinning these physical manifestations, Guangdong martial arts have derived their ideologies from traditional Chinese philosophy. The dynamic social system supporting Guangdong martial arts provided a platform ensuring that these cultural symbols and values could be created and maintained and exported over several centuries.


2019 ◽  
Vol 9 (2) ◽  
pp. 329-345
Author(s):  
Paul Bowman

This article first sets out the value of the political discourse theory of Laclau and Mouffe. It argues that this work was central to the development of cultural studies, in its theorisation of social and cultural practices as being part of 'political discourse'. This confers a dignity, status, value and political importance on cultural practices of all kinds. However, the article seeks to probe the limits of this approach to cultural politics, and it does so through a necessarily unusual exploration. First, it takes an example of something ostensibly trivial from the realms of film and popular culture and explores it in terms of Laclau and Mouffe's categories, in two different ways. The 'trivial'/pop cultural example is Bruce Lee. Could Bruce Lee be regarded as 'politically' significant or consequential? He was certainly an enormously influential film and popular cultural icon of the 1970s, one who arguably ignited a global 'kung fu craze'. Moreover, Bruce Lee also had his own 'hegemonic project', seeking to transform and unify martial arts practices. In this paper, Bruce Lee's own 'project' is first examined in the terms of Laclauian categories. These are shown to be extremely useful for grasping both the project and the reasons for its failure. Then the article moves into a wider consideration of the emergence of globally popular cultural discourses of martial arts. However, Laclau and Mouffe's approach is shown to be somewhat less than satisfactory for perceiving at least some of the 'political' dimensions entailed in the spread martial arts culture and practices, from contexts of the global south into affluent contexts such as Hollywood film and Euro-American cultural practices. The paper argues that this is because Laclau and Mouffe's approach is logocentric, which leads it to look for and to perceive a very limited range of factors: specifically, political identities formed through political demands. However, to more fully perceive the political dimensions of culture, the paper argues that different kinds of perspective, paradigms and analysis are required. Adopting or developing some of these would enrich the field of political studies.


2019 ◽  
Vol 4 (3) ◽  
pp. 325-338 ◽  
Author(s):  
Paul Bowman

This article situates Bruce Lee at the heart of the emergence of ‘martial arts’. It argues that the notion ‘martial arts’, as we now know it, is a discursive entity that emerged in the wake of media texts, and that the influence of Bruce Lee films of the early 1970s was both seminal and structuring of ‘martial arts’, in ways that continue to be felt. Using the media theory proposition that a limited range of ‘key visuals’ structure the aesthetic terrain of the discursive entity ‘martial arts’, the article assesses the place, role and status of images of Bruce Lee as they work intertextually across a wide range of media texts. In so doing, the article demonstrates the enduring media legacy of Bruce Lee – one that has always overflowed the media realm and influenced the lived, embodied lifestyles of innumerable people the world over, who have seen Bruce Lee and other martial arts texts and gone on to study Chinese and Asian martial arts because of them.


Author(s):  
Man-Fung Yip

The martial arts film, despite being long regarded as a vehicle of Chinese cultural nationalism, can also paradoxically be conceptualized as a mass cultural expression of Hong Kong’s colonial-capitalist modernity. Moving beyond generalized notions of martial arts cinema’s appeal, this book argues that the important and popular genre articulates the experiential qualities, the competing social subjectivities and gender discourses, as well as the heightened circulation of capital, people, goods, information, and technologies in Hong Kong of the 1960s and 1970s. In addition to providing an original conceptual framework for the study of Hong Kong martial arts cinema and shedding light on the nexus between social change and cultural/aesthetic form, this book offers perceptive analyses of individual films—not just the canonical works of King Hu, Chang Cheh, and Bruce Lee, but many lesser-known ones by Lau Kar-leung and Chor Yuen, among others.


2012 ◽  
Vol 2 (1) ◽  
pp. 92
Author(s):  
Peter Hobart

<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">Mr. Leo Fong is the architect and founder of a system of martial arts known as Wei Kuen Do (man. <em style="mso-bidi-font-style: normal;">Hui Quan Dao</em>)—the Way of the Integrated Fist. Leo Fong trained in a variety of Chinese disciplines, including Shaolin, Choy Lay Fut and Tiger Claw, and was a close associate of Bruce Lee. Over the course of his studies, Master Fong combined many of the aspects of Chinese martial arts with principles of western boxing, to produce his own, unique and devastating system of self-defense.<strong style="mso-bidi-font-weight: normal;"></strong></span></span></span></p>


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