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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。

O presente trabalho tem como eixo central a análise das ações culturais realizadas pelo artista Lívio Abramo no Paraguai, para a aproximação das comunidades culturais do Brasil e daquele país, no contexto das orientações da diplomacia cultural brasileira. Durante trinta anos, de 1962 a 1992, Lívio Abramo desempenhou a função de coordenador do Setor de Artes Visuais da Missão Cultural Brasileira, no Paraguai, que lhe foi atribuída pelo Itamaraty, e marcou firmemente a sua atuação como educador, artista e articulador cultural no meio da sociedade local. Desde os anos 40, o Brasil mantinha com o Paraguai acordos e convênios educacionais e técnicos, como parte de um projeto de aproximação com aquele país, mas só assumem uma dimensão artística e cultural a partir da chegada de Lívio Abramo. Esta pesquisa promoveu aproximações interdisciplinares entre áreas de conhecimentos específicos, como as Ciências Políticas - com os estudos das Relações Internacionais após a Segunda Guerra Mundial-, a História da Arte e a História do Brasil. Esses conhecimentos articulados a outros recursos investigativos, tais como a documentação específica obtida nos arquivos históricos, os depoimentos e histórias de vida, auxiliaram-me no cumprimento do objetivo proposto por esse trabalho. / This work has a central axis of cultural analysis performed by the artist Lívio Abramo in Paraguay for the approach of the cultural communities of Brazil and that country within the context of the guidelines of the Brazilian cultural diplomacy. For thirty years, 1962 to 1992, Lívio Abramo acted as coordinator of the Department of Visual Arts of the Mission Cultural Brazilian, Paraguay, which was assigned by the Foreign Ministry, and sealed tightly to his role as an educator, artist and articulating cultural in the middle of the local society. Since the \'40s, Brazil had agreements with Paraguay, and covenants and technical education as part of a project approach with that country, but only take one dimension of art and culture from the arrival of Lívio Abramo. That knowledge was articulated to other resources such as specific documentation obtained from historical arquives, the depoiments and life histories, helped me in achieving the proposed goals for this work.

Nesta dissertação, investiga-se a difusão da cultura brasileira no exterior durante o período 2003-2010. Para isso, foi escolhida como objeto de pesquisa a Divisão de Operações de Difusão Cultural (DODC) do Itamaraty, principal órgão governamental responsável pela diplomacia cultural. Foram analisados os Atos Bilaterais de Cooperação Cultural assinados entre o Brasil e terceiros países, assim como os Programas de Difusão Cultural de 22 postos brasileiros no exterior, relacionando-os às políticas externa e cultural implementadas durante a gestão do Presidente Luiz Inácio Lula da Silva. O trabalho inclui a compilação de 220 documentos referentes ao Programa de Difusão Cultural, disponibilizada em CD ou por meio do link: http://bit.ly/PDC_YVES_FINZETTO / This essay investigates the diffusion of Brazilian culture in an international context between 2003 and 2010. For this purpose, the source of research chosen was the Division of Cultural Diffusion Operations run by the Itamaraty, which is the main gov- ernmental body responsible for cultural diplomacy. The material analysed were the Cultural Cooperation Bilateral Acts signed between Brazil and other parties, as well as the Cultural Diffusion Programmes run by 22 Brazilian posts overseas; these will be related to foreign and cultural policies implemented by president Luiz Inácio Lula da Silva during his time in office. This work includes a compilation of 220 documents related to the Cultural Diffusion Programme, which is made available on CD or via the web link: http://bit.ly/PDC_YVES_FINZETTO

S’inscrivant dans le champ de l’histoire des relations culturelles internationales, cette thèse analyse de manière comparatiste l’élaboration d’une diplomatie culturelle par l’Argentine, le Brésil et le Chili dans la période de l’entre-deux-guerres, en s’appuyant sur des organismes de coopération intellectuelle à vocation internationale ou régionale. Notre but est de montrer comment, à partir des toiles tissées par les différentes structures et dynamiques de la coopération intellectuelle, internationale, continentale ou latino-américaine, l’Argentine, le Brésil et le Chili ont forgé les instruments d’une diplomatie culturelle et ont bâti une certaine image d’eux-mêmes sur la scène internationale. Cette thèse vise à montrer que les initiatives argentine, brésilienne et chilienne sur le terrain de la diplomatie culturelle ne prennent corps et sens que dans la mesure où elles s’insèrent dans des dynamiques qui dépassent leurs frontières.Dans le cadre d’une étude sur la diplomatie culturelle, qui implique que le pays qui en fait usage ait une image à proposer sur la scène internationale, la question de l’identité nationale est au cœur de la réflexion. Nous nous inscrivons donc dans une perspective qui relève tout autant de l’histoire des relations internationales que de l’histoire culturelle, aux confins des débats sur l’identité nationale et sur la définition de la politique étrangère. / Contributing to the field of history of international cultural relations, this thesis proposes a comparative analysis of the engagement in cultural diplomacy by Argentina, Brazil and Chile in the period between the two World Wars. This surge in cultural diplomacy relied upon organizations for intellectual cooperation, both on an international and regional level. The goal of this work is to show how, from various networks embedded in the structures and dynamics of international, continental and Latin American intellectual cooperation, Argentina, Brazil and Chile forged deliberate instruments of cultural diplomacy and constructed a certain image of themselves on the international scene. This thesis aims to show that these initiatives in cultural diplomacy could neither have happened nor acquired their importance without being part of larger dynamics transcending their own national borders. At the heart of any reflection on cultural diplomacy and its concern with projections of national images into international settings is the question of national identity. Therefore, the work takes a perspective that is as much part of history of international relations as it is cultural history, retracing the frontier of debates on national identity and the definition of foreign policy.

O presente trabalho tem como eixo central a análise das ações culturais realizadas pelo artista Lívio Abramo no Paraguai, para a aproximação das comunidades culturais do Brasil e daquele país, no contexto das orientações da diplomacia cultural brasileira. Durante trinta anos, de 1962 a 1992, Lívio Abramo desempenhou a função de coordenador do Setor de Artes Visuais da Missão Cultural Brasileira, no Paraguai, que lhe foi atribuída pelo Itamaraty, e marcou firmemente a sua atuação como educador, artista e articulador cultural no meio da sociedade local. Desde os anos 40, o Brasil mantinha com o Paraguai acordos e convênios educacionais e técnicos, como parte de um projeto de aproximação com aquele país, mas só assumem uma dimensão artística e cultural a partir da chegada de Lívio Abramo. Esta pesquisa promoveu aproximações interdisciplinares entre áreas de conhecimentos específicos, como as Ciências Políticas - com os estudos das Relações Internacionais após a Segunda Guerra Mundial-, a História da Arte e a História do Brasil. Esses conhecimentos articulados a outros recursos investigativos, tais como a documentação específica obtida nos arquivos históricos, os depoimentos e histórias de vida, auxiliaram-me no cumprimento do objetivo proposto por esse trabalho. / This work has a central axis of cultural analysis performed by the artist Lívio Abramo in Paraguay for the approach of the cultural communities of Brazil and that country within the context of the guidelines of the Brazilian cultural diplomacy. For thirty years, 1962 to 1992, Lívio Abramo acted as coordinator of the Department of Visual Arts of the Mission Cultural Brazilian, Paraguay, which was assigned by the Foreign Ministry, and sealed tightly to his role as an educator, artist and articulating cultural in the middle of the local society. Since the \'40s, Brazil had agreements with Paraguay, and covenants and technical education as part of a project approach with that country, but only take one dimension of art and culture from the arrival of Lívio Abramo. That knowledge was articulated to other resources such as specific documentation obtained from historical arquives, the depoiments and life histories, helped me in achieving the proposed goals for this work.

As China’s economic and military power develops and expands, it has been focusing recent efforts on upgrading its soft power in order to quell concerns and apprehensions about its rise. As the two most powerful nations in the world, China and the United States have both attached great importance to Sino-U.S. relations, recognizing that the structure of the future global community will be largely dependent upon these two countries effectively collaborating in shaping the global structure and improving global issues. Facing an American public that views China as a threat and competitor, as well as Western media that consistently paints China in a negative light, the Chinese Communist Party has realized the need to reach out to the American populace and facilitate people-to-people ties, increasing its soft power in the country and thus facilitating a stronger bilateral relationship. This thesis reviews three areas of China’s soft power push in the United States: cultural diplomacy, which includes creating more educational opportunities, building Confucius Institutes, organizing cultural events, and increasing diplomatic outreach; media campaigning and propaganda through news, television, radio, and the internet; and congressional lobbying.

Biennials, both historically and in the present, form a significant part of the contemporary art world. However, beyond simply acting as platforms for contemporary art, these extensive, recurring international exhibitions also facilitate complex dialogues involving a variety of agents, both cultural and political. With the inherently political nature of these exhibitions in mind, this thesis examines Canadian participation in the Venice and São Paulo biennials from 1951 to 1958. By examining what I identify as the triple purpose of the biennial - the exhibition of contemporary art, the facilitation of cultural diplomacy, and the creation and reinforcement of cultural nationalist narratives - this paper further explicates the National Gallery of Canada’s role in defining Canadian culture and the relationships between visual culture, cultural nationalism, cultural diplomacy and institutional politics in the postwar era. Drawing upon Judith Balfe’s conception of the utilization and manipulation of visual culture for nationalistic or diplomatic ends, I argue that participation in the Venice Biennale served as a means of reinforcing the presence of an NGC-defined culture of Canadian art to an international audience comprised mainly of artistic and diplomatic elite. Conversely, participation in the São Paulo Bienal served primarily as a conduit for the Department of External Affairs to project a positive image of Canadian culture to other nations and foster cordial relations between like-minded nations. I contend that a comparative analysis of Canadian participation in the two biennials highlights the complicated relationship between the NGC and the Department of External Affairs as well as the ideological adherence of both institutions towards liberalism and liberal democracy. / Thesis (Master, Art History) -- Queen's University, 2012-09-26 16:43:34.318