The Invisible Fist

Ninjutsu is almost like the art of fighting without fighting. This introductory handbook covers the different elements of attack and is written in a poetic style that will keep readers' attention. Grandmaster Kim covers the basics of the invisible fist, by far the most practical and safe means of self defense. The invisible fist will help you vanish without a trace, and return to safety. Anyone wishing to learn this simple yet sacred method of self defense should own this title.

INVISIBLE FIST OF THE NINJA "Looked for cannot be seen... "Listened for cannot be heard... "Felt for, cannot be stopped... -THE ULTIMATE NON-VIOLENT MARTIAL ART- WHEREBY EVEN THE MEEK AND MILD CAN OVERCOME ANY ATTACKER... WITHOUT PHYSICAL CONTACT!!! -THE SECRET OF HOW TO FIGHT OR DISAPPEAR- Revealed here for the first time ever in print are the ancient and arcane methods used by the Ninja, shadow-warriors of feudal Japan, to vanish in full view of their enemies... *Black Egg/Ninja Dust Bombs *Hidden Fist Fighting System *Fire breathing Dragon Technique *Hypnosis/Way of the Mind Gate *Demon Mask School "The Ninja were men of peace who could fight like ten tigers. Their exploits in war and in the service of justice are legendary Japan even today. This is their secret method of prevailing without throwing a punch...

Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance? How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey? Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner? Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico. Via a far-reaching and provocative collection of essays that is informed by this wealth of experience, Majumdar explores: - how different cultures conceive theatre and how the norm of one place is the experiment of another; - the ways in which theatre across the world mirrors its socio political and philosophical climate; - how, for thousands of years, theatre has been a tool to both disrupt and to heal; - and how, even within the many differences, there are universals from which we can all learn and how theatre does cross borders Of interest to theatre makers everywhere - be they writers, actors, directors or designers - this book offers an oversight, as well as interrogation, into the place of theatre in the world today.

This book examines the use, principally in economics, of the concept of the invisible hand, centering on Adam Smith. It interprets the concept as ideology, knowledge, and a linguistic phenomenon. It shows how the principal Chicago School interpretation misperceives and distorts what Smith believed on the economic role of government. The essays further show how Smith was silent as to his intended meaning, using the term to set minds at rest; how the claim that the invisible hand is the foundational concept of economics is repudiated by numerous leading economic theorists; that several dozen identities given the invisible hand renders the term ambiguous and inconclusive; that no such thing as an invisible hand exists; and that calling something an invisible hand adds nothing to knowledge. Finally, the essays show that the leading doctrines purporting to claim an invisible hand for the case for capitalism cannot invoke the term but that other nonnormative invisible hand processes are still useful tools.

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