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Comment by Bayrut Alhabib on November 9, 2022 at 11:57am

陳崗〈西湖：旅遊者符號〉（7）

（續上）5.2 研究展望

旅遊者符號實踐是一個新的概念，尚有諸多內容值得進一步深入探討，這里僅提出一些筆者認為比較重要，和亟需解決的方面加以說明。

5.2.1 旅遊者符號想象與符號實踐的關聯性研究

本文僅對旅遊者符號想象與符號實踐之間的關係進行初步探討，接下來需要進一步深入研究二者之間的互動過程與機制，主要內容包括：

①旅遊者符號想像如何通過不同類型的符號敘事建構而成並形成旅遊者符號記憶；
②旅遊者如何依據符號記憶開展符號實踐，並形成新的符號敘事；
③旅遊者新的符號敘事如何實現符號想象的再生產。

5.2.2 旅遊者符號實踐中符號記憶與符號創造的關係研究

符號記憶與符號創造，是旅遊者符號實踐中的一對主要矛盾：符號記憶是符號創造的前提條件；符號創造以符號記憶為基礎，並形成新的符號記憶。需要進一步展開討論的相關問題包括：

①旅遊者如何針對符號記憶開展符號檢驗，符號檢驗的標準是什麽；
②什麽場合、事件或動機，導致了旅遊者的符號創造；
③符號創造與符號記憶有何異同，原因何在；
④符號創造如何塑造旅遊者新的符號記憶。

5.2.3 旅遊者符號實踐的形式、內容與特征研究

旅遊者符號實踐的常見形式包括景物拍攝、留影、人物或情節模仿、即興表演、文化附會、情感流露、旅遊話語、人際互動等。通過深入考察不同形式的旅遊者符號實踐，有助於深入研究旅遊者符號實踐的內容與特征。

旅遊者符號實踐內容的研究包括活動與意義、身份與關係、立場與策略、符號與聯系等方面，特征的研究包括體驗特征、行為特征、情感特征、時間特征和空間特征等方面。

 

Comment by Bayrut Alhabib on November 9, 2022 at 11:56am

5.3 討論

無論是理論闡釋，還是實證分析，旅遊者符號實踐研究均處於初步探討階段，有待後續研究的進一步補充和深化。首先，古代詩詞人的西湖遊覽可能並不完全符合現代市場經濟背景下的旅遊概念③。然而，從離開慣常環境和從遊覽中獲得愉悅的特征看，古代詩詞人倒也在一定程度上與現在旅遊者保持一致。一方面，西湖很難稱得上是古代遊覽者的慣常環境。


古代杭州城區並不大，五代吳越國以來就以湧金門（一直到民國初期才被拆除） 與西湖相隔，在空間上相對獨立。遊人遊覽西湖常常因城門關閉等原因, 被限定在一定時間以內，且出遊方式以步行和馬車為主，在交通上較為不便。

另一方面，古代詩詞人一般並不以遊覽西湖作為謀生的手段。相反，他們多以遊山玩水，吟詩作詞為樂。

其次，本文中旅遊者符號實踐的三大支撐理論，由筆者依據理論指導的關聯性和重要性而提出，可能還不夠全面。旅遊者符號實踐是典型的跨學科研究領域。相信隨著不同學科知識體系的不斷融合，新的理論視角的不斷出現，旅遊者符號實踐研究也必然能夠獲得更多的理論關照。

最後，旅遊者符號實踐研究離不開現實中的旅遊實踐。本文中對旅遊者符號實踐概念，基本內涵的探討尚需通過不同年代、不同情境、不同類型旅遊者符號實踐行為的實證研究加以不斷檢驗、修正和深化。

註釋：

①“玉局仙”在這里借指蘇軾。蘇軾曾任玉局觀（傳說是老子講過經的道觀）提舉，並自稱玉局翁。

②“髯蘇”為蘇軾的別稱。

③如申葆嘉先生就認為旅遊是市場經濟發展的產物。參見申葆嘉：《旅遊學原理》，中國旅遊出版社，2010 年版，第40-50 頁。

(原題〈旅遊者符號實踐初探——以杭州西湖“西子”詩詞為例 / 作者陳崗單位：杭州師範大學經濟與管理學院，杭州311121 / 原載 2015 年第5 期總第145 期人文地理)

Comment by Suyuu on September 19, 2022 at 5:54pm

《山打根八號娼館》

阿崎婆自小被賣到南洋沙巴當雛雞，年邁回到日本。其口述歷史造就了山崎朋子的名著《山打根八號娼館》。靠著一位小學四年級的女孩，文盲的她一直和山崎朋子保持通信，女孩的稚拙的筆跡飽含童心，寫著老奶奶身邊大大小小的趣事。

Comment by Suyuu on September 16, 2022 at 6:11pm

How large is the creative economy?

Prior Reading: Malaysia’s creative industry contribution to GDP remains low by Dr. Tan Beng Huat

Leinn Arts February 24, 2022 0Comments

The United Nations General Assembly established on their 74th session, 2021 as the International Year of Creative Economy for Sustainable Development; which confirmed the rising role of creative economy on the global stage. 1

The creative economy, according to the United Nations Conference on Trade and Development (UNCTAD) and United Nations Development Programme (UNDP) is “an evolving concept based on creative assets potentially generating economic growth and development” , was one of the fastest growing sectors in every region of the world – North and South, East and West – before the COVID-19 pandemic outbreak. 2

The creative economy has been considered as highly transformative because of its capacity on income generation, job creation and export earnings with spillover effects that stimulated innovation in other sectors.

                                   (Photo by Lava Lavanda on Unsplash)

It represents 3% of world economy GDP and around 30 million jobs worldwide, according to UNESCO’s data. Extrapolating from earlier trends suggests that the creative economy could grow 40% by 2030, adding more than 8 million additional jobs.

According to the report The future of creative economy by Deloitte (2021)

“The creative economy is a means of addressing important social and cultural needs. It can provide cultural representation by presenting a diverse range of human experiences. It can aid social cohesion, among the population at large or particular communities, by enabling the sharing of common narratives about the contemporary, historical or mythical world in which we live. The creative economy is the part of the economy that tells our stories and the creative works we leave behind as a society are likely to define how future generations understand us.

Comment by Suyuu on September 16, 2022 at 6:11pm

The creative economy is also valuable to the extent that its association with individual creativity implies that it often involves the creation of new knowledge, which will create wider benefits through spillovers to other sectors. Creative industries often create technical innovations, most notably in the IT sector. The creative industries also support the diffusion of knowledge, for example through publishing. The news media in particular, but other parts of the creative economy as well, can also support democratic accountability through sharing information about current events, investigating institutions, and challenging decision-making.”

The creative economy is large and growing. For analysing how it impacts on the different economies in the world the data of Colombia, Germany, Japan, Mexico, Nigeria, South Africa, South Korea, Spain, Turkey and the United Kingdom has been selected.

In Colombia, the cultural and creative industries contributed 3% to the gross domestic product in 2019, and it reached a record result of USD 238 million in terms of exports.

In Germany, the cultural and creative industries contributed 3,1% to the gross domestic and represented 7% of total employment in the country in 2018.

In Japan,the cultural and creative industries contributed between 6.5m and 9.3m and represented 10-14% of total employment in the country in 2018.

In México, the cultural and creative industries contributed 3,5% to the gross domestic product in 2019, and it reached a record result of USD 5.200 million in terms of exports.

In Nigeria, the music industry was growing at an annual rate of 13.4%. The Nigerian film industry, known as “Nollywood”, employs about one million people and, with over 2,000 films produced per year, was ahead of Hollywood.

In South Africa, the cultural and creative industries contributed 1,5% to the gross domestic product in 2018 and represented 7% of total employment in the country in 2018.

In South Korea, the cultural and creative industries contributed around 850,000 rising to over 1m in 2018, around 4% of total employment in the country.

In Spain, the cultural and creative industries contributed 900,00m in 2018, around 5% of total employment in the country.

In Turkey, the cultural and creative industries contributed 600,000m, around 2.5% of total employment in the country.

In the UK, the cultural and creative industries contributed over 3.1m in 2018, 10% of total employment in the country.

1.UN resolution 74/198, https://documents-dds-ny.un.org/doc/UNDOC/LTD/N19/359/41/PDF/N19359....

2.United Nations Conference on Trade and Development (2018), Creative Economy Outlook: Trends in international trade in Creative Industries and Country Profiles, Geneva and New York, United Nations, https://unctad.org/en/PublicationsLibrary/ditcted2018d3_en.pdf.

Comment by Suyuu on September 15, 2022 at 4:00pm

我們的青年創富帶頭人呢？

經過三十多年的改革發展，
中國的農業農村發生了巨大變化。
農村面貌不斷改觀，
農民收入持續增長。

在農業農村發展中，
出現了一大批有文化、懂技術、
善經營、會管理的青年致富帶頭人，
他們活躍在農業生產的各個領域，
已經成為推動中國現代農業發展的重要力量。

接下來的挑戰是，其他村子的青年創富帶頭人呢？

詳見 》》》田小飛·支持農村青年創業的實踐和思考

Comment by Suyuu on September 13, 2022 at 12:41pm

馬来西亞文創

Dasar Industri Kreatif Negara

Creative Industries Policy in Malaysia

愛墾文創 地方創生： 達人交流 最新動態

跨界·絲路：文創青年關懷濱雪一帶一路

低成長年代的人生提案：推動內容營銷，打造2019年榮景

愛墾慕課·文創篇

愛墾慕課·在地篇

《我的加雅街杜順公主》生活&旅遊札記

愛墾慕課·影像篇

Comment by Suyuu on September 13, 2022 at 12:40pm

Investment in creative economy bearing fruit

By: Anthea Peter

IN 2012, a Government investment arm dubbed “MyCreative Ventures Sdn Bhd” was launched to spur the country’s creative industry.

This is primarily done via strategic and innovative funding through debt or equity investments in Malaysian creative companies.

MyCreative was incorporated on April 20, 2012 under the Malaysian Companies Act 1965 by the Minister of Finance (Incorporated) [‘MOF(Inc)’] and now reports to the Multimedia and Communications Ministry.

MyCreative Group Chief Executive Officer Junady Nawawi

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MyCreative Non-executive Chairman Noor Azmi Mat Said

Last year, MyCreative appointed Junady Nawawi as its Group Chief Executive Officer (GCEO) who bears the responsibility of navigating the corridors of multiple stakeholders to make the Orange Economy matter for creatives.

Noor Azmi Mat Said was also appointed as MyCreative’s Non-Executive Chairman last year.

From the allocated funds, MyCreative invests in equities and gives out loans to potential and viable creative Malaysian businesses with a mission to achieve three goals.

This includes boosting the attractiveness of Malaysia’s creative industry, subsequently creating more jobs.

It also has a goal to increase the creative industry’s gross income and make significant contributions to the country’s Gross Domestic Product (GDP) and thus increase Malaysia’s GDP.

Additionally, it also aims to elevate the status of Malaysia’s creative industry via public awareness and social impact.

Private Debt funding requires Malaysian-owned businesses operating under a Sendirian Berhad entity to be incorporated in Malaysia with minimum RM20,000 paid-up capital & at least one year in operation.

Riuh Nau! Carnival in Melaka, the third State to host the carnival after Johor and Sabah. (Source: MyCreative Venture)

Private Equity would require a minimum three years business track record.

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Such funding by My Creative supports 10 main creative pillars in Malaysia, namely Visual Arts, Performing Arts, Music, Literature, Content Creation, Fashion, Traditional & Cultural Arts, Culinary Arts, Design and Creative Education.

Some notable successful brands that were previously funded under MyCreative include dUCk, Christy Ng, My Apparel Zoo and Oyez! Books, among others.

To further support creative industries in Malaysia, the MyCreative Group established its subsidiaries, “Riuh” and the Economic Development Agency of Cultural Art (Cendana) in 2017.

Comment by Suyuu on September 13, 2022 at 12:40pm

Riuh, a wholly-owned subsidiary of MyCreative Ventures is a curated creative platform that hosts an eclectic array of pop-up stores, international and local food, creative workshops, showcases and live acts on a regular basis.

Whereas Cendana is a division under MyCreative that develops and promotes Malaysia’s cultural economy.

It acts as a link between creators, regulating bodies, private investors or businesses, policy makers and consumers.

Positioning itself as an umbrella body with sufficient resources and expertise, it aspires to elevate Malaysian arts and showcase its diverse beauty on the local, regional and global stage – transforming Malaysia into a cultural destination.

Under the 2022 National Budget, the Government allocated RM20 million towards Riuh Keluarga Malaysia Programmes while RM30 million was allocated to elevate local animation.

MyCreative Chairman Noor Azmi Mat Said that the creative economy is significant in achieving the Government’s aspiration for the industry.

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He said the Government aspires for the industry to contribute RM31.9 billion to Malaysia’s GDP by 2025, as outlined in the Twelfth Malaysia Plan.

Noor Azmi said the “Orange Economy” has massive potential to be harnessed given the country’s rich pool of talents which include practitioners in visual art, performances, music, crafts, fashion, writing and talent from the technical arts such as design including industrial design.

Sources:

http://www.mycreative.com.my/
https://www.theedgemarkets.com/article/mycreative-ventures-names-ju...
https://www.cendana.com.my/about-us/who-we-are
https://www.linkedin.com/company/mycreative-ventures-sdn.-bhd./?ori...
https://www.nst.com.my/business/2021/04/679114/mycreative-ventures-...

（Published on: Friday, August 12, 2022）http://www.dailyexpress.com.my/news/197504/investment-in-creative-e...

Comment by Suyuu on September 13, 2022 at 11:53am

砂州有意設小航空公司，載客出口農產品推動經濟

砂拉越計劃設立小型航空公司，並由砂拉越政府所持有的犀鳥航空（Hornbill Skyways）經營。

砂拉越首席部長阿邦佐哈里指出，這有助於推動砂拉越經濟，可出口農產品及滿足個人通行和旅遊需求。

「我們需要自己的小型航空公司，不是大型的，只要能容納100至200名乘客小飛機。載遊客進來，我們不依賴其他航空公司。」

他今日出席柏布林（愛墾註：Bebuling, Spaoh, Central Sarawak）短跑道機場動土禮後在記者會上這麽說。

阿邦佐哈裏指出，初步計劃，該航空將提供砂拉越直飛吉隆坡、新加坡、泰國、印尼及香港，同時也專注在策略樞紐。

他認為，該航空可通過即將在2023年9月竣工及耗資1億810萬令吉的布林短跑道機場，為鄉區的農業及旅遊業發展貢獻。

「這機場也充作重要的交通中心，除了靠近巴當艾旅遊景點，也能從木中、實巴荷及鄰近地區運載食品。」（馬新社 Nov 30, 2021)

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