回顾安科伊托苏。这个男人。的主人。的神话。托马斯·费尔德曼的《传奇传》

Eduardo De la Fuente
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摘要

这篇评论考虑了安子伊藤修的书。这个男人。的主人。的神话。《传奇传》,由托马斯·费尔德曼于2021年出版。这本书是对生于冲绳的伊藤安子(1831-1915)的深入传记研究,他是解释20世纪空手道历史最初发展的重要人物。大约20年前,这种本土武术被Funakoshi Gichin(1868-1957)和Mabuni Kenwa(1889-1952)在日本大陆推广,并被Dainippon Butokukai(大日本武术美德协会)(1933)正式认可,伊藤秀巩固了空手道重要的技术和论述变化。这种新颖的练习和描述空手道的方式,至今仍在塑造着人们对这门艺术的看法,其目的之一是进一步支持将空手道纳入冲绳的学校体系。利用大量的书面和口头资料、历史文献和对冲绳的学术研究,本书提供了一幅伊藤修生活的生动画面。在这一主题的出版物中,这本书以一种不同寻常的方式,不仅通过大师的生存变迁探索了现代空手道的早期,更重要的是,它是在冲绳当时的文化、社会和政治生活的背景下进行的。在武术研究者和感兴趣的读者中,这种非凡的努力具有不容忽视的价值。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Review of Anko Itosu. The Man. The Master. The Myth. Biography of a Legend, by Thomas Feldmann
This review considers the book Anko Itosu. The Man. The Master. The Myth. Biography of a Legend, published in 2021 by Thomas Feldmann. The volume is a thorough biographical study of Anko Itosu (1831–1915), Okinawan born and essential figure to interpret initial developments of karate history during the 20th century. Approximately two decades before this indigenous martial art was to be popularized in mainland Japan by Funakoshi Gichin (1868–1957) and Mabuni Kenwa (1889–1952), and officially recognized by the Dainippon Butokukai [Greater Japan Martial Arts Virtue Society] (1933), Itosu consolidated important technical and discursive changes for karate. This novel way to practice and describe karate, still molding the perception of the art today, had the intention, among others, to further support its inclusion in the school system of Okinawa. Using a huge amount of written and oral sources, historical documents, and scholarly studies on Okinawa, this text offers a vivid picture of Itosu's life. In a manner unusual among the publications on the topic, the text not only explores the early days of modern karate through the existential vicissitudes of the master, but even more importantly it does so against the background of how the cultural, social, and political life was articulated in Okinawa at the time. Such a remarkable effort bears a value that should not go unnoticed among martial arts researchers and the interested reader alike.
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