A Look Behind the Scenes

Historical European martial arts (HEMA) have to be considered an important part of our common European cultural heritage. Studies within this field of research have the potential to enlighten the puzzle posed by past societies, for example in the field of history, history of science and technology, or fields related to material culture. The military aspects of history are still to be considered among the most popular themes of modern times, generating huge public interest. In the last few decades, serious HEMA study groups have started appearing all over the world – focusing on re-creating a lost martial art. The terminology “Historical European Martial Arts” therefore also refers to modem-day practices of ancient martial arts. Many of these groups focus on a “hands-on” approach, thus bringing practical experience and observation to enlighten their interpretation of the source material. However, most of the time, they do not establish inquiries based on scientific research, nor do they follow methodologies that allow for a critical analysis of the findings or observations. This paper will therefore propose and discuss, ideas on how to bridge the gap between enthusiasts and scholars; since their embodied knowledge, acquired by practice, is of tremendous value for scientific inquiries and scientific experimentation. It will also address HEMA practices in the context of modern day acceptance of experimental (or experiential) processes and their value for research purposes and restoration of an historical praxis. The goal is therefore to sketch relevant methodological and theoretical elements, suitable for a multidisciplinary approach, to HEMA, where the “H” for “historical” matters.

The paper is organised around the notion of embodied technique. The recent attempts to formulate scientific methodologies for the reconstruction of medieval fighting techniques based on a study of premodern fight books raise questions about the epistemological status of these (re)constructed techniques developed by modern practitioners of Historical European Martial Arts (HEMA). Approaching the subject from a perspective of cultural history and martial arts studies, the following questions are discussed: What is technique and how is it related to practice? How is technique acquired and transmitted? How can technique be recorded? And finally, how can historical records of technique be understood, interpreted and converted into practice? Following Ben Spatz, technique is defined as the knowledge content of specific practices and the semiotic references between practice, technique, and symbols referring to embodied technique are discussed. By looking at the intersubjective communication of subjective fighting skills and relying on the work of Michael Polanyi, the possibility to record the “tacit knowing” of these skills as explicit knowledge is questioned. Given the low knowledge content of the fight books in regard to the execution of the referenced techniques, modern HEMA techniques therefore are to be addressed as purely modern constructions based on modern fighting practices instead of as reconstructions of medieval technique. The discourses in HEMA are also compared to a similar debate in musicology, where the status and the “authenticity” of attempts to recreate the sound of medieval music based on interpretations of early musical notation systems was vividly discussed until the early 2000s. Fighting techniques are furthermore addressed as elements of complex fighting systems that only exist within a given historical culture of fighting and are transformed when transferred to another societal context.

Many martial arts systems have their own revered heroes, such as mythical founders and leaders of notable schools. The paper draws on ethnographic research conducted on The Blade Academy, an expanding historical European martial arts (HEMA) school in the United Kingdom. Among pedagogic strategies used by the lead instructors and their core followers are narratives about historic figures whose heroic beliefs and deeds should be respected and even emulated by practitioners. This article explores the case study of 12-13th century Norman-English knight William Marshal, who is used as a principal model for leadership, martial valour, economic success and moral activity by the lead instructor. We examine idealised models of chivalry that such modern martial artists aspire to follow despite them living within very different societies and value systems. We conclude by considering the merits of revisiting historical figures who might act as role models for modern teachers and their students.

This article is based on the talk presented on 27th November 2016 in the course of the Journées d’études sur le costume et les simulateurs d’armes dans les pratiques d’arts martiaux anciens. The talk itself involved practical demonstrations and interaction with other presentations given at the event; this article does not purport to be a transcript of the presentation, but elaborates on the key themes of the presentation: The objectives of HEMA as a modern practice, and their relationship to what we know about the historical practice of the European martial arts in the Middle Ages, including physical fitness, fencing techniques and tactical awareness, based on the Fechtbücher extant. A key element of the discussion involved a comparison between the objectives of and drivers behind historical and modern tournament rule-sets.

Recent decades have witnessed a growing interest in medieval European martial arts, resulting in scholars, and martial arts practitioners studying historical fencing treatises in hopes of recreating combat systems of the period. Unfortunately, none such treatises of English origin survive. However, a well-documented history of cultural and material exchange between the Continent and England, suggests that a careful examination of selected Middle English romances may unveil a literary record of a possible transmission of those martial systems to England. As one analyses the depictions of formal combat in assorted Middle English romances devoted to the exploits of Sir Gawain it becomes evident that some of them bear an uncanny resemblance to the contents of certain continental fight books. Such comparison may reveal a particular role Sir Gawain may have had in the English chivalric tradition, that of a purveyor of martial teachings and an instructive model of the performative mode of chivalry.

The Wubei zhi 武備志 is a comprehensive military encyclopaedia, compiledby Mao Yuanyi 茅元儀 in the early 17th century. It contains several martialart manuals, recording fighting systems of different weapons used by theMing military. Among these fightbooks, there is a fencing manual, which isthe first known recorded description of the fencing system of the Chinesedouble edged straight sword (jian 劍). This paper introduces the fencing manual by investigating its historical and military context, points out its relevance in the study of Chinese military history, and provides the Hungarian translation of the text with commentaries. Based on the example of thejian manual, the article also proposes the application of the interdisciplinaryresearch methods of historical European martial art studies on Ming Chinesemartial art manuals to obtain previously unknown knowledge about Chinesemilitary history.

The ARTCC programme was developed and funded by ESHRE, covering expenses associated with the meetings. The Steering Committee members who are the authors of this article did not receive payments for the completion of this study. The inspectors were remunerated for their work with an honorarium. The authors have no conflicts of interest to declare.

Transformation of kuttau Lampung from martial art become Tari Pedang performance research, has been done at Sukadana Village in East Lampung Regency. To examine both kuttau and Tari Pedang in the forms of martial art and performance contexts. The objective of this reaserch is to show the transformation form and martial art value of kuttau become Tari Pedang performance. Otherwise to show the transformation agent factor that happened in kuttau. The research of art examine, has been done by participant observation, supported by some theory. The approach used in this research is performance studies. To analysis the form of kuttau in martial art context are used the text theory that is discuss as text and context. Continued by analysis of transformation form used adaptation and appropriation theory, that is also discuss as text and context. In general, the result of this research are both kuttau and Tari Pedang in the forms of martial art and performance contexts.the basic element that distinguish between kuttau and Tari Pedang are the change of martial art aesthetic become performance aesthetic. Otherwise Tari Pedang is representation of kuttau in theatrical mimicry form, even the movements, costums, and other elements are adaptation, but only imitation without scenario. Tari Pedang is the result of appropriation process, although the text of Tari Pedang was adaptation from kuttau. But, the context of Tari Pedang is very different from the origin, so we can assume that the result of appropriation process are new product that following the society supporter pretentions.

How are the texts of ancient drama to be understood by modern interpreters - separated as we are by so great a distance of time and difference of culture? This problem has been treated in many ways in this century, as the study of ancient literature, like the study of other literatures, has undergone rapid institutional and intellectual changes. There are many paths and genealogies that could be traced through this history, and not only do many different methodological approaches overlap and interrelate in a variety of complex ways, but also there is great variety within any one broad heading (such as 'structuralism'). In this chapter I shall try to unravel some of the main threads that make up the texture of contemporary debate about critical methodology with regard to Greek tragedy. The methodology of each critic who works on Greek tragedy - myself included, for sure - is not the application of a ready-made theory so much as the product of (at least) teachers' and colleagues' influence, reading and study within classical scholarship and other fields, institutional pressures, laziness, acumen ... In attempting to trace some of the main lines of enquiry, it is inevitable that the siting of each scholar within the intellectual and social institutions of classical scholarship cannot be finely nuanced. What is more, the teleology of a history that ends with a necessarily partial view of the here and now must distort the picture of the critical developments to be traced. None the less, some lines on the map - however tentatively drawn - will help an appreciation of how contemporary understandings of Greek tragedy have developed.

The flute art in Kharkiv: the performing and pedagogical traditions

The Process of Re-developing a National Training Curriculum for Radiation Oncology: The Irish Experience

Purpose - The topic of the need for re-transformation of Bulgarian museums is of particular importance for Bulgarian tourism. Destination Bulgaria has an inherited potential to match its direct competitors - Greece and Turkey - in the field of cultural tourism, in its varieties of museum and cognitive tourism. At the same time, however, existing museums are lagging behind the good management and modernization practices that can contribute to their competitiveness. Therefore, the purpose of this study is projected in two widespread beliefs that are typical of modern tourism practice. On the one hand, the satisfaction of tourists and stakeholders in destinations is of paramount importance. The management of competitive advantages must be subordinated to the concept of sustainability, while the tourist deserves the best possible memorable experiences. The other aspect concerns the tourist experience and the fact that more and more tourists are creating their own experiences. In this framework, the focus of research is on museums in Bulgaria, in view of their ability to activate their own networks and resources. Some good practices are presented, which could be multiplied to influence satisfaction with the help of the tools of interpretation. Methodology – The chosen research methodology is in accordance with the formulated research goal. Complex in nature, the methodological apparatus deals primarily with quality methods. In particular, it includes a review of specialized publications on the subject, at the same time using methods of observation, expert evaluation and synthesis. However, at the basis are the case study method and the tools of interpretation. Findings – In the process of globalization, limitation, vulnerability and endangerment of tourist resources, as well as increasing tourist and economic pressure on individual tourist destinations, there will be a growing interest in the opportunities provided by the development and application of interpretation techniques in museums. The studied practices and the conclusions made have their limited significance in the scope of the network of museums in Bulgaria. At the same time, however, any good practice presented is an opportunity for “inspiration”, which is also a universal experience. The findings of this study help to promote the transformation of museums in the development of their services in view of tourist experiences and maintaining sustainability in all its aspects. Contribution – The topic is highly relevant for Bulgaria, because there are still no established practices for applying heritage interpretation, especially in the museums in their capacity of tourist sites. It is of significance for tourism and museum practices in general, taking into account the importance of satisfaction for modern tourists and the need for targeted and planned activities in this respect. Therefore, any scientific development on this topic will contribute to its supplementation and further development.

Corporate governance and corporate social responsibility (CSR) are two critical elements of modern business practices that have gained significant attention in recent years. The relationship between these two concepts has become increasingly important as organizations face growing pressure from stakeholders to not only perform economically but also to act in a socially responsible manner. The purpose of this research topic is to explore the good practices and prospects of corporate governance and CSR. The study examined the various approaches and methods used by organizations to ensure effective corporate governance and implement meaningful CSR programs. It also considered the challenges faced by organizations in balancing these two objectives and the role of stakeholders in promoting responsible corporate behavior. The findings of this research provide valuable insights into the current state of corporate governance and CSR and offer recommendations for future improvements and developments in these areas. Keywords: Corporate Governance, Corporate Social Responsibility (CSR), and Good Practices and Prospect.

This essay develops further the main implications of a feminist theory of aesthetics and modernism first articulated in Feminist Aesthetics and the Politics of Modernism. By engaging critically with Theodor Adorno and Giorgio Agamben in the context of feminist theories of gender and race, the author examines complex relations between political and aesthetic transformations, stressing their relation to gender and race differences as well as the role of materiality in political contestation and aesthetic invention. The theory of feminist aesthetics discussed here traces what has been violently erased from history and asks how this erasure is inscribed in new possibilities for writing, sexuality, and being in the world. In particular, the essay stresses two central characteristics of feminist aesthetic practice in modernity. First, it reinterprets the endlessly replicated contradiction between feminist emancipatory struggles and gender/race melancholia—evident, for example, in current discussions of vulnerability and resilience, or negative and recuperative readings—as two inseparable dimensions of the transformative potential inherent in feminist aesthetic practices. Second, the essay stresses the relational character of women’s literature and artworks because the possibility of women’s aesthetic practice emerges from political intersubjective alliances; from the oscillation between loss and transformation; from gendered and racialized relations to the human and the nonhuman world; and from the contestation of gendered and racist violence of abstract formalism. Consequently, feminist aesthetics has to approach any artistic practice in nonindividualist, and even not entirely anthropocentric, terms. Only such a relational feminist approach to the impossibility and possibility of transformative artistic practices can offer resistance to art’s appropriation by the politics of modernity and contemporary neoliberalism.

Dr. Sageman makes a good point that despite the influx of government funding in the last decade, terrorism scholars have not been able to answer what he calls a “simple question”—what leads a perso...