Citations:hoplologist

Noun: "someone who is an expert in weapons and armour (especially military uses or knowledge thereof)"

 * 1952 — Maurice Walsh, "The Hoplologist", Chambers's Journal, November 1952:
 * There was, however, one notorious weapon that he had not got, and that he, or any hoplologist the world over, would give half his collection to possess.
 * 1978 — Play, Anthropological Perspectives, Leisure Press (1978), page 72:
 * Hoplologists classify these systems according to the weapon/principle/agent used: bladed, stick/staff, projectile, composite and auxiliary systems.
 * 1985 — Steve Matheson, Maurice Walsh, Storyteller, Brandon (1985), ISBN 9780863220524, page 81:
 * He was a hoplologist, a collector of swords and similar weapons, and under his influence Maurice collected a few swords and an assegai.
 * 1997 — Koryu Bujutsu: Classical Warrior Traditions of Japan (ed. Diane Skoss), Koryu Books (1997), ISBN 9781890536046, page 96:
 * He makes an interesting, detailed comparison of these two types of basic combative behavior, which hoplologist Hunter Armstrong has applied in analyzing actual combative systems.
 * 1998 — John Clements, Medieval Swordsmanship: Illustrated Methods and Techniques, Paladin Press (1998), ISBN 9781581600049, page 3 (acknowledgements section):
 * Finally, I must acknowledge all my fellow Medievalists and hoplologists (students of arms and armor), whoever they may be, who have committed themselves and worked so hard to explore our Western martial heritage,
 * 1999 — J. Christoph Amberger, The Secret History of the Sword: Adventures in Ancient Martial Arts, Multi-Media Books (1999), ISBN 9781892515049, page 172:
 * scimitar, of course, being the well-intentioned anachronism to be expected by a non-hoplologist.
 * 1999 — Antonio Diego & Christopher Ricketts, The Secrets of Kalis Ilustrisimo: The Filipino Fighting Art Explained, Tuttle Publishing (1999), ISBN 9780804831451, page xiv:
 * Kalis Ilustrisimo became the name of the fighting art of the late grandmaster Antonio Ilustrisimo, courtesy of an American anthropologist and hoplologist named Michael Belzer, who visited him in 1985-86.
 * 2000 — Kosta Danaos, The Magus of Java: Teachings of an Authentic Taoist Immortal, Inter Traditions International (2000), ISBN 9780892818136, page 20:
 * One aspect often neglected by hoplologists* and martial historians is that, for some reason, the martial arts were always closely tied to and aligned with religion or spirituality.
 * 2004 — Robin Lane Fox, The Making of Alexander, R & L (2004), ISBN 9780951139219, page 110:
 * Close up, the individuals' skills of combat would need toughening, not least by his hoplologist, Julia.
 * 2008 — Nick Jamilla, Sword Fighting in the Star Wars Universe: Historical Origins, Style and Philosophy, McFarland & Company (2008), ISBN 9780786434619, page 117:
 * Instead of focusing on the sword's interaction with defensive armor and the military culture that trained soldiers in the art of swordsmanship, curators and hoplologists alike endlessly emphasize the evolution of the hilt and the blade or the sword's role in courtly fashion as parade and dress accessories.
 * 2011 — D. S. Farrer & John Whalen-Bridge, "Introduction: Martial Arts, Transnationalism, and Embodied Knowledge", in Marital Arts as Embodied Knowledge: Asian Traditions in a Transnational World (eds. D. S. Farrer & John Whalen-Bridge), State University of New York Press (2011), ISBN 9781438439679, page 8:
 * While hoplologists have made useful distinctions between civil and military fighting arts, the accounts of the International Hoplological Society remain fundamentally technical, functional, and behavioral, and are largely concerned with "how to" perform martial arts techniques, albeit located in environmental circumstance, history, and myth.
 * 2011 — Joshua Pendragon & Maggie Scott, "A lexical skirmish: OED3 and the vocabulary of swordplay", in Words in Dictionaries and History: Essays in Honour of R.W. McConchie (eds. Olga Timofeeva & Tanja Säily), John Benjamins B. V. (2011), ISBN 9789027223388, page 284:
 * An examination of the evolving chronology of Italian, Spanish and French waves of influence on English swordplay from the sixteenth century onwards reveals a wide range of data that can then be used to inform our knowledge of the changing lexical and material culture of weaponry. It is clear that hoplologists and etymologists could at times come together more effectively when providing a full etymological and cultural picture of the ways that specific artefacts have 'travelled' both physically and linguistically to Britain from continental sources.