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Comment by 陳老頭 on December 2, 2021 at 2:38pm

三、詩性空間象征意義的蛻變

事實上．隨著以工業技術為核心動力的社會的全面發展。作為生產力基礎之上的意識形態開始產生了超乎傳統思維的本質變化，這種變化同樣如影隨形地發生在文藝領域。傳統的所謂「詩性空間」也已無形中出現了大規模的「逆叛」。綜合起來，主要表現為文藝生產者的審美心態的轉變，當然，這一轉變同樣發生在普通大眾懾於生產力作用下的思維變化。在變化方向上卻如同安逸的平庸人性一樣，文藝的審美同樣喪失了以往精致而健康的狀貌。即便如此。富有天賦秉性的文藝者們最終尋找到了符合實際狀況的突破路徑，在審美和詩意的表達上走向了極端。至此，「詩性空間」實現了自身功能的大幅度轉移，具體的表現是：一方面，傳統審美的神秘性開始逐步淡化，外在刻畫的精致開始變得模糊，狹小而封閉的「空間」被動地失去了吸引力，反而被采取了更為大膽的魯莽的處理手法。常見的場景被空洞而冷漠的荒涼現象所替代，世俗人性遭遇普遍性的邊緣化而讓位於生命體驗的荒蕪。一方面，采取了截然相反的審美立場，甚至對基於第一方面的處理手法也予以了全然摒棄，投人到了徹底的世俗的瑣碎之中，從宏大之中搖身一變為日常凡俗的迷醉——在文藝作品中的體現即是私語性的以及現實主義的表述。以上兩種具體的表現無疑成為當前文藝審美方向的兩大趨勢——在這一點上．不少先鋒文學的刻意陌生化和疏離化都已經顯得多少有些自作聰明了。結合文藝的實際情況來看。第一種表現某種程度上又與傳統的審美存在藕斷絲連的關系，在傳統審美的範疇內做了更深入、更細微的探索和表現。與文中所提到的三個類別的「詩性空間」的區別在於，後者顯得更為的深邃、抽象、平淡。這樣的審美同樣可以在傳統相關的作品中找到典型例證。一種常見的文藝現象即是作品中貌似毫無寓意的審美情景的敘述。另外一些普遍的審美現象同樣可以對此予以佐證，如中國古典文學中純粹寫景的詩詞、日本的物哀文學等。在具體的描寫中有關人物的言行舉動、情感活動等基本予以整體排斥，呈現出來的卻是客觀的諸多物象，這一現象是與上面所謂的特征鮮明的「詩性空間」有著顯著區別。「詩性空間」所體現出來的某種鮮明的象征、隱喻、對比等均被稀釋和弱化，呈現出的卻是極為平淡的審美場景，這種場景不再依靠某種傳統審美慣性予以表現——甚至失去了對主觀性表現的興趣——而是僅僅在於一種無目的性的客觀呈現而已。但不可否認的，就在這種無目的性的客觀呈現中，無形中又能夠憑借整體的描述賦予一種審美體驗。這種區別和轉別類似於後現代主義對於現實主義、現代主義的反叛，它沒有了主觀性的主動表現欲。似乎其全部描述永遠停留在膚淺的表面性的東西。然而，誰又有足夠的勇氣和智慧去否定這種表現的方式呢?誰又能明確地認為這樣的表現沒有深刻的審美意義呢?文學因此而再度陷入復雜的糾紛和矛盾之中。如唐朝詩人王昌齡一首題為《初日》的純粹寫景的詩(這首詩在性質上幾近於圖片一樣單一)：初日凈金閨，先照床前暖；斜光入羅幕，稍稍親絲管；雲發不能梳，楊花更吹滿—— 這首詩仍未達到更加純粹、徹底的地步。其中的「雲發不能梳，楊花更吹滿」一句無形中在客觀景物中影射了人物特征的存在，憑借「雲發」、「梳」這兩個詞在景物和人物之間隱約地建立某種聯系，「詩裏並沒有直接描繪這金閨少女(除非雲發二字暗示著)。然而一切的美是這看不見的少女的。」[5](P¨ 這種「最後點題」的手法在傳統詩詞中普遍存在——隨著表現功能發生變化，「詩性空間」的審美隱秘性漸漸發生轉移，集中體現為對時空局限性的突破以及情景的「去智化」。作者們普遍表現出對人為寓意的審美疲倦，認為那些所謂的詩意從本質上是根本不靠譜的，於是出現了這樣一種審美的局面。即作品創作的本身面目在很大程度上成了自身審美的呈現，美感基本依靠客觀的非人為的表象來維系，而且這些承載著審美意義的表象缺乏看似必要的深刻意義，更多地只是毫無意識的瑣碎的客觀呈現而已。它所描述的與其說是一種意識性的東西，倒不如說更像是一種純粹客觀的事實。創作實踐和審美體驗證明以上這種現象絕非不可能的。

需要重點闡釋的是第二個方面(與第一個方面截然相反，甚至全然予以摒棄)審美的取向再次投入到繁瑣的現實之中。並徹底沈迷於類似於世俗瑣事的憂慮與迷茫的描述——通過描述對象的日常化、瑣碎化傾向來取代傳統的審美活動並以此以整體的形式呈現出新的美感。「文學對於日常生活持久的正面注視是一個意味深長的轉向⋯ ⋯文學的『真實』必須納入日常生活範疇。」（下續）

Comment by 陳老頭 on November 28, 2021 at 6:08pm

（續上）

在這樣的文學場域裏，不止蘊含著審美意識形態的深刻變化，更多的是關於生命本體的種種思考的顛覆性變化在暗中起著作用。由於將生命過度的透視致使整個審美基調陷入徹底的悲觀和絕望之中。因此．借助文藝實現對外部世界的表達本質上乃是一種無意識的連續性的記錄過程，其記錄的性質永遠停留在外部世界所呈現出的最淺顯的表層，試圖借助表象— — 生命主體活動的真實跡象，達到對世界的完整理解和把握。甚至連這樣一種類似功利性的動機都根本性缺乏。於是，不免會令人產生這樣的疑問：是人的內心在退化?或是整個世界在蛻變?這樣的疑惑恰巧正發生在當下的世界當中。內心與世界的遊離地帶成為諸多學者探討的寬闊場域。

內心與世界的遊離不僅意味著審美意識的變化，更根本的乃是對人之內心造成的極度壓抑和吞並，在變化萬千的外部世界面前。人性卻困囿在El益狹小的抽象空間之內，並不停地督促著自我的壓抑。盡管文藝者們試圖以獨特而尖銳的手段突破這種壓抑，實現人與人、人與世界的交流，然而，換來的結果反而只是自我畸形的膨脹而已。「真正的先鋒派文學交流的是交流的斷絕。」[7](P56 不僅如此，人與世界的脫離造成的後果遠遠超越想象．其中一種El漸顯著的危險現象乃是隨著自我空問的封閉和擠壓，人的內心的敏銳性卻異常地發達起來。這種敏銳性在為人們提供更強大的幻想力的同時也自然而然地呈現出更多的負面性，這種負面性在某種意義上甚至達到了極端的程度，其中一個典型而普遍的現象乃是人的心理的多樣化的變異。事實上。在同樣的生存背景下，詩意的想象力同心理的病態是同等急速而怪異地發展著，種種體驗危機也就隨之而生。

四、體驗危機的發生及征兆事實上，危機與想象力幾乎是同時並軌前行的，危機加深的同時想象力也在旺盛地蔓延，想象力作為虛無的載體承受著雙重復雜的意義，即與現實的本質背離以及自我的無助與拯救。關於危機產生的最原始的根源的思考在很大程度上顛覆著以往統治性的觀念，理論家們開始對那些習以為常的真理性觀念產生了根本性的質疑，但卻仍舊受製於某些堅不可摧的意義因素，如生產力、意識形態等，很明顯，質疑之聲逐漸四起，然而無法對現狀進行實質性的改良。甚至就連那些頭充滿智慧、目光高遠的智者們也難逃現實巨大的影響力，一邊自我誠懇地呻吟、一邊陷入現實的漩渦之中— — 在物質性的發達以及理性的無限蔓延中，人們無形中失去了真正的自由，合理而詩性的幻想蛻變為病態的想象力的無限瘋長— — 現實與想象二者之間沒有了必然的聯系，人性根本的合理性的需求因此被阻斷。盡管如此，呈現於表面的仍舊是絢麗多彩、眼花繚亂的某種並不靠譜的富足感和幸福感，並以各種各樣復雜、詭秘的手段使之深人人心。

這樣一種看似完好的局面卻忽視了一種需冷靜審視的涉關人性對客觀現實的情感體驗。面對發達的理性的無形壓迫，人性的情感體驗非但沒有妥協、萎縮反而愈加瘋狂地伸張開來。只不過是以一種較之以往不同的隱秘而畸形的方式—— 即便這種病態的方式被人們隱約察覺，但在理性的指使下，人們往往在一種類似誤區和錯覺的場域中對此進行合理性的分析，繼而對病態的誘因毫無察覺地進行轉移，從而試圖達到抑製的目的。事實表明，這一普遍的充滿科學和理性的現象相反地成為其無形而強大的助推力．形成了惡性的無盡循環。我們可以嘗試想象，當夜深人靜之時，面對深邃的夜空和皎潔如銀的月色，在夜色營造的錯覺中，人們突然醒悟似地體驗到某種清醒久違的單純美妙的詩意，得以暫時擺脫白晝世俗力量的困囿，仿佛一瞬間清醒地意識到整個世界的真相並生機勃勃地生存其中時，內心體驗與想象之間的關系是充斥著緊張抑或完美合一呢?我想這是一個十分具有挑戰性的嚴肅問題。隨著危機的產生，想象力的無限蔓延程度的加深，隨之而來的便是夢魘性質的內心封閉的壓抑體驗。這一體驗甚至可以輕易達到癲狂而極致真實的程度。此時的心理體驗已不只是特征上的征兆而成為了一種顛覆性的決定力量。（下續）（吳青科，2015,詩性空問與體驗危機，閩南師範大學學報 [哲學社會科學版]2015年第2期 [總第97期]）

Comment by 陳老頭 on November 22, 2021 at 10:00pm

吳青科·詩性空問與體驗危機

客觀上，體驗危機的生成不僅取決於詩性空間的營造，即其生成不止是偶然性的個人化的事件。就當下而言，隨著社會物質性力量的強勁發展，體驗之危機已經成為一種極為普遍的現象且深入人心，並以整體的隱秘性的巨大作用力左右著人們，使之徹底困囿其中。這樣的結果是，從文藝的審美角度而言，詩意的創作在其最本質的基礎上受制於內心的危機而表現出病態而離奇的特征，無論在形式上或內容上。在這一過程中。創作者們憑借自身頑強的意志試圖使自己的作品盡最大程度地體現出一種新穎的特征來掩蓋這種病態。

這種隱藏的動機成為文藝現象紛繁復雜的根本原因。毋庸置疑，卡爾．馬克思的關於生產力與生產關係、經濟基礎與上層建築的理論仍舊發揮著巨大作用，社會的基礎性的力量從源頭處便無形中發揮了足夠而持久的影響力，其中自然也包括部分自然的人性的原因。人類的情感體驗仍然受制於物質、生理等根本性力量的絕對影響。如胎記、傷疤等生理缺陷往往在潛意識的支配下被具有相似屬性的客觀物象所代替或遮掩等，類似用具有個性的造型、優美的圖集作為補丁，遮擋衣服的破洞，為了體驗的安全性需求而選擇帶有明顯灰暗色彩的文字、圖像、物體等其他客觀性物體。

在外部龐大而深不可測的脅迫力面前，人們的臆想症會得到更淋漓盡致的發揮，從而想像力和詩性空間形成強烈反差並朝著截然相反的方向發展。想像力愈是逼真，詩性空間愈是狹隘，在這種強烈對比力量的作用下，反而可以見出體驗危機的真實面目。一個真實的事例和現象就是，人們會在陰暗而狹隘的空間內而產生更為逼真的病態而恐怖的幻想，如被偷窺、監聽諸如此類的臆想症。由此或許在一定程度上可以見出詩性空間與審美體驗的某種質的蛻變。

主體內部體驗危機的發生與消解的需要，為主體提供了某種病態、虛幻、逼真的詩性空間，以此彌補現實生活體驗的致命缺陷。真實被虛構所取代，虛構空間取代現實生活為情感體驗以及藝術想象力的發生提供了場域保障。通過個體性的主觀臆想企圖達到體驗的合理性。在這一過程中。審美體驗對於生活化細節特征的需求遭遇到了空前危機，被病態的癲狂的臆想予以填充，從而製造出類似鏡子影像的假象。本質上，這反而無形中進一步加劇了體驗的危機。詩性空間與體驗危機相互作用的內在機理，同樣為危機的化解提供了有效的方法論指導，即基於真相洞察、還原的由內而外的危機化解途徑。

參考文獻：

[1] 伊格爾頓．美學意識形態『M1．北京：中央編譯出版社．2013．

[2] 曹雪芹，高鶚．紅樓夢【M】．護花主人，大某山民，太平閑人評．上海：上海古籍出版社，2007．

[3] 桑葵．美學史【M】．桂林：廣西師範大學出版社，2009．

[4】肖洛霍夫．靜靜的頓河[M】．金人譯．北京：人民文學出版社，2012．

[5】宗白華．美學散步[M】．上海：上海人民出版社，2014．

[6】南帆．文學性、文化先鋒與日常生活[J】．當代作家評論。2010(2)：6—7．

[7] 赫伯特．馬爾庫塞．單向度的人— — 發達工業社會意識形態研究【M】．上海：上海譯文出版社，2008

（吳青科，2015,詩性空問與體驗危機，閩南師範大學學報 [哲學社會科學版]2015年第2期
[總第97期]）

Comment by 陳老頭 on November 21, 2021 at 5:17pm

Representation of Native Myths and Legends and Cultural Values in the Malaysian Tourism Promotional Brochures 

By Norhanim Abdul Razak and Abd Rahim Romle, School of Tourism, Hospitality and Environmental Management, Universiti Utara Malaysia, Changlun, Sintok, Kedah, Malaysia 

Abstract: The primary aim of this study is to explore how native mythological tales have been portrayed in tourism marketing. As part of the assessment this research examines the values ingrained in the native  myths and the parts of the traditional stories which have been selected for inclusion and commoditisation in tourism brochures. Content analysis of the representation of myths associated with Mount Kinabalu and the legendary warrior named Monsopiad was carried out. Findings show that Mount Kinabalu’s  myth has  been included  in the brochures published  from 1969-2015  while  the  legend associated  with Monsopiad  has been represented  in the brochures published from 200°-2015. Traditional worldviews and values linked to Kadazan Dusun have been projected in the tourism brochures. The analysis of the stories  uncovered  specific  elements  associated with Kadazan Dusun people such as the beliefs in the afterlife and presence of spirits, nature as the source of supernatural occ uri ence z and the notion of bravery consisting of physical strength and spiritual power. It was reflected via the projection of two tales that the Kadazan Dusuns are intimately linked to nature, their ancestors and supernatural worlds. Lastly, the findings of this study contribute to understanding of the representation tourism and mythology by demonstrating that in addition to cultural heritage sites,  myths  and  legends  have also been included in the promotion of natural sites and natural resources. Besides, the parts  of  the  mythological tales which have been commoditised in the brochures  are the ones  that showcase  the uniqueness of particular ethnic groups and places.

Norhanim Abdul Razak and Abd Rahim Romle, 2016, Representation of Native Myths and Legends and Cultural Values in the Malaysian Tourism Promotional Brochures, Research Journal of Applied Sciences 11 (11): 13°9-1383, 2016 ISSN: 1815-932X D Medwell Journals. 2016.  Authors' Unit, School of Tourism, Hospitality and Environmental Management, Universiti Utara Malaysia, Changlun, Sintok, Kedah, Malaysia)            

Comment by 陳老頭 on November 20, 2021 at 3:05pm

（con't）INTRODUCTION

According to scholars such as Perez-Aranda  as well as Hassan and Isa (2014), mythological tales and  attributes have been frequently included in the promotion of tourist destinations as it is believed that the utilisation  of enticing tales can increase the desirability of destinations and add value to the tourist experience.  In  the context of Borneo, Gingging (200°) states that anthropologists and colonial officers living there during the British era were interested in the local traditions and customs linked to indigenous myths. However, it is important to note that myths and  legends  are  not things of the past, as mystical beliefs and practices form part of the way of life for some Malaysians even in modern times. The practice of rituals and customs associated with myths and legends is still evident in Malay community life, particularly in wedding ceremonies, the performing arts and other life-cycle rites (Larsen, 1996; Hamzah, 200°).

Despite the significance of myths and legends in Malaysia only a limited numbers of studies have examinedmythological tales, especially in the context of tourism. Therefore, the primary aim of this study is to explore the representation of native myths and legends in the Malaysian promotional material, focusing on an analysis of indigenous traditional tales. In the  context  of Malaysian tourism, the analysis of myths is important as contemporary promotion focuses on multi-ethnic and multi-cultural attributes (Yaapar, 2005) and one way to showcase ethnicity and cultural vibrancy is  via mythology. Moreover, the growing importance of mythology in tourism promotion is clearly reflected recently as ‘myths and folklore’ have been chosen as the theme for the celebration of . During the celebration, many well-known myths and legends have been presented to visitors using the concept of street performance. 

Literature review: Indigenous myths. A review of the available literature on indigenous myths reveals that many articles discuss a connection to rituals and festivals associated with paddy spirits. Based on studies of the mythological tales of various native groups, namely Kadazan Dusun, Iban, Rungus and the Negrito population such as Semang, Jakun and Jahut, a number of key attributes can be identified (Shimomoto, 19°9; Liang, 1985; Hussin, 2008). One of the key criteria  of  the  native myths is  the  intimate  relationship  between  native people and their natural environment and landscape. A second characteristic is that nature is the source  of mystical and supernatural phenomena and some parts of natural resources are considered sacred. For instance, according to the Kadazan Dusun traditional belief, Mount Kinabalu is regarded as a sacred resting ground  and  a final destination for their souls (Liang, 1985). Another criterion of indigenous myths is that the human world is intimately linked to the realm of spirits. In the legends examining the relations between the ruling Malay dynasties and indigenous people, native groups are portrayed as having a closer connection to  the supernatural world than the Malays. Proximity to the supernatural world is also apparent from the descriptions of the lifestyle of the Iban people in the state of Sarawak including their traditional textile, Pua Kumbu.  

Myths and legends in tourism: A review of the researches conducted by Amirjamshidi et al. (2012), Karar (2010), Dollah and Kob (2004), reveal that mythological stories play important roles in the context of pilgrim tourism and heritage tourism. This is demonstrated in  the  study carried out by Amirjamshidi  et al. (2012) that  legends and religious rituals can represent important components of heritage and the cultural landscape. 

Comment by 陳老頭 on November 17, 2021 at 1:51pm

（Con't）This is because intangible cultural attributes such  as  legends  and religious rituals can add value and enhance the  authenticity and genuineness of particular heritage sites and buildings (Amirjamshidi et al., 2012). In the context of Malaysia, Dollah and Kob (2004) argue that myths of origin play a significant role in the rejuvenation and revitalisation of culture and heritage. The legend narrating that Baba and Nyonya descended from the marriage between a princess of China, Hang Li Po (who came to Melaka with 500 maids) and Sultan Mansur Shah during the 15th century has strengthened belief in their existence and identity in the historic state of Melaka (Dollah and Kob, 2004). It is also reflected in this study that the presence of Hang Li Po’s well near the Chinese hill in Melaka has made the Baba and Nyonya myth of origin believable. In a place which is well-known for its mythology, Langkawi Island, myths and legends not only form components of local intangible heritage; they have also been transformed into destination attributes  which can lure tourists (Aziz and Ong, 2011 ).

It is proposed that the inclusion  of  myths  and legends can increase the attractiveness of tourist sites and destinations. For example, Hassan and Isa (2014) argue that the inclusion of myths and legends in the promotion of an archeological site in Malaysia, Lengg ong Valley, can enhance the desirability of this place to tourists. Similarly in the promotion of Algrave as a beach destination, it is claimed that local myths and legends can enhance the authenticty and add more value to this destination (Aranda et al., 2015).

To summarise, myths and legends have played an important role in the development cultural  heritage tourism and it is apparent that places associated with fascinating mythological stories can be commercialised for tourism. Therefore, the analysis in this study helps to fill the gap in knowledge about tourism and mythology with an assessment of the representation of native traditional tales in promotional material.

 

MATERIALS AND METHODS

The analysis of native myths and legends  contained in promotional tourist material was carried out using content analysis. Content analysis is a method which has been used by many researchers in investigating the contents of media and printed materials. According to Prasad (2008), “content denotes what is contained and content analysis is the analysis of what is contained in a message” In his recent research, Krippendorff (2010) defined content analysis as “a research technique for making replicable and valid inferences from texts or other meaningful matter to the context of their use” Furthermore, this method can be used to examine both quantitative and qualitative components (Graneheim and Lundman, 2004). This technique has been commonly employed to examine tourist destination images and representations. As this study utilises both  quantitative and qualitative approaches in investigating the tourism portrayal of myths, it is appropriate to adopt content analysis.

The data selected for analysis were promotional brochures published by Malaysian national bodies from 1962-2015. In the assessment of the portrayal of myths only brochures which were published in the English language were selected for examination. As this research concentrates on the representation of indigenous myths, the assessment only focuses on two well-known native tales associated with Mount Kinabalu and Monsopiad included in tourism brochures.

Comment by 陳老頭 on November 15, 2021 at 8:40pm

（Con't）RESULTS AND DISCUSSION—Mount Kinabalu’s Myth. Mount Kinabalu’s myth is incorporated in brochures published from 1969-2015. As part of the description of Mount Kinabalu, 21 brochures mention that the myth of this mountain is closely linked to the Kadazan Dusun people. The myth first appears in the city brochure published in 1969 and subsequently in three other brochures published in the 1970s. However, there is no mention of it in any of the brochures published in the 1980s.

It is generally as part of the description of the natural attractions in the state of Sabah. The Kadazan Dusun people believe that Mount Kinabalu is a sacred site as it is the resting place for their souls when they die.

For example, two of the earliest brochures featuring the Mount Kinabalu myth claim that "to the Kadazan people, Mt. Kinabalu is known as Akinabalu meaning the revered place of the dead, for Mt. Kinabalu is considered by them to be the final resting place of their spirits when they die".

The narrative included in these brochures is actually only part of the Kadazan Dusun mythology linked to Mount Kinabalu. Liang (1985) says that the souls of dead people will climb to the summit of this mountain which is their last destination. However, again according to Liang (1985), other components of the mythology which include details of the sites their dead spirits will pass through and stop at before reaching the final destination and what is going to happen afterwards are not included in the brochures.

There is a significant increase in the inclusion of this myth in the brochures published from 2000-2007. The assessment of this myth over the years identified a slight alteration in the description of this tale as represented in the brochures published from 1990-2007.

It is added in these brochures that "no wonder long ago" or "the older folk believe that". This modification implies a change in values of the Kadazan Dusun people over the years.

Although, only a few words have been added, it suggests an important message to readers that younger generations of the Kadazan Dusun people may not maintain their traditional beliefs. This finding is supported by who states that in the past, Dusun people would not climb this sacred mountain because of their traditional belief; if they really did have to go up the mountain, offerings and rituals had to be made and taboos complied with in order to avoid misfortune. As visitors are allowed to climb Mount Kinabalu today, encouraged by promotions in the brochures, it shows that traditional beliefs are not strictly adhered to.

In the context of tourism representation to be able to convey this message to tourists is regarded as crucial, particularly for native peoples who are commonly portrayed as being backward. Four other brochures use a similar statement in describing the myth associated with the mountain: "no wonder that long ago, the Kadazan Dusun named it Aki Nabalu or home of the spirits of the dead". However, it is depicted in the brochures published relatively recent that.

The mountain itself has long been regarded as sacred to the local Kadazan Dusun people, who consider its brooding peaks the resting place of the spirits of their departed ancestors. Till today, ceremonies are still being performed to appease the spirits of the ancestors, hence one of Sabah's names-Land of the Sacred Mountain.

This quote demonstrates that contemporary Kadazan Dusun people still strongly believed in the myth and related rituals. One of the reasons contributing to the increasing attention in myths and legends recently can be attributed to the growing attention given to preserving the past (Reiss, 2006) even among indigenous ethnic groups in Malaysia.

Comment by 陳老頭 on November 15, 2021 at 2:03pm

(Con't) In the context of tourism, the analysis of the representation of myths shows not only that Mount Kinabalu has a significant meaning to local people, spiritually and culturally; it has also been one ofthe main attractions promoted to visitors from the 1960s to the present day. Although, Mount Kinabalu and its myth has been incorporated into various categories of brochure, they were mainly featured in city brochures whichrepresent the earliest material used in the promotion of tourism in Malaysia. Over the years, the myth of Mount Kinabalu has come to be included in thematic brochures promoting the main mountains and hills in Malaysia and state brochures advertising Sabah.

Legend of Monsopiad: Another indigenous tale included in the brochures is story of the legendary Kadazan Dusun warrior, Monsopiad. This myth is mostly told as part of the promotion of the monsopiad cultural village in Sabah.

It reflects one of the traditional practices of the Kadazan Dusun people, headhunting. Overall, this legend is represented in 15 brochures. The tale first appeared in the brochure published in 2007 which claimed that "some 300 year ago in a village in Penampang, Sabah, there lived a great kadazan warrior named monsopiad. So, great was his power that no enemy could defeat him. During his lifetime in order to protect his village, Monsopiad took the heads of 42 enemies". A longer version of this tale is included in another brochure which states that.

Long ago, Kizabon, the daughter Of the kuai village's headman was blessed with a baby boy named Monsopiad. During her pregnancy, her husband, Dunggou, realized a sacred Bugong bird had nested and laid aggs on the roof of their house. Such a good omen was a sign that their child would possess extraordinary abilities. When their child was born, the Bugang eggs hatched.

The inclusion of the myth associated with Monsopiad and the headhunting tradition reveals several key aspects relating to the Kadazan Dusun people. First, this myth highlights that Monsopiad was a very bravwarrior who possessed supernatural abilities. His courage as awarrior was also evidentthrough his ability to kill and cut off many enemy heads. In fact, traditionally the Kadazan Dusun strongly encouraged their young men to participate in this practice as it symbolises adulthood and bravery(Liang, 1985). Further more,followingthe narrative of Monsopiad myth, some brochures stated that his direct descendants constructed the cultural village dedicated to him in order to commemorate him and share their stories with others. This shows that modem Kadazan Dusun people are proud of their ancestor's bravery and they are even willing to be the guardians of this tourist attraction.

Monsopiad's bravery was intimately linked to the traditional practice of headhunting. In the context of tourism representation, myths depicting such an unusual traditional practice can help to project images of Otherness which is regarded as a reputable strategy to attract tourists in destination marketing. This view is also supported by Gingging (2007) who argues that headhunting can further accentuate Kadazan Dusun people as other as this traditional practice is regarded as peculiar and brutal. However, the positive perspective of headhunting is that it is unique and can highlight the distinct identity of this particular ethnic group. The importance of this tradition to tourism in Sabah is reflected through images of human skulls commonly exploited as part of the cultural images of Kadazan Dusun people and their longhouses. The myth depicting Monsopiad's past headhunting practice either directly or indirectly demonstrates a close connection to nature.

Comment by 陳老頭 on November 10, 2021 at 10:08pm

(Con't) The myths are also close to the supernatural world as is evident through tales involving magic and supernatural occurrences. Besides, the conceptual aspect of bravery associated with past warriors such as monsopiad includes not only physical strength but also a spiritual component. The source of their strength and powers is directly and revealed that the worldview of Kadazan Dusuns involved a belief in spirits and the afterlife.

Furthermore, myths and legends have featured in several categories of brochure published by the Malaysian national tourism organisations over a long period. These include brochures produced to promote national, state, specific destination and thematic attractions. Although, only a small number of the mythological stories are presented here, this still shows that myths and legends play an important part of tourist attractions in Malaysia. Not only have they featured in the different categories of brochure mentioned above but there is also a specific brochure for Malaysian myths and legends called "Treasured Malaysian Legends".

The findings of this research support the argument of previous scholars, that myths and legends are mostly employed in the promotion of cultural and heritage attractions and that their incorporation can accentuate the image of these attractions and sites. However, the findings
of this study demonstrate that in addition to cultural heritage sites, myths and legends have also been incorporated into the promotion of natural sites and natural resources.

Overall, the findings of this study extend our understanding in the area of tourism and mythology. It has been shown that the types of myth selected for inclusion in Malaysian tourism brochures and the parts of the myths featured, complement the tourism attractions.

Based on the myths assessed in this study, it is apparent that the parts of the myths which have been commoditised in the brochures are the ones that illustrate the uniqueness of particular ethnic groups and sites.


CONCLUSION

In conclusion, this research has analysed the portrayal of native myths in promotional tourist brochures published by Malaysian tourism bodies from 1969-2015, through the assessment of two traditional tales: Mount Kinabalu and Monsopiad, using a content analysis technique. Overall, findings show that Mount Kinabalu's myth has been incorporated into the brochures published from 1969-2015 while the legend of Monsopiadhas been included in the brochures published from 2007-2015. The findings demonstrate that there are specific attributes associated with the Kadazan Dusun people presented as part of their myths in the brochures. The analysis of the myth of Mount Kinabalu demonstrates that the values of the Kadazan Dusun people have shifted over the years.

The representation of indigenous myths featured in tourism brochures reflects that the Kadazan Dusuns are intimately linked to their ancestors, nature and the supernatural world. Finally, it is evident that places associated with fascinating mythological stories including native myths and legends can be commoditised to attract tourists.

(Representation of Native Myths and Legends and Cultural Values in the Malaysian Tourism Promotional Brochures, by Norhanim Abdul Razak and Abd Rahim Romle, School of Tourism, Hospitality and Environmental Management, Universiti Utara Malaysia, Changlun, Sintok, Kedah, Malaysia, in Research Journal of Applied Sciences 11 (11): 13°9-1383, 2016 ISSN: 1815-932X / D Medwell Journals. 201-6)

Comment by 陳老頭 on November 8, 2021 at 3:46pm

旅遊是一種生活方式，更是一種學習方式和成長方式

“詩和遠方”的旅遊本質解讀

文化和旅遊融合，不少媒體將其稱作“詩和遠方”走到了一起。“詩”代表文化體驗的深度，是一種深層次的精神審美追求；“遠方”代表時空的廣度，是旅遊活動所進行的時間過程和空間位移。“詩和遠方”走到一起，生動地反映了旅遊者在旅遊過程的時空轉換中，實現對文化和精神世界的深度觀照。“詩和遠方”，本質上都是一種美化的生活方式和對美好生活的追求，是一種高級的精神需求，是“以人民為中心”發展理念的集中體現。在文旅融合的背景下，旅遊已經成為一種生活方式、學習方式、成長方式，因而更加有必要從旅遊本體論的角度，對“詩和遠方”的旅遊本質進行深度探討。

“詩”來自心靈自由的最深處。“詩”亦即“詩意”，“詩意”可以理解為人的身心自由體驗。旅遊與詩都追求“美”，因為它們都是人生的美學散步，使人生更富有詩意。旅遊是審美的詩意對話，是人對“詩意棲居”生活方式的追求與向往。旅遊的本質是人對生命自由和諧的追求或異地身心自由的體驗，是一種“詩意地棲居在大地上”的生活狀態。

旅遊與詩是相通的，在許多方面有著共同之處。旅遊與詩都是休閑的產物，注重精神追求；旅遊與詩都追求“真”，使我們觸摸到內心不敢作假的人性，因為它們都追求身心自由的體驗；旅遊與詩都追求“善”， 因為它們都是凈化心靈的藥方，使人對大自然和生活寄予無限的深情，並用一種藝術的眼光來看待人生；旅遊與詩都追求“美”，因為它們都是人生的美學散步，使人生更富有詩意；旅遊與詩都追求“意境”，因為它們都追求主客交融、物我同一，精神與自然融為一體，由“在場”洞見“不在場”；旅遊與詩既是人生的一種奢侈品又是人生的一種必需品，在物質生活豐裕和生活節奏加快的今天，我們都需要休閑與詩意。既然旅遊與詩是相通的，因此我們在旅遊中就需要用一顆“詩心”去觀照大自然與世界，與旅遊審美對象進行詩意的對話。

“遠方”實際是指旅遊具有“異地性”特征。旅遊活動一般是旅遊者離開常住地到異地發生的一種旅遊體驗行為，旅遊活動的發生要以行為主體的空間移動為前提。旅遊源於人們“遠方崇拜”的天性和異地向往的心理情結，旅遊是人類轉換生活空間的理想途徑，是使人詩意棲居在大地的另類生活方式。“異地”主要是指與日常生活和工作場景相區別的特殊空間場所。旅遊異地性內涵豐富，既包括地理上的區別，也涵蓋文化與心理上的差異。正是異地的陌生與神秘，才使旅遊具有誘人的魅力。常言道：“熟悉的地方沒風景。”說的就是這個道理。旅遊是“見異思遷”的社會實踐活動，以新奇或新異為核心的刺激追求是旅遊的主要動機之一。

異地是相對於日常生活與工作環境而言的，不僅是地理空間的概念，而且是心理的、社會的、感性的概念，不可能精確地、理性（或量化）地定義。筆者曾經提出用“樊籠理論”闡釋旅遊的本質。“樊籠”比喻受束縛而不自由的境地。將小鳥關在鳥籠裏，小鳥囿於鳥籠的束縛，總是向往著飛向可以自由翺翔的藍天，一旦打開鳥籠，鳥兒就要飛出去。這正是陶淵明所說的“久在樊籠裏，復得返自然”。人也是一樣，慣常生活與日常工作環境像樊籠一樣對人具有束縛作用。

從日常時空特征來講，日常生活是一個相對凝固、刻板、封閉的世界，而“遠方”的旅遊世界是活潑、變化、新奇的。這種窒息人類生命自由的日常生活世界，韋伯稱之為“理性鐵籠”。正是慣常生活與日常工作單調乏味、狹隘封閉的時空局限，束縛了人類崇尚身心自由的本性，由此埋下了旅遊的種子並孕育萌發了旅遊動機。特別是現代社會的生活程式化、精神空虛化、人際關系異化等，對大眾旅遊的興起產生了巨大的助推力，促使人們衝出“理性鐵籠”，到日常生活與工作環境以外的地方尋求身心自由的體驗。

“遠方”或異地是旅遊的重要屬性特征，它代表了人們對於空間的無限性與時間的永恒性的一種深層次內在追求。當然，我們對“遠方”不限於“異地性”的科學解讀，“遠方”也是一種詩意的文化想象，可以從旅遊哲學的視野對“遠方”進行詩意的闡釋。那就是，真正的旅遊應該目視“遠方”，仰望星空，努力創造一個“理想的旅遊世界”，讓旅遊實現促進人的自由全面發展與社會文明進步的強大功能與遠大目標。

“詩”和“遠方”之於旅遊，二者缺一不可。僅有“遠方”而無“詩”（意）可能只是人的空間位移的事務性旅行，僅有“詩”（意）而無“遠方”可能只是人的日常性的就地休閑。“詩與遠方”，其根本在“詩”；心中有“詩”，就有“遠方”。心中沒有“詩”的時候，只在茍且。心中想起“詩”的時候，自然就成就“遠方”之夢。總之，只有“詩” 和“遠方”有機結合，才是真正體現旅遊本質——“異地身心自由體驗”的旅遊。

（2021-07-21 來源：中國旅遊報作者：曹詩圖 鐘晟註：本文系國家社科基金藝術學重大項目“促進文化和旅遊融合政策創新研究”［20ZD01］階段性成果。）（作者單位：武漢科技大學恒大管理學院，武漢大學國家文化發展研究院）

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