Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 82-85).

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Thesis (MTech. degree in Adventure Tourism) -- Tshwane University of Technology, 2010. / Different adventure activities and experiences constantly evolve because individuals, motives, behaviours, and experiences differ and change over time. The prosperity of an adventure tourism company is based on promoting and selling specific activities and experiences that will meet the specific needs and wants of their identified target markets. The objective was to develop a profile of adventure tourists in Pretoria. In today’s highly competitive environment, it is important for adventure tourism companies to develop profiles based demographic, psychographic and behavioural descriptors in order to attain their objectives. Two hundred and fifty adventure tourists who used the products/services of adventure tourism companies within Pretoria participated in this paper. However, because of incomplete self-completing uestionnaires that could affect the outcome of this paper, the sample that actually realised was 234, providing a 93.6% response rate.

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This dissertation project bridges the interdisciplinary fields of rhetoric and composition and tourism studies to examine both the reliance on and rejection of the patriarchal tourist "gaze" in digital travel stories composed by Western travelers. By using a combination of autoethnography and feminist rhetorical analysis, I begin by tracing contemporary conversations in tourism studies in order to contextualize this study within a more nuanced understanding of modern tourism, and then, I deconstruct John Urry's theory of the patriarchal tourist "gaze" in order to posit a theory of a feminist travel perspective, one informed by a postmodern approach to feminism I call "reciprocal feminism." From there, I analyze three rhetorical topoi from which many travelers compose their stories—food, bodies, and landscapes—from a feminist rhetorical perspective in order to advocate that the misinformed image of the "tourist," an outdated rhetorical construct, must be delinked from colonialism and reclaimed and reimagined in order to more effectively represent the diverse voices and subject positions of modern traveling subjects, subjects who are more often than not composed of multiple identities, languages, heritages, and cultures. I then turn to more practical applications of this theory, considering the ways in which travelers, teachers, and students might employ this approach to tourism both in the classroom and in their communities. By tracing the composing practices of contemporary Western tourists online and considering the opportunities presented by an approach to feminist travel, this project contributes to ongoing discussions of the ethics and politics of international travel and tourism, raises questions about representation, and hopes to support more ethical ways of being and interacting with and among Others in personal and academic contexts.

Travelers' experiences in Cyprus and the texts they produce in light of these encounters function rhetorically, informing cultural relations among people of different societies. When the efforts of these travel writers are taken to be rhetorical, critics position themselves to identify how ethics, politics, and aesthetics of narration and self-representation create the tropes that fix other people in ideological space. This analysis examines the production of difference in selected travel narratives set in Cyprus in the later modern era, which coincides with the rise of anti-colonial politics, nationalism, and globalization (1955-2005). To further focus the analysis, I attend mostly to the representation of "the Turk" in this textual genre. An introductory chapter examines the rhetorical situation of the travel text of Cyprus, exploring rhetorical and critical concepts such as ethos, rhetoric as popular culture, and tropology; it also surveys the landscape of Cyprus as a destination of travel and introduces some of the major texts to be considered. Subsequent chapters explore the rhetoric of narrated travel writing set in Cyprus according to its variations in style and historical epoch. The critique examines the ethics of narration and representation in memoirs, travelogues, political journalism, guide books, and ethnographies by a diverse range of writers including Lawrence Durrell, Colin Thubron, and Christopher Hitchens. A concluding chapter considers alternative, rhetorically self-conscious forms of travel and writing that suggest different possibilities for an ethical future of travel, travel narration, and cultural encounters.

Travel – what is it? Travels are our lives, peculiarities of our families and our solitudes, points of our death, crises and their disclosures, sometimes turning into our inner wanderings. We travel, go, rush, run, take various vehicles often without having an idea that our travels are merry, full of brightness as well as monotonous, dreary even sad. Our entire life is a travel where we are just fellow-travellers. In the 21st century we often hear a word “travel, traveling” as well as other synonyms, but show me the person who has tried to understand what does this word mean to us, our mind and spiritual world. In the work I analyse the travel urgency, understanding and imaging problem. Interestingly, most of the people use the word “travel” to define the most common concept – going to another town or country etc., almost nobody thinks that a jump in our mind, a look suddenly stuck upon reflections, even an eye-blink can be called a travel. Every kind of motion is a trip, but not everybody thinks about it, even at day dreaming we travel around our own world. All the time we are expressing our ideas, opinions, listen to each other – this is also the aim of our travel to each other, to each others’ subconscious level. The work is primarily aimed to prove the majority that all the mentioned can be called a travel. I chose painting in oil-colours to render the main idea. I think this is the technique for me to depict the main colours, tints, shadows of travel; painting is the... [to full text]

The present study has two major goals: first it reconstructs the history of travel-literature from the Middle Ages to the 19th century with a special focus on the role of women, second it attempts to analyse and evaluate travel-accounts by women who travelled to the Orient in the 19th century (Engel-Egli, Forneris, Pfeiffer, Hahn-Hahn and Muhlbach). / The reconstruction of the history of travel and travel-literature up to the 18th century shows that it was possible for women to travel with relative freedom. With the polarization of gender-roles in the last third of the 18th century, however, women were declared 'unfit for travel' and confined to their homes. Due to this development, travel-accounts by women travelling to the Orient, that were written in the middle of the 19th century, have to fulfil a special function. Besides representing an attempt to reestablish the tradition of female travellers that had been suppressed from the middle of the 18th century on, travelling to the Orient meant that the female authors in question had access to areas and spaces that were both off limits to their male counterparts (i.e. the harem) and charged with sexually connoted images. Forneris,' Pfeiffer's and Hahn-Hahn's statements can be interpreted as a conscious attempt to criticize European man through the deconstruction of the images of the Oriental femme fatale in two ways: the first criticism is that they present themselves as authorities with regard to the domain of the Oriental woman. The second occurs through consciously creating grotesque anti-images, whereby women turn the "oriental dream" of their male contemporaries into a nightmare. This act of turning the images into their opposite happens without taking into account the culturally different woman. She has been reduced to the status of an object by women travelling to the Orient exactly in the same manner as male colleagues reduced them. / In addition, this analysis gives special consideration to much discussed 19th century elements of racial theories which found their way into the travel accounts.

Travel writing is by definition an open and hybrid form that encompasses a variety of genres, styles, and modes of presentation. This study focuses on four little-known travel texts about Italy written between 1840 and 1880 by two English and two German women writers and shows how, by exploiting the openness of the form of travel writing, they broadened its scope beyond mere description to provide insight into national ideologies and identities while expanding the boundaries of the female sphere of influence. This study considers the following texts: Mary Shelley’s Rambles in Germany and Italy, in 1840, 1842, and 1843 (1844), Adele Schopenhauer’s Florenz: Ein Reiseführer mit Anekdoten und Erzählungen (1847/48) (2007), Frances Power Cobbe’s Italics: Brief Notes on Politics, People, and Places in Italy, in 1864 (1864), and Fanny Lewald’s Reisebriefe aus Deutschland, Italien und Frankreich 1877, 1878 (1880). In the first chapter, the four texts under consideration are presented against the backdrop of nineteenth-century sexual ideology of the ‘separate spheres’ and the conventions of women’s travel writing. A survey of the long tradition of English and German travellers to Italy and their writings is provided to establish the context in which the texts were produced. Also considered is the role they play in the narrative of Italian nation-building. In the second chapter, the discussion of Rambles in Germany and Italy examines how, by presenting herself as a mother and an educator, Shelley foregrounds the pedagogical purpose of the book, which aims at garnering the sympathy of her British audience for the oppressive political situation of the Italian people and their growing nationalism. The third chapter explores Schopenhauer’s attempt in Florenz to create her own gendered version of the guidebook for travellers in the style of Murray and Baedeker and to revive the memory of the democratic institutions of thirteenth-century Florence at a time when Italians were fighting for democratic reforms and independence. The fourth chapter shows how, in Italics, the representation of Italy in the wake of its partial unification in 1861 is closely intertwined with Cobbe’s own thinking on politics, religion, and women’s emancipation. The fifth chapter examines how, in Reisebriefe, the discussion of the social and political changes that had affected both Italy and Germany in the previous forty years allows Lewald to engage in a reflection on her own femininity and on the role of women in the newly formed German nation. Shelley, Schopenhauer, Cobbe and Lewald each used travel writing to explore their own identities as women and as writers. Pushing the form beyond exposition into the realm of social commentary, they used it to shape public opinion and to explore new roles for women in society.

This thesis is an investigation of representations of Mexico in twentieth century American and British literature. Drawing on various conceptions of biopolitics and biopower (from Foucault, Agamben and other theorists), I argue that the development of American pleasure tourism post-World War II has definitively transformed the biopolitical climate of Mexico for hosts and guests. Exploring the consolidation in Mexico of various forms of American pleasure tourism (my first chapter); cultures of vice and narco-tourism (my second chapter); and the erotic mixtures of sex and health that mark the beach resort (my third chapter), I posit an uncanny and perverse homology between the biopolitics of American tourists and Mexican labourers and qualify the neocolonial armature that links them together. Writers (from Jack Kerouac to Tennessee Williams) and intellectuals (from ethnobotanist R. Gordon Wasson to second-wave feminist Maryse Holder) have uniquely written contemporary “spaces of exception” in Mexico, have “founded” places where the normalizing discourses, performances of apparatuses of social control (in the U.S.) are made to have little consonance. I contrast the kinds of “lawlessness” and liminality white bodies at leisure and brown bodies at labour encounter and compel in their bare flesh, and investigate the various aesthetic discourses that underwrite the sovereignty and mobility of these bodies in late capitalism.