Journal articles on the topic 'Arts martiaux – France'

This article comments on the notion of ‘constraint’ by analysing the specific difficulties in the translation of a martial arts (‘wuxia’) novel into French and English. The Legend of the Condor Heroes (射鵰英雄傳, she diao ying xiong zhuan) is the first part of the ‘Condor Trilogy’ (射鵰三部曲, she diao san bu qu), the masterpiece of Chinese writer Jin Yong (金庸). Little known in the West, the novel was recently translated by Anna Holmwood and Wang Jiann-Yuh. This article studies the strategies adopted by each translator to render the cultural specificities of the source context in the target culture. By so doing, it contributes to theoretical debates concerning transfers between two distant literary and cultural systems.

The present report provides a brief account of a workshop entitled “Organising, Managing and Regulating Martial Arts” organised during the 21^st EASM conference held in Istanbul (Turkey) on September 12^th, 2013. It was the first scientific workshop with regard to the organisational and policy related aspects of (full contact) martial arts. During this international meeting four scientists described in-depth the recent history and current situation regarding the organisation and regulation of martial arts in their country (i.e., France, Flanders (Belgium), Italy and the Netherlands). The workshop was a unique meeting which provided a good opportunity to obtain a better understanding of the specific situation with regard to the regulation of martial arts in some European countries and to exchange results of current research concerning this topic. Further research could be helpful to gain more insight in dealing with problems related to governance, regulation and management of martial arts within a European context.

<p>Development of the fighting arts begins with universal principles found in human anatomy. As a result, in every culture we find combative techniques that share common tactics and applications. Additionally, many techniques travel across cultures. To illustrate just one martial tactic and its worldwide presence among martial traditions, this article presents variations on the shoulder throw as found in Persia, Greece, Japan, China, England, and France. Two main methods are found in the shoulder throw where the defender moves either inside or outside the attacker’s leading arm. The technical variations seem endless, as the defender can not only throw an opponent, but also employ joint locks, breaks, and even weapons in the techniques. An academic understanding, and/or the practical learning, of trans-cultural techniques, brings greater understanding of martial arts in general and a practical component to those who learn the skills for practical application.</p>

Objective: to study the effect of genetic polymorphisms: rs rs9939609 (FTO gene), rs4994 (ADRB3 gene), rs1042713 (ADRB2 gene), rs2228570 (VDR gene), rs1801133 (MTHFR gene) on anthropometric and lipid metabolism indicators in athletes representing martial arts.Materials and methods: studies of anthropometric and biochemical parameters, genetic polymorphisms were carried out in 120 athletes (101 men and 19 women) who are engaged in martial arts. Anthropometric studies were performed by measuring height (cm), body weight (kg), followed by calculating body mass index (BMI, kg / m2). Biochemical nutritional status markers were determined using the ABX Pentra 400 analyzer (HORIBA ABX SAS, France) in an automatic mode. Genotyping was performed using allele­specific amplification using TaqMan probes complementary to polymorphic DNA regions and real­time detection of the results using reagent kits from Syntol, Russia. Studies were performed on the device CFX96 Real Time System (Bio­Rad, USA). Statistical processing of the results was performed using the PASW Statistics 20 system.Results: as a result of generic Diovan athletes martial artists on the risk of non­communicable diseases, discovered that the frequency of allele A of rs9939609 polymorphism of the FTO gene they have is 43.9 %, allele polymorphism rs4994 ADRB3 gene — 10.9 %, G allele of rs1042713 ADRB2 gene polymorphism — 52.6 %, G allele of the polymorphism rs2228570 VDR gene with 44.9 % and allele t of rs1801133 in the MTHFR gene to 36.7 %. An association was found between the value of anthropometric indicators in male martial artists and the presence of polymorphisms rs9939609 (FTO), rs1042713 (ADRB2) and rs2228570 (VDR).Conclusions: the reason for the identified dyslipidemia in martial artists may be not only the previously detected violations of the structure of their nutrition, but also the presence of certain genetic polymorphisms, in particular, rs4994 of the ADRB3 gene and rs1042713 of the ADRB2 gene.

In his poem “Our Military!” published in 1919, Kurt Tucholsky describes the great enthusiasm that he, or rather his pseudonym Kaspar Hauser, felt as a boy before World War II for the sis–boom–bah of martial music when the soldiers marched by. Only when he was a soldier himself “in the Russian wind” of the First World War were the young man's eyes opened to the barbarity, desperation, and despair of war and the actual power relations in the army. While the poem's antimilitaristic intentions are readily apparent, Tucholsky nevertheless also managed to capture a view widely held during the interwar years: that before 1914 there still existed in the population an unbroken enthusiasm for the army and its colorful displays, but that the experience during the war of death on such a massive scale put an end to it. Walter Rathenau echoed precisely these sentiments in his 1919 treatise Der Kaiser: Eine Betrachtung, seeing the prewar society of the German Empire as a “militarily-drilled mass” that sought “to display their acquired military arts in grand public spectacles.” The stereotypical image of a bygone prewar era of military glory and pageantry received a more popular, less “critical” treatment in the 1934 film “Frühjahrsparade,” a musical that evoked “the good old days” of the Habsburg Empire and the k. u. k. army, and not least the passion of women for “the man in uniform.”

Abstract Long attributed to François-Hubert Drouais or his atelier, a three-quarter length portrait of Marie-Antoinette, together with a curiously inscribed frame, displayed in the lobby of the Hôtel Le Bristol, Paris, serves as a pretext for reconstructing the queen’s practice of gifting portraits of herself to members of her chapel. This essay explores Marie-Antoinette’s tendency in the early part of her reign to entrust the production of portraits to the Cabinet des tableaux. It argues on the basis of stylistic analysis that the Le Bristol portrait was probably the work of Jean-Martial Frédou and on the basis of iconographical analysis that it accommodated the quarrel between philosophes and clerics over reform of the Catholic Church in France, which made it suited to Monsignor du Chilleau, Bishop of Chalon.

This article highlights the history of the development of French Savat boxing. It is indicated that French boxing savat is a spectacular form of martial arts that is gaining popularity in Ukraine, and therefore the question of studying the history of its development is relevant. The purpose of the article is to get acquainted with the history of the development of French Savat boxing. The final recognition of the respectability of sawat came in 1924, when it was included as a demonstration sport at the Olympic Games in Paris. In 2008, Savat was recognized by the International University Sports Federation (FISU) - this recognition allows the World Federation to hold official university world championships; the first was held in Nantes, France in 2010. The twenty-fifth anniversary of the founding of the International Savat Federation in March 2010 was marked by a visit to Lausanne to meet the President of the International Olympic Committee, Jacques Rogge. FISav President Gilles Le Dugot received a souvenir with the image of the Olympic rings. In April 2010, the International Sawat Federation was accepted as a member of SportAccord (formerly known as AGFIS) - a major step forward towards Olympic inclusion. However, the history of the development of French Savat boxing was not conducted by Ukrainian scientists. Studying the specifics of this sport will allow a deeper understanding of not only the sport itself, but also the peculiarities of the worldview and aesthetic preferences of the French people. An in-depth study of the cultural history of Savat through a historical lens will help to more vividly present the uniqueness and value of this tradition. This can interest and encourage young people to engage in French boxing, not only young men, but also girls, and it will inspire young athletes to reach the heights of sportsmanship. Conclusion. If the Europeans discovered the French boxing savat a long time ago and are developing it at a high professional and technical level, this sport is relatively young in Ukraine. Therefore, the scope for research in this area is large. French boxing sawat is an interesting and spectacular sport, which owes its technical elements. Therefore, it is worth paying great attention to the study of various aspects of this type of martial arts.

Purpose: to conduct a comparative analysis of the indicators of the competitive activity of the strongest fighters of men and women of mixed martial arts MMA from the TOP-10, regardless of weight. Material and methods. The research used the following methods: analysis of scientific and methodological information and Internet sources; generalization of best practical experience; analysis of protocols and videos of the competitive activity of men and women fighters from the TOP-10, regardless of weight; methods of mathematical statistics. The performance output of the strongest male and female MMA fighters is taken from the UFC website. Results: the analysis of the strongest fighters of women and men from the TOP-10, regardless of weight, showed that the average age of women is 32,7±3,74 years, and of men – 33,2±2,75 years. The average fight time for women is 16,25±3,43 minutes, and for men – 12,76±3,05 minutes. The TOP-10 strongest female fighters, regardless of weight, include representatives of six countries (four fighters from the United States, two representatives from Brazil and one athlete each from Kyrgyzstan, China, and the Netherlands), and the TOP-10 strongest male fighters regardless of weight also includes representatives of six countries (four fighters from the USA, two representatives from Russia and one athlete each from France, Nigeria, Brazil, Australia). It was found that male fighters from the TOP-10, regardless of weight, during their sports careers won 204 fights and lost 17 fights. For female fighters, these results are worse – 151 wins and 35 losses. Conclusions. Comparative analysis of the indicators of the competitive activity of the strongest fighters of women and men from the TOP-10, regardless of weight, showed that fighters of women and men deliver the same number of punches per minute (4,52 punches), and women fighters miss more punches (3,36 punches) than male fighters (2,60 strokes). The greatest number of punches was carried out by women and men in a standing position (women – 66,9 %; men – 64,6 %), then on the ground (women – 19,0 %; men – 21,6 %) and in a clinch (women – 14,1 %; men – 13,8 %). The largest number of blows are in the head (women – 60,2 %; men – 68,4 %), then on the body (women – 20,9 %; men – 18,3 %) and on the legs (women – 18,9 %; men – 13,3 %). The strongest fighters, women and men, defend against takedowns more efficiently (women – 77,5 %; men – 81,6 %) than against punches (women – 56,8 %; men – 59,8 %). The number of takedown attempts in 15 minutes is greater (women – 1,53 times; men – 1,86 times) than performing a submission in 15 minutes (women – 0,55 times; men – 0,53 times). Keywords: competitive activity, mixed martial arts MMA, TOP-10, indicators, fighters, men, women.

In recent years there has been a boom in the study of the Yi Jing (the Book of Changes) and ancient Chinese forms of physical exercise in European countries such as Germany, Belgium and France, with research themes focusing on psychotherapeutic and medical clinical experimental studies, such as a study conducted at the Institute of Psychology at the University of T&#252;bingen in Germany that emphasised that moderate general physiological activation, exercise-dependent regulation of the heart rhythm ANS can induce a typical state of calm to regulate Qi. There are few theoretical studies on the metaphysical aspects of the existence of such healthful and beneficial underlying psychophysiological mechanisms of mind-body exercise Florens&#65288;2021&#65289;, so this paper chooses to use the practice of Qi as a case study, where Qi practice refers to the classical and systematic use in Chinese martial arts’ internal styles and systems such as Taijiquan (Taichi), Qigong and shaolinquan(Shaolin Boxing). A primarily documentary research approach is adopted, this paper using classical theories from the Yi Jing to analyse a metaphysical analysis of the physical exercises associated with Qi. The conclusions of the study show that: Firstly, Chinese traditional methods and practical experience can be drawn upon. Secondly, the classical theory of the Yi Jing, which uses Qi as the core of practice, enriches the ontology of human life perception in the field of philosophy. Thirdly, the ultimate pursuit of life through the practice of Qi is a concrete manifestation of the metaphysical holistic view of life in traditional Chinese physical exercises.

RESUMENEste artículo está dedicado a los tratados musicales escritos en latín entre los siglos vi y vii. A través de estas páginas se dará una visión concisa, ecléctica y panóptica de autores latinos que vivieron entre estos siglos y que dedicaron su obra o parte de ella a nociones relacionadas con la ciencia harmónica de los antiguos griegos. En este estudio se evidenciará la selección de ciertos aspectos de la teoría musical griega en su paso hasta la Edad Media, como la pérdida paulatina de la cuestión notacional vocal e instrumental, así como la progresiva importancia que fue adquiriendo la rítmica y la métrica en los tratados musicales de esta época. Palabras clave: Boecio, Casiodoro, Isidoro de Sevilla, música griega antiguaTopónimo: EuropaPeríodo: Edad Media ABSTRACTThis article is dedicated to the musical treatises written in Latin between the 6thand 7thcenturies. 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Since the end of February 2022, Ukrainian science experienced significant disruption caused by the full-scale war launched by the Russian Federation against Ukraine. As has often been the case in the history of armed conflicts, they have significantly affected various areas of culture, art and science, including ethnomusicology and its subject of research. The exodus of scholars within the country and abroad, the relocation and risk of destruction of archives, the more difficult condition for work in the field due to the martial law, the reduction of state funding in the fields of science and education, and, at the same time, the growing demand of society for traditional culture and the emergence of new initiatives to protect and preserve Ukrainian heritage — all these facts create new realities to which researchers have to adapt and within which they have to find new approaches to scientific activity. The experience of similar crises in other countries, as well as the experience of preserving archives in general, can be very useful for domestic science. Therefore, with the beginning of the war, institutions, foundations and associations from European countries, the USA and Canada began to actively offer their help in preserving Ukraine’s cultural heritage. The forced migration of researchers also brought a number of advantages, namely the strengthening of international contacts, the acquisition of work experience in foreign institutions by Ukrainian scientists, the presentation of domestic science to colleagues from other countries and thus the popularization of Ukrainian culture in the world. Throughout the war, Ukrainian researchers — musicologists and cultural activists — took part in the scientific and creative processes of various institutions in Poland, Lithuania, the Czech Republic, Slovenia, Austria, Germany, the Netherlands, France, Sweden, Canada, the USA, and other countries. The author of the article examines the history and principles of the organization and preservation of the Sound archive of the Institute of Ethnomusicology of the Research Center of the Slovenian Academy of Sciences and Arts (ZRC SAZU, Ljubljana), having the opportunity to work directly with this collection as a forcibly resettled researcher. The article gives a brief overview of the history of the Institute as the most important ethnomusicological center of Slovenia, examines the activities of key personalities of the Institute, their role in the history of the Institute and the archive, the approaches to collecting and studying the traditional music of Slovenes and outlines the current directions of work with the digital archive. Based on these facts, a comparison is made with traditional music archives in Ukraine and an assessment is given of the possibilities of incorporating the considered methods of organization and data storage into work with domestic collections of musical folklore, taking into account the urgency of such measures in times of increased risk of loss of cultural heritage due to the war.

Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.

The aftermath of civil strife, note some historians, can change perceptions of gender. Particularly for males, the effect of exhaustive internal wars and the ensuing collapse of the warrior ideal relegates the soldier/hero to a marginal iconological status. Linda L. Carroll has persuasively argued, for instance, that, following the Italian wars, one finds the “damaged” images of males in Renaissance art: bowed heads, display of stomach, presentation of buttocks. In fact, male weakness and “effeminacy” can, notes Linda Dowling, follow on the military collapse of any collective state. Arthur N. Gilbert argues, in contrast, that historically in wartime, male weakness in the form of “sodomites” was rigorously persecuted. From 1749 until 1792, for instance, there was only one execution for sodomy in France, while, during the Napoleonic Wars, the period of 1803–14, seven men were executed. Such analysis suggests that, in the aftermath of civil wars, cultural attitudes toward effeminate or homosexual men shifted from suppression or persecution during martial crisis to one of latitude and perhaps tolerance in periods following the breakdown of the military collective.The aftermath of America's Civil War, the decades of the 1870s and 1880s, provides a testing ground to examine attitudes toward the soldier/hero and toward the effeminate male in a time of social and cultural disarray. At this time, an art “craze,” the Aesthetic Movement, captured popular culture. Aestheticism, seen in the eighteenth century as a “sensibility,” had, by the nineteenth century, an institutional base and a social reform ideology.

NOT CHANGING LOOKS. PRESENTATION OF CRUELTY AND EVIL IN THE FILMS OF ANDRZEJ WAJDAAmong Andrzej Wajda’s legacy, the image of the totalitarian regime and its repercussions for people, countries, and humanity holds a significant place. Films of Andrzej Wajda, who was a liaison officer in the anti-Hitler Polish underground, are a kind of chronicle of the survivors of twentieth century. The article is dedicated to study the various forms of evil and its effects on real people. The study is applicable for our time because the world again deals with the recidivism of evil which the Soviet government spread in its own country and beyond its own borders. In the USRR, the perception of Andrzej Wajda’s films was dependent on the political play in action: when the relations between two countries were friendly, he received awards, however after the Solidarity was established, no one ever mentioned Wajda. The epic work Danton, about the French revolution, made in France during times difficult for Poland because of the martial law imposed on Poland, reveals the effects of revolution that paradoxically destroyed its most dedicated revolutionists, including Danton. Wajda’s refusal to American producers to direct a motion picture based on a screen play of Aleksander Slozenicyn had se-rious reasons, primarily commitment to his homeland. He made up for the missed opportunity to show Stalin’s evil empire when he shot the film Katyń. This word echoes deep tragedy in the heart of every Pole and the director succeeded in portraying the cruelty of mechanism of punishment in totalitarian USRR. The second most important aspect was the discovery of the lies of this regime, which tried to place the responsibility for the execution of Polish officers on the Nazis. After a premiere of Katyń in Ukraine, Andrzej Wajda was awarded the medal of Jaroslaw Madry. The article also includes the theme of influence of Fyodor Dostoyevsky’s novels on Andrzej Wajda’s work — the director not only used Dostoyevsky’s work for his filmmaking and staging, but as well he was inspired by Dostoyevsky’s deep analysis of dangerous social phenomena and the courage in discovering the evil. In Wajda’s films, which belongs to the so-called “cinema of moral unrest”, the tragic fate of a talented journalist Jerzy Michalowski, the hero of film Bez znieczulenia who personalizes the characteristics of a professional and a good man, simply horrifies. In his last film Powidoki, the director masterfully shows circles of hell survived by avant-garde artist Wladyslaw Strzeminski, the lecturer of Fine Arts Academy. All the films mentioned above are deemed necessary warning for future generations, they cannot put up with the aggression — on a political and private levels. Wajda’s lessons are universal, timeless, and everla-sting, like an eternal battle of good against evil.

L'histoire vivante médiévale est une pratique de loisirs, qui comprend aussi un versant professionnel. Peu connue en France, elle n'en reste pas moins en pleine expansion. Cette activité se manifeste sous deux aspects : la reconstitution historique et les Arts martiaux historiques européens. La recherche menée vise à exposer les traits caractéristiques de la démarche, tout en prenant en compte une méthodologie spécifique permettant le travail de terrain in situ. Il convient aussi de à mettre en lumière cette activité par le biais de diverses thématiques abordées : l'approche culturelle, de loisirs, et le lien à l'identité exposée.

Find your black holes and white walls, know them … it is the only way you will be able to dismantle them and draw your lines of flight.—Deleuze and Guattari, A Thousand Plateaus Defined by originator David Belle as “an art to help you pass any obstacle”, the practice of “parkour” or “free running” constitutes both a mode of movement and a new way of interacting with the urban environment. Parkour was created by Belle (partly in collaboration with his childhood friend Sébastien Foucan) in France in the late 1980s. As seen in the following short video “Rush Hour”, a trailer for BBC One featuring Belle, parkour practitioners (known as “traceurs”), leap, spring, and vault from objects in the urban milieu that are intended to limit movement (walls, curbs, railings, fences) or that unintentionally hamper passage (lampposts, street signs, benches) through the space. “Rush Hour” was among the first media representations of parkour, and it had a significant role in introducing and popularizing the practice in Britain. Parkour has subsequently been widely disseminated via news reports, Nike and Toyota ads, the documentaries Jump London (2003) and Jump Britain (2005), and feature films, including Luc Besson’s Yamakasi – Les Samouraïs des Temps Modernes (2001) and Banlieu 13 (2004; just released in the U.S. as District B13), starring David Belle as Leto and Cyril Raffaelli as Damien. Sébastien Foucan will appear in the upcoming James Bond film Casino Royale as Mollaka, a terrorist who is chased (parkour-style) and then killed by Bond. (Foucan can also be seen in the film’s trailer, currently available at both SonyPictures.com and AOL.com; the film itself is scheduled for release in November 2006). Madonna’s current “Confessions” tour features an extended parkour sequence (accompanying the song “Jump”), albeit one limited to the confines of a scaffold erected over the stage. Perhaps most important in the rapid development of parkour into a world-wide youth movement, however, has been the proliferation of parkour websites featuring amateur videos, photos, tutorials, and blogs. The word “parkour” is derived from the French “parcours” (as the sport is known in France): a line, course, circuit, road, way or route, and the verb “parcourir”: to travel through, to run over or through, to traverse. As a physical discipline, parkour might be said to have a “poetics” — first, in general, in the Aristotelian sense of constructing through its various techniques (tekhnē) the drama of each parkour event. Secondly, one can consider parkour following Aristotle’s model of four-cause analysis as regards its specific materials (the body and the city), form or “vocabulary” of movements (drawn primarily from gymnastics, the martial arts, and modern dance), genre (as against, say, gymnastics), and purpose, including its effects upon its audience and the traceurs themselves. The existing literature on parkour (at this point, mostly news reports or websites) tends to emphasize the elements of form or movement, such as parkour’s various climbs, leaps, vaults, and drops, and the question of genre, particularly the ongoing, heated disputes among traceurs as to what is or is not true parkour. By contrast, my argument in this essay will focus principally on the materials and purpose of parkour: on the nature of the city and the body as they relate to parkour, and on the ways in which parkour can be seen to “remap” urban space and to demonstrate a resistance to its disciplinary functions, particularly as manifest in the urban street “grid.” The institution of the street “grid” (or variations upon it such as Haussmann’s Parisian star-configuration) facilitates both the intelligibility — in terms of both navigation and surveillance — and control of space in the city. It situates people in urban spaces in determinate ways and channels the flow of pedestrian and vehicular traffic. The “grid” thus carries a number of normalizing and disciplinary functions, creating in effect what the philosophers Gilles Deleuze and Félix Guattari refer to as a “striation” of urban space. This striation constitutes “a process of capture of flows of all kinds, populations, commodities or commerce, money or capital, etc.” within a field of determinate spatial coordinates (Deleuze and Guattari 386). It establishes “fixed paths in well-defined directions, which restrict speed, regulate circulation, relativize movement, and measure in detail the relative movements of subjects and objects” (Deleuze and Guattari 386). Many of these aspects of striation can be seen in the ways urban space is depicted in the “Rush Hour” video: in the gridlocked traffic, the flashing tail-lights, the “STOP” light and “WAIT” sign, the sign indicating the proper directional flow of traffic, and the grim, bundled-up pedestrians trudging home en masse along the congested streets. Against these images of conformity, regulation, and confinement, the video presents the parkour ethos of originality, “reach,” escape, and freedom. Belle’s (shirtless) aerial traversal of the urban space between his office and his flat — a swift, improvisational flow across the open rooftops (and the voids between them), off walls, and finally down the sloping roof into his apartment window — cuts across the striated space of the streets below and positions him, for that time, beyond the constrictions of the social realm and its “concrete” manifestations. Though parkour necessarily involves obstacles that must be “overcome,” the goal of parkour is to do this as smoothly and efficiently as possible, or, in the language of its practitioners, for the movement to be “fluid like water.” The experience of parkour might, then, be said to transform the urban landscape into “smooth space,” in Deleuze and Guattari’s sense of “a field without conduits or channels” (371), and thus into a space of uninhibited movement, at least in certain ideal moments. Parkour seems to trace a path of desire (even if the desire is simply to avoid the crowds and get home in time to watch BBC One) that moves along a Deleuzean “line of flight,” a potential avenue of escape from the forces of striation and repression. Here the body is propelled over or through (most parkour movement actually takes place at ground level) the strata of urban space, perhaps with the hope that, as Deleuze and Guattari suggest, “one will bolster oneself directly on a line of flight enabling one to blow apart strata, cut roots, and make new connections” (15). In the process, parkour becomes “an art of displacement,” appropriating urban space in ways that temporarily disrupt their controlling logics and even imply the possibility of a smooth space of desire. One might see parkour as an overcoming of social space (and its various constrictions and inhibitions of desire, its “stop” and “wait” signs) through the interplay of body and material barriers. The body becomes an instrument of freedom. This, again, is graphically conveyed in “Rush Hour” through the opening scene in which Belle strips off his business suit and through the subsequent repeated contrasts of his limber, revealed body to the rigid, swathed figures of the pedestrians below. In part an effect of the various camera angles from which it is shot, there is also an element of the “heroic” in this depiction of the body. This aspect of the representation appears to be knowingly acknowledged in the video’s opening sequence. The first frame is a close-up, tightly focused on a model of a ninja-like figure with a Japanese sword who first appears to be contemplating a building (with an out-of-focus Belle in the background contemplating it from the opposite direction), but then, in the next, full shot, is revealed to be scaling it — in the manner of superheroes and King Kong. The model remains in the frame as Belle undresses (inevitably evoking images of Clark Kent stripping down to his Superman costume) and, in the final shot of that sequence, the figure mirrors Belle’s as he climbs through the window and ascends the building wall outside. In the next sequence, Belle executes a breath-taking handstand on a guard railing on the edge of the roof with the panorama of the city behind him, his upper body spanning the space from the street to the edge of the city skyline, his lower body set against the darkening sky. Through the practice of parkour, the relation between body and space is made dynamic, two reality principles in concert, interacting amid a suspension of the social strata. One might even say that the urban space is re-embodied — its rigid strata effectively “liquified.” In Jump London, the traceur Jerome Ben Aoues speaks of a Zen-like “harmony between you and the obstacle,” an idealization of what is sometimes described as a state of “flow,” a seemingly effortless immersion in an activity with a concomitant loss of self-consciousness. It suggests a different way of knowing the city, a knowledge of experience as opposed to abstract knowledge: parkour is, Jaclyn Law argues, “about curiosity and seeing possibilities — looking at a lamppost or bus shelter as an extension of the sidewalk” (np.). “You just have to look,” Sébastien Foucan insists in Jump London, “you just have to think like children….” Parkour effectively remaps urban space, creating a parallel, “ludic” city, a city of movement and free play within and against the city of obstacles and inhibitions. It reminds us that, in the words of the philosopher of urban space Henri Lefebvre, “the space of play has coexisted and still coexists with spaces of exchange and circulation, political space and cultural space” (172). Parkour tells us that in order to enter this space of play, we only need to make the leap. References Deleuze, Gilles and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: University of Minnesota Press, 1987. Jump London (2003). Mike Christie, director. Mike Smith, producer. Featuring Jerome Ben Aoues, Sébastien Foucan, and Johann Vigroux. Law, Jaclyn. “PK and Fly.” This Magazine May/June 2005 http://www.thismagazine.ca/issues/2005/05/>. Lefebvre, Henri. “Perspective or Prospective?” Writings on Cities. Trans. Eleonore Kofman and Elizabeth Lebas. Oxford: Blackwell, 1996. Rush Hour (2002). BBC One promotion trailer. Tom Carty, dir. Edel Erickson, pro. Produced by BBC Broadcast. See also: Wikipedia on parkour: http://www.en.wikipedia.org/wiki/Parkour> Parkour Worldwide Association: http://www.pawa.fr/> Parkour Net (multilingual): http://parkour.net/> NYParkour: http://www.nyparkour.com/> PKLondon.com: http://www.pklondon.com/> Nike’s “The Angry Chicken” (featuring Sébastien Foucan): http://video.google.com/videoplay? docid=-6571575392378784144&q=nike+chicken> There is an extensive collection of parkour videos available at YouTube A rehearsal clip featuring Sébastien Foucan coaching the dancers for Madonna’s Confessions tour can be seen at YouTube Citation reference for this article MLA Style Geyh, Paula. "Urban Free Flow: A Poetics of Parkour." M/C Journal 9.3 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0607/06-geyh.php>. APA Style Geyh, P. (Jul. 2006) "Urban Free Flow: A Poetics of Parkour," M/C Journal, 9(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0607/06-geyh.php>.