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Here the questions in which way these selected intermediaries form part of the construction process, what are similarities and differences to be observed and which models can be designed upon this basis, shall be answered. Seville, a destination exposed to image forming imaginary geographies for a longer time, serves as a case study. I thank an anonymous referee for valuable indications for the revision of the paper. As far as the potential tourist is not repeatinghis visit he can merely fall back on the image of the destination, an image not of his own, which has been formed not only by touristic marketing but by other processes of perception: always when the destination appears in a film, a news program or in a book these appearances contribute to the formation of the image. That is why only part of the touristic perception before travelling is manipulated by tourist marketing. The image of a destination a potential traveler has may have been constructed along years by the connection of the whole of impressions of it which he gathered during his life. These inner images may vary individually, but in many cases they contain aspects people have in common e. Paris is by most people associated with romanticism, the South Sea with paradise, and Berlin is with party. During and after traveling the tourist looks for the confirmation of those inner images — they proof to be resistant even against reality. The objectives of the paper are the following:. Presentation of the role of classic and new travel-media as touristic intermediaries, with the case study Sevilla:. The criteria for selecting the experts were their participation in or observation of flamenco life or tourist business. Those interviews were recorded and analyzed regarding the mention of image-attributes in relation to the town of Sevilla. On the one hand it is central by its explanatory potential; on the other hand it is central having in view a basic lack of theoretical approaches in tourism studies. Following Morin and Raymond he describes this concept as the search for images of a destination acquired during socialization. On the contrary, it constructs own spaces of experience with the help of phantasies and projections. Only to a limited extend there is the discovery of otherness. Pott , p. Weichhart , p. Urry , p. Travel accounts of friends and relatives form another source of imaginary geographies of travel destinations Freytag , p. In his book Said describes the Orient as constructed, among other things, by travel-literature or travel descriptions. The adaption of the past to the inner and imagined geography corresponds also to the concept of narrative inversion Decher , p. While travelling the tourist searches for the confirmation of his imagined geography see above which means that the imagination continues and the touristic perception tends rather to be adapted to the imagination than to realities that might contradict it Hennig , p. Even a blockade or refusal of perception may occur:. The destination turns out to be the personally formed space of experience of the tourist, the extension of his personality, which is a well-known phenomenon in marketing. That is why brands refer even to categories of personality see about this also Aaker The tourist participates in interpreting and defining the touristic space. He becomes a prosumer who consumes and produces at the same time a touristic space. A multiplicity of touristic intermediaries document 1 shows a selection re-enforces the imaginary geography of a destination. MacCannel , p. The touristic way of getting in with the natives is to enter into a quest for authentic experiences, perceptions and insights. So far one can describe the touristic construction of images as a circular process with its own reinforcement. Until today touristic intermediaries advertise with the culture of the aborigines and the space of nature of the continent. Zimmermann , p. Thimm, The reason for this can be seen in the fact that in many cases the creation of images, specially the literary ones, occurs prior to the individual, and even more so to the mass tourist activity. Before individuals have a conscious perception of travels, education and leisure time provide access to texts and films which mark the images of destinations. Before the significant rise of travel activities after World War II — at the beginning in particular by the middle-classes of western industrialized states — there were accounts and images about distant countries. What is the necessity to imagine or mark in advance, by interpretation, touristic spaces? This is, for its part, the result of the fact that the touristic product cannot be seen and examined before the travel. Based on imaginary geographies it is therefore classified in advance Kleinsteuber andThimm , p. The marketing corporations of the tourist business can use reinforcing effects by means of its politics of communication because there are imaginations of touristic spaces which are congruent with a majority of customers or they can be associated with homogeneous segments of the market. However, images of destinations normally are slow and the more replacement diverge from the traditional image the costlier they are. This has also to do with the historicity of images created by literature and film, which keep being repeated as reference so that they create a continuum of perception which has a longer duration. Under a reductionist view one might have the impression that it would be enough to shoot a blockbuster about a destination or at least with a destination as setting, and flows of tourists would be redirected to that destination. Apart from that the question arises about the cost-benefit relation. Language plays a decisive role in this process:. Among the classic travel media like print, TV and broadcasting, print is dominant. Brigitte, Stern or newspapers e. FAZ or Die Zeit , which participate in the medial construction of imaginary geographies of destinations. Apart from the neglected area of broadcasting there are a number of formats on travel in TV whose quality ranges from mere selling programs to high level reports Kleinsteuber and Thimm , p. Reports as kind of representation dominant in travel journalism are designed in a way that they tell an interesting story, create mental cinema, follow a rather film-like dramaturgy and they represent atmosphere as well as milieu Kleinsteuber and Thimm , p. In travel magazines it is visually supported by introducing and accompanying image streams. This way travel magazines construct imaginary geographies exactly the kind their readers need, thus reinforcing them see documents 2 and 3. All media trying to position and sell themselves act that way. The themes and destinations selected normally correspond to the dominant travel movements of the readership. Here the emphasis lies on the evaluation by users and not on the journalistic content. The credibility of these evaluations is higher than commercially motivated euphemistic reports about popular destinations because they come from real users who have been to the place. In this form. This intermediary as well can be integrated into the circular document 2 or the linear document 3 scheme. The self-referential role of the user-actor-tourist s. We select the kind of news and opinions that we care most about. Nicholas Negroponte of M. We may believe intellectually in the clash of opinions, but in practice we like to embed ourselves in the reassuring womb of an echo chamber. People transit in groups and opinion-fields which generate conformity. Similar and individual imaginary geographies are shaped into a collective imagination which then claims authenticity see document 5. It became the manifestation of a place of yearning Richter , p. But the south is also a reality, we can go there. Specially the flamenco, when enacted by gypsies became within this context a major symbol and defines the image of Andalusia or Sevilla until today. Carmen was not the only opera to use Sevilla as a projection screen. The official webpage of Sevilla and its facebook-page do the same see documents 7 and 8. Document 9: Imaginary geographies of Sevilla, circular model. Document Imaginary geographies of Sevilla, linear model. In the case in point Sevilla the circular model describes the self-maintenance and the self-reinforcement, while the linear model considers imaginary geographies as the end point of a process. In both cases the formation process of imaginary geographies powered by images becomes evident. The tourism business acquires concrete possibilities of manipulation forming these images by its proper marketing strategies. With press campaigns it can exert concrete influence on the intermediaries, the travel magazines. The success depends among other things on the relevance of the travel media within the context of other intermediaries and of other issuers of images of destinations. A touristic image of Sevilla may also be spoiltor blotted out by images of the general political situation of Spain, as for instance the economic and financial crisis. In such a case the imaginary geographies might undergo a temporary or permanent modification. It explains how the perception of destinations develops before, during and after the travel and why images of destinations can develop a very high persistence. Only the media and the authors differ, as well as the reader-respective user structure. Classic travel media use predominantly print and the contents are written in the form of travel reports by professional journalists. New travel media, in particular Web 2. They normally do not have any journalist training. Both reinforce imaginary geographies of destinations. In this case one can observe the strong temporal persistence of historic constructs of images which were created particularly during romanticism and persist until today being touristically transformed into value. Until what degree of tension between imagination and reality imaginary geography could be maintained? Another interesting point would be the question in how far imaginary geographies change in the case of repetitive travelers. Aaker J. Aoyama Y. Bachmann K. Bachmann-Medick D. Berndt C. Decher F. Egger R. Freytag T. Glasze G. Gravari-Barbas M. Haubrich W. Hennig C. Hudson S. Irving W. Kleinsteuber H. Kristof N. Lukinbeal C. Mauersberger V. MacCannell D. McNeill D. Mestre R. Morales P. Morin E. Papapavlou M. Paul D. Pott A. Richter D. Riley R. Rutheiser C. Said E. Springer S. Cultural practice, neoliberal rationalism, and virulent imaginative geographies, Political Geography, 30 2 , pp. Steingress G. Thiedeke U. Weichhart P. Zimmermann S. Teaching and research: Destination Management, Marketing and Sustainable forms of tourism. Regions: Lake Constance region, India, Spain. Former professor of foreign languages at the Federal University of Minas Gerais. Voir la notice dans le catalogue OpenEdition. Navigation — Plan du site. Via Tourism Review. Traduction de Guenther Augustin. Plan Imaginary Geography — conceptual framework. The role of intermediaries in re-enforcing imaginary geography. Classic travel media and imaginary geography. New travel media and imaginary geography. The role of intermediaries in re-enforcing imaginary geography 9 Typical values of this space of experience of destination are self-determination, freedom and autonomy of time. Document 1 Agrandir Original jpeg, 72k. Document 2 Agrandir Original jpeg, 76k. Document 3 Agrandir Original jpeg, 56k. Document 4 Agrandir Original jpeg, k. Document 5 Agrandir Original jpeg, k. Document 6 Agrandir Original jpeg, k. Document 7 Agrandir Original jpeg, k. Document 8 Agrandir Original jpeg, k. Document 9: Imaginary geographies of Sevilla, circular model Agrandir Original jpeg, k. Document Imaginary geographies of Sevilla, linear model Agrandir Original jpeg, 63k. Bibliographie Aaker J. Chatwin B. Gregory D. Miles S. Raymond H. Urry J. Haut de page. Suivez-nous Flux RSS. Dans tout OpenEdition. Dans Via. Accueil Catalogue des revues OpenEdition Search. Tout OpenEdition. OpenEdition Freemium.