While economy or budget hotels have been popular in western countries since the end of the Second World War, they have only emerged as a sector in their own right in China since the mid-1990s. Indeed, as a new service industry sector, economy hotels in China demonstrate important characteristics which can be used to illustrate and help explain China's current economic progress more generally.
This book provides a comprehensive overview of the economy hotel sector in China. It covers macro-level social-cultural, economic, environmental, geographic and development issues, alongside micro-level consideration of the budget hotel companies' innovative management and marketing procedures, business expansion strategies, general hotel management and operation issues, as well as an analysis of some leading entrepreneurs in the sector, and in-depth case studies examining the most successful economy hotel companies in China. Huang and Sun argue that the rapid development of budget hotels in China demonstrates how, under the influence of globalisation, Chinese businesses have become more innovative as they apply successful western business models to China. In turn, they show that the China model is fundamentally different in terms of its driving force, which lies purely in its domestic travel market, fuelled by China's continued economic growth. There is therefore much to explore about both China's market situation and business practices in the economy hotel sector and this book makes an important contribution to our understanding of China's new business environment.
Based on extensive fieldwork and investigation, Economy Hotels in China will be welcomed by students and scholars of tourism, hospitality, business studies and Chinese studies, but it will also appeal to practitioners of business management in these sectors who are interested in China's development and business opportunities in China.
This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.
""In this story, as the chief character is internally melodramatic, the story itself ceases to be merely melodramatic, and partakes of true drama."" - T. S. Eliot.Like Poe before him and Conan Doyle after, Wilkie Collins shifted easily from rational domains to the ""superrational."" Like them, he is famed for original contributions to ""ratiocinative"" (detective) literature, but often preferred to indulge his occult predilection - a lifelong indulgence. His first published story, ""The Last Stage Coachmen"" (1843), was a supernatural allegory of trains; perhaps his last lucid effort (before ill health and opium drained his powers) was this short novel, The Haunted Hotel.Collins' methods and themes, developed and elaborated in his earlier, massive novels, are streamlined and concentrated here into a tight novelette. The same relentless pace and narrative power, the same attention to plot and backdrop detail that distinguish The Moonstone and The Woman in White are evident here, as is the obsession with destiny and the willful struggle against it.Collins' much-loved Venice provides the scenery and fatal beauty, the grim waterways and palaces the author will haunt with mysterious women, grotesques, and bloody conspiracies. The Countess Narona is one of Collins' cosmopolitan enchantresses; she acts, but as the tool of her doom. T. S. Eliot wrote, ""The principal character, the fatal woman, is herself obsessed by the idea of fatality; her motives are melodramatic; she therefore compels the coincidences to occur, feeling that she is compelled to compel them."" Collins relieves the tension with some wry characterizations and ironies; the theatrics are sustained. Indeed, theatrical motifs figure heavily, Collins himself being much involved with the stage at that period.The Haunted Hotel appears to be loosely based on a case from the annals of French crime; the scene, scenery, players and conflicts, and especially the horror, come straight from Collins' overstimulated, no doubt overwrought, most certainly haunted imagination.
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