关于武术的参考文献英文

古书就算了吧，好难看懂，我给你几本官方，也是现代重要的书籍吧；也是我自己喜欢的几本；《中国体育教练员岗位培训教材武术套路》《中国体育教练员岗位培训教材武术散打》《中国武术文化散论》邱丕相《中国武术教程》上下册 下册最后一页有大量古武术简介。

《武汉大学学报（人文科学版）》是由中国国家教育部主管、武汉大学主办、武汉大学人文社会科学研究院负责出版的人文科学类综合性学术期刊，由1930年创刊的《国立武汉大学文哲季刊》发展而来，已有近80年的发展历史。今天的《武汉大学学报（人文科学版）》为双月刊，逢单月6日出版，128页，大16开本，向国内外公开发行。解放后，著名历史学家唐长孺教授、吴于廑教授，著名哲学家、前武汉大学校长陶德麟教授先后任《武汉大学学报（人文科学版）》主编。现任主编是著名经济学家顾海良教授，常务副主编是政治学博士、博士生导师叶娟丽教授。本刊宗旨在于贯彻“百花齐放、百家争鸣”的方针，繁荣学术事业，开展学术争鸣，促进国内外学术交流。本刊结合武汉大学的文科科研优势，主要开设有哲学、中外语言文学、历史学、新闻传播学等固定栏目，刊发的文章强调学术创见和理论深度，要求关涉学科前沿问题、热点问题，关注国家、教育部重大或重点课题研究成果，力求代表本学科的最高学术水平。《武汉大学学报（人文科学版）》的整体学术质量始终处在中国高校文科学报的前列，现为中国社会科学综合类中文核心期刊、中国人文社会科学引文数据库（CSSCI）的来源期刊和美国剑桥科学文摘《社会学》文摘的索引源刊物。2010年，再次入选“湖北十大名刊”；2002年、2006年，连续被评为“全国双十佳社科学报”、“全国三十佳社科学报”；2005年，获第三届国家期刊奖百种重点期刊奖，其专栏“马克思主义中国化”入选“教育部高校哲学社会科学名栏”； 2006年，入选“教育部高校哲学社会科学名刊工程”；2009年，获首届湖北出版政府奖期刊奖。 国家新闻出版总署收录　获奖情况全国双十佳社科学报(首届）全国社科综合类核心期刊湖北省社科优秀期刊 一、作者必须在文中提供的规范数据项　　首页内容包括：标题、基金项目的类别和编号、摘要、关键词和正文；不要出现作者的任何个人信息（见样本）。　　尾页内容包括：中文标题、作者署名、作者简介（包括学校、院或系、职称、博士学位、邮编）、英文部分（包括标题、署名、通讯地址、摘要、关键词）以及具体联络方式（见样本）。 关于论文字数 每篇论文必须7500字以上，每版面1500字，即每篇论文至少5面以上；摘要200字以内，切忌写成内容简介；关键词3-5个。 关于电子文本 来稿要求一律用方正或Word排版，提供文稿的同时提供文章的电子文本。 关于数字用法 1、必须用阿拉伯数字的情况：公历年、月、日、时；中国民国纪年；日本年号纪年；记数与计量等。　　2、必须用汉文数字的情况：夏历；中国清代以前历史纪年；惯用语；邻近两个数字并列连用，表示概数，如：20世纪五六十年代。 关于注释和参考文献的规范（见样本） 1、注释主要用于对文章篇名、文内某一特定内容等作必要的解释或说明。注释统一放于正文末、参考文献之前。序号用带圆圈的阿拉伯数字表示，标于注释内容的右上方。　　2、参考文献的序号按在正文中出现的顺序排列，用数字加方括号表示，标于引文后面的右上方；参考文献的起止页码用圆括号的形式列于正文中参考文献序号之后；相同的参考文献在正文中使用同一序号。　　3、参考文献按序号集中列于正文后的注释之后（如果有注释的话），序号左顶格。　　4、参阅某一文献而在正文中没有引用具体文字资料的文献，按序号集中列于前述被具体参引的文献之后。　　5、关于参考文献的标注规范，共分为几大类：　　（1）马克思主义经典文献：如果存在不同版本，注意一定要用最新版本，且引号内的原话不得有误，如样本的参考文献[1]~[5]；　　（2）中文报纸：须在文中标明文章具体来自报纸的第几版，如样本中的参考文献[6]；　　（3）中文著作、中文期刊及外文著作的中译本：如样本中的参考文献[7]~[10]；　　（4）中文古文献：如样本中的参考文献[11]~[17]；　　（5）外文著作、外文期刊及外文报纸：如样本中的参考文献[18]~[21]；　　（6）中文博（硕）士学位论文：如样本中的参考文献[22]；　　（7）外文博（硕）士学位论文：如样本中的参考文献[23]；　　（8）中文档案：如样本中的参考文献[24]；　　（9）外文档案：如样本中的参考文献[25]；　　（10）国际学术会议论文：如样本中的参考文献[26]；　　（11）网络文献：如样本中的参考文献[27]。

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这是维基大百科里对武术（功夫）的介绍，很地道。Chinese martial arts describes the enormous variety of martial arts styles originating in China Kung fu and wushu are popular terms that have become synonymous with Chinese martial However, the Chinese terms kung fu ( Chinese : 功 夫 pinyin : gōngfū) and wushu ( traditional Chinese : 武术 ; simplified Chinese : 武术 ) have very distinct Each term can describe different martial arts traditions and can also be used in a context without referencing martial Colloquially, kung fu (or gong fu) alludes to any individual accomplishment or cultivated colloquially 。 In contrast, wushu is a more precise term that refers to general martial The term wushu has also become the name for a modern sport similar to gymnastics involving the performance of adapted Chinese bare-handed and weapons forms (tàolù 套路) judged to a set of contemporary aesthetic criteria for 中国搏击术是对源于中国的各种搏击技艺的总称。俗称功夫或者武术。但“功夫”和“武术”在内涵上也有一定差别，两个词既体现了不同的搏击技艺传承，也可分别在搏击术之外的语境中单独使用。功夫一般指个人修炼的技艺或技能，而“武术”是指代搏击术时更实用的一个词。武术还可以指一种类似体操的现代体育运动，包括空手和器械套路表演，可以用一套现代美学标准打分评判。

徐浩峰写的逝去的武林三部曲，张至顺道长的炁体源流。注：自学党请不要做白日梦，乖乖的找个师父拜师学艺

Chinese Gongfu is a very important and unique form of Chinese It can be viewed as both a popular and a classical art: today it is very common and widespread; on the other hand, it has had a very long developed Not only did it not decline and disappear as many other facets of pre-modern Chinese culture, it even seems to be gaining much recognition, both in its actual practice and in its relative literature, thetics, philosophy, psychology, are more and more 　　Chinese Gongfu possesses an important and extensive cross-cultural Western culture has, of course, a great influence on the path of Chinese 　　Meanwhile Chinese culture is also making an impact on Western culture; the popularity of Chinese Gongfu, including Taijiquan, Qigong, , is not limited to China but has become a worldwide phenomenon; it thus is a typical example of this reverse As it includes different aspects such as fighting exercise and health care, daily life and academic study, natural state and social scope, research on Gongfu could shed a wholly new light on these interrelated phenomena in an intercultural 　　think that, if the research sets out from aesthetics perspective, people can more easily comprehend the characters of the popularity and fashion of Gongfu as "art"; and if Gongfu research starts with the aesthetic method, namely "perceptually comprehensive method", the profoundness namely multi-gradation and multi-orientation of its intercultural significance can be explained in a orrespondingly simply way; thus the research on Gongfu will more effectively oppose the "cultural centered views", so as to raise a new subject and even open up a new path for modern international 　　Beauty of form of Wushu and Chinese Art Many westerners find the action and routines of Chinese Wushu (Martial Art) to be quite spectacular, but also ask if a real Gongfu fight would look so This really involves a very interesting problem: Chinese Gongfu has not only practical goals, but also embodies the pursuit and appreciation of 　　Beauty of mood of Qigong and the wisdom of Taoist School and Chan sect Chinese Gongfu includes both Wushu and Q In fact, the　　higher level of most of Wushu (martial arts) is Q Qigong exercise has created aesthetic miracles of life and culture, which modern sports cannot hope to Being beauty of Gongfu and Tao-ontological aesthetics Gongfu-aesthetics studies both the outside beauty of form and the inner beauty of Moreover, it may involve ontology (being philosophy) of beauty of

Chinese Gongfu is a very important and unique form of Chinese It can be viewed as both a popular and a classical art: today it is very common and widespread; on the other hand, it has had a very long developed Not only did it not decline and disappear as many other facets of pre-modern Chinese culture, it even seems to be gaining much recognition, both in its actual practice and in its relative literature, thetics, philosophy, psychology, are more and more 　　Chinese Gongfu possesses an important and extensive cross-cultural Western culture has, of course, a great influence on the path of Chinese 　　Meanwhile Chinese culture is also making an impact on Western culture; the popularity of Chinese Gongfu, including Taijiquan, Qigong, , is not limited to China but has become a worldwide phenomenon; it thus is a typical example of this reverse As it includes different aspects such as fighting exercise and health care, daily life and academic study, natural state and social scope, research on Gongfu could shed a wholly new light onthese interrelated phenomena in an intercultural 　　think that, if the research sets out from aesthetics perspective, people can more easily comprehend the characters of the popularity and fashion of Gongfu as "art"; and if Gongfu research starts with the aesthetic method, namely "perceptually comprehensive method", the profoundness namely multi-gradation and multi-orientation of its intercultural significance can be explained in a orrespondingly simply way; thus the research on Gongfu will more effectively oppose the "cultural centered views", so as to raise a new subject and even open up a new path for modern international 　　Beauty of form of Wushu and Chinese Art Many westerners find the action and routines of Chinese Wushu (Martial Art) to be quite spectacular, but also ask if a real Gongfu fight would look so This really involves a very interesting problem: Chinese Gongfu has not only practical goals, but also embodies the pursuit and appreciation of 　　Beauty of mood of Qigong and the wisdom of Taoist School and Chan sect Chinese Gongfu includes both Wushu and Q In fact, the　　higher level of most of Wushu (martial arts) is Q Qigong exercise has created aesthetic miracles of life and culture, which modern sports cannot hope to Being beauty of Gongfu and Tao-ontological aesthetics Gongfu-aesthetics studies both the outsidebeauty of form and the inner beauty of Moreover, it may involve ontology (being philosophy) of beauty of