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By David Bertrand

Les arts martiaux, plus qu'une self-discipline, un réel mode de vie
Les arts martiaux ont connu un développement et une évolution spectaculaires à partir des années 1970, sous l'impulsion d'un homme au nom désormais légendaire : Bruce Lee. Ils se sont modernisés et sont pratiqués aujourd'hui dans divers objectifs tels que le wrestle sportif et l. a. self-défense, los angeles body et le perfectionnement process, los angeles santé et le bien-être ou encore le spectacle et le divertissement. Ils ont une size internationale et touchent des personnes d'origines et d'horizons extrêmement variés. Ils véhiculent une size culturelle, historique, philosophique et même spirituelle souvent méconnue du grand public. Les arts martiaux peuvent devenir un chemin de vie able de transformer une personne de l'intérieur. Et dans leur essence même, ils contiennent paradoxalement une measurement profondément non violente.
Pour l. a. première fois, un ouvrage en français explique de l'intérieur ce phénomène de société à travers l'itinéraire exceptionnel d'un artiste martial, qui se présente lui-même avant tout comme un artiste de l. a. vie.
CE QU'EN PENSE l. a. CRITIQUE
- "Artiste martial s'adresse bien évidemment aux pratiquants des arts martiaux mais également à tout un chacun" - lavenir.net
À PROPOS DE L'AUTEUR
David Bertrand est né en 1979. Professeur de psychologie et d'arts martiaux, il donne cours en haute école et a fondé sa propre académie en Belgique. Depuis l'âge de quinze ans et avec un profond esprit d'ouverture, il a parcouru avec endurance, détermination et persévérance tous les stades d'apprentissage et d'enseignement de nombreuses disciplines : kung fu, wing chun, savate, jeet kune do, kali-escrima, silat, sanda, muay thaï, jiu jitsu brésilien et enfin MMA. Aux quatre cash du monde, il a combattu, s'est entraîné et a suivi des levels avec certains des plus grands specialists et combattants actuels. Il est notamment instructeur certifié par Dan Inosanto, l'héritier de l'enseignement et de l'art de Bruce Lee.
EXTRAIT
Le mardi 20 septembre 1994, je me rendis à pied au centre sportif de Louvain-la-Neuve, ville universitaire à trente kilomètres au sud de Bruxelles, en Belgique. Avec mon ami Daniel, j'allais assister à mon prime cours au seul membership de kung fu de los angeles région. Je n'avais en tête que l'image de Bruce Lee, le héros de mon enfance : il représentait tout ce que j'attendais d'un membership de kung fu à cette époque. Mais avant d'avancer plus loin dans ce qui allait être mon futur, voyons ce qui était déjà mon passé. Pourquoi m'étais-je décidé à commencer les arts martiaux ?

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Marius and L. Licinius Lucullus, and when Cicero defended Archias’s citizenship in 62 he hoped, in vain, that Archias would write a poem in his honor (Att. 1). Philodemus’s relation to L. 44; compare the end of Lucillius’ poem to Nero). According to Cicero (In Pisonem, 28–29), Philodemus celebrated all aspects of Piso’s disreputable life (adulteries, lusts, dinners . . ) in the most exquisite of verses. 21 Piso’s son, L. 249). 24 Finally, the wonders of epideictic epigram became the miracles of the emperor’s arena, as we shall see in the next chapter.

4), and we know Greek epigram almost exclusively through a succession of anthologies, subsumed into what we call the Greek, or Palatine Anthology, which was put together by Cephalas in the early tenth century. It contains earlier anthologies, most importantly the Garlands (stephanoi, literally “crowns”) of Meleager and Philip. 10 Meleager arranged poems in his anthology according to the four categories of erotic, epitaphic, anathematic (dedicatory), and epideictic (descriptive or narrative), all of which types feature in Martial.

24 After this preface, the description of the games themselves begins with Spec. 25 Titus, in a goodwill gesture, inflicted upon them the very exile that they brought upon others, and so deprived himself of the profit from confiscations: “You can chalk that up to the emperor’s expenses” (Spec. 2). These exiled delatores continue the circulation between native and foreign begun in the previous poem, where foreigners became Romans in and through the amphitheater: the opposite is now the case. Furthermore, the exiled Romans, for whom the arena comes to represent the deserts and beaches (arenae) to which they will be relegated, are the inversion of the Cilicians whom the amphitheater drenches with the “showers” of their native land: Turba gravis paci placidaeque inimica quieti, quae semper miseras sollicitabat opes, traducta est +getulis+ nec cepit harena nocentis: et delator habet quod dabat exilium.

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