The Impact Of Technology In Foreign AffairsBy Alison Lurie

The movie discusses the long term impacts of tourism on cultures, economies, and on the environment. It uses dramatic examples from several beach parties such as Thailand’s Koh Pha Ngan Island. With large amounts of litter lining the shore, the film suggests that the financial benefits of tourism will not work without a proper development plan. The story starts and ends in Bolivia focusing on the impact of the autobiographical book “Lost in the Jungle”. In 1981, Ghinsberg gets lost in the Bolivian jungles. He miraculously survives despite near death experiences. His tale of survival has lured many other adventure travelers to Bolivia, creating pressure to the country’s tourism industry. From the jungles of Bolivia, to the deserts of Timbuktu, Mali, we see breathtaking views of how tourism has affected society. The film follows the well-worn gringo trail travel route in Latin America and beyond, revealing a complex web of relationships between that cultures which collide yet require one another. Finally, the movie reveals certain sustainable alternatives to tourism.

Trask is able to use logos to prove how tourism has affected the Hawaiian culture. Trask refers to Hawaii as a “She” who “Rubs off” on the visitor with her magical presence. The beauty of Hawaii is used as an escape from “Rawness and violence” for most Americans though, Trask mentions that the land has a “Western sexual sickness” (Trask 1993). “Of course, all this hype is necessary to hide the truth about tourism, the awful exploitative truth that the industry is the major cause of environmental degradation, low wages, land dispossession, and the highest cost of living in the United States” (Trask 1993). Trask says that the areas of Hawaii which were “sacred” to the Hawaiian’s have now been turned into top of the line hotels. The beaches that were once full of fishermen and their nets are used for recreational activities like surfing getting a tan and jet skiing. On most of the beaches owned by resorts, the beaches are reserved for hotel residences only. In the essay, Trask gives the readers logos as to how tourism is changing the land. For example, thirty years ago the ratio of Hawaiians outnumbered the tourist 2:1. Today,

Daily, hundreds of thousands of people are traveling, whether it’s by plane, car, bus, boat, or foot, people are traveling to new locations and being immersed in different cultures. Many fail to realize how ignorant of a tourist they are. Kincaid explains that tourists are morally “ugly” and use other, less fortunate people, for their own amusement. She tries to enlighten those who are privileged to be more considerate when they are visiting new places. Published author Jamaica Kincaid wrote “The Ugly Tourist,” originally written in her book, A Small Place, where she tries to convince readers that tourists are, “a piece of rubbish” (207). Kincaid’s attempt to convey to the audience that tourists are ignorant and morally “ugly” is partially successful, due to her satisfactory emotional appeal, yet inability to produce a less angry tone, along with minimal logical appeal.

Through the immersion of one in a variety of physical environments, the manipulation of genre, form and perspective presents a polysemic representation of a diverse range of landscapes, in turn allowing responders to develop complex understandings into the human psyche. Specifically, through the interwoven utilization of complex allusions and personalized outlooks Alain De Botton’s The Art Of Travel shapes humanities greater knowledge of traveling’s impact on the human behavior and perception. Likewise, this notion is extended amongst Kenneth Slessor’s minimalistic, poetic piece North Country in which the composer highlights man’s dichotomous relationship with the physical world, and how ongoing, differentiated experiences cultivate interpersonal growth and develop individualized standpoints towards the wider globe. Consequently, both texts elicit portrayals of innumerable landscapes, which foreground the intricacies of civilization through the construction of a piece that reveals the subjectivity of our human mentalities today.

I woke up in the middle of the night because I heard my father (John) yelling at the general of the military (Henry) about how our military was considered weak because the army he had commanded during the American Revolution and it was not replaced. I only herd two things, but they were extremely loud. They were: the government did not have the money and that Americans learned that a standing national army could be used to take away their liberty. Once I got scared from my father yelling I tried to go back to sleep but I couldn’t. All I herd was yelling and yelling all night about how we were receiving threats from Great Britain while they controlled

What makes traveling to foreign lands such a coveted and memorable experience? What does one get out of exploring new cultures and atmospheres? In “The Shock of Teapots,” by Cynthia Ozick, the quality and nature of traveling and travelers themselves is explored. Within this work of creative nonfiction, Ozick strategically uses genre, diction, and exemplification to effectively emphasize that travelers see ordinary things in a new light when visiting other places and countries.

Elaine Potter Richardson a.k.a. Jamaica Kincaid, was one of the staff writers for the New Yorker who mostly wrote for the magazine that often-chronicled Caribbean culture. One of her work was “The Ugly Tourist” which was included in the opening chapter of “A Small Place,” and appeared in Harper’s in 1988. Kincaid’s essay talks about how it feels to be a tourist which she refers “the ugliest thing in the world.” The piece was rejected by the editor of the New Yorker because of being “too angry.” Within the composition, it’s obvious that Kincaid’s largest target is the economic structure of the dysfunctional tourism or in other words, she speaks directly to “you,” the reader. She even criticizes tourists in a resentful and ferociously pitched way that is somewhat troubling for some readers, and not obviously what she intends. Overall, Kincaid’s work doesn’t succeed to persuade his readers by failing to construct her ethos, pathos and logos.

Once we got to the museum, we were all impressed at how well the museum was put together; walking through the hallways and being surrounded by the walls of beautiful murals and assortments of life-like replicas made it a much more engaging museum going experience. We were welcomed by a video portraying some of the spiritual stories of how the Earth was created, that also emphasized the significance of fire to their people. Later that night we were lucky enough to attend The Cherokee Historical Association’s play Unto These Hills, which was a drama that followed the story of the Cherokee of the eastern region up to their removal in 1838. I couldn’t help but notice how, while undoubtedly educational, both the exhibits and the play seemed theatrical and mainly catered to the enjoyment of the tourist. I saw young boys playing dress up with traditional headdresses and families coming in looking to be entertained, and I began to see for myself one of the main points our required reading emphasized of the negative side of tourism. The reading states, “Tourism- especially mass tourism- is institutional racism and discrimination at its worst as people go away in search of a different experience from their ‘normal’ lives. Most tourists are

Jamaica Kincaid addresses the reader as a tourist in her book A Small Place. Throughout the book her sarcasm and resentment towards the postcolonial state of the country cannot be missed. She exposes the “ugliness” of tourism, she writes, “The thing you have always suspected about yourself the minute you become a tourist is true: A tourist is an ugly human being” (14). Kincaid points to the fact that the tourists (European and American) and the tourism industry are morally ugly. The first section of her book displays how tourism uses the natives and the country as sources of pleasure for the tourists as they make their way to their hotel, they watch in awe at the condition of the country. Kincaid writes, “They [Antiguans] are too poor to escape the reality of their lives; and they are too poor to live properly in the place where they live, which is the very place you, the tourist, want to go—they envy your ability to turn their own banality and boredom into a source of pleasure for yourself” (19). The tourists do not see, and perhaps do not want to see the reality of this picturesque island they are vacationing on. Kincaid writes, “[Y]ou needn’t let that slightly funny feeling you have from time to time about exploitation, oppression, domination develop into full-fledged unease, discomfort; you could ruin your holiday” (10). This mirrors the mindset of not only tourists, but of the past and current exploiters who do not see the suffering and damage they cause, but

Most of us in America take traveling to foreign countries for granted. We visit these foreign countries, not really understanding the culture behind the places we are visiting, or stopping to acknowledge what goes on behind the scenes of the hotels we stay in, restaurants we eat in, and places we sightsee. Behind the Smile, by George Gmelch, provides the readers a powerful insight of what it’s like to live and work in a country that has been inundated with tourists for decades by building on his experience of research and writing about the Caribbean Islands. Behind the Smile stumbles upon a fantastic way to introduce the culture of Barbados with 20 personal profiles of men and women who work in the tourist industry on the island. From taxi

Tragedies occur every day around the world. Just as it seems, hearing of the tragedies may be overwhelming to listen to because there are so many occurrences to keep track of. In the essay “The Girl Effect,” Nicholas D. Kristof and his wife Sheryl WuDunn are journalists who relocated to China from the U.S. to pursue their careers. They come to find out about how neglected we’ve been to certain quotidian cruelties that take place in foreign counties specifically relating to the unfair treatment of women and girls. In this essay “On Habit,” Alain de Botton may refer to this blindness as a “home mindset” where we pay very little detail of what surrounds of because we’ve become habituated to the everyday occurrences. Kristof and WuDunn write their essay in order to expose those quotidian cruelties certain cultures have become habituated in their home mindsets. De Botton might have suggested inheriting a “travelling mindset” for those people who lived in the cultures where the tragic cruelties and are stuck in their home mindsets. A travelling mindset includes integrating receptivity which is the main difference between a home mindset and a travelling mindset. We are blind to the many tragedies that occur in foreign countries and our own because we have become habituated to our social norms that we find no reason to publish what we see as “the obvious”. Journalists can help expose those quotidian cruelties that occur every day by adopting travelling mindsets to reveal certain

Different historical and cultural barriers affect the way literature and other forms of art are depicted. Maggie Nelson, Azar Nafisi, and Tim O’Brien explore the effect of political and ideological contexts on various forms of art and the way they are created or viewed. In “Great to Watch,” Nelson criticizes the media for not considering the barrier that exists between those who are educated in understanding art and and those who are not because she finds that the people who are not well informed become “desensitized” to what they see. Throughout her story, “Reading Lolita in Tehran,” Nafisi explains the difficulty of being able to enjoy literature during an oppressive time period where a barrier between women and the Islamic regime exists. In the context of war, O’Brien explores the barrier between soldiers and civilians in “How to Tell a True War Story.” All of these authors find that different contexts create barriers that influence the ability of creators of various forms of art to tell their story and the way their audiences perceive them. They notice that political and ideological contexts cause creators and producers to focus their works on highlighting the barriers that exist in our world. Because people have different values and experiences, Nelson, Nafisi, and O’Brien find that the interpretations of works vary. Nelson is able to propose a solution for the barriers she discusses—between the art connoisseurs and the uninformed— while Nafisi and O’Brien become

In A Small Place, Jamaica Kincaid address the reader with the personal you, allowing all previous conversations, theories, lessons and other forms of information and education about the Caribbean to really The tourist is who Jamaica Kincaid writes to in her open letter styled work called A Small Place. The tourist is blind, both voluntarily and involuntarily, to the many problems their destinations experience and the problems caused by their visit to said destinations. Towards the end of A Small Place, Kincaid elaborates what she means about what a tourist is. She calls tourists ‘ugly human beings’ (14) due to the enjoyment the tourist extracts from ‘exoticism’ of the Caribbean. The ways of life in the Caribbean would disgust and be openly

In “A Small Place” by Jamaica Kincaid, Kincaid explicitly describes the effects and consequences that imperialism had on Antigua, while implicitly condemning imperialism for the effects and consequences indigenous people endured through allegory. Examining the results of imperialism in a cultural aspect provides a deeper connection for the audience to fathom the struggle people of Antigua experienced. Kincaid illustrates herself as the main protagonist who directly speaks to the audience as if they are the ignorant tourist. Through the utilization of the second person perspective, she immerses the reader emotionally, which through the experience proves to be more captivating.

Before looking at women 's employment in international tourism, Enloe describes how women are viewed on the other side of travel. Not as the chambermaids, but as the tourists. The idea of a women traveling the world alone makes most people uneasy. The immediate concern is that of the woman 's safety. But Enloe digs deeper. She writes, "In many societies, being feminine has been defined as sticking close to home. Masculinity, by contrast has been the passport for travel." (Enloe 40). This idea of women needing to be sheltered, protected, and kept in the home is a prime example of why the personal lives of women are part of a larger social construction of masculinized