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.

This thesis explores the intersections of culture, nationalism, and neoliberal globalization through examination of the construction of Mexican identity in Canada after the implementation of the North American Free Trade Agreement (NAFTA) in 1994. I evaluate how visual art has been used by the governments of Canada and Mexico to negotiate new bilateral relationships in the face of increased North American integration under free trade. My study includes analysis of two Canada-based exhibitions, “Mexican Modern Art, 1900-1950” and “Panoramas: The North American Landscape in Art.” Framing my discussion within the larger history of North American integration, I argue that these two exhibitions are part of a larger exchange in the area of cultural diplomacy between Canada and Mexico, which was especially prominent at the turn of the millennium. These case studies provide a means to assess the manipulation of culture, the creation of a new North American identity, and the management of national/ist narratives within the larger project of neoliberal globalization. Critically situating my study within the current discourse of globalization theory, I contend that artworks in these exhibitions were positioned in a manner to positively reinforce new trade relationships under NAFTA. / Thesis (Master, Art History) -- Queen's University, 2008-08-20 15:05:45.256

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / As manifestações culturais e a cultura, em geral, têm adquirido relevância e protagonismo nas relações internacionais contemporâneas. Tal fenômeno possibilitou maior quantidade de pesquisas, teorias e trabalhos no campo das Relações Internacionais dedicadas a essa dimensão. Almeja-se com este trabalho contribuir com uma análise no plano das Relações Culturais Internacionais, enfocando o Ano do Brasil na França (2005) e o Ano da França no Brasil (2009). Através da análise destas duas temporadas culturais, analisa-se a densidade dessa profunda relação histórica entre Brasil e França, marcada pelos cálculos estratégicos de ambos os países. Esta pesquisa pretendeu mostrar que as temporadas culturais tornaram-se um dos modelos de diplomacia cultural adequados aos desafios da nova ordem global. Por isso, foi feito um estudo de caso sobre as temporadas franco-brasileiras de 2005 e 2009, através de pesquisa monográfica teórico-histórica; a qual demonstrou como as referidas temporadas culturais conciliam forças culturais em oposição na atualidade, ao mesmo tempo em que promoveram o intercâmbio cultural. / The cultural events and the culture, in general, have acquired relevance and leading role in the contemporary international relations. This phenomenon permitted largest amount of researches, theories, and works, on the field of International Relations, dedicated to this dimension. Aiming in this work to contribute with an analysis in terms of Cultural International Relations, it will be focus the Year of Brazil in France (2005) and the Year of France in Brazil (2009). Through this analysis of the two cultural seasons the density of this profound historical relation (between Brazil and France) marked by strategic calculations of both countries have been analyzed. The research intention was to show that cultural seasons have turned into one of the models of cultural diplomacy adequate to the challenges of the new global order. For that, it was done a case study on the French-Brazilian seasons of 2005 and 2009, through a monographic and theoretical-historical research, through which it was shown that the cultural seasons have been conciliating cultural seasons in opposition nowadays, at the same time it have been promoting the cultural exchange.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / As manifestações culturais e a cultura, em geral, têm adquirido relevância e protagonismo nas relações internacionais contemporâneas. Tal fenômeno possibilitou maior quantidade de pesquisas, teorias e trabalhos no campo das Relações Internacionais dedicadas a essa dimensão. Almeja-se com este trabalho contribuir com uma análise no plano das Relações Culturais Internacionais, enfocando o Ano do Brasil na França (2005) e o Ano da França no Brasil (2009). Através da análise destas duas temporadas culturais, analisa-se a densidade dessa profunda relação histórica entre Brasil e França, marcada pelos cálculos estratégicos de ambos os países. Esta pesquisa pretendeu mostrar que as temporadas culturais tornaram-se um dos modelos de diplomacia cultural adequados aos desafios da nova ordem global. Por isso, foi feito um estudo de caso sobre as temporadas franco-brasileiras de 2005 e 2009, através de pesquisa monográfica teórico-histórica; a qual demonstrou como as referidas temporadas culturais conciliam forças culturais em oposição na atualidade, ao mesmo tempo em que promoveram o intercâmbio cultural. / The cultural events and the culture, in general, have acquired relevance and leading role in the contemporary international relations. This phenomenon permitted largest amount of researches, theories, and works, on the field of International Relations, dedicated to this dimension. Aiming in this work to contribute with an analysis in terms of Cultural International Relations, it will be focus the Year of Brazil in France (2005) and the Year of France in Brazil (2009). Through this analysis of the two cultural seasons the density of this profound historical relation (between Brazil and France) marked by strategic calculations of both countries have been analyzed. The research intention was to show that cultural seasons have turned into one of the models of cultural diplomacy adequate to the challenges of the new global order. For that, it was done a case study on the French-Brazilian seasons of 2005 and 2009, through a monographic and theoretical-historical research, through which it was shown that the cultural seasons have been conciliating cultural seasons in opposition nowadays, at the same time it have been promoting the cultural exchange.

This study traces the development of narratives on the role of culture within the EU’s external relations and aims to identify culture’s contribution to contemporary construction and self-imagination of the Union’s international actorness. The focus lies not on how individuals and publics perceive these narratives or if they are successful in construction and shaping the perceptions of their audiences. Instead, the EU institutions’ and officials’ intentions and aspirations behind sending those messages are the focus point of the analysis, as well as the critical identification of the tools and methods through which the Union strives to do so. Thus, the overarching research question to answer is: how the EU uses narratives on the role of culture and international cultural relations to construct itself as a relevant international actor. And, why and how the internal EU discussion developed and changed over time. Based on a critical discourse analytical approach to the selected, official EU documents, speeches, international declarations and communications, it shows that currently two different understandings and roles of culture and international cultural relations coexist within the EU’s internal discourse: one, advocating the deployment of international cultural relations not for simply showcasing one’s own, national culture but for a greater, ambitious goal of global responsibility and sustainable development. The focus of this approach lies in the development of a new and solidary global environment which respects and celebrates (cultural) diversity, through mutual exchanges, reciprocity and the sharing of knowledge and expertise. While the other narrative focuses on constructing the EU as a “global power” and emphasises the importance of a more traditional European “cultural diplomacy”.

The access to technology, the effects of instant information and the emergence of an increasingly empowered global citizen have contributed to the fundamental shift of the global political and economic landscape over the last twenty years. In consequence, the soft-power resources are becoming more and more important components of nation's foreign policy. Foreign policy instruments of public diplomacy and cultural diplomacy can effectively utilize such soft-power resources in order to assert foreign policy goals by purposefully supporting wide range of cultural and artistic activities. It is the aim of the thesis to examine both the direct and indirect impacts of artistic production on societies with various degrees of democratic culture and in connection to elaborate on the relevance of the right to freedom of artistic expression and creativity. The essential aim of this thesis is to look at the role that art production plays in the development of a democratic society.

For centuries, art has played an important role as a tool of cultural diplomacy and even now represents an integral part of foreign cultural policy of different countries. Modern and contemporary fine art often reflects the current social and political issues, at both national and international levels. This thesis aims to prove that art, as a means of expression, has its place in international relations, in the context of cultural diplomacy. The intention of this thesis is to explore the many ways that fine art is applied as an instrument of cultural diplomacy and how the use of visual arts contributes to positive relations between nations and to the process of building a positive image of the state abroad. In the context of Czech cultural-diplomatic practice, the art and its employment is analysed on two levels - historical, that examines the use of art in the process of building the Czechoslovak state, and institutional, that introduces both state and private actors, who contribute greatly to the cultural diplomacy of the Czech Republic via the promotion of Czech fine arts. The final chapter focuses on the environment of New York as a world cultural and art center, and engages in representative Czech projects, activities, organizations and individuals who are successful advocates of Czech visual arts in the international context. The main contribution of this thesis is its aim to address an uncommonly debated topic - a specific area of artistic creation, its role and position in international relations and cultural diplomacy of the Czech Republic.

Master´s thesis aims at giving an overview of public and cultural diplomacy used in the middle-sized countries such as Austria and the Czech Republic. The thesis explains what does the public and cultural diplomacy mean, as well as what are contributions for countries which participate either in bilateral or in multinational cooperation. The thesis is focused on national foreign cultural policy made by different actors, as well as on common foreign policy and common projects which these two states have worked on. The very last part of the thesis summarizes effectiveness and successes of promoting a national culture abroad, what sort of diplomacy is used to do so and which institutions are the most important ones.

This Master's thesis examines the foreign cultural policies of global cities, and incorporates case studies of London and Paris during the years 2007-2016. It answers the question why, in what manner and with what results do these two global cities form the cultural sphere of their respective foreign policies. Through the analysis of the British and French cultural diplomacy, the thesis determines whether the foreign cultural efforts of global cities differ from the ones of their states and share common features among themselves, or whether the influence of the national models, contrary to the global cities theories, still plays the key role. Furthermore, the question of if, to what extent and with what results do Paris and London participate in cooperation among cities is addressed in order to asses Saskia Sassen's hypothesis about the formation of transnational urban networks. The thesis concludes that even though the cultural spheres of London's and Paris's foreign policies share many similarities, the influence of state models is still evident. London, as opposed to Paris, just like the United Kingdom as opposed to France, makes use of modern methods, including marketing and city/state branding, and at the same time puts emphasis on economic profit. On the other hand, both cities use similar tools and...