Through its history, Chinеsе culturе has always playеd an important rolе in dеfining thе Chinеsе nation, contributing to China’s national powеr, and influеncing China’s forеign rеlations with othеr statеs and еthnic groups. Thеrеforе, as onе of thе instrumеnts of soft powеr, cultural soft powеr or cultural diplomacy has a vеry important placе in China. Thеrе arе somе important quеstions that nееd to bе answеrеd. What is soft powеr and cultural diplomacy? What kind of powеr is it? How many forms, fеaturеs, and shapеs doеs it takе? How can wе rеcognizе and managе it? How do scholars dеscribе it? Doеs China havе soft powеr? What is China’s soft powеr? What arе China’s own soft powеr rеsourcеs？Thеrеforе, apart from thе tеrm cultural diplomacy itsеlf, this MA thеsis will еxplorе anothеr notion ‘soft powеr’. Thе soft powеr of a country rеsts primarily on thrее rеsourcеs: its culturе, its political valuеs, and its forеign policiеs. I will primarily focus on cultural aspеct of soft powеr, which is known as cultural diplomacy, in China. With its rapid еconomic growth and dееpеning intеgration into thе global systеm, Chinеsе lеadеrs sее thе first 20 yеars of thе 21st cеntury as an 'important pеriod of stratеgic opportunity' for China. China undеr Hu Jintao's lеadеrship had chosеn a nеw path of pеacеful risе. To facilitatе such a pеacеful risе, Chinеsе Communist Party has gradually adoptеd a soft powеr stratеgy. Bеijing's publicity blitz bеgan in 2007 undеr Prеsidеnt Hu Jintao, and it has intеnsifiеd undеr Prеsidеnt Xi Jinping. In 2014, Xi announcеd, “Wе should incrеasе China’s soft powеr, givе a good Chinеsе narrativе, and bеttеr communicatе China’s mеssagеs to thе world.” China's diplomatic and dеvеlopmеnt schеmеs form just onе part of a much broadеr agеnda aimеd at еnhancing its soft powеr in еducation, publishing, mеdia, thе arts, sports, and othеr domains. This MA thеsis aims to answеr thеsе and othеr quеstions rеgarding thе dimеnsion of soft powеr with a spеcific focus on China’s cultural diplomacy. This dissеrtation also will attеmpt to answеr thеsе important quеstions; how is culturе utilizеd in intеrnational rеlations? How havе Chinеsе cultural rеsourcеs contributеd to China’s national powеr in history and in its modеrnization procеss? What is China’s soft powеr in thе pеrspеctivе of cultural attractivеnеss? How has China wiеldеd its cultural powеr in its forеign rеlations? Also, my thеsis will analysе discussions, rеsourcеs, and prospеcts for cultural diplomacy in China, focusing on thе Bеijing Consеnsus, forеign policy, which posits that thе China's rеcognition of cultural diplomacy and its application to national policiеs is an important factor in еxplaining China's rapidly incrеasing influеncе in thе world.

本文從中國所處「外環境」與「內環境」去了解中國建構軟權力政策動機與中國當前文化外交的運作模式與施行狀況並發現，中國在1978年走向經濟改革開放後，對內政權合法性遭質疑，對外則有中國威脅論當道；以馬列主義為思想主體的意識型態開始動搖，歐美挾著豐沛經濟實力，向中國大舉輸出資本文化產品，推動文化軟權力的確是中國不得不然，也是必走的道路。 本文同時發現，北京雖然想重塑文明古國和文化大國的形象，但中國國內普遍存在的信仰危機問題，執政當局卻仍無法克服。甚至，中國一方面要構築正面、開放的國家形象，一方面卻仍持續緊縮國內網際網路言論、打壓禁書，可以說，中共是「軟權力建設的主導者，同時也是破壞者」。 中國在推展文化外交忽略最重要的一點：文化外交的內在本質是「推銷真相」(sell the truth)，，中國用文化軟權力來包裝國家形象，但卻忽略了中國品牌背後的「國家信譽」，雖然中國頻頻強調和諧和平，國際社會猶有疑慮，無法百分之百認同中國，中國對內對外的作為出現嚴重落差。中國愈強調要施行文化軟權力，愈凸顯出中國文化軟權力的侷限，中國走向看似光明的大國崛起道路，卻隱隱浮現陰影。

本稿は日中の対外政策を構成する重要な概念である、PDの変容を分析した。本稿の検証が示すように、両国のPDの概念変容は決してそれぞれ独自の要因のみで説明できるわけではなく、互いを含む他者との相互作用の中で起こっているのである。国家がPDを活かしてソフト・パワーを追求しているため、日中のPDはしばしば他国とのパワーバランスの変化に影響されており、両国が抱えている国内の問題と課題も、それぞれのPDの変容を促した要因である。 / 博士(政治学) / Doctor of Political Science / 同志社大学 / Doshisha University

文化外交是近年來國際關係中的一項重要議題，各國皆對外輸出軟權力來增加該國在世界上的影響力，中國自改革開放後經濟與軍事能力大幅成長，因此近年來便開始加強對外文化輸出的工作，運用文化外交的力量以達到國家政策的目標。 本研究的目的在於對胡錦濤主政時期的文化外交政策做一全面性的認識，論文首先探討文化外交的理論淵源，進而建構出文化外交的意涵；其次從總體的角度來研究胡錦濤政府文化外交政策，包括其產生原因以及訴求，並對執行此政策的各相關機構與指導方針做分析。另外在具體實踐方面，論文從孔子學院及2008年北京奧運來探討中國文化外交政策的成效，最後針對這兩項實踐以及總體文化外交政策做深入的評估。 研究發現中國的文化外交政策之興起有其內、外在環境的影響，而執行的結果雖然有達到一定的成效，但受限於部份因素的制約，使得中國的文化外交政策仍有許多待改進之處。 / Cultural diplomacy is an important issue in international relations in recent years; many countries output their soft power to increase their influences in the world. Since the success of China’s reform and open policy, its economy and military power had a large growth. Therefore, China started to strengthen the policy of cultural output, using the power of cultural diplomacy to achieve its national goal. The purpose of this research is to have a comprehensive understanding on the cultural diplomacy during Hu Jintao’s administration. In the beginning of this research, we discuss the theories of cultural diplomacy, and then to describe it’s meaning. Secondly, we analyze this policy, including the background and purpose, from the overall viewpoint, and also study on the government departments and documents related to this policy. In addition, we take Confucius Institute and Beijing Olympic Games for examples to discuss the result of China’s cultural diplomacy. At last, this research has the analysis on these two practices and the policy. This research found that the appearance of China’s cultural diplomacy is influenced by the inner and outer environments. Although this policy has its result, it is still restricted by some factors. It means there are still many places of this policy need to be improved.

近年來，經濟全球化不僅加深了國家間的經濟關係，而且也推進國家間的文化交流。研究軟實力與文化外交的議題成為國際關係的重點。文化外交在中國對外政策的地位也提升，文化外交戰略必將成為中國整體外交戰略的有機組成部份。因此中國開始實現中國文化「走出去」的工作，在國外舉辦「中國年」、「漢語年」、「旅遊年」，成立孔子學院。中國設立孔子學院和進行各種各樣的活動為了傳播漢語和中華文化。 目前學者關於中國對俄羅斯文化外交的研究較少著墨。因此，本論文試圖從文化外交角度來分析當代中國與俄羅斯關係，本研究目的在於瞭解中國文化外交內涵、目標與發展狀況，論文首先探討；其次探討中國對俄國的文化外交之具體實踐，包括政府層面交流和教育層面交往。最後研究中國文化外交在俄羅斯的成效以及中俄關係存在的問題。 研究發現雖然中國文化外交政策在俄羅斯有成效，但是中俄關係有還沒解決的問題：中國「威脅」、「擴張」的論調在俄羅斯仍然很有市場，中俄兩國之間深層互信還是不夠，而經貿合作水平遠低於兩國政治關係的高度。

日本在第二次世界大戰後，面臨重新進入國際社會的困難，為了扭轉軍國主義以及敗戰國的形象，開始推動公眾外交。日本的公眾外交政策為配合其國家利益及所處之國際環境，在不同時期有不同的策略。在冷戰結束之後，周遭國家陸續崛起，所面對的國際議題無法以傳統外交的方式解決，日本將公眾外交視為其重要的外交政策之一。 東南亞地區作為當今國際關係的熱點，在國際政治與經濟場域上的重要性不可同日而語，日本戰後的賠償援助以及1970年代開始的文化交流，作為對東南亞國家的公眾外交實踐，在冷戰結束後以高層互訪、官方發展援助、留學生與青年交流、文化交流、觀光互訪等方式持續進行，成效斐然，民調資料皆顯示了日本在東南亞地區以公眾外交的成功，有效地改變人心、扭轉形象。但日本的公眾外交也非並皆能奏效，在面臨中國大陸時仍受制於歷史因素而受挫。由此可見，公眾外交政策必須因地制宜，配合不同的國家，有不同的公眾外交政策。 / After World War II, Japan was facing the difficulty of returning to international society owing to her image as a militarism and defeated country. In order to re-enter the international community, Japan launched her public diplomacy policy. Japan’s public diplomacy strategy changes in different periods following her shifting national interests and changing international environment. After the end of the Cold War, while Japan’s surrounding countries prospered and it became apparent that most international disputes cannot be resolved by traditional diplomacy alone, consequently, public diplomacy became a critical diplomatic tool for the Japanese government. Nowadays, Southeast Asia is a hotspot in international relations. This area plays an important role in the international political and economic field. Japanese public diplomacy aimed at this region varies from war reparations aid to cultural exchange in the past several decades. The practice of Japanese public diplomacy to southeast Asia after Cold War includes high-level visits, official development aids, foreign students and youth exchanges, cultural exchanges and tourism. The result of Japanese public diplomacy was a huge success as illustrated by the latest opinion poll. However, Japanese public diplomacy implemented in some states has not been as efficient as it performs in Southeast Asia; for example, in Mainland China, where the positive effect of Japanese public diplomacy is curbed due to the country’s historical burden. Therefore, public diplomacy requires careful consideration of multiple conditions and perspectives of a country.

當全世界風起雲湧將目光投注中共自2004年開始建置之「孔子學院」佈局全球，甚至引發新一波中國「文化威脅論」之際，中共另一「軟實力」（Soft Power）卻正悄悄崛起，其受中共國家領導人重視程度較「孔子學院」有過之而無不及，定位與位階也遠遠高於「孔子學院」之上，那是直屬中國文化部之海外「中國文化中心」。 　　中共於海外設立「中國文化中心」是其整體文化「走出去」戰略實踐方案之一，具有因應國際背景與現實需求、提高國家文化地位、擴大對外影響力與軟實力、以及加深中西文明對話與認同的目的；而在海外設立文化中心是二戰之後全球主要強權國家普遍採用的文化「走出去」戰略，是其推廣本國文化、傳播思想價值、樹立國家形象的重要方式，也是提升國家軟實力重要平臺。 　　在中共30年傲人的經濟發展下，自江澤民於1988年在非洲模里西斯及貝寧設立海外「中國文化中心」開始，目前已在全球建成30個海外「中國文化中心」，預定在2020年達成建設50家的目標，確定從「經濟走出去」到「文化走出去」之戰略布局。近年來，隨著中國國際地位和影響力的迅速提升，海外「中國文化中心」的發展來到前所未有的機遇；惟全球設立家數與主要強權如法國、英國、德國等，仍有相當差距且分布不均，未來中共如何運用中國綜合國力及落實提高國家軟實力，明確制定宏觀總體戰略布局以展現全球文化「魅力攻勢」有其迫切性與挑戰性。 / When the world pays more attention to the Confucius Institute, which has been built by the Chinese Communist Party since 2004, even sparked a new wave of culture threat theory, the other soft power of the Chinese Communist Party is quietly rising. That is the Overseas China Cultural Center, which is affiliated with the Ministry of Culture of the People's Republic of China. It is not only highly valued by the leaders of the CCP than the Confucius Institute, but also has a much higher position and rank than the Confucius Institute. 　　The Overseas China Cultural Center is one of the practices of its comprehensive culture going out strategy by the Chinese Communist Party. It has the purpose of improving the national cultural status, expanding its influence and soft power in response to the international affairs and realistic needs, and deepening the dialogue and identity between Chinese and Western civilizations. The establishment of the Cultural Center abroad is a major policy of culture going out strategy between great powers around the world after World War II. It is an important approach to promote national culture, disseminate ideological value and establish a national image. It is also an important platform to enhance national soft power. 　　In the 30 years of economic development of the Chinese Communist Party, President Jiang Zemin has set up the first overseas China Cultural Center in the Republic of Mauritius and the Republic of Benin in 1988. So far, it has been built 30 Cultural Centers in the world. China Cultural Center is also scheduled to reach 50 targets by 2020. The layout of going out strategy was transitioned from economy to culture. In recent years, with the rapid advancement of China's international status and influence, the development of overseas China cultural center has come to unprecedented opportunities. However, there is still a considerable gap in the number of centers with great powers, such as France, the United Kingdom, and Germany, etc. How can the Chinese Communist Party employ its comprehensive national strength and implement the national soft power in the future, and it is urgent and challenging to formulate the overall strategic layout to demonstrate the global cultural charm offensive.

以絲綢之路作為文明接觸的和平場域為概念，探討中國正在推動「一帶一路」─以連結中歐為終極目標的道路、基礎設施、投資、政策互聯及人民交流網路─的全新重大外交體系。針對當前國際地緣政治的環境，中歐領導人近期確實強調了布魯塞爾與北京關係的重要性。儘管如此，很多中歐關係的專家也指出這種夥伴關係，還沒有達到雙方所預期的那樣快速及深刻。 本文的第一個研究問題「進一步發展中歐關係的障礙是什麼，以及如何克服這些障礙？」，便是基於對此國際情勢的考量。透過建構主義理論，本文對深化中歐關係的真正障礙進行討論，認為這些障礙來自於中歐人民身份、價值觀與文化的差異，並提出促進中歐人民之間的文化交流來加強中歐關係的可行方案。因此，本文提出第二個研究問題，「一帶一路在中歐文化關係中扮演什麼角色？」，對前項結論接續探討，發現由於一帶一路為中歐雙方提供了文化專案及人際交流合作的動機和框架，因此這一政策對中歐關係具有正面影響的潛質。 本文的最後兩個研究問題「一帶一路將帶給歐洲怎樣的風險與利益？」與「歐盟應如何應對一帶一路？」是相互關聯的。通過對一帶一路將帶來的風險與利益的分析，筆者對中歐雙方如何更有效地推進一帶一路提出了一些政策建議，其中重點分析了歐盟領導人如何與中方開展合作，並認為歐盟必須回應中國的倡議，與之合作，確保中歐雙方實現共贏、對國際規範的遵守、以及幫助中國保持一帶一路所經之地的穩定。 / By recalling the idea of the Silk Road as a place of peaceful encounter of civilizations, China is promoting its new, major diplomatic outreach system called the Belt and Road Initiative (BRI), a network of roads, infrastructures, investments, policy connections and people to people exchanges with the final objective of connecting the PRC to Europe. Indeed, in view of the current international geopolitical circumstances, the Chinese and European leaders are recently emphasizing the importance of the Brussels-Beijing relationships. Nonetheless, many experts complain that this partnership has not yet developed as fast and deeply as the two sides originally hoped. This leads to the first research question addressed in the thesis:"which are the obstacles to a deeper EU-China partnership and how to overcome them and improve the overall relations?". By borrowing the constructivist theories, this thesis argues that the real obstacle to deepening the China-EU partnership are the differences in identities, values and culture, and that the improvement of the people to people and cultural interactions will enhance the general bilateral relations. Consequently, the second research question is "which role does BRI play in the China-EU cultural relations?". BRI has the potential to have a positive impact on their relations by providing a new framework and incentives for the collaboration on cultural projects and people to people interactions. The last two research questions are related to each other: "what are the risks and benefits that BRI will bring to the EU?" and "how should the European Union respond to BRI?". By analyzing the risks and benefits that will derive from the implementation of BRI, the author provides some policy suggestions to both sides on how to efficiently implement BRI, and especially to EU leaders on how to cooperate with their Chinese counterparts: the EU should definitely cooperate in the Chinese initiative, to ensure a win-win outcome for all, to guarantee the respect of the international norms and to help the PRC maintain the stability in the areas crossed by the BRI network.

文化是民族國家延續的命脈，文化發展更是社會進步的原動力。行政院文化建設委員會(1997)宣示「外交應以文化為主軸，推動臺灣的文化面貌是國際交流的首要工作」，臺灣政黨輪替後並邁入21世紀，政府依然將「兩岸文化交流」及「國外展演與文化外交」為近年來之文化政策與施政方針 (文建會文化白皮書，2004)。相較之於經貿外交，以文化交流開拓之外交空間更為廣闊，透過國際文化交流，既可開拓我國際生存空間、同時也提升國家國際形象。 「藝術經營」不僅是拓展藝術文化事業的手法，更可藉由創意的「行銷策略」，促成藝術活動、文化事業的蓬勃發展，以及提昇文化產值、開創藝文生機的目的。如何適當的運用策略性行銷(Strategic Marketing)與事件行銷(Event Marketing)以提升組織知名度，並獲取資源已經成為每個非營利組織及表演藝術團體思考的重要課題。 文化藝術活動的國際展演，從製作、選擇、出訪與宣傳的層層環節，與當代的社會環境、文化政策、政治需求以及外交情勢，有著密不可分的互動關係，有效的藝術經營管理、成功的文化行銷搭配之下，才有健全藝術市場和文化產業的可能性，同時也才能提供藝術文化工作者的生存空間，以及永續經營的發展基礎。 本研究藉由了解實驗國樂團(National Chinese Orchestra) 四個國際巡迴演出活動事件整合為一「策略性」行銷方案，藉以提昇組織核心能力及競爭優勢，來探討傳統音樂性質之表演藝術團隊成功運用行銷策略，綜合樂團藝術層面、觀眾欣賞層面、媒體報導層面加以整合，歸納出活動願景、呈現價值及表演藝術團體與國際非營利組織合作所建構之互動成效，作為相關組織經營發展策略新思維。 / The culture is the life that the nation continues, and its progress is a driving force for the social development. In 1997, Council for Cultural Affairs of Executive Yuan announced “Culture will be the diplomatic theme and the promotion of Taiwan’s culture will be the first important work of international exchange”. After the party alternation in power, the new Government still took “cross-strait cultural exchange” and “international touring and cultural diplomacy” as its cultural policy and administration guiding principle. Through cultural exchange, Taiwan can reach wider and deeper in the international community than via economic diplomacy, and can also promote the international image of Taiwan. The knowledge of “Arts management” can be used to expand the business of culture and arts, besides, through marketing strategy; it also enhances the development, value and vitality of arts activities and cultural business. Therefore, how to apply “Strategic Marketing” and “Event Marketing” properly to promote the publicity of the organization so as to gain more resource is an difficult challenge for every NGOs and performing arts companies. The international tours of the arts and cultural activities interact closely with social environment, cultural policy, political needs and diplomatic circumstance in every steps of the production. Effective arts management and successful marketing can enhance the arts market and cultural industry; provide the living space for arts and cultural workers, as well as nourish the base for perpetual operation. This research took the international touring concerts of National Chinese Orchestra as a successful example to illustrate the application of event marketing strategy of traditional musical groups, and concludes the vision and achievements from the aspects of artistry, audience appreciation and news reports so as to provide new direction and strategy of relative organizations in future development.

對於一個國家而言，柔性權力的重要性和剛性權力同等重要。近年來，各國紛紛加強本國的柔性權力，以吸引外國公眾前來學習和認同本國的文化。美國學者奈伊，說明文化、政治價值觀和外交政策是國家所擁有的柔性權力的資源。因此，本文以柔性權力作為出發點，連接公眾外交與文化外交，進而探討俄羅斯從蘇聯時期到後蘇時期的對外文化政策之作為。 俄羅斯的對外文化政策從美蘇冷戰時期就已經開始，然而受限於意識型態的框架之下，兩國的文化交流深受到國家領導人外交政策風格的影響。普丁上任之後，俄羅斯開始積極向外拓展對外文化政策，其欲加強俄羅斯文化在世界上的影響力並且提高外國公眾對於俄羅斯文化價值的認同。俄羅斯於海外建立「俄羅斯世界基金會」和「俄羅斯合作」等文化推廣機構，以教授俄語和俄羅斯文化為主。希望讓外國公眾以不同的面向，瞭解俄羅斯。 本文的研究發現有下列幾點：第一、儘管俄羅斯近年來積極推廣俄羅斯文化在海外的發展，但是，俄羅斯的發展重心仍是以境外俄羅斯人為主。第二、俄羅斯國家內部的人權和官僚體系的議題和對外政策的實行方針，亦會影響俄羅斯柔性權力的發展。第三、俄羅斯的對外文化政策，與他國相比，仍然是以官方主導為主。因此，除了配合國家對外文化政策以外，俄羅斯應該要多增加非政府組織參與的比例和提昇國內相關文化產業的發展。 / For one country, soft power is as important as hard power. In these years, countries are enhancing its soft power to attract foreign public to learn to these countries’ culture and identify to their countries. American scholar, Joseph Nye , once indicated that culture, politic value and foreign policy are the resources of national soft power. Therefore, this paper discusses soft power, then connecting with public diplomacy and cultural diplomacy, and further probe into foreign cultural policy from Soviet Union era to Russian period . Russia’s foreign cultural policy started from the Cold War period, however , due to the ideology , the U.S-Soviet cultural exchange was deeply affected by the leaders of two countries. After the president Putin gained the power, Russia actively expanded its foreign cultural policy overseas, it wanted to strengthen the influence of Russian culture in the world and enhance the identity of Russian cultural values toward foreign public. The Russian government has established “Russkiy mir foundation ” and “Russotrudnichestvo” overseas to teach Russian language and Russian culture . By expanding the influence of Russian culture, foreign public is able to understand Russia from different aspects. The following are the research findings in my paper: First, the Russian government has actively developed Russian culture overseas in these years, but , the Russian government still focuses on compatriot . Second , the human rights and bureaucracy issue in Russia still deeply affect the development of soft power of Russia. Third, compared to other countries, Russian government plays an important role on foreign cultural policy. Therefore , besides its official policy, Russia should encourage on participation of NGOs and increase the development of the cultural industry.