THE FRENCH MUSEUM ACT The history of the public museums in France began at the end of the XVIII century, when the ravages caused by the French Revolution made it clear that the cultural heritage had to be protected. In 1791 the National Assembly decided to make the ancient royal collection of art accessible to the public and to create a national museum in Louvre. In 1802 the French government commenced the policy of museum foundation in the provinces, on the basis of the deposits of national collections of art. In 1882 the existing museums were divided into two categories – national and municipal or departmental, while in 1945 they were divided into three categories – national, classified and controlled. At that time, the museum was defi ned as a permanent collection, rendered accessible to the public, consisting of works of artistic, historical or archeological value. In the second part of the XX century a growing variety of museums and their collections had led to the necessity of creating a new defi nition of this institution as well as of new rules aimed at their protection. In 2002 a new law on the museums of France was introduced; it defi ned the rules of museum activity as well as the scope of state protection and control on them. A new defi nition of a museum was also elaborated. It was now defi ned as a permanent collection, composed of value whose conservation and presentation is in public interest and whose goal is to inform, educate and entertain the society. In 2004 the law on the museums of France became an integral part of the Code of the Heritage (Code du Patrimoine) in which all the laws and decrees concerning the protection of cultural values, archives, libraries, museums, archeological excavations, historical monuments as well as protected places and landscapes, were assembled. In the Code, the existing regulations were simplifi ed and set in order, and the defi nitions of two important notions – namely that of cultural heritage and of national treasure – were introduced
The main aim of the work is to analyse the students’ opinions about selected new forms of cultural tourism. The subject of the research was: poorism, urbex, esoteric tourism, questing, thanatotourism and geocaching. The level of their knowledge was systematically examined and information about their perception was collected. In order to collect information that allowed to assess the level of knowledge and participation in these forms of tourism, the CAWI (Computer Assisted Web Interviews) technique was used, thus reaching the student community of the Nicolaus Copernicus University in Torun. The research was conducted from April to July 2018. It was considered important to determine whether these currently niche varieties of cultural tourism may in the future have an impact on its shape. The collected opinions, in accordance with the adopted assumption, may be a prognosis of the future direction of cultural tourism development as one of the forms of tourism that has an impact on the maintenance of cultural heritage. The study found that fi eld games, such as geocaching and questing, are perceived by respondents as very interesting and useful forms, both for tourists and for the promotion of the region. As an attractive students considered the urbex, which provides much stronger emotions than the game competition. Due to its exploratory and often external nature, this form is considered by the respondents as the nearest to authenticity tourism. However as a least developed forms of tourism during the survey students pointed poorism and esoteric tourism.
PL
Celem pracy jest analiza opinii studentów na temat wybranych nowych form turystyki kulturowej. Przedmiotem badania były: poorism, urbex, turystyka ezoteryczna, questing, tanatoturystyka i geocaching. Konsekwentnie zbadano stopień ich znajomości i zebrano informacje na temat ich postrzegania. W celu zebrania informacji, które pozwoliły na dokonanie oceny stopnia znajomości oraz uczestnictwa we wspomnianych formach turystyki, posłużono się techniką CAWI (Computer Assisted Web Interviews), docierając tym samym do społeczności studenckiej Uniwersytetu Mikołaja Kopernika w Toruniu. Badania przeprowadzono w okresie od kwietnia do lipca 2018 r. Za istotne uznano ustalenie, czy te, obecnie niszowe, odmiany turystyki kulturowej mogą w przyszłości mieć wpływ na jej kształt. Zebrane opinie, zgodnie z przyjętym założeniem, mogą stanowić prognostyk przyszłego kierunku rozwoju turystyki kulturowej jako jednej z form turystyki mającej wpływ na podtrzymanie dziedzictwa kulturowego. W badaniu ustalono, że gry terenowe, jak geocaching oraz questing, postrzegane są przez respondentów jako formy bardzo ciekawe i pożyteczne, zarówno dla turystów, jak i dla promocji regionu. Za atrakcyjny jest też uważany urbex, który dostarcza znacznie silniejszych emocji niż rywalizacja podczas gry. Ze względu na swój eksploracyjny oraz nierzadko zewnętrzny charakter forma ta uważana jest przez respondentów za najbliższą turystyce autentyczności. Natomiast za najmniej rozwojowe formy ankietowani uznali poorism i turystykę ezoteryczną.
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