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EN
Tourism and culture are closely tied with each other. It is cultural tourism that enables us to relive history. With its help the textbook information on history takes a visible shape. Tourists have a chance to see for themselves the remnants of history, e.g. castle ruins, historical cities, battlefields, and they can feel “the spirit of the past”. However, the problem of delivering the historical space properly to the recipients arises. Nowadays, visitors are fed up and bored with traditional historical presentation. We need to seek new, innovative means which will help us reach “consumers” with the historical-tourist product.
EN
The aim of the article is to present the meaning of memorabilia and historical reenactment of the Napoleonic era as significant aspects for the development of cultural tourism in our country. The text includes a thematic and terminological introduction with the history outline of the Napoleonic battles in Poland, a short biography of Napoleon Bonaparte and the information about the location of Napoleonic memorabilia on the maps of Poland. The key part of the article includes the results of empirical research regarding the historical reenactment of the Napoleonic era and the memorabilia from that time as well as their reception by and preferences among spectators of the events carried out in six different locations where the reenactment of the battles takes place.
EN
The article explores the mechanisms of memory culture and the commercialization of the socialist heritage from the period of the People’s Republic of Poland (PRL) (from 1945 to 1989) as a tourist destination, societal practice and cultural resource in today’s Warsaw. At the intersection of heritage studies, historical tourism and material culture, the ethnographic analysis focuses on three empirical case studies as examples of the commercial popularization of the history of the PRL. These are the communist heritage tours offered by WPT 1313 and the documentation of the socialist heritage at the Museum of Life in the PRL and the Neon Museum. These commodified products of Warsaw’s tourism and entertainment culture fill a gap in the tourist market, based on the prototypical, nostalgic longing of tourists for a sensual and emotional experience of the “authentic past”. This predominantly participant observation-based ethnographic study on the practices, spaces, images and agents filling this touristic niche, illustrates how they create sensual-emotive, aesthetic and performative fields of reifying, discovering and experiencing the socialist past. Finally, the paper focuses on how these polyvalent mechanisms shape the tourist infrastructure of Warsaw oscillating between critical distancing and entertaining appropriation of the socialist heritage.
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