and its potential legacy in contemporary modes of hospitality and tourism consumption. Hospitality and tourism consumption in the Islamic Orient historical and – theoretical contexts Focusing on Egypt, Gregory (1999, 2001) invokes notion of the Orient Said’s as an imaginative geography; a theatrical space appended to Europe, to identify scripted performances of contemporary tourism within spaces of constructed visibility. He notes nostalgia for colonial modes of transport, such as the Nile cruise, which is catered for by tour operators offering products explicitly evoking that period for for contemporary tourism images are identified by ‘Western’ visitors. Antecedents analysis of how from formal academic Orientalism idées reçues Burns’ (2004) emerged in the discourse of popular consumption in staged ethnographic images of Oriental types, including veiled women, in early twentieth century postcards. In a subsequent study, Al Mahadin and Burns (2007) highlight the durability, and we must presume utility, of Orientalism in the continued presence of veiled women in Western generated tourism imagery as signifiers of the supposed perennial dialectic East’s between exotic, mysterious allure and pre-modern backwardness. Echtner and Prasad (2003) argue that Western tour operators are commercially driven to proffer fantasies of the mystical and unchanging East, while Bryce (2007) explores the invocation of Orientalist tropes by the travel industry, placing tourists in the subject positions of eighteenth and nineteenth century Europeans in relation to Turkey and Egypt. The phenomenon in modern tourism of or of ‘Western’ ‘Orientalist’ forms representation and consumption in Turkey and the Middle East are now of sufficient duration to allow thematic shifts to be identified historically. Nance (2007, 1072)
and its potential legacy in contemporary modes of hospitality and tourism consumption. Hospitality and tourism consumption in the Islamic Orient – historical and theoretical contexts Focusing on Egypt, Gregory (1999, 2001) invokes Said’s notion of the Orient as an imaginative geography; a theatrical space appended to Europe, to identify scripted performances of contemporary tourism within spaces of constructed visibility. He notes nostalgia for colonial modes of transport, such as the Nile cruise, which is catered for by tour operators offering products explicitly evoking that period for ‘Western’ visitors. Antecedents for contemporary tourism images are identified by Burns’ (2004) analysis of how idées reçues from formal academic Orientalism emerged in the discourse of popular consumption in staged ethnographic images of Oriental types, including veiled women, in early twentieth century postcards. In a subsequent study, Al Mahadin and Burns (2007) highlight the durability, and we must presume utility, of Orientalism in the continued presence of veiled women in Western generated tourism imagery as signifiers of the East’s supposed perennial dialectic between exotic, mysterious allure and pre-modern backwardness. Echtner and Prasad (2003) argue that Western tour operators are commercially driven to proffer fantasies of the mystical and unchanging East, while Bryce (2007) explores the invocation of Orientalist tropes by the travel industry, placing tourists in the subject positions of eighteenth and nineteenth century Europeans in relation to Turkey and Egypt. The phenomenon in modern tourism of ‘Western’ or ‘Orientalist’ forms of representation and consumption in Turkey and the Middle East are now of sufficient duration to allow thematic shifts to be identified historically. Nance (2007, 1072)