This study aims at exploring the motivation that drives tourists to townships. The theories that were chosen as the theoretical base of this study were the push and pull theory, the Travel Career Ladder, authenticity and the tourist gaze. Three research questions were asked around the theory base and a survey was done of 100 tourists in selected locations within Soweto. Results obtained from the respondents allowed for statistical analysis. The results indicated that the township tourists were intrinsically motivated and were driven by affiliation needs. Furthermore, the tourists that initially visited Soweto were motivated by authenticity; however, as the amount of tourism in the area grew, the tourist gaze became the more dominant form of motivation. The implications of the study findings are discussed. Copyright / Dissertation (MBA)--University of Pretoria, 2012. / Gordon Institute of Business Science (GIBS) / unrestricted

The focus of this research paper is to analyze three Swedish travelogues and news paper reportage of Yugoslavia between the years 1950 and 1970. This is achieved through applying three theoretical concepts on the source material: Yugoslavism, Tourist gaze and Gender. The theoretical structure has aimed to understand how the sources define and write about Yugoslavia and how it relates to the concepts. With two research questions that focus on how Swedish writers saw Yugoslavia, the paper aims to build an understanding of what Yugoslavia as a tourist destination was like according to the source materials. This is achieved and the results of the paper are discussed. They include how the writers construct their own image of Yugoslavia according to the concept yugoslavism, how they don’t see the reality (tourist gaze) and how much they describe women and their role in the society (gender). These results are not accompanied with a negative undertone, which nuances the material as the writers simply were fascinated by the region. The results are analyzed and set in context with previous research and their relevance for research are discussed.

<p>Because of the mass tourism industry that exploits sensitive locations all over our planet a new kind of tourism came into focus in the 1980’s. This new form of tourism was named ecotourism, and as the name reveals ecotourism deals with low-impact travel. Today, all sorts of places can be gazed upon in a flick of a switch; all you need is a television set. It is well known that destination marketing successfully uses visual media as a tool to sell trips to potential tourists. Therefore, this essay examines how ecotourism benefits from the great power of the television. The analyzed material contains of six different TV shows, sorted into two groups – travel shows and discussion programs. With the theory of the tourist gaze, semiotics, destination marketing and the experience economy the study resulted in the conclusion that all TV shows are built upon collective cultural representations found in the exotic and the authentic. With the help of the visual language, travel shows can give new meaning to a specific destination expressed in a system of mutual understanding and shared culture.</p>

Because of the mass tourism industry that exploits sensitive locations all over our planet a new kind of tourism came into focus in the 1980’s. This new form of tourism was named ecotourism, and as the name reveals ecotourism deals with low-impact travel. Today, all sorts of places can be gazed upon in a flick of a switch; all you need is a television set. It is well known that destination marketing successfully uses visual media as a tool to sell trips to potential tourists. Therefore, this essay examines how ecotourism benefits from the great power of the television. The analyzed material contains of six different TV shows, sorted into two groups – travel shows and discussion programs. With the theory of the tourist gaze, semiotics, destination marketing and the experience economy the study resulted in the conclusion that all TV shows are built upon collective cultural representations found in the exotic and the authentic. With the help of the visual language, travel shows can give new meaning to a specific destination expressed in a system of mutual understanding and shared culture.

The prevalent frame of 'tourism as vacation' explicitly implies that one vacates 'the familiar' and escapes to 'the foreign'. Discourses of escape, therefore, function on the assumption that a rather clean and uncomplicated rupture between the familiar and foreign takes place (an assumption not only informing conventional readings and practices of tourism, but also the modern logic of states and citizenship and modern thought more broadly). A failure to account for the effects of this escapist logic on both the performance and materialization of tourism, as well as the ways in which tourism has come to reflect profound political problematics endemic to modern thought, has produced a serious gap in 'critical tourism' literature. To contest this notion of rupture, or, to disrupt escape, requires what Judith Butler terms a ‘radical re-articulation’ of tourism. In hopes to excite such a disruption, my work draws on Jacques Derrida’s texts concerning ‘non-arrival’ and ultimately re-articulates tourism as a practice of everyday life.

A number of studies of Bali emerging in the last three decades have come to read Balinese culture as a cultural construct that has been invented and reinvented as a means to legitimate power relations on the island (e.g. Schulte Nordholt 1986, 1996, 1999; Vickers 1990; Picard 1996, 1999). Constructions of ‘Balinese culture’ have been explored and identified as central projects within the island’s internal contestation of dominance as well as within the establishment of colonial and postcolonial orders. Despite this scholarly exploration of the discursive nature of ‘authentic Balinese culture’, public obsession with a traditional Balinese architecture, conceived as an apolitical, exotic, and pre-existing architectural other, prevails. Architecture has been and continues to be an arena within which the notion of authentic Bali is convincingly authorised by its diverse proponents: the Dutch colonial government, the orientalist scholars, the travellers, the architects, and the local elites.This thesis explores the role of architectural discourses within the construction of identity in 20th century Bali. It investigates the way writings on Bali’s architecture and contemporary formations of domestic architecture on the island are implicated by the political imagining of an ‘authentic Balinese’ cultural identity. Invoking the architecture of Balinisation, this thesis argues that writings and domestic architectural realms are productive fields in which and by which identity and power relations are continuously formulated by those who observe Bali and by the observed ‘Balinese’ people.

The Trends in Czech TV Travel Series Between the Years 2010-2020 diploma thesis outlines the typology and main trends in travel series that premiered on Czech public broadcast television channels between 2010 and 2020. The aim of this thesis is to introduce categories of Czech TV travel series and describe how the viewer is addressed. In the theoretical section, the terms such as TV travel journalism and the issue of celebritization and celebrification are defined. By introducing the concept of the Tourist Gaze, the problematic aspects of TV travel series are defined, be it the stereotypization of a displayed environment or the commercialization of its content. Following the methodology section, the thematical classification of Czech TV travel series is presented. In turn, the main part of the thesis focuses on establishing five typological categories of the travel series. After analysing several randomly selected episodes of the programmes, the thesis then sums up the most important peculiarities of Czech public broadcast production of travel series between the years 2010-2020 and identifies the most crucial development trends within the genre.

The Nordic glass industry has its roots in 1742 in Glasriket (Kingdom of Crystals) in Småland county, Sweden, also known as the pioneer of the glass industry in the Nordic countries. The glass industry has faced many sustainability challenges, particularly related to the environmental pollution caused by the glass industry due to chemicals used in the glass manufacturing process that have leached into the surrounding environment, such as water and soil. On the other hand, glass tourism can be approached better way through creative tourism, which has potential from a sustainability perspective, as creativity is a source of sustainability and innovation.However, creative tourism is a relatively new form of tourism, and there are gaps in understanding creative tourism offerings. This research aims to gain a deeper understanding of creative tourists' motivations and tourists’ gaze through semi-structured interviews with nine creative tourists (demand side) and, on the other hand, also about sustainability for two glass studios in Finland and two glass studios in Sweden (supply side) as well as creative tourists. The study’s theoretical framework is based on the social psychological model of tourism developed by Iso-Ahola (1982) and tourists gaze by Urry (1990). In the narrative analysis of the data collected, this thesis will help highlight the tourists' motivations and gaze. Moreover, to understand sustainability, this study brings an understanding of other values that support glass tourism, such as social, cultural, and economical.

在自媒體時代下，每個人都可簡單創立一個自媒體，使讀者在旅行的過程中得以參與照片的產製，共同塑造一地的城市意象。本研究將觀察場域設定為以照片為主的社群平台Instagram，研究標的為－上海。藉由Kevin Lynch的城市意象理論、Fakeye & Crompton的原始意象、誘發意象、複合意象理論，探討讀者抵達上海前後的差異與如何藉由照片形成複合意象，進而探討一座城市的意象如何經由照片被形塑以及讀者眼中的城市意象的構成元素與自媒體時代的關係。 研究發現，讀者的原始意象多來自朋友間主觀性的評論。抵達上海前的原始意象多指向繁華、中西合併的國際化都市，抵達後的意象較多元而衝突，特別對於人民的文化素養有所描述。在自媒體時代下，Kevin Lynch的五大要素除邊界外，其他皆仍存在自媒體上，新增人物、食物、建築空間等三大新要素。 從讀者所提供的照片歸納出以人物、標誌物兩種要素佔比最高，根據深度訪談分析讀者上傳照片的原因，如：特別、值得紀念、實現夢想、覺得自己美、心情美好、感到優越。進而從照片中發現，在自媒體時代下「我」的主體性被凸顯，使照片中充分展現自媒體時代的特色。 / In an owned media era, people can create owned media easily. They can always share photos during their travel time and shape urban images together with other readers. With the experiences of the author and consider the suitability of samples, this research will be based on Instagram, a social media platform focusing on photographs, and targeted on Shanghai. With “The Image of the City” of Kevin Lynch, “Original Image”, “Induced Image”, and “Complex Image” of Fakeye & Crompton, this research will be analyzing the difference between interviewees’ image towards Shanghai before and after visiting, and how they shape their urban image through their uploaded photographs. Through the research, the author wish to discuss the relationship between the constitute elements of urban image by different readers and the aspects of owned media era. After the research, the author found out that readers’ original images come from subjective comments of their friends. Most original images include seeing Shanghai as a prosperous, diverse and an international city. Images after visiting start to diverse and conflict, especially on cultural literacy of the people in Shanghai. In own media era, four of the five elements, except for Edges, of Kevin Lynch are still applicable. In addition, the author established another important elements, people, foods, and spaces. The photos provided by readers can be classified into people and landmarks. Through analyzing interviews, the reasons of uploading pictures are mostly things that are special, things or events that are memorable, dreams come true, photogenic, in a good mood and feeling superior. The author concludes that under owned media era, the subjectivity of “I” has been highlighted from the uploaded pictures and that also brings out the aspect of owned media era.

Around the globe, sensitive nature destinations suffer from media-mediated mass tourism. Especially, the social media network Instagram is often made responsible for these events as its emphasis on visuals is claimed to foster people’s ambition to reproduce photographs of themselves in the epic sceneries they see online. Destination Marketing Organizations (DMOs) face a particularly big challenge in using Instagram. While they aim at attracting enough tourists to satisfy the local tourism industry’s needs, they need to apply a careful promotion to avoid attracting more tourists than the natural environments can cope with. Focusing on Sweden as case study, this thesis aims at identifying and exploring how Swedish DMOs currently promote vulnerable nature destinations on Instagram and what significance these economically driven communication agencies thereby attribute the protection of the natural resources. Theoretical implications from sustainable destination management and environmental psychology are employed to develop different communication strategies that enhance the destination’s sustainable image as well as attempt to encourage pro-environmental behavior among tourists. A mixed method design is applied which is dominated by an extensive quantitative content analysis and complemented by a more limited qualitative semiotic analysis. The findings reveal that the implementation of sustainable communication strategies is of varying importance for the six Swedish DMOs considered in this study. In general, their effort of using communication tools to enhance sustainable nature-based tourism is still very low. Future research is advised to investigate in the production as well as audience site to gain further insights in how economic interests might hinder a more sustainable branding and to examine how effective the developed communication strategies actually are in influence people’s behavioral intentions.