The work carried out at the DVRC laboratory in collaboration with IREST raises new questions about the world of tourism. Whether it be graph theory techniques, statistical tools, textual analysis, machine learning or data mining, the Digital Tourism Working Group is constantly enriching its research output.
Cet article montre comment les traces numériques (Tripadvisor, Instagram, Booking, Airbnb) révèlent un degré de métropolisation touristique, à partir du cas de la Métropole Européenne de Lille. Nous les abordons selon deux perspectives. Tout d'abord, nous considérons la métropolisation en termes de rayonnement, nous amenant à comparer la MEL à plusieurs métropoles touristiques françaises du point de vue de leur visibilité sur les plateformes touristiques (Flickr, Tripadvisor, Hotel.com, Booking), et donc à réfléchir aux périmètres pertinents d'une comparaison (commune-centre, centre dense, agglomération, EPCI). Ensuite, nous étudions la diffusion touristique dans l'espace métropolitain lillois, à partir des lieux les plus photographiés et commentés, et de l'exploitation des données issues du city pass nous permettant ainsi de nous interroger sur les limites de la destination touristique.
This study examines how hegemonic ideologies shape women's participation in tourism in a theocracy. Applying Gramsci's theory of hegemony and a critical poststructural feminist lens, it analyses how Iran's politico-religious structures influence women's roles, employment, and mobility in tourism. Qualitative findings reveal strategies of compliance, negotiation, and resistance expressed through entrepreneurship, networking, and workplace practices. Concepts of ‘war of position’ and ‘passive revolution’ explain how women create space for agency without direct confrontation, reshaping visibility and legitimacy incrementally. The study advances tourism scholarship by situating women's agency within hegemonic structures of theocratic governance and extending Gramscian theory to show how gendered consent and resistance operate in tourism, while calling for gender-transformative policies that address inequality and support women's situated agency.
Cinematic realities creatively produce imagined scenic environments that constitute seemingly `authentic' destinations that can attract tourists' attention. Not all is as it seems, however; hence we ask, ``How can paradoxes of authenticity fuel consumers' reception of products of the film industry?''. We use paradox theory to address this question. Virtual ethnography is used to capture tourists' perception of multifaceted contexts of authenticity in the Moroccan film industry. We categorize authenticity as multiform (real, fake and fake-authentic) through film case analysis. We reveal and discuss three paradoxical forms of authenticity: (i) authentic reality; (ii) merging fake reality; and (iii) genuinely authentically fake. Our findings highlight that, despite a fake reality, tourists interplay fakery with authenticity, transforming the imitation into something more original than the source.
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