Unlike some of his artistic Victorian contemporaries who managed to make the Grand Tour, Edward Lear once ventured much further afield. Like his fabled Owl and the Pussycat, he sailed away, and stayed for about a year and a day, to the land where the bong tree grows, i.e. India. Although he is remembered much more for his nonsense verse, while there he not only composed some of his most entertaining lines, but also produced a rather astounding number of landscape drawings. Allied with other pre-Raphaelite artists in style and friendship, he found that India provided him with fascinating scenes. Invited by his friend, Thomas Waring, Viceroy of India (later to be titled Earl of Northbrook), and armed with a number of commissions, he settled in quickly at each port of call to record his impressions. And throughout, his Indian journal is filled with observations that reflect his eccentric wit, and provide colorful commentary on India, as perceived by this multi-talented English gentleman. His faithful servant Georgio accompanied him, and provided balance when he would become out of sorts with Indian difficulties. But he was often given to rapturous exclamations at the delights which India offered. This paper will explore his attempts to “topographize and typographize” his impressions, as preserved from each of his vivid modes of expression, by sharing slides, verses and journal selections.
Returning from death to describe their journeys through the afterlife realms, Buddhist revenants are religious figures who traverse multiple boundaries: national, cultural, religious and metaphysical. When we look beyond the legendary written accounts, a didactic subgenre of Buddhist popular literature, to the contemporary ethnographic scene, we find a rich tradition carried out by strong, highly intelligent, and articulate individuals who occupy a place somewhere between that of lama and shaman. In this paper, based on fieldwork in Tibet and Nepal, I introduce a typology of the revenant, enumerating a list of family resemblances while maintaining an eye to individual distinctions. While some revenants die regularly for brief periods of time on auspicious days of the lunar calendar, others undergo a prolonged death experience which occurs only once in their lives. A few gain widespread recognition and respect, but others suffer abuse and neglect due to the unwelcome messages that they insist on delivering. Despite the variations between local traditions and individual practices, revenants continually serve as persons to whom the laity can turn for valuable information about the fates of the recently deceased. For the scholar, the revenant is useful as a model for the proficiency with which practitioners adopt and adapt religious and cultural traditions to fit their needs and inclinations, demonstrating the porous quality of the boundaries we erect in creating our scholarly concepts and disciplinary categories.
Tourism object in Indonesia is very rich and heterogenous. It is not separated from the long history of this country. Interestingly various tourism objects that are known by us now has actually been known much earlier, especially in the colonial period or the Dutch East Indies government.
These tourism objects afterwards experienced the development until becoming the object that is known by us now. These objects are either in the form of natural objects and artificial object (tangible tourism object) and also intangible tourism object. The tourist attraction of the nature objects, such as natural scenery (mountains, forests, coast). Then the artificial tourist attraction both that could be moved and moved. The object tourist attraction that could not be moved, for example the temple, the mosque, the palace, the grave/tomb. The object tourist attraction that could be moved, such as the kris, the wayang puppet, the text, the dancer's costume, the musical instruments. Whereas the intangible tourism object such as myths, legends, folklore associated with certain places.
In this article is discussed various intangible and tangible object tourist attractions that were made as part of the colonial tourism promotion and still becomes the tourist attraction till now.
As the source is used various products in the form of travelogue, posters, postcards, articles and advertisements in magazines as well as the official guidebook that were issued by the Dutch East Indies government.
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