Is a native-born tour guide who has sex with tourists—in exchange for dinner or gifts or cash—merely a prostitute or gigolo? What if the tourist continues to send gifts or money to the tour guide after returning home? As this original and provocative book demonstrates, when it comes to sex—and the effects of capitalism and globalization—nothing is as simple as it might seem.
Based on ten years of research, Economies of Desire is the first ethnographic study to examine the erotic underpinnings of transnational tourism. It offers startling insights into the commingling of sex, intimacy, and market forces in Cuba and the Dominican Republic, two nations where tourism has had widespread effects. In her multi-layered analyses, Amalia Cabezas reconceptualizes our understandings of informal economies (particularly “affective economies”), “sex workers,” and “sexual tourism,” and she helps us appreciate how money, sex and love are intertwined within the structure of globalizing capitalism.
Vacations are a delimited period during which social rules and responsibilities are eased, removed, or shifted, and people have increased autonomy over what they choose to do. Recent trends in the travel industry emphasize the appeal of vacations for voluntary identity changes—when bankers can become bikers for a week or when “Momcations” allow mothers to leave their families behind. But how do our vacations allow us to shape our identity?
Getting Away from It All is a study of individuality and flexibility and the intersection of self-definition and social constraint. Karen Stein interviews vacationers about their travels and down time, focusing on “identity transitions.” She shows how objects, settings, temporal environments and social interactions limit or facilitate identity shifts, and how we arrange our vacations to achieve the shifts we desire. Stein also looks at the behavior, values, attitudes, and worldview of individuals to illuminate how people engage in either identity work or identity play.
Vacations say a lot about individuals. They signal class and economic standing and reveal aspirations and goals. Getting Away from It All insists that vacations are about more than just taking time off to relax and rejuvenate—they are about having some time to work on the person one wants to be.
Modern tourism in the Ozark Mountains of Missouri and Arkansas is concentrated around the area’s glistening man-made lakes, its fish-filled streams and rivers, and the entertainment mecca of Branson. But recreational excursions into this part of the country began over one hundred years ago as urban Midwesterners, many of them captivated by Harold Bell Wright’s novel The Shepherd of the Hills, sought the outdoors for spiritual and physical regeneration.
Morrow and Myers-Phinney excavate the beginnings of commercial tourism in the region and follow it through six decades as the influx of visitors who became familiar with the Ozarks and its investment opportunities brought capital, new commerce, and additional residents to the hills. Chapters focus on float fishing, game parks, cave exploration, the influence of the railroad, and the men who were instrumental in the region’s transformation. The authors discuss traditional lifestyles rooted in “living off the land,” with stock raising and lumbering providing basic subsistence, and changes wrought by tourism, which affected all classes of people across the White River landscape. They describe the flowering of “Ozarks folklore”—how stories told around gravel-bar fishing camps and retold by newspaper journalists translated the hills’ oral tradition for mass audiences.
While the main theme of this study is the development of tourism, it is also a social history of the interior highlands of the Ozarks. We see how the residents and their way of life were discovered, exploited, and changed by new opportunities and the demands of tourism and increasing trade. As such, this book is a valuable new addition to the University of Arkansas Press’s Ozarks Collection.
In the course of the nineteenth century, Jamaica transformed itself from a pestilence-ridden “white man’s graveyard” to a sun-drenched tourist paradise. Deftly combining economics with political and cultural history, Frank Fonda Taylor examines this puzzling about-face and explores the growth of the tourist industry into the 1990s. He argues that the transformations in image and reality were not accidental or due simply to nature’s bounty. They were the result of a conscious decision to develop this aspect of Jamaica’s economy.
Jamaican tourism emerged formally at an international exhibition held on the island in 1891. The international tourist industry, based on the need to take a break from stressful labor and recuperate in healthful and luxurious surroundings, was a newly awakened economic giant. A group of Jamaican entrepreneurs saw its potential and began to cultivate a tourism psychology which has led, more than one hundred years later, to an economy dependent upon the tourist industry.
The steamships that carried North American tourists to Jamaican resorts also carried U.S. prejudices against people of color. “To Hell withParadise” illustrates the problems of founding a tourist industry for a European or U.S. clientele in a society where the mass of the population is poor, black, and with a historical experience of slavery and colonialism. By the 1990s, tourism had become the lifeblood of the Jamaican economy, but at an enormous cost: enclaves of privilege and ostentation that exclude the bulk of the local population, drug trafficking and prostitution, soaring prices, and environmental degradation. No wonder some Jamaicans regard tourism as a new kind of sugar.
Taylor explores timely issues that have not been previously addressed. Along the way, he offers a series of valuable micro histories of the Jamaican planter class, the origins of agricultural dependency (on bananas), the growth of shipping and communications links, the process of race relations, and the linking of infrastructural development to tourism. The text is illustrated with period photographs of steamships and Jamaican tourist hotels.
More than seventy-five years after its publication, Gone with the Wind remains thoroughly embedded in American culture. Margaret Mitchell’s novel and the film produced by David O. Selznick have melded with the broader forces of southern history, southern mythology, and marketing to become, and remain, a cultural phenomenon.
A Tough Little Patch of History (the phrase was coined by a journalist in 1996 to describe the Margaret Mitchell home after it was spared from destruction by fire) explores how Gone with the Wind has remained an important component of public memory in Atlanta through an analysis of museums and historic sites that focus on this famous work of fiction. Jennifer W. Dickey explores how the book and film threw a spotlight on Atlanta, which found itself simultaneously presented as an emblem of both the Old South and the New South. Exhibitions produced by the Atlanta History Center related to Gone with the Wind are explored, along with nearby Clayton County’s claim to fame as “the Home of Gone with the Wind,” a moniker bestowed on the county by Margaret Mitchell’s estate in 1969. There’s a recounting of the saga of “the Dump,” the tiny apartment in midtown Atlanta where Margaret Mitchell wrote the book, and how this place became a symbol for all that was right and all that was wrong with Mitchell’s writing.
No longer the dreary sheep farm at the end of the world, the New Zealand of the new millennium is a hot global ticket, heralded for its bicultural dynamism, laid-back lifestyle, and scenery extraordinary enough to pass for Tolkien’s Middle Earth. How this image was crafted is the story The Tourist State tells. In a series of narratives that address the embodied dimensions of biopolitics and explore the collision of race, performance, and the cultural poetics of the state, Margaret Werry exposes the real drama behind the new New Zealand, revealing how a nation was sold to the world—and to itself.
The story stretches back to the so-called Liberal Era at the beginning of the twentieth century, in which the young settler colony touted itself as the social laboratory of the world. Focusing on where tourism and liberal governmentality coincide, The Tourist State takes us from military diplomacy at the dawn of the American Pacific to the exotic blandishments of Broadway and Coney Island, from landscape preservation to health reform and town planning, from blockbuster film to knowledge economy policy.
Weaving together interpretive history, performance ethnography, and cultural criticism, Werry offers new ways to think about race and indigeneity—and about the role of human agency in state-making.
Despite a genuine admiration for Native Hawaiian culture, white Californians of the 1930s ignored authentic relationships with Native Hawaiians. Surfing became a central part of what emerged instead: a beach culture of dressing, dancing, and acting like an Indigenous people whites idealized.
Patrick Moser uses surfing to open a door on the cultural appropriation practiced by Depression-era Californians against a backdrop of settler colonialism and white nationalism. Recreating the imagined leisure and romance of life in Waikīkī attracted people buffeted by economic crisis and dislocation. California-manufactured objects like surfboards became a physical manifestation of a dream that, for all its charms, emerged from a white impulse to both remove and replace Indigenous peoples. Moser traces the rise of beach culture through the lives of trendsetters Tom Blake, John “Doc” Ball, Preston “Pete” Peterson, Mary Ann Hawkins, and Lorrin “Whitey” Harrison while also delving into California’s control over images of Native Hawaiians via movies, tourism, and the surfboard industry.
Compelling and innovative, Waikīkī Dreams opens up the origins of a defining California subculture.
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