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Comment by 旅遊 庫 on October 9, 2022 at 9:44am

Budget 2023: Supports sustainability of tourism, arts, culture

KUALA LUMPUR: The RM1.16 billion allocation in the 2023 Budget for management and development of the tourism, art and culture sectors reflected the government's continuous post-pandemic efforts to restore and strengthen the country’s economy carried out since 2021.

The Ministry of Tourism, Arts and Culture (Motac), in a statement today, described the budget as a sign of the government's continued support and commitment to make the local tourism, arts and culture industry strong again.

“The government’s commitment is clear in ensuring that the national economic growth agenda continues to be given focus to empower the industry and businesses continue to be supported in this phase of recovery and growth.

“Motac will refine allocations that involve tourism and culture, and is ready to seize opportunities available to develop the sector which is closely related to the Shared Prosperity Vision 2030 and the Sustainable Development Goals,“ it said.

Finance Minister Tengku Datuk Seri Zafrul Tengku Abdul Aziz , when tabling Budget 2023 yesterday, announced an allocation of RM200 million to strengthen the recovery of the tourism sector with incentives, promotion and marketing incentives, as well as RM90 million as matching grants, such as the Tourism Promotion Matching Grant (Gamelan), which involves promotion and marketing campaigns with the industry.

Apart from that, the government is allocating RM25 million to provide incentives to the people in the form of discounts, vouchers and rebates for accommodation, tourism packages, handicrafts, and works of arts up to RM100; RM25 million for programmes to popularise arts, culture and heritage and 100 per cent tax exemption on statutory income for foreign and local tourists.

Other funds proposed in the 2023 Budget involved are the RM500 million in Bank Negara Malaysia's Tourism Financing (PTF) with an increase of financing size from RM300,000 to RM500,000; tourism infrastructure financing fund amounting to RM1 billion to strengthen the momentum of the recovery of the tourism sector, as well as the allocation of RM10 million through ThinkCity to further transform Kuala Lumpur City centre into a creative and cultural hub.

Tourism, Arts and Culture Minister Datuk Seri Nancy Shukri, in the same statement, said Motac would continue to take appropriate measures to protect and prepare the country for the effects of global development.

“Motac welcomes and expresses its gratitude to the government under the leadership of Datuk Seri Ismail Sabri Yaakob for the announcement of a high-impact budget, l which is responsive, responsible and reformist,” she said. -Bernama (The Sun Daily, Sunday, 09 Oct 2022)

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Comment by 旅遊 庫 on September 18, 2022 at 3:10pm

Dr. Tan Beng Huat: Singapore, Our Natural Source of International Tourists

Few months ago, I had watched a series of documentary on Singapore's nation-building experience. Many good stories are shared through their heritage of old paintings, photographs & black and white contents from TV archive. One of them is to explore Singaporeans' desire to learn Bahasa Malaysia in evening classes, attempted to be a Good Malaysian....... As a young kid in Southern Johore then, Singapore to me is just our neighbour town where my aunt stay. Many people of my generation who opted for Singapore citizenship have just retired in recent years with reasonable or even good saving. It's natural for them to be a rich tourist to visit Malaysia, where their relatives stay. In fact, all these years, Singaporeans make up around one third of our foreign tourists (excluding the excursionists who make daily trips across the JB causeway). After the Covid-19 close down, other than visit their relatives and Genting Highland, their destinations also include many Malaysian places that they have never considered before. Just to name a few, weekend city tour to Sibu, Sarawak, Off Shore Angling trip to Kuching, home-stay in Kuala Selangor......these were in fact my youngest sister's records with her family and family of my brother-in-law's siblings. Our nature and culture is a blessing to them too. Beside family tour, to my Singaporen nephews and thier peers, our seas are their diving paradise. One of them even become a coral conservationist of our under-sea world with funding from Singaporen government. Meaning? Before we go back to what we have in 2019 which have witnessed international tourism hit record high of 1.5 billion, of which China's contribution is 10%, our neighboring countries are our hope. Other than Singapore, the number of Vietnamese's outbound tourists to South-East Asia is also going up. Afterall, to Sabah and Sarawak, tourists from Penisular is a ready market yet to be fully tapped.   (18.9.2022)

Comment by 旅遊 庫 on June 8, 2022 at 11:22am

引領文化旅遊：分層培育文化旅遊消費市場和群體，夯實岷江上遊文化旅遊社會基礎。產品需要設計，消費需要引領。在充滿誘惑和刺激的新世紀，對文化旅遊而言，再也不是「酒好不怕巷子深」了。一方面我們需要設計好我們的文化旅遊產品，努力做到時代性、豐富性、差異性和珍貴性的統一；另一方面，我們更需要培育和引領文化旅遊的消費市場和消費群體。傳統旅遊的六要素——吃、住、行、遊、購、娛，現在已經悄然發生了改變，各種富有個性化的旅遊需求在不知不覺中正在積蓄能量，等待「爆發」。如：運動休閑、康養健體、智慧怡心等等。就岷江上遊文化旅遊的資源稟賦而言，至少可以分為以下需求類別：一般性的參觀度假休閑、學術研究考察、獵奇獵新、風情風俗體驗、尋根問祖、懷古憶昔、情感寄托、心靈安頓等，針對這些消費市場，應設計相應的旅遊產品，包括線路設計、食宿安排、導遊、宣傳資料及文化創意產品等，以此引導消費群體作出正確的選擇。如果能夠持之以恒、因時製宜、因地製宜、因人製宜地做好這些工作，岷江上遊的文化旅遊將在不遠的將來，成為有口皆碑的旅遊勝地和經典旅遊品牌，比肩這一地區以九寨、黃龍為代表的自然遺產旅遊。（潘君瑤·岷江上遊的歷史文化遺產與文化旅遊）

Comment by 旅遊 庫 on May 10, 2022 at 3:05pm

冷盈袖《在別處生活》

有隱居之念

不是一日兩日了

人群中不能久待

不妨試著

在植物中間生活

聽一日的鳥聲

見最少的人

清泉細長

 

釀整甕的酒

透過枝葉看月亮

院子裏的籬笆

不可編得過於齊整

葉子落下來

就讓它們積著

這何嘗不是一種美德

用草木煮一日的粥食

最好的人間

便是父母健在，糧食清白

像料理一棵青菜一樣

料理自己

Comment by 旅遊 庫 on May 2, 2022 at 3:30pm

旅遊文創體驗店

近年來這種模式正在走紅社交網絡，也是線下景區愛開發的最新模式之一。作為景區和博物館內“最後一個展廳”的文創體驗店，已經被重視起來了！天壇的“天壇福飲”咖啡店，上新才兩個多月，已在各社交平臺上有著很高的出鏡率，店內不僅有文創展示臺，新穎的文創咖啡杯更是受遊客喜愛；“天壇美映”AI文創照相館也已經是遊客必打卡的地點，攝影棚共有20個背景板，遊客可以選擇與祈年殿、圜丘等經典建築合影，後期利用AI智能影像技術，在攝影棚內就可以拍攝出實景感很強的照片，深受遊客喜愛……

這種體驗店已經成了“網紅樣本”，在各大景區和博物館起了連鎖反應，甚至有跡象成為未來景區的標準體系之一，這種模式“混搭”也極被消費者喜歡。

Comment by 旅遊 庫 on November 18, 2021 at 1:39pm

旅遊考[南北朝]沈約《悲哉行》

旅遊媚年春，年春媚遊人。
徐光旦垂彩，和露曉凝津。
時嚶起稚葉，蕙氣動初蘋。
一朝阻舊國，萬里隔良辰。

解說

旅遊：外出旅行遊覽。
媚：嫵媚。明媚。
年春：新年的春天。來年春天。
遊人：遊覽遊玩的人。
徐光：柔和緩慢的春光。徐徐的春光。

旦：早晨。
垂彩：垂下光彩或彩色。
和露：和熙的露水。春天的露水。
曉：拂曉。
凝津：謂天地精靈之氣相合而凝成津液。

時嚶：應時的鳥啼聲。嚶，象聲詞，形容鳥叫聲或低而細微的聲音。
稚葉：稚嫩的樹葉。
蕙氣：蕙草的香氣。
初蘋：初期生長的白萍。
一朝：一旦。某一天。

阻：阻斷。
舊國：舊時的國家；故國。故鄉。
隔：隔斷。
良辰：良好的時辰。美好的時光。

白話譯文

行客留連春天的美景，春景也在取悦着遊人。早晨散開的陽光垂下霞彩，晨露在津渡旁凝結。嫩葉間不時傳來鳥鳴聲，帶着蘭花香氣的風吹動着水面的浮蘋。可是我正遠離故國，在這美好的時節裏與它相隔萬里啊。

作者簡介

沈約（441~513年），字休文，漢族，吳興武康（今浙江湖州德清）人，南朝（宋、齊、梁朝時期）文學家、史學家。出身於門閥士族家庭。是齊、 梁文壇的領袖，學問淵博，精通音律，與周顒等創四聲八病之説，要求以平、上、去、入四聲相互調節的方法應用於詩文，避免八病，這為當時韻文的創作開闢了新境界。其詩與王融諸人的詩皆注重聲律、對仗，時號“永明體”，是從比較自由的古體詩走向格律嚴整的近體詩的一個重要過渡階段。著作有《宋書》、《沈隱侯集》輯本二卷。又曾著《四聲譜》、《齊紀》等，已佚。（百度百科）

愛懇註：在中國歴史上，這首詩是較早（南北朝）出現“旅遊”一詞的文獻。


延續閱讀 》旅遊體驗誌 （1）

跟《馬來紀年》走一帶一路·望加錫

Khalak Khalayak

《文學愛墾》內容重點推薦

Comment by 旅遊 庫 on September 27, 2021 at 10:48am

波德萊爾《巴黎的憂郁》每個人的怪獸

頭上是空闊而灰蒙的天空，腳下是塵土飛揚的大漠，沒有道路，沒有草坪，沒有一株蒺藜菜，也沒有一棵蕁麻草。我碰到好多人，駝著背向前行走。

他們每個人的背上都背著個巨大的怪物，其重量猶如一袋麵粉，一袋煤或是羅馬步兵的行裝。

可是，這怪物並不是一件僵死的重物，相反，它用有力的、帶彈性的肌肉把人緊緊地摟壓著，用它兩隻巨大的前爪勾住背負者的胸膛，並把異乎尋常的大腦袋壓在人的額頭上，就像古時武士們用來威嚇敵人而戴在頭上的可怕的頭盔。

我向其中一個人詢問，他們這樣匆忙是向哪里去。他回答我說，他也一無所知；不但他，別人也不知道。可是很明顯，他們定是要去什麽地方。因為，他們被一種不可控制的行走欲推動著。

值得注意的是，沒有一個旅行者對伏在他們背上和吊在他們脖子上的兇惡野獸表示憤怒，相反，他們都認為這怪物是自己的一部分。在這些疲憊而嚴肅的面孔上，沒有一張表現出絕望的神情。在這陰郁的蒼穹下，大地也像天空一樣令人憂傷，他們行走著，腳步陷入塵土中，臉上呈現著無可奈何的、被註定要永遠地希望下去的神情。

旅行者的隊伍從我身邊走過，沒入遙遠的天際，由於行星圓形的表面，人類好奇的目光消失在那里。

好長時間，我一直力圖解開這個謎；可是不久，不可抗拒的冷漠控制了我，於是，我也顯得比被怪獸壓迫的人們更加疲勞了。

Comment by 旅遊 庫 on September 26, 2021 at 11:25am

Finally, following recent advances in ethnography, and in feminism and postcolonial studies, reading ‘Quiet Eilat’ raises issues concerning the discourse of tourism studies, that is writing about tourists and tourism. Although the poem was written naïvely, the question as to what is naïveté and whether there is indeed such an objective, ‘naïve’ perspective rises poignantly. Consider the power matrix that underlies the triadic relations between (1) the people who are described in the poem ‘Quiet Eilat’ (who traveled to Sinai in the late 1970s and to Eilat in the early 1990s) – mainly Nathan and myself; (2) the person who wrote the poem (in 1994); and (3) the person who wrote the academic text – the autoethnography, about the poem (in 2006–2007). Power relations and inequalities between the researcher, the writer and those represented in the text (the ‘field’), are clearly at stake here, complicated by the particular arrangement of power relations within the family.

By way of epilogue I wish to return to the interconnection between professional life and disciplinary academic socialization, on the one hand, and personal life and familial relationships, on the other, an interconnection which is characteristic of autoethnographic inquiry (Ellis, 2007). In the professional sphere, writing an autoethnography amounts to an empowering and emancipating act, because it assumes a public state (i.e. publication). It positions the scholar within a particular field or sub-discipline, ties her or him to a particular social network etc. The autoethnographic text assumes, beseeches, and cultivates a particular type of (academic) readership, which can radically change the discursive and interpretative practices of academic writers and readers.

On the personal sphere, I have not been in touch with Nathan in the last few years. He has refused the invitations which I extended before and during a post-doctorate year spent in the US in 2001. Yet my invitations were admittedly sparse: coping with Nathan’s severe illness is difficult for me, and I had and still have other needs to satisfy – my own growing family and my academic career.

I was initially furious with my relative, blaming his refusal to receive therapy (and recurrent institutionalizations) for the continuous deterioration in his health and for causing a deep divide in our relationship. I guess this is what psychologists call the ‘denial phase’. Only quite recently, and as a consequence of writing this autoethnography, I came by way of self-reconciliation to view Nathan’s crude rejections as expressing perhaps an agentic decision to avoid contact with me in this period of his life, or to establish a different type of relationship, one which is yet to be conceived. （Chaim Noy，2007，The Poetics of Tourist Experience: An Autoethnography of a Family T...，Journal of Tourism and Cultural Change. January 2007, P141-157)

Comment by 旅遊 庫 on September 1, 2021 at 4:49pm

孫子兵法應用成果：這方面的成果有很多，不可能一一列舉，只是在我們接觸到的範圍內擇其有代表性的成果做舉例性的介紹。(1)在著作出版方面：國內有中國孫子兵法研究會副會長吳如嵩的《孫子兵法新論》、該會副會長於汝波的《孫子兵法在現代戰爭中的應用》、該會副會長洪兵的《孫子兵法與經理人統帥之道》、該會副秘書長黃樸民的《新讀孫子兵法》、該會副秘書長劉慶的《兵法商戰基本原理》、北大國際MBA教授胡大源編著的《孫子兵法體驗戰略教程》、蘇州孫武子研究會會長管正的《孫子兵法與行政管理》。除此之外，國內還有大量孫子兵法應用方面的著作和論文，非常有價值。

國外有日本企業家大橋武夫撰寫了《兵法經營學》。馬來西亞孫子兵法研究會會長呂羅拔的《我與孫子》、《孫子兵法散論》，《The Iraq War in the eyes of Sun Zi》、加拿大馬克馬斯特大學金融、工商經濟學教授陳萬華和南開大學管理學系教授陳炳富合著《孫子兵法及其在管理中的一般運用》。最近美國出版的一本有影響的新書――《經理人的六項戰略修煉――孫子兵法與競爭的學問》(Sun Tzu and the Art of Business: Six Strategic Principles for Managers)。這是一位名叫麥克內利的美國人寫的。他擔任美國IBM公司的戰略顧問，曾是美國陸軍的軍官。在這本書的推薦語上有這樣兩段話：

如果你曾經感到商場如戰場，那麼，這本基於中國古代大師教誨的書會告訴你許多東西。――美國《企業家》雜誌。

終於有人寫了一本透徹地說明如何將《孫子兵法》運用於企業經營的書！這本書使我欣喜若狂。――布裏安·布盧姆　英國大東電報公司總裁、CEO。

(2)在影視製作方面：

上海亞洲電視藝術中心拍攝了大型專題藝術片《中國將校世紀談兵》；中央電視臺播放了《孫子兵法與三十六計》；據說，香港著名電影演員成龍準備投資六億拍攝電影《孫子兵法》。

(3)在文物開發方面：

由於《孫子兵法》的文化帶動作用，與中國古代軍事有關的中國古代名將、中國古戰場、中國古兵器等方面的文物開發也展現出廣闊的前景。矽感公司的張偉是一位對孫子兵法文化開發有特殊貢獻的企業家。他集中了一百位有名望的書法家書寫了一部極有收藏價值的《孫子兵法》。他現在正籌建一個包括孫子兵法在內在中華文化主題公園。許多與《孫子兵法》有關的文物復印品和紀念品，在市場上占有很大的份量。西宛出版社最近推出了精美的《孫子兵法》金書，成為國家對外贈送的禮品書。孫子兵法被製成遊戲軟件。社會上已經推出了孫子和《孫子兵法》的紀念郵票。

(4)在特色旅遊方面：

孫子的故鄉、孫子建功立業的地方，以及成功運用《孫子兵法》的古代、近代戰場，已經被旅遊界所關註，都將成為今後旅遊的熱點地區。山東惠民投巨資建成了孫子兵法城。山東臨沂銀雀山竹簡館也呈現出新的面貌。（節錄自2004年11月02日《新浪軍事》洪兵：孫子兵法的現代應用）

Comment by 旅遊 庫 on August 10, 2021 at 4:19pm

瑞士高山寫生行

又經過一段路程之後，我們發現路邊上站著一個人，他一動不動地注視著在山谷的縫隙間出現的遠處的山峰，然後垂下頭去，望著手里拿著的一本像書似的東西。來到他身邊的時候，我們才知道他是一位正在寫生的畫家。我們向他致意，可是他並沒有發現我們，他正在聚精會神地欣賞壯麗的景色。大自然之美看來並非沒有意義，它有一個孤獨而熱情的欣賞者，後者正用草草的幾筆把它不斷更新的、線條優美的面貌永遠固定在紙上。（趙堅譯·戈蒂埃《瑞士印象》(節選) 8）

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