Cultural heritage tourism is still the growing segment of tourism industry. Moreover, many tourists prefer exploring something new, cultural heritage tourism (CHT) has become one of the major "new" segments of tourism demand. Therefore, it is true that cultural heritage tourism has been one of the major sources of both quantitative and qualitative growth of tourism industry in many countries. In regard to the context of cultural heritage tourism industry, by identifying the relationship and impacts between tourist motivations, tourist satisfaction, and overall sense of tourist well-being, tourism marketers and administrators who are engaged in cultural heritage tourism can improve strategies for creating tourist's distinctive experiences, allowing tourists to become more physically and emotionally engaged in cultural heritage tourism destinations. However, there is, if any, very limited work that explores the link between cultural heritage tourism experiences and overall sense of tourist well-being induced by these experiences. Therefore, this study examines what attributes on tourist motivation contribute to the overall sense of well-being of tourists who visit cultural heritage tourism destinations. Therefore, this study examines what attributes on tourist motivations contribute to the satisfaction and the overall sense of well-being of tourists who visit cultural heritage tourism sites. An online survey using panel data from a marketing research company was used to collect 350 completed questionnaires. Tourist motivations (HONs and LONs), tourist satisfaction, and overall sense of tourist well-being were measured using different scales from previous researches discussed in the literature review. This study conducted various analyses including a profile of 350 respondents based on descriptive statistics, exploratory factor analysis of tourist motivations, correlation analysis of all constructs, and path analysis for the conceptual study model to understand the relationships between tourist motivations and tourist satisfaction, tourist motivations and overall sense of tourist well-being, and tourist satisfaction and overall sense of tourist well-being and identify impacts of each construct on the study model. This study contributes to the growing body of knowledge in understanding the link between cultural heritage tourism and overall sense of tourist well-being and identifying the perceived value and critical role of tourist motivations and tourist satisfaction connecting to overall sense of tourist well-being by establishing a theory based on empirical link between tourist motivations and overall sense of tourist well-being via tourist satisfaction in the context of cultural heritage tourism business. / Master of Science

Cultural/heritage tourism is the fastest growing segment of the tourism industry because there is a trend toward an increased specialization among tourists. This trend is evident in the rise in the volume of tourists who seek adventure, culture, history, archaeology and interaction with local people (Hollinshead, 1993). Especially, Americans' interest in traveling to cultural/ heritage destinations has increased recently and is expected to continue. For example, cultural/heritage sites are among the most preferred tourism experiences in America. (Virginia Department of Historic Resources, 1998) The recent studies about cultural/heritage tourism focused on the characteristics of tourists who visited cultural/heritage destinations. The study attempts to investigate the relationship between cultural/heritage destination attributes and tourist satisfaction, and to identify the relationship between cultural/heritage destination attributes and tourist satisfaction in terms of selected tourists' demographic characteristics and travel behavior characteristics. The expectancy-disconfirmation theory provided a conceptual framework for this study. The expectancy-disconfirmation theory holds that consumers first form expectations of products or service performance prior to purchasing or use. Subsequently, purchasing and use convey to the consumer beliefs about the actual or perceived performance of the product(s) or service(s). The consumer then compares the perceived performance to prior expectations. Consumer satisfaction is seen as the outcome of this comparison (Clemons & Woodruff, 1992). The study area for this study was Virginia Historic Triangle (Williamsburg, Jamestown, and Yorktown). Virginia Historic Triangle has been called the largest living museum in the world. Furthermore, it is one of America's popular vacation destinations, attracting more than 4 million tourists each year. The data of this study were collected from the on-site survey method. The sample population for this study was composed of tourists who visited Virginia Historic Triangle between June and August in 2001. The survey was conducted at five different sites in the Virginia Historic Triangle. Out of 300 questionnaires, 251 were usable. Therefore, the data from 251 respondents were analyzed in this study. Appropriate statistical analyses such as frequencies, descriptive, factor analysis, correlation analysis, multiple regressions, Multivariate Analysis of Variance (MANOVA), Analysis of Variance (ANOVA), and Multivariate Analysis of Covariance (MANCOVA) were used according to respective objectives and descriptors. The factor analysis was conducted to create correlated variable composites from the original 25 attributes. Using factor analysis, 25 destination attributes resulted to four dimensions: General Tour Attraction, Heritage Attraction, Maintenance Factors, and Culture Attraction. These four factors then were related with overall satisfaction. Correlation analysis revealed that four factors were correlated with tourists' overall satisfaction. The multiple regression analysis revealed that there was relationship between cultural/heritage destination attributes and tourists' overall satisfaction. MANOVA revealed that there was significant difference between derived factors in relation to only total household income and the length of stay among 10 demographic and travel behavior characteristics. ANOVA revealed that there is a significant difference in the overall satisfaction of tourists by gender, past experience, and decision time to travel. Finally, MANCOVA revealed that only one of the control variables (past experience) controlled the relationship between the overall satisfaction of tourists and derived factors. Based upon the results of this study, several recommendations can be made to increase tourists' satisfaction with the Virginia Historic Triangle. First, comprehending what tourists seek at cultural/heritage attractions will help tourism marketers better understand their customers. Second, identifying which attributes satisfy the tourist who visit cultural/heritage destinations will help tourism planners develop appropriate strategies to attract their customers and serve them effectively. Third, knowing who the satisfied tourists are may help reduce marketing costs and maintain cultural/heritage destinations' sustainability. / Master of Science

The development of graffiti into an accepted art form, street art, is a cause of concern for South African property owners. The current position in South African property law regarding the original acquisition of ownership suggests that the creation of street art on movable property belonging to another could result in the transfer of ownership. Ownership of the movable may transfer via accessio to the street artist provided that the artwork changes the nature of the movable. This would occur even if the street artist does not act in good faith because bona fides is not a requirement for the original acquisition of ownership via accessio. This anomaly requires that the South African law on accession in the case of pictura be developed such that good faith be a requirement for the transfer of ownership in this format. With the development and growing popularity of the art form the likelihood of this legal anomaly is becoming a greater possibility. Indeed, the popularity of British street artist, Banksy, has provided numerous examples of contested ownership, albeit within English law. Banksy artworks are collectable and financially valuable. Consequently, not only are they desirable but many of his street artworks are considered to be examples of British cultural heritage and as such may be worthy of protection and preservation. These cases highlight the growing need in South Africa to clearly identify who South African street artworks belong to and, to identify any South African street art that warrants cultural heritage protection. The legislation regarding the protection of South African cultural heritage resources has not yet been extended to any street artworks. Yet there are examples of street art in South Africa that meet the requirements for cultural heritage status or which have the characteristics of cultural heritage resources. The extension of cultural heritage resource status to South African street artworks that are culturally significant could assist in the protection and preservation of these resources. However, the effectiveness of the cultural heritage legislation, in particular the National Heritage Resources Act 25 of 1999, is limited. There are several problematic aspects in this Act. This is of great concern as the issues effect all South Africa’s cultural heritage resources (not just street art which may qualify for such status). However, these issues could be responded to through amendments to the legislation. Significantly, the National Heritage Resources Act seeks to deprive private owners of their property as it seeks to regulate what owners can do with cultural heritage property which they own. However, as it stands there are far too many challengeable issues in this legislation to justifiably deprive this property in terms of s25 of the Constitution of the Republic of South Africa, 1996. This renders significant portions of the National Heritage Resources Act inoperable. Consequently, the amendment of this legislation is necessary to ensure the purpose of the legislation i.e. to ensure the protection and preservation of the South Africa’s cultural heritage resources through the deprivation of property rights or indeed, if necessary, through the expropriation of property. / College of Law / LL. D.

The rise of postcolonial theories in the 1970s did not yield much influence in the then practice of humanities computing, but following the mass-scale digitisations of cultural heritage materials over the past thirty years questions of Indigenous agency and the colonial roots of the digital cultural record have become more urgent than ever. This thesis operates within the area of postcolonial digital humanities and seeks to explore three questions. The first regards the socioethical concerns associated with the digitisation of Indigenous cultural heritage materials originating in Oceania, a geographic region which is peripheral on digital humanities maps but at the same time paradigmatic for exploration due to its cultural, political and linguistic diversity and multiple histories of colonial plundering. The second question investigates the extent to which global cultural heritage institutions digitise collections originating in Oceania in a culturally responsive manner, whereas the third focuses on the actions that digitising institutions can take in order to improve their websites from a decolonising perspective. The analysis that has been conducted on relevant literature and digitisation websites has resulted in an outline of theoretical concerns that should be taken into consideration prior to digitisation, as well as an assessment of existing digitisation activities and recommendations for improvement.

Vad är det i gamla industrimiljöer som fascinerar oss? Finns det ett värde i att bevararostiga portar, slitna fasader och sprucken asfalt där gräset tränger igenom? Viundersöker fenomenet bevarande av gamla industrimiljöer i stadsnära hamnområden,och hur dessa miljöer tas till vara i en urban omgestaltningsprocess. Med stöd av befintligforskning och intervjuer undersöker vi bevarande utifrån antikvariska- och estetiskautgångspunkter. Platsen vi valt som studieobjekt är Varvsstaden i Malmö, som förnärvarande genomgår en större omvandling, där den gamla industrimiljön anpassas tillnya urbana användningsområden.Vår analys visar att begreppet bevarande bär med sig olika förväntningar hos olika aktöreri stadsbyggnadsprocessen, och att det därför är meningsfullt att utvidga diskussionen kring begreppet. / What is it in old industrial environments that fascinates us? Is there a value in preservingrusty doors, worn facades and cracked asphalt where the grass penetrates? We want toinvestigate how different preservation strategies affect design transformations in urbanharbour areas. With the help of literature and interviews, we examine conservation basedon antiquarian- and aesthetic points of departure. The place we chose as a study object isthe Varvsstaden area in Malmö, which is currently undergoing a major transformation,where the old industrial environment is adapted to new urban uses.Our analysis show that the term conservation entails different expectations among variousstakeholders in the urban development process, and that it is therefore meaningful toextend the discussion about the concept.

La thèse de doctorat porte sur l’analyse de l’inflation de la charge normative du patrimoine culturel, reposant dans le droit actuel essentiellement sur les épaules du propriétaire, public ou privé, tout en proposant, dans un volet normatif, un modèle de répartition de la charge plus équilibrée selon les droits et les intérêts des différents acteurs du patrimoine (propriétaire, autorité publique, mais aussi l’acteur collectif).À partir d’une analyse historique du droit du patrimoine culturel belge, la thèse s’attelle à démontrer l’intervention accrue de l’autorité publique dans le droit de propriété, à évaluer celle-ci et, enfin, à proposer des réflexions prospectives quant à la répartition de la charge normative de la protection du patrimoine culturel. Le champ d’analyse se limite au droit belge du patrimoine architectural (les monuments et les sites), ainsi qu’au droit belge des biens culturels mobiliers, ces deux domaines mettant particulièrement en relief les points de tension entre les intérêts individuels et les intérêts collectifs. Le premier volet de la thèse repose sur une description minutieuse des législations et des pratiques patrimoniales de 1835 à nos jours, élaborée à l’aide d’une grille de lecture analytique, afin de démontrer une ingérence renforcée dans le droit de propriété par l’autorité publique compétente. Le deuxième volet évalue cette analyse descriptive, en la relativisant par d’autres éléments, notamment par la charge incombant également à l’autorité publique gardienne du patrimoine. Dans l’exercice d’évaluation, est en outre réalisé un examen exhaustif des évolutions jurisprudentielles du contentieux de l’indemnité en cas de charge disproportionnée imposée au propriétaire, indiquant également un souci d’équilibre lors de l’intervention étatique. Enfin, le troisième volet, qui constitue le cœur de la thèse, s’inscrit dans une dynamique prospective, visant à interroger de manière radicale le droit de propriété, afin de le replacer dans son contexte et de le revisiter à la faveur du patrimoine culturel. À l’aide de la théorie du droit, et notamment de la théorie des biens communs, est ainsi développé le modèle de la propriété culturelle d’intérêt partagé, qui tiendrait mieux compte des intérêts et des droits de chacun des acteurs. Ce modèle accueillerait par ailleurs l’acteur collectif, sous toutes ses multiples composantes, qui s’inscrit entre le propriétaire et l’autorité publique, prenant tant du côté du droit sur la chose (accès, usage et jouissance collective) que de l’intérêt à la chose (intérêt culturel de conservation et de transmission). L’autre versant du modèle est celui de la responsabilité partagée du patrimoine culturel, permettant de mieux répartir la charge entre le propriétaire, l’autorité publique et la collectivité. Ce modèle bicéphale est opérationnalisé en revisitant la propriété tout en étudiant la responsabilité de manière complémentaire. Sont ainsi explorés certains outils de droit privé (contrat, fondation, trust), ainsi que certaines modalités de financement alternatif (mécénat et crowdfunding). / The research analyses the legal burden of cultural heritage, mostly resting on the shoulders of the public or private owner, according to actual legislation. At the same time, the research develops a normative model for a more balanced distribution of the burden, taking various interests and rights of the different actors (owner, public authority but also the collective actor) into consideration. From a historical analysis of Belgian cultural heritage law, the research demonstrates an increased intervention of the public authority in property right. It also measures this intervention and proposes forward-looking ways to rebalance the legal burden for the protection of cultural heritage. The research field is limited to Belgian law on architectural heritage (monuments and sites) and on movable cultural goods, as these both areas particularly highlight the tension between individual and collective interests.The first part of the research meticulously describes the heritage practice and legislations from 1835 onwards, through an analytical reading grid, in order to show an increased interference in ownership rights by the competent public authority. The second part assesses this descriptive analysis by relativizing it with other elements, such as the burden also resting on the public authority as steward. Moreover, in the evaluation exercise, this research exhaustively examines case law changes regarding the excessive burden imposed on the owner in compensation claims, indicating a concern for a balanced State intervention. Finally, the third part, which lies at the heart of the research, is more forward-looking, critically and radically putting into question property right, in order to contextualise it and to revisit in favour of cultural heritage.Relying on legal theory, and in particular on the theory of the commons, this research develops the model of a cultural property of shared interest, which would better take into consideration the interests and rights of each actor. This model would welcome the collective actor, in all its multiple forms, and who would take place between the owner and the public authority, taking both on the side of the right on the object (collective access, use and enjoyment) as on the side of the interest to the object (cultural interest to conservation and transmission). The other side of the model is the shared responsibility towards cultural heritage, allowing for a better distribution of the burden between the owner, the public authority and the collective actor. The research operationalizes this two-headed model by revisiting property and, complementarily, by studying responsibility. It explores certain legal tools in private law (contract, foundation, trust), and certain alternative financial modes (sponsoring and patronage, crowdfunding).

Travailler aujourd’hui sur un fonds numérique de revues c’est être confronté à des artefacts. Numérisées en noir et blanc, débarrassées de leurs couvertures, des pages vierges, des encarts, des publicités, des bulletins et hors-texte divers, les revues numérisées offrent souvent une physionomie très différente des documents originaux, surtout quand les fichiers numériques ont été produits à partir de reproductions antérieures (réimpressions ou microformes). Le présent travail tourne autour d’une question de méthode : quels sont les principes à retenir pour la numérisation des revues littéraires et artistiques de la fin du xixe siècle afin que l’accord subtil entre forme et contenu ne soit pas rompu lorsque les supports sont dématérialisés ?La revue littéraire et artistique s’inscrit dans la communication littéraire au croisement de traditions éditoriales hybrides. Sa matrice oscille entre le journal, le livre, l’album d’art et la revue, mobilisant et exploitant les caractéristiques de ces quatre référents. Ces référents sont ici représentés à travers un corpus de quatre périodiques : les revues françaises La Plume (1889–1914) et L’Épreuve (1894–1895), le trimestriel britannique The Yellow Book (1894–1897), et le périodique berlinois Pan (1895–1900). Ces publications déclinent l’objet revue dans trois aires culturelles, et permettent d’en explorer les spécificités ainsi que les enjeux économiques liés à son essor au sein des sociabilités littéraires et artistiques et au contact des doctrines esthétiques. Cette étude de cas débouche sur une analyse de la matérialité, de l’économie et des pratiques revuistes dans la période fin-de-siècle qui amène à s’interroger sur les implications culturelles, historiques et sociologiques de ces objets.Fragilisée par l’usage fréquent, la revue, lieu d’innovations graphiques et textuelles, est confrontée à la nécessité de la dématérialisation pour rester accessible à la recherche. L’examen de six bibliothèques numériques (Gallica, la Bibliothèque numérique de l’Université de Heidelberg, Internet Archive, The Yellow Nineties Online, le Blue Mountain Project et Jugend Wochenschrift) souligne que le numérique n’est en aucune manière une opération neutre et doit être constamment accompagné d’une approche scientifique de l’objet ouvrant à des recommandations et à de « bonnes pratiques ».Outre la question technique, toujours capitale, l’accent est mis dans cette thèse sur les procédures de numérisation en vue à la fois d’une restitution optimale de l’original et de la possibilité de disposer d’interfaces et de fonctionnalités dotant le chercheur de nouvelles approches heuristiques, permises par les nouvelles technologies, au service du patrimoine. / To work on digitized reviews today means essentially to be confronted with artefacts. Digitized in black and white, stripped of their covers, of blank pages, of inserts, advertisements, bulletins and other supplements, digital reproductions of reviews often differ greatly from the originals, especially when the electronic files have been based on previous reproductions (microforms or reprints). Our work evolves around a question of method: what principles should be followed in digitizing literature and art reviews from the end of the 19th century, in order to preserve the subtle harmony between form and content when the medium is no longer hard copy?Literature and art reviews participate in literary communication at the intersection of hybrid editorial traditions. Their matrix oscillates between newspapers, books, art albums and reviews, utilising the characteristics of these four media. We have chosen four periodicals to represent them: the French reviews La Plume (1889–1914) and L’Épreuve (1894–1895), the British quarterly The Yellow Book (1894–1897), and the Berlin periodical Pan (1895–1900). These publications articulate the different characteristics of reviews in three cultural contexts, allowing us to explore their specificities as well as the financial aspects linked to their development, in close interaction with literary and artistic social life and aesthetic doctrines. As case studies, these bear on an analysis of the materiality, of the financial and editorial practices of late 19th century reviews while questioning the historical, cultural and sociological implications of these objects.Degraded and fragile through years of use, these reviews, catalysts of textual and graphic innovation, are in urgent need of dematerialisation so as to remain accessible for future research. Close examination of six digital libraries (Gallica, the digital library of Heidelberg University, Internet Archive, The Yellow Nineties Online, the Blue Mountain Project, and Jugend Wochenschrift) underlines that digitization is in no way a neutral operation and must constantly be accompanied by scientific validation with a view to developing recommendations and "good practices".Besides technical questions of primary importance, this thesis’ focus is on digitization procedures, aiming at both optimal restitution of the originals and functional interfaces that provide the researcher with new heuristic tools, through innovative technologies, in the service of our cultural heritage.

The aim of this essay is to study the now demolished synagogue in Karlstad, Sweden. Its existence, or rather lack thereof, is shrouded in mystery as it remains unmentioned in most of Swedish architectural history research, and only briefly in historical writing about the city of Karlstad. The essay is an attempt to preserve and immortalise the memory of this lost piece of cultural heritage. To better understand the synagogues unique visual character it is set against two of its contemporary contexts - 19th century synagogue buildings in Europe, and the prayer houses built by the Swedish Free church and Mission movements. Describing and analysing the architecture of the synagogue in Karlstad provides a foundation for comparison between examples of these two architectural phenomena.

The aim of this study was to assess the cultural heritage implications of converting Hagia Sophia in Istanbul, Turkey from a museum into a mosque in July 2020. Through analysing cultural heritage management as a tool that could support the building of nationalism, this thesis explores the links between nationalism and cultural heritage. Discourse Analysis was used to answer the research question, facilitating research on the selected texts and the respective political discourses. To study the conversion of Hagia Sophia into a mosque, information was collected through the Internet, with an emphasis on interviews, articles, and tweets from Turkish government officials during the period from the reconversion of the monument to the present day. Discourse analysis shows that in our case, cultural heritage management was used within the context of emotional politics and the pursuit of political objectives of the ruling party with the side effect of disempowering subgroups of the Turkish society whose sense of history and place is not compatible with the prevailing discourse.

This thesis aims to explore the theory, implementation, and critical aspects of gamification and extended reality employed within the cultural sector. More specifically the impact of gamification and virtualization on the information dissemination by the institutions and what it means for the visitor as well as the challenges that arise with the use of such technologies and potential points of criticism. The role of digitalization of memory institutions will be examined, with a focus on gamification/virtualization from both the museum’s professionals’ experiences and the visitors’ perspectives as well as the utilization of gamification and virtualization for the preservation of cultural heritage. The relevant data will be extracted using semi-structured interviews and conducting a literature study for five modes of virtualization and gamification. The thesis will conclude by summarizing the contribution of gamification and extended reality and highlight the benefits and challenges arising from the implementation of such elements. The main findings showcase that gamification and virtualization are not just generic additions to museum exhibitions, they signify the crossing towards a new type of learning while experiencing culture more critically and shifting the focus not only towards the visitor but also to a new type of visitor.