Notice bibliographique
Résumé
Since the creation of the fictional character in the 19th century, Dracula has constantly inspired popular culture, influencing the desire and adoption of Dracula tourism. Yet, few studies have focused on the impact of fictional Dracula on tourists' expectations and demands, and how these have shaped Romanian tourism providers. The original article image in tourism: Western bloggers versus tour guides was the first study to examine tourists' impressions and perceptions of Dracula as a tourism experience, and to explore and bring forward the Bran tour guides' experiences with visiting tourists.Huebner, in her article Who came first - Dracula or the Tourist? New Perspectives on Dracula Tourism at Bran Castle complemented the original article in her theoretical discussion of the impacts of popular culture on the images held about a destination, and the co-creation of experiences. As Britton (1991) argued, tourism experiences are produced by various production systems represented by the economic activities gathered to produce and sell tourism products; the social groups, cultural features, and physical elements which are incorporated into travel and tourism products as attractions; and the agencies responsible for regulating the commercial behaviour of social externalities associated with such productions. Huebner (2011), in her discussion of the co-creation of experiences, is conscious of the multidimensionality of tourism experiences, noting righteously that these production systems need to be consistent in their promotion of the tourism products in order to create 'memorable and positive coherent cues' for visiting tourists. However, contrary to this theoretical marketing tactic, the stakeholders involved in promoting and selling Dracula as a tourism product are not consistent in their efforts. This is largely due to the duality of Dracula's image, one as a fictional vampire, the other as a national hero.Nevertheless, it is the practical value of Huebner's paper which is of interest to me. The disparities between the various marketing strategies involving Dracula tourism have been previously studied, and similar frameworks have been proposed (e.g. Muresan & Smith, 1998; Cosma, Pop & Negrusa, 2007). While the amalgamation of fictional and historical elements to create tourism destinations has proven successful in few instances (e.g. Arthur's Tintagel in Cornwall, England; Anne of Green Gable's attractions in Cavendish, Prince Edward Island, Canada), these characters and tourism attractions are not viewed as demeaning in that they do not negatively affect the reputation of a valued historical figure or the national heritage of a country. Let's take a very similar example, Arthur and Tintagel Castle.A similar, yet different case - ArthurKing Arthur's image was founded upon historical and factual manuscripts (e.g. Historia Brittonum), combined with literary works such as Geoffrey of Monmouth's Historia Regum Britanniae (History of the Kings of Britain) written in 1138 (Reno, 1996), poems (e.g. Sword in the Stone by Robert de Boron), and films (e.g. Excalibur, 1981; Arthur, 2004). Today, the Arthurian tradition, likewise Draculian culture, is fascinating due to the fact that it encompasses a wide range of literary forms from early heroic poems and tales to recent developments of science fiction and screenplays (Thompson, 1990).The similarities between Arthurian and Draculian tourism are further strengthened by the promotion of Tintagel as the birth place and residence of Arthur. Most historians doubt the fact that this castle is actually the birth place of Arthur: archaeology has failed, in a popular sense, to confirm a connection between Tintagel and Arthur. It has succeeded in revealing a royal Dark Age context, if not of Arthur then of King Someone (Robb, 1998: 592). However, due to tourists' demand, Tintagel castle has become a successful tourism attraction and destination:Certainly it is Tintagel castle's longstanding association as the birthplace of Arthur that inspired the development of the whole area as a tourist destination and a site of esoteric pilgrimage. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,010 | 0,018 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,002 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,012 | 0,013 |
| Communication savante | 0,015 | 0,010 |
| Science ouverte | 0,005 | 0,008 |
| Intégrité de la recherche | 0,052 | 0,048 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,010 | 0,007 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».