Joshua Aston, Jun Wen, Edmund Goh and Oswin Maurer
This cutting-edge short commentary is intended to raise awareness of sex trafficking in the tourism and hospitality industry. The purpose of this paper is to also advocate for…
Abstract
Purpose
This cutting-edge short commentary is intended to raise awareness of sex trafficking in the tourism and hospitality industry. The purpose of this paper is to also advocate for further research to identify and hopefully prevent sex trafficking in related settings.
Design/methodology/approach
This paper provides a descriptive overview of the current knowledge base on sex trafficking in tourism and hospitality. Based on gaps in the literature, future research agendas and directions are suggested.
Findings
Academic research on sex trafficking in tourism and hospitality remains limited. More scholarly attention is needed to this matter. The tourism industry is directly and indirectly associated with sex trafficking (e.g. hotel accommodations and direct consumption of sexual services, such as through sex tourism). Despite legislative efforts by international government agencies to eradicate sex trafficking, the problem remains pervasive. Broader practice- and research-based intervention efforts are needed.
Originality/value
This short commentary advocates for tourism and hospitality researchers to make practical and theoretical industry contributions that may help prevent sex trafficking.
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Joshua Aston, Jun Wen and Shaohua Yang
Using a qualitative approach, this cross-disciplinary study integrating modern slavery, tourism and marketing expertise outlines Chinese outbound tourists' perceptions of and…
Abstract
Purpose
Using a qualitative approach, this cross-disciplinary study integrating modern slavery, tourism and marketing expertise outlines Chinese outbound tourists' perceptions of and reactions to issues related to child sex tourism.
Design/methodology/approach
In total, 27 in-depth interviews were conducted, and data were analysed. Manual coding was chosen as an efficient method to process qualitative interview data given the relatively small sample size in this study.
Findings
Three main themes emerged from analysis: (1) tourists' negative perceptions of child sex tourism; (2) tourist boycotts against child sex tourism destinations and activities as reactions to this socially deviant and illegal phenomenon and (3) tourist advocacy to enhance public awareness of child sex tourism. These themes suggest that tourists, as key tourism stakeholders, have difficulty accepting that child sex tourism occurs and would like to identify solutions to end illegal activities. Tourist boycotts would positively affect sustainable tourism development by eliminating illegal businesses, including those involving child prostitution, from the tourism industry. The qualitative method is applied here to develop a conceptual framework explaining tourists' perceptions of and reactions to child sex tourism.
Practical implications
A conceptual framework of Chinese individuals' perceptions of and reactions to child sex tourism has been devised using a qualitative approach. Although this framework takes child sex tourism as its focus, it can also be applied to better understand tourists' perspectives of other socially deviant or illegal behaviours within the tourism industry. The findings of this study provide valuable implications for various tourism stakeholders.
Originality/value
The current study makes significant theoretical and practical contributions to an under-researched topic – child sex tourism. A conceptual framework of Chinese individuals' perceptions of and reactions to child sex tourism has been devised using a qualitative approach. Findings from this study may inspire campaigns to protect children from being drawn into sex tourism. Efforts should also be undertaken to rescue children who have already been victimised by illegal businesses.
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BUSINESS SCHOOL GRAFFITI is a highly personal and revealing account of the first ten years (1965–1975) at Britain’s University Business Schools. The progress achieved is…
Abstract
BUSINESS SCHOOL GRAFFITI is a highly personal and revealing account of the first ten years (1965–1975) at Britain’s University Business Schools. The progress achieved is documented in a whimsical fashion that makes it highly readable. Gordon Wills has been on the inside throughout the decade and has played a leading role in two of the major Schools. Rather than presuming to present anything as pompous as a complete history of what has happened, he recalls his reactions to problems, issues and events as they confronted him and his colleagues. Lord Franks lit a fuse which set a score of Universities and even more Polytechnics alight. There was to be a bold attempt to produce the management talent that the pundits of the mid‐sixties so clearly felt was needed. Buildings, books, teachers who could teach it all, and students to listen and learn were all required for the boom to happen. The decade saw great progress, but also a rapid decline in the relevancy ethic. It saw a rapid withering of interest by many businessmen more accustomed to and certainly desirous of quick results. University Vice Chancellors, theologians and engineers all had to learn to live with the new and often wealthier if less scholarly faculty members who arrived on campus. The Research Councils had to decide how much cake to allow the Business Schools to eat. Most importantly, the author describes the process of search he went through as an individual in evolving a definition of his own subject and how it can best be forwarded in a University environment. It was a process that carried him from Technical College student in Slough to a position as one of the authorities on his subject today.
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This chapter reviews the overall structure of the US financial aid system and the way in which students from underrepresented groups deal with the cost of participating in higher…
Abstract
This chapter reviews the overall structure of the US financial aid system and the way in which students from underrepresented groups deal with the cost of participating in higher education. Case studies of students from underrepresented groups are used to illustrate the type of problems experienced, including financial loan guilt, economic divisions amongst undergraduates and balancing employment with full-time undergraduate study. It is noted that financial aid only factors in tuition and housing costs, but does not take account of the need to participate in the ‘student experience’. Restricted finances mean that some students are unable to take part fully in social activities or purchase books, all of which are thought to be part of the typical undergraduate experience. Thus, despite efforts to widen participation, the concept of ‘college for all’ can be considered an illusion (Glass & Nygreen, 2011) because universities fail to acknowledge the class and racial hierarchies that shape the culture, an aspect that financial aid alone cannot remove.
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As early as Johan Huzinga’s (2016, 89–188) landmark exploration of play, Homo Ludens (1949), death has been recognised as integral to play. Today’s digital games continue this…
Abstract
As early as Johan Huzinga’s (2016, 89–188) landmark exploration of play, Homo Ludens (1949), death has been recognised as integral to play. Today’s digital games continue this close association. Whilst the past half-century has trended towards limiting the impact of player-death, permanent-death (permadeath) games provide a less-forgiving environment. As the first digital adaptation of Games Workshop’s cult-classic tabletop skirmish game, Mordheim: City of the Damned (Rogue Factor, 2015) utilises permadeath to emphasise death’s inevitability and harsh reality in the precarity of its gothic post-apocalyptic setting. Whilst the majority of apocalyptic videogames follow the comic frame, the player has no agency to overcome or change the events of Mordheim’s apocalypse, setting it firmly in the gothic frame. It is substantially less about overturning disaster or saving the city, and decidedly more about looting its shattered corpse. The close reading of Mordheim: City of the Damned’s theme of death for this chapter identified that death and injury are simply accepted realities; ubiquitous, yet normalised. Whilst every death is significant – through permanently lost warriors – there is always another willing replacement available. Viewed alongside the warband’s primary purpose – that is service to their patron – warriors’ deaths not only become expected and relatively meaningless, but also financially connected. Rather than encouraging association with their warbands, players are subtly shifted to aligning with their patron, viewing the warbands and their warriors as an expendable means towards gaining digital kudos points and bragging rights amongst the other digital noble.
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Discusses Section 11 of the Local Government Act 1966. Notes thatlocal authorities appear slow to make use of this subsidy or EthnicMinority Grant in librarianship. Considers the…
Abstract
Discusses Section 11 of the Local Government Act 1966. Notes that local authorities appear slow to make use of this subsidy or Ethnic Minority Grant in librarianship. Considers the 1988 Government review which recommended a project approach to applications and set out criteria covering areas of work which would qualify for funding. Concludes that the way ahead is to absorb all Section 11 posts and fund them mainstream, thus showing commitment to equality of service provision and opportunity.
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In a previous article we had occasion to refer to and to condemn the standards for jams, jellies and marmalade which had been arrived at as the result of a conference which had…
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In a previous article we had occasion to refer to and to condemn the standards for jams, jellies and marmalade which had been arrived at as the result of a conference which had taken place during the year 1930 between the Jam Panel of the Food Manufacturers' Federation and certain members of the Society of Public Analysts and other Analytical Chemists. There is another point in connection with these standards which we think might have received the attention of this Conference. At the present time everyone is being exhorted to buy British goods on the grounds, it may be supposed, that such purchases are patriotic in character and good for trade. But to speak quite frankly, if these jams are to be taken as a fair example of British skill and enterprise, the legend “Buy British” leaves us cold. What, then, is a British jam? Is there such a thing? If by the term we mean a jam made of sound British grown fruit which gives the name to the jam mixed with an equal weight of sugar, it would seem to be a rarity. Some fruits we cannot grow. Hence Scotch marmalade is a fair enough term to use, assuming of course that the orange is of the right sort and in the right quantity. The same thing applies of course to apricot jam. The greater number of our best known jams are made from fruit that, whatever may be its origin, can be grown here and grown better here than elsewhere— strawberry, raspberry, plum, gooseberry. We say unhesitatingly that there is no need under any circumstances to buy the pulp of these fruits or the fruits themselves abroad when it is of immediate interest to the health and pocket of the consumer, the prosperity of the home fruit grower and ultimately to the trade itself to buy them at home. In a report issued in 1927 on Fruit Marketing in England and Wales issued by the Board of Agriculture it is stated that the manufacture of jam is the “backbone” of the fruit‐growing industry. It is further stated that 90 per cent. of the home grown raspberry crop, 60 per cent. of the strawberry and 40 per cent. of the plum are or were at that time purchased by the manufacturers of jam. We say “at that time” because the figures in all probability relate to the conditions in force up to 1926, and that year it seems began to mark an increase in the amount of fruit pulp imported from foreign countries. The fact that pulp was being imported in large amount previous to that year is noted in the report whose title is given above, 90 per cent. of the home grown raspberry crop available for the manufacture of jam is used, but what is to be thought of the figure given for plums? In connection with this we need only quote the remarks of Lieut.‐Col. Ruggles Brise which he made during the debate in the House of Commons on the terms of the Resolution.
The announcement of their Annual Conference which has been made by the Library Association gives promise of a meeting of quite unusual interest and value. The programme has been…
Abstract
The announcement of their Annual Conference which has been made by the Library Association gives promise of a meeting of quite unusual interest and value. The programme has been shorn of unnecessary redundancies and every subject upon it should lead to fruitful discussion. The only point in connection with the programme which appears to demand consideration is whether in all cases the papers should be read. There are several objections. Such papers occupy a lot of time, are not sufficiently dramatic to be interesting in themselves, however valuable the subject matter may be, and too often it must be confessed they are read in a manner which induces somnolence rather than energetic discussion. It is the exchange of opinion across the floor that matters at a Conference, We hope, therefore, that in certain cases the method of taking papers as read and requiring their writers to speak to them briefly may be followed.
I can think of no better way of beginning this paper than by defining a Fine Arts Library; and no better definition of a Fine Arts Library than that given by Mr. Wheen in…
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I can think of no better way of beginning this paper than by defining a Fine Arts Library; and no better definition of a Fine Arts Library than that given by Mr. Wheen in describing the Victoria and Albert Museum Library. It is, he says, a library for the study of the history, philosophy, technique and appreciation of the arts. The arts referred to are of course what are generally known as the Fine Arts, and those, for the purposes of this paper, are in three main classes: Painting, which includes sculpture, drawing and applied fine art; Architecture, which includes town planning; and Music, with which we may include the dance, the drama, and other entertainment arts developing from them.