Academic literature on the topic 'Hotels, fiction'

In the fiction and documentary literature of the XX century, a significant place was taken by the image of the hotel, which was due, on the one hand, to history, and on the other – to the properties of this type of space. Wars, revolutions, migrations, as well as the natural tendency of man to travel and adventure made the hotel an important sociocultural phenomenon. This article discusses strategies for depicting temporary residences as a special recreational and entertainment space. The object of the study was the texts of different genres in the collection 33 Hotels, or Hello, Beautiful Life! Particular attention is paid to the organization of various points of view in the book, the nature of the interaction of heroes and hotel spaces, hotels and other spatial objects, as well as to the motives associated with the three functions of hotels – escapic, entertainment and wellness.

Purpose The purpose of this study is to explore the perceptions of key actors in the Caribbean’s hotel industry on the development of business models that are inclusive of the sustainable development goals (SDGs) and resilient to climate change challenges. The objectives are to gain a better understanding of the central actors’ perspective and to explore the potential of scenario thinking as a pragmatic tool to provoke deep and practical reflections on business model innovation. Design/methodology/approach The research is based on a questionnaire survey conducted via email to senior personnel in the hotel industry across the region as well as to national and regional tourism and hospitality associations/agencies and government ministries. The questionnaire used a mix of close- and open-ended questions, as well as fictional scenarios to gain insight about perceptions from key actors in the tourism sector, including respondents’ personal beliefs about the reality of climate science and the need for action at the levels of individuals, governments, local, regional and multinational institutions. Findings The study found that while the awareness of climate change and willingness to action is high, respondents perceive that hotels are not prepared for the climate crisis. Respondents had an overall view that the hotel sector in the Caribbean was unprepared for the negative impacts of climate change. Recommendations from the study include the need for immediate action on the part of all to both raise awareness and implement focused climate action to secure the future of tourism in the Caribbean. Research limitations/implications The use of a survey has considerable challenges, including low response rates and the limitations of using perceptions to understand a phenomenon. The survey was conducted across the Caribbean from The Bahamas to Belize and down to Trinidad and Tobago so that views from across the similar, yet diverse, regions could be gathered, included and compared for a comprehensive view of perceptions and possible ideas for climate smart action. Practical implications The 2030 Agenda for SDGs is based on policy and academic debates. This study helps to bridge the academic and policy discussion with the needs of the industry. Originality/value This study contributes a consideration for climate-resilient business models for hotels in the tourism industry as a definitive action toward achieving SDG 13. This combined with the use of fictional climate change scenarios to access perceptions about the future of the hotel industry in the light of climate change, adds originality to the study.

Abstract This article works with a definition of care that encompasses expansive models of kinship and collective and communal life. Specifically, it explores representations of such interdependencies in the liminal space of the single-room occupancy hotel (SRO) through the literary and artistic creations of two understudied African American artists. Fiction writer Robert Dean Pharr and visual artist Frederick Weston created their work in SROs in New York City beginning in the 1960s, during a time of massive transformation of the city's built environment in the name of urban renewal. Their novels and artwork, respectively, provide some of the only uncovered (to date) literary and cultural representations of New York City's SROs. Pharr's and Weston's works memorialize rituals of survival that center care and interdependencies over and against competitive individualism and a climate of uncare. Further, both explicitly articulate this vision by working with conceptual and material waste. Trash is their literal and metaphoric medium. These artists relied upon what is seen as surplus value by the city. But as Pharr and Weston use it, trash offers a critique of negative assumptions about the lives of SRO residents. The pandemic has shocked us into awareness of our inescapable interdependencies. Therefore, it behooves us to revisit these understudied, early proponents of care—an ethics that today's mutual aid and other liberation movements often center. Pharr's and Weston's documentation and interpretation of care offer us ways to survive within our current environments in crisis without repeating the death-making logic and history of urban renewal.

If connections and experiences make us happy, why do we buy things? In this work of philosophical short story fiction, Nikolay runs a tour company in Uzbekistan. When his employee gets sick, he must take a group of American tourists to see a local walnut tree in a small village, then to Lake Urungach for photos. Their bus breaks down in the small village and they are forced to spend the day there while waiting for replacement transportation. A tough situation becomes festive when they decide to have a BBQ by the town walnut tree. Beer becomes wine as the day winds on and, eventually a traditional band comes out to play and keep them company. As it gets dark the power in the small town goes out so they decide to build a fire to continue their drinking and revelry into the night. Steve, an unhappy lawyer on yet another vacation meets Sevara, the beautiful Cambridge educated daughter of the village elder and is forced to wonder if its too late to start the type of life he wishes he’d always been living; a life full of simple joy, instead of acquisition. Finally, the replacement bus shows up and the tourists (many of which are now too drunk to walk) are sent home to their hotels.

The article analyzes proper names in Wes Anderson’s film “The Grand Budapest Hotel”. It examines structural, semantic and pragmatic characteristics of the film proper names. The results of the research show that fictional characters’ names perform different functions, namely, characterizing, stylistic, expressive, referential. Etymological meaning of a personal name is an important source of information about characters. Geographical names are all fictional but they are formed according to word-building patterns of different languages. Names of hotels take a special place in the film onomastic system. Other names of objects allude to some real historical phenomenon. Proper names play a significant role in building, representing, and understanding the fictional world depicted in the film created by Wes Anderson.

The following essay is part of a body of work titled Signal to Noise: sound and fury in (post)apartheid South Africa. These are a collection of creative non-fiction essays set against the backdrop of my involvement with a small, independent mobile recording studio based in Johannesburg between 1983 and 1997. The metaphor of a drowning signal, pushing through and making itself heard above the noise, resonates throughout the collection. The complexities of the political versus artistic nature of what we were involved with provide a setting for an anecdotal approach to what is part history, part biography, part memoir and part theoretical sonic exploration. The following essay falls into this approach and is constructed from memories enhanced by diaries, scrap-books, shards of notes, lyrics, photos and conversations. These have been employed in reconstructing a narrative arc that covers the recording of the first album made by the band Sankomota, who were banned from entry into South Africa and were based in Maseru, mostly playing to audiences at one of the leading hotels. Sankomota, then called Uhuru, experienced extraordinary, almost metaphysical, peaks and troughs throughout their nearly thirty-year existence hence the hauntological device in the title. The record was also the first made in our fledgling mobile studio using newly affordable equipment that kickstarted many such do-it-yourself projects worldwide. This was the first in a steady stream of technologies that would eventually break the hegemony of mainstream record companies. In apartheid South Africa, this was hugely significant, as being able to sideline the censorship of state-owned media enterprises meant immense freedom in the kind of projects one came to consider. Savage incidents of force and brutality were still common then, and our small venture has to be seen in the context of broader unrest and suffering. Frank Leepa was an uncompromising survivor. His words and melodies still move and inspire a younger generation.

This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.

Abstract: In Hotel Minotauro (2013-2015), Doménico Chiappe combines creative fiction and non-fiction and makes use of digital media to rearticulate, reorient and deepen iconic narratives to make them resonate with contemporary Latin American cultural dilemmas: the actuality and legacy of authoritarianism and exploitation. Hotel Minotauro exemplifies the potential of digital media to reinvigorate and perpetuate classical discourses as expressions of Latin American reality.

Hotels are popular settings in European and American literature. They fire readers’ imagination and many of them have a personal relationship to hotels. These institutions are not only alive in the realm of literature but are real existing buildings which have become fixed parts of modern society. Conrad Hilton (1887–1979), founder of the international hotel chain of the same name, was very aware of the glamorous aspects of his field of profession and published his experiences in the autobiography Be My Guest (1957).One copy of the book was placed in each room of the Hilton chain. Due to this Hilton was reaching an enormous audience which inspired other writers to fictionalize Hilton and turn him into a character in their own books. In this paper I will show how Conrad Hilton achieved world-wide fame, partly with the help of his life account. Furthermore, the methods will be explained that he used to present himself as a prototypical American of the Cold War era. I will then focus on two fictional texts, Arthur Hailey’s novel Hotel (1965) and the TV-show Mad Men (2007) by Matthew Weiner, which both incorporated Hilton as a character, yet in very different ways. The aim of this article is to show the potential of celebrity autobbiographies to inspire other cultural creations and how authors react very differently to these texts according to their own socio-historical background.

This dissertation argues for the central importance of the industrial luxury hotel from the Second Industrial Revolution to the Second World War, charting its exuberant and anxious rise in the novels of Henry James and the decline of its cultural pre-eminence in Henry Green's Party Going. It argues that the hotel constituted corporate space, financed by limited liability companies and operated by an alienated workforce. Hotels offered a rare and often troubling experience: the possibility of living inside a corporation. The aim of this study is twofold: to examine the radical effects of these intimate encounters with the impersonal on daily life; and to examine their effect on the construction and the texture of the novel as a literary form. The dissertation follows the arc of history from early to late James, through F Scott Fitzgerald, Elizabeth Bowen and Henry Green, charting a series of shifting representational strategies as writers grappled with the hotel's increasing abstraction and fluidity. The hotel became, for these writers, a laboratory for the representation of milieu, and a means of concretely exploring the relations of individuals within a cellular network. With a particular emphasis on material history and the representation of space and spatiality, this dissertation takes its cue from theorists of material culture and sociologists of everyday life, while also exploring cinema, economic history, and architectural history.

The metropolitan hotel is a rich space for exploration in hotel fiction of the nineteenth and twentieth centuries due to its interesting connection with both the city and the home, and its positive and negative effects on the individual. Using spatial theory as a foundation for understanding how the hotel functions, and drawing on theorists such as Henri Lefebvre, Michel de Certeau, Edward D. Soja, Fredric Jameson, Yi-fu Tuan and David Harvey, this thesis offers an alternative approach to the culturally specific readings of past hotel studies; by contrast, it will draw on two alternate readings of the space: those which are concerned with the geographical and with the sociological make-up of the hotel. The ambition behind this thesis is to provide a framework for discussing novels from the realist tradition through to post-modern examples of spatial exploration. A selection of works will be studied, including: Elizabeth Bowen, The Hotel, Henry Green, Party Going, Arnold Bennett, Imperial Palace and Grand Babylon Hotel, Anita Brookner, Hotel du Lac, Kazuo Ishiguro, The Unconsoled and Ali Smith, Hotel World. These writers are linked through the particular use they make of the hotel and the creation of spatial identity in their novels. Spatial identity in turn arises through an awareness of the power of space, and its variable effect on an individual’s identity. This thesis begins by examining past hotel research, which centred on late nineteenth-century novels by Henry James and Edith Wharton. It then introduces the theoretical studies that have informed the current thesis. Before moving onto the two central chapters, which examine the geography and sociology of space, it includes a brief ‘interlude’ on Richard Whiteing’s No. 5 John Street, a work which introduces many of the themes central to this thesis. The central argument considers the agency or power of the hotel space, a concept which has been generally overlooked in criticism. The power of space in hotel fiction is exhibited in its capacity to alter events and emotions and identities in general. In this view landscape, traditionally considered two-dimensional, is no longer flat, but can be rather seen as a multifarious ‘character’ in its own right. This conception of the spatial environment of the hotel encapsulates what it means to function in the modern urban environment.

Med utgångspunkt i en ökning av så kallad klimatångest bland barn, är denna studies syfte är att undersöka och analysera ekologiska frågeställningar inom barnlitteratur och läromedel för mellanstadieelever för att se hur försöken att skapa ekologiskt medvetna medborgare görs, hur ansvaret mellan barn och vuxna behandlas, hur det hållbara samspelet mellan natur och mänsklighet problematiseras och hur hotet om undergång skildras och hanteras. Analysen genomförs med hjälp av en kvalitativ textanalys av de skönlitterära verken Kometen kommer av Tove Jansson och Slutet av Mats Strandberg, samt av fyra läromedel i SO- och NO-ämnen ur serien Utkik.Resultatet visar att texterna tar upp hållbarhetsfrågor mestadels ur ett människocentrerat perspektiv, men där människan samtidigt skuldbeläggs för klimatkrisen och där barnen åläggs ansvaret för att lösa den. Balansgången mellan att aktivera barnen och utbilda dem i hållbarhet utan att orsaka klimatångest visar sig vara svår att hantera. Skönlitteraturen gör det via skildringar om undergång, och läromedlen genom att uttryckligen beskriva hotet. En medvetenhet om vilket material som väljs ut och varför är ett nödvändigt didaktiskt förhållningssätt.
With basis in the increase of so-called climate anxiety among children, the purpose of the study is to investigate and analyse ecological issues in children’s literature and text books meant for pupils in grades 4–6. We examine how pupils are required to become ecologically aware citizens, how the responsibility among children and adults is handled, how the interplay between nature and humanity is problematised and how the threat of destruction is depicted. The qualitative text analysis focuses on the two novels Kometen kommer (Comet in Moominland, by Tove Jansson) and Slutet (The End, by Mats Strandberg), as well as four text books of different subjects in the Utkik (Outlook) series.The result shows that the texts describe issues of sustainability from a human-centered perspective, where man is considered responsible for the climate crisis and the children are enjoined the responsibility of putting an end to it. The balance between activating the children and teaching them about sustainability, without causing even more anxiety, seems difficult to handle. The novels use apocalyptic themes, while the text books expressively focuses on describing the different factors of threat. A conscious selection of teaching material and children’s literature – what? and why? – is a necessary didactical approach.

Service interactions are increasingly cross-cultural as invariably they now involve parties from different cultural groups. Tourism establishments, however, have not always been able to create successful cross-cultural service interactions as negative interactions are widely reported. Negative cross-cultural service interactions affect tourists’ and service hosts’ experiences, and disfavour tourism businesses. Thus, there is a need to understand what factors shape cross-cultural service interactions and how these factors might influence the outcomes of cross-cultural service interactions in international tourism.

ABSTRACT This research will focus on how we understand conflict through fiction film. The thesis will analyse the two case studies Hotel Rwanda, Terry George, (2004) and The Kingdom, (Peter Berg, 2007), by focusing on three areas of study, namely, globalisation, fictional narratives, and how we remember conflict. The discussion begins with globalisation with reference to narrative content and the economic and distributive authority of Hollywood. This will be linked to film as a commodity and how popular culture (through fiction film) intersects with the ‘real’, historical world and promotes ideological perceptions of the events. Through an analysis of the narrative structure, this research shall investigate how each narrative creates ‘preferred’ readings around ethnic groups and how it assumes a truthful depiction of its referents. The discussion shall focus on how the Classic Hollywood narrative, voice and rhetoric emerge within the two films. The investigation will also examine how the films are located within memory of conflict and how they create ‘othering’ through their representation and ‘voice’. This message provides a framework within the global environment. The research will show that although the films are fictional, their global message is very much the same as to what is emerging within global media regarding mainstream as opposed to the marginalised ‘other’, whether this relates to Cultural Imperialism, fantasy others, mythical others or cultural and political associations of others.

This dissertation deals with how science fiction reflects the shift in cultural paradigms that occurred in the Soviet Union between the 1960s and the 1970s. Interest was displaced from the rational to the irrational, from a scientific-technologically oriented optimism about the future to art, religion, philosophy and metaphysics. Concomitant with this shift in interests was a shift from the future to an elsewhere or, reformulated in exclusively spatial terms, from utopia to heterotopia. The dissertation consists of an analysis of three novels by the Strugatsky brothers (Arkady, 1925-1991 and Boris 1933-2012): Inspector Glebsky’s Puzzle (Otel’ U pogibšego al’pinista, 1970), The Kid (Malyš, 1971) and Roadside Picnic (Piknik na obočine, 1972) and two films Dead Mountaineer’s Hotel (Hukkunud alpinisti hotell/ Otel’ U pogibšego al’pinista, Kromanov, 1979) and Stalker (Tarkovsky, 1980).  The three novels, allegedly treatments of the theme of contact with an extraterrestrial intelligence, were intended to be published in one volume with the title Unexpected Encounters. The films are based on two of the novels. In the novels an earlier Marxist utopia has given way to a considerably more ambiguous heterotopia, largely envisioned as versions of the West. An indication of how the authors here seem to look back towards history rather than forward towards the future is to be found in the persistent strain of literary Gothic that runs through the novels. This particular trait resurfaces in the films as well.  The films reflect how tendencies only discernable in the novels have developed throughout the decade, such as the budding Soviet consumer culture and the religious sensibilities of the artistic community.

This chapter considers interwar New York hotels, the rise of hotel brands and chains, and the Ritz in F. Scott Fitzgerald’s fiction. The Ritz was a fiction of global finance: a licensing apparatus for a loose, decentralised and self-propagating franchise. The value of the Ritz was not in bricks and mortar but in its name and its brand. The Ritz aesthetic was an anticipation of corporate minimalism: white walls and white curtains with minimal decorative ornaments, culminating in the evaporated surfaces of its rooftop gardens. Its whiteness and transparency were fitting architectural expressions of the Ritz as a deterritorialised brand. Like the Ritz, F. Scott Fitzgerald (or ‘Fitz’) was a branded entity. For Fitzgerald, the pleasure of the Ritz and its roof garden was in its nothingness: a desirable nowhere into which the moneyed elite could escape. This chapter reads ‘The Diamond as Big as the Ritz’ as an allegory for capital’s struggle to escape the physicality of bricks and mortar. It then considers ‘May Day’, The Beautiful and Damned, and The Great Gatsby, where those with means strive toward the mobility and immateriality of ‘Ritz’ and of capital itself.

This short interlude leaves London in order to consider the seaside as a site of pastoral retreat. It discusses the popularity of resorts in the period. Dickens, Samuel Beazley, Mary Elizabeth Braddon, WM Thackeray, and Anthony Trollope transplant traditional pastoral narratives to the seaside; here, hotels, inns, and boarding houses witness scenes of escape, liberation, and personal transformation, many of which are more ambivalent than they appear. The Interlude begins with a study of class, wealth, and the rags-to-riches tale in the rented spaces of Brighton, Margate, and Ramsgate, and then moves on to stories of romance, heartbreak, and sexual license in Brighton, Deal, Lowestoft, Margate, and Yarmouth. The final section focuses on health, convalescence, and death.

This chapter, which discusses Dickens, Wilkie Collins, Henry Mayhew, George Augustus Sala, and the writers for Punch magazine, explains that the Great Exhibition of 1851 led to a sudden demand for short-term accommodation in London. A popular display of ‘model’ cottages at the Exhibition spoke to wider concerns in the period about the condition of working-class housing. Though Dickens went to see the cottages, the literature of the Exhibition year reveals an interest in other kinds of rented space, which are sites of negotiation between the local, national, and global. Mayhew and the Punch circle saw the growth of the hospitality industry and the resourcefulness of Londoners as a cause for laughter. Meanwhile, Dickens, Collins and Sala were drawn to the cosmopolitan neighbourhood of Leicester Square. Here, hotels and lodgings brimmed not only with tourists but also with Continental spies and exiles, arriving in the aftermath of the 1848 revolutions.

The earth is covered 71% by water and the human utilizes the remaining 29% for their shelter and living. The idea of living under the water is possible only in fiction movies for our ancestors. But in this century, the idea of living in an underwater city has become a reality with the development of the existing technology. The exploration of the undersea is booming in the science community, which shows the path for underwater cities, underwater museum, and underwater hotels. This chapter contributes the information related to underwater smart cities in three folds: (1) discusses the major challenges in developing the underwater infrastructure, (2) introduces the internet of underwater things components involved in interconnecting the devices for underwater acoustic communication, (3) list the examples of the existing masterpiece architecture constructed underwater.

Chapter 2, centred on James’s early short fiction and his overlooked comic novel The Reverberator, examines late nineteenth-century hotel parlours and reading-rooms. The chapter examines the materiality of these spaces, and the commercial and public health considerations that created a blank, hard, shiny hotel aesthetic. These surfaces resisted the stains and accretions of inhabitation. The chapter connects the stain resistance of hotel public spaces with the amnesiac practices of consumption and disposal that were carried out here. Reading-rooms rarely contained permanent book collections; instead, they fostered a trade in abandoned Tauchnitz editions and odd volumes of serial fiction. In The Reverberator, these amnesiac spaces are set against the suffocating permanence and curatorial obsessions of old Parisian families. In this minor novel, James explores the emancipatory potential of the hotel’s disposable culture – and the pleasures of minor, interstitial experience.

This chapter considers oversized American hotel lobbies and the kinds of bodies that were imagined to inhabit it. It focusses on Henry James’s early travel journalism, ‘Daisy Miller’ and The American, as well as Fanny Fern’s writing on hotel etiquette. For James, the lobby produced a new kind of masculinity and a new kind of body: the stretched-out, elastic body of leisured bourgeois men. James’s fiction contains a hidden genealogy of long-legged men, many of whom were drawn to big hotel spaces. If the genteel ideal of the well-mannered body was self-control and self-possession, James’s long-legged men breach the genteel code. Their elasticity confounds the margin between self and other, and by melding into hotel furniture and architectural structures, they also confound the margin between human and stuff. In ‘Daisy Miller’, the comingling of elastic bodies means that servants, bourgeois gentlemen and counts, minor characters and major characters, all look the same. Hotel lobbies and hotel bodies are shown to be disruptive agents in Victorian culture with ambivalent social potential.

Los megadesarrollos turísticos de sol y playa han sido impulsados por el Banco Interamericano de Desarrollo (BID) como proyectos de estrategia de desarrollo turístico, en México nacen los Centros Integralmente Planeados (CIP´s) para dar orden urbano, descentralizando grandes inversiones turísticas principalmente de origen extranjeros. Son identificados ante la promoción turística por la inversión de insumos y tecnología. Los emplazamientos turísticos de sol y playa han crecido y destinan espacios para el hospedaje turístico temporal y permanente. Este tipo de emplazamientos destacan por ser representaciones de exclusividad, privacidad y seguridad, manifestando enclavamiento en la serie de conjuntos turísticos construidos para integrar el megadesarrollo turístico, demarcando un acceso que indica el inicio del montaje realidad-ficción, conformando el montaje de ficción, que llevan a construir una realidad a partir del imaginario. Lo sucedido fuera del montaje será considerado como realidad, al establecerse una serie de compaginaciones que fabricarán la nueva realidad, la realidad-ficción, entre representaciones de fantasía visuales, de sonidos y sobretodo de ideas por transmitir, como es lo motivante que resultan para los turistas las guías turísticas. Las representaciones son basadas en imágenes de paisajes, personas, ciudades, entre otros emblemas simbólicos. Cada espacio por destacar será retomado para enfocar el montaje en dibujos, pinturas, danzas, arquitectura, entre otras dinámicas de conquista turística, igual sucede con la reproducción de sonidos relacionados con la exclusividad, privacidad y seguridad para el turista al interior del conjunto. Toda construcción de la realidad se realiza en un espacio y un tiempo definido a partir del imaginario, ya que existe el objetivo de cautivar al visitante, dentro de una serie de montajes continuos donde será eliminada la línea de corte entre montajes, convirtiendo la ficción en realidad para el turista, el montaje correcto y el escenario indicado, señalan el orden constante de los montajes. Del trozo de imágenes fabricadas y rescatadas del ambiente natural o real, se conformara una relación argumental a través de la compaginación con la secuencia adecuada de cada una de las escenas plasmadas por el imaginario, unir y encauzar los montajes para el cumplimiento de la representación en un filme. De los ejemplos más destacados son las creaciones a partir del imaginario en los Emiratos Árabes Unidos, representados en los hoteles como torre hilton baynunah, jumeirah Beach burj al-arab, hotel w, hotel apearon island y hotel eta, los cuales exponen servicios como compras de lujo, centros spa con instalaciones exclusivas para el deporte y el tiempo libre, habitaciones equipadas, climatizadas y con lo último de la tecnología. Se distinguen los colores y las formas por resaltar ante la cultura árabe, pero es importante señalar que cada uno de esos megadesarrollos turísticos marcará su filme con esta serie de montajes, que permitirán compaginar la serie de trozos de imágenes fabricadas ante la fantasía imaginada. Los megadesarrollos turísticos se distinguen por crear escenarios turísticos a partir del imaginario, destacando el enclavamiento a través de la búsqueda del concepto de seguridad, con un marcado interés para conformar comunidades nuevas, asimismo elementos como los acceso se encuentran custodiados por personal de seguridad que indicara la bienvenida al turista, sin conocer que será guiado y vigilado por cámaras de video ocultas en la masa de la edificación, también se distinguen elementos de seguridad para la movilidad y accesibilidad al conjunto, destacando vía aérea, naval ó terrestre, el recorrido al interior marcándose bajo un escalonamiento de cota descendente a nivel de playa, mostrara cada uno de los escenarios turísticos montados para indicar el recorrido al turista al interior del conjunto turístico. The sun and beach tourist megadevelopments have been stimulated by the Inter-American Bank of Development (BID) as projects of strategy of tourist development, in Mexico there are born the Integrally planned Centers (CIP's) to give urban order, decentralizing big tourist investments principally of origin foreigners. They are identified before the tourist promotion by the investment of inputs and technology. The emplacements have grown and destine spaces for the tourist temporary and permanent. This type stand out for being representations of exclusivity, privacy and safety, demonstrating interlock in the series of tourist sets constructed to integrate the tourist megadevelopment, limiting an access that indicates the beginning of the montage reality - fiction, shaping the montage of fiction, that they lead to constructing a reality from the imaginary one. The happened out of the montage will be considered to be a reality, on there having be established a series of page lay-outs that will make the new reality, the reality - fiction, between visual representations of fantasy, of sounds and overcoat of ideas for transmitting, since motivation is that the tourist guides prove for the tourists. The representations are based on images of landscapes, persons, cities and symbolic emblems. Chaque espace pour se faire remarquer sera repris pour mettre au point le montage dans des dessins, des peintures, des danses, une architecture, entre d'autres dynamiques de conquête touristique, égale il succède avec la reproduction de sons relatifs à l'exclusivité, confidentialité et sécurité pour le touriste à l'intérieur de l'ensemble. Toute construction de la réalité est réalisée dans un espace et le temps défini à partir de l'imaginaire, puisqu'il existe l'objectif de captiver le visiteur, à l'intérieur d'une série de montages continuels où la ligne de coupure sera éliminée entre des montages, en changeant la fiction en réalité pour le touriste, le montage correct et la scène indiquée, ils marquent l'ordre constant des montages. Of the chunk of images made and rescued of the natural or real environment, a plot relation was conforming across the page lay-out to the suitable sequence of each one of the scenes formed by the imaginary one, to join and to channel the montages for the fulfillment of the representation in a movie. Of the most out-standing examples they are the creations from the imaginary one in the United Arab Emirates represented in the hotels as tower hilton baynunah, jumeirah Beach burj al-arab, hotel w, hotel apearon island y hotel eta, which expose services as purchases of luxury, centers spa with exclusive facilities for the sport and the free time, equipped rooms with the last technology. The colors and the forms are distinguished for standing out before the Arabic culture, but it is important to indicate that each of these megadevelopments will mark with this series of montages, which will allow to arrange the series of chunks of images made before the imagined fantasy. The megadevelopments differ for creating tourist scenes from the imaginary one, emphasizing the interlock across the search of the safety concept, with a marked interest to shape new communities, likewise elements like them I access they are guarded by safety personnel that was indicating the welcome to the tourist, Without knowing that it will be guided and monitored by secret video cameras in the mass of the building, also safety elements are distinguished for the mobility and accessibility to the set, emphasizing airway, navally ó terrestrial, the tour to the interior being marked under an stairs of descending level to beach level, there was showing each of the tourist scenes mounted to indicate the tour to the tourist to the interior of the set.

Las ciudades turísticas intentan recrear los imaginarios internacionales sobre culturas determinadas, adaptándose a las expectativas que se tengan sobre el sitio a visitar. Los imaginarios son la realidad social construida desde los ciudadanos. A través de ellos las personas aprehendemos y explicamos las percepciones que nos formamos sobre los otros, los eventos y relaciones, así como sobre las obras y objetos. En las ciudades del turismo emergentes, la construcción de los equipamientos turísticos, tanto públicos, como privados, hace tabula rasa de la ciudad preexistente, dejando de lado las experiencias culturales locales, para preparar un escenario óptimo, que haga atractivo el sitio al público extranjero. En ese sentido los referentes culturales de lo mexicano, plasmados en la arquitectura, retoman elementos de distintas regiones y momentos históricos, acordes al imaginario internacional. Esos lenguajes arquitectónicos funcionan como referencia de autenticidad del espacio consumido, validando la experiencia turística. El objetivo de este trabajo es dar luz sobre el origen de las formas arquitectónicas –la morfogénesis- de una ciudad turística emergente. Es decir, observaremos los lenguajes urbanos y arquitectónicos, y la relación que los diseños exhibidos guardan hacia el imaginario internacional de la cultura mexicana. Para ello, utilizaremos como instrumentos los recorridos que los turistas hacen para acceder a los desarrollos turísticos, las imágenes expuestas en lugares específicos, así como el análisis del relato emitido por el turista en relación a la experiencia vivida. Nuestros medios de acceso serán las imágenes reales (tomadas in situ por las autoras) y aquellas recogidas de los sitios web de las cadenas hoteleras y de las bitácoras personales (blogs) de turistas disponibles en Internet. Con estos instrumentos pretendemos asociar los lenguajes plásticos del sitio con aquellos provenientes de imaginarios internacionales sobre la cultura mexicana, más allá de los de la realidad del sitio analizado. Retomamos a manera de ejemplo dos puntos de vista: el del promotor inmobiliario y del turista. El caso de estudio es Puerto Peñasco, Sonora, ciudad que ha sufrido una fuerte conversión a las actividades turísticas en los últimos diez años y cuyo auge inmobiliario, representa un caso emblemático del turismo en el noroeste mexicano. Adelantándonos a manera de breve conclusión, podemos señalar que las imágenes montadas en el armado y diseño del puerto anterior cumplen la paradójica función asentarse en la memoria del viajero (crear una ciudad memorable y singular), a la vez que autentifican la experiencia turística, es decir, son imágenes congruentes con el imaginario que el turista se ha formado aún antes de iniciar su recorrido, ya sea a través de los relatos de otros viajeros o del discurso del promotor inmobiliario. Ambos disponibles con la facilidad de un clic. Por otro lado, los referentes buscados por los promotores turísticos, están ligados, mediante la arquitectura y el urbanismo a la antigua arquitectura mexicana, de las culturas prehispánicas, las haciendas rurales y la arquitectura colonial, que poco o nada tienen que, ver con las actualidad de las ciudades mexicanas y mucho menos con el entorno regional de Puerto Peñasco. Sin embargo, ese tratamiento permite la creación de un ambiente "ideal" para el acercamiento a la cultura mexicana que los turistas esperan. Al contrastar los puntos de vista de un viajero y de un promotor inmobiliario de esta localidad portuaria, daremos cuenta de la ciudad deseada y de la ciudad ficción, acercándonos de esta manera a la "ciudad real", que bien pareciera la copia de las dos anteriores. The tourist cities intend to recreate the international imaginaries about certain cultures, adapting to the given expectations of the visiting place. The imaginaries are the social reality built by the citizens. Through them, people seize and explain their perceptions on others, on events and relationships, and as well as on objects. In the emerging cities of tourism, the building up of equipment, public as well as private, ignores the preexisting city. Cultural local experiences are left aside to prepare an optimal scenario that would make the place attractive for the foreign visitors. In this sense, the cultural references for “the Mexican” are captured trough architecture. They take elements from different regions and different historical momentums, according to the international imaginary. These architectural languages works as an authenticity reference for space, validating the tourist experience. The objective of this paper is to throw light on the origin of architectural forms –the morphogenesis- in an emerging tourist city. We will look at the urban and architectural languages, as well as the connexion that the exhibit designs keep towards the Mexican culture international imaginary. In order to do so, we will take advantage of the itineraries the tourists follow to get to the tourist developments, of the images exposed in specific places, and of the tourists account of their experiences. Our means of access will be the real images (taken by the author of this paper) and those collected in web sites of hotel chains and personal tourist journals (blogs). With these instruments we intend to associate the place plastic languages with those derived from international imaginaries on the Mexican culture. As an example we take into account to points of view: the real estate promoter’s and the tourist’s. The case of study is Puerto Peñasco, Sonora, a city that has suffered a tough switch to the tourist activities within the last ten years, and of which its real-estate growth represents an emblematic case in the Mexican northwest. Bringing forward a brief conclusion, it can be pointed out that the array of images and the port design achieve the paradoxical function settle themselves on the traveller’s memory (creating a memorable and singular city), and at the same time they authenticate the tourist experience. In other words, these images are consistent with the imaginary that the tourists have formed even before they began their tour. This recreation of the images is accessible through the stories of other travellers or trough the speech of realestate promoters (realties), both of which available with a single “clic”.On other side, the references seek by the tourist realties are attached to the antique Mexican architecture: the pre-Hispanic cultures, the haciendas and the colonial period, that have very few or nothing to do with the regional environment of Puerto Peñasco. However, that array allows the creation of an "ideal" environment, expected by the tourist to approach to the Mexican culture. Finally, contrasting the point of view of a traveller and a real-estate promoter, we will expose the desired city and the fictional city. In this way, we will approach to the "real city", which now seems the copy of the other two.