The aim of the thesis was to describe how Poland is promoted as a destination of tourism in the Czech Republic and to comprave the way to the other neighbouring countries. The first chapter is focused on the economical profile of Poland, the second chapter contains characteristics of Poland as a destination of tourism and the chapter is finishe by the SWOT analysis of Polish tourism. The third chapter deals with the ways of promotion of Poland and other neighbouring countries in the Czech Republic and follows the activities in three fields -- activities of national agencies for tourism, cultural institutes and performing of public diplomacy in the Czech Republic.

À l'occasion de l'élargissement de l'Union européenne à dix pays en 2004, il s'est avéré nécessaire d'approfondir le dialogue interculturel entre les pays membres. Les instituts culturels nationaux à l’étranger font partie des structures étatiques susceptibles de porter ce dialogue. En effet, présentant la culture de leur pays à l’extérieur de leurs frontières, ces institutions se prêtent – et c’est là leur spécificité et l’une de leur raison d’être – à la rencontre et l’échange direct entre des représentants de différentes cultures. Cependant les critiques à l’encontre de ces institutions ne manquent pas à l’aube du vingt et unième siècle. La Pologne, la Slovaquie, la République tchèque et la Hongrie ont fait le choix, après la remise en cause du principe même d'une politique culturelle étrangère au début des années 1990, de conserver les instituts culturels qu’ils avaient dans les capitales française et allemande et, le cas échéant, d’en créer. Dans quelle mesure les instituts culturels polonais, slovaques, tchèques et hongrois à Paris et à Berlin s’attachent-ils, dans les années précédant et suivant l’entrée de leur pays dans l’Union européenne, à se positionner comme lieu de dialogue interculturel – ce qui leur permettrait de jour un rôle moteur dans le processus d'intégration européenne ? L’analyse repose sur une étude empirique jusqu’alors non existante des objectifs, de la mise en œuvre et de la réception par le public de la programmation de ces institutions entre 2000 et 2008. À partir des résultats, ce travail propose des pistes de réflexion sur l'orientation future de ces institutions. / The enlargement of the European Union to include an additional ten countries in 2004 required a deepening of the intercultural dialogue among member states. National cultural institutes abroad are part of the public structures able to carry up this dialogue. Presenting abroad the culture of their country, these institutions are indeed well suited – it is their specificity and essential purpose – for encounter and direct exchange between representatives of various cultures. Nonetheless, these institutions face many critics in the early 21st century. After questioning the principle of a foreign cultural policy itself in the early 1990’s, Poland, Slovakia, Czech Republic and Hungary have chosen to keep the cultural institutes they had in the French and German capitals and, if needed, to create some more. To what extent did Polish, Slovak, Czech and Hungarian cultural institutes in Paris and Berlin, position themselves as a place of intercultural dialogue in the years preceding and following the accession of these countries to the European Union, thus allowing them to be a driving force in the European integration process? The analysis relies on a previously unavailable empirical study of objectives, implementation and reception by the audience of the program of these institutions between 2000 and 2008. Building on the results, this work suggests lines of enquiry regarding the future orientation of these institutions.

La présence culturelle française en Italie du sud s'est développée durant l'entre-deux guerre, sous l'ère délicate du fascisme, à travers la création et le développement de l'Institut Français de Naples. La première partie dresse le portrait de Naples : malgré sa déchéance politique, cette ville reste attractive culturellement et économiquement. Sa tradition cosmopolite est envisagée à travers les récits de voyageurs depuis le Grand Tour. Elle est dotée d'institutions locales capables de répondre aux défis lancés par un institut étranger. La description des principales communautés étrangères montre par contraste la faiblesse de l'enracinement français. La deuxième partie s'attache à décrire la création puis l'évolution de l'Institut entre 1914 et 1925. Les pouvoirs publics français considèrent sa création comme le moyen de s'assurer une zone d'influence sur les régions méridionales italiennes et en Méditerranée. Son développement est considérable, surtout en considérant l'ascension du fascisme et la menace de la "dictature légale". Le charisme des professeurs, l'intérêt croissant des services officiels français et les motivations inhérentes à la nature même du fascisme méridional sont des facteurs favorables à ce succès. La troisième partie se penche sur le développement paradoxal de l'Institut, menacé par un fascisme triomphant et radicalisé. Il apparaît comme une institution inadaptée face aux exigences d'un nouvel équilibre mondial et à la précarité des relations politiques franco-italiennes. Malgré la réorganisation des Instituts d'Italie en 1938, l'établissement,démuni, subit une lente agonie avant d'être séquestré par les autorités en 1940. / French cultural presence in Southern Italy grew during the in-between wars period, against the tricky backdrop of fascism, through the birth and development of the French Cultural Institute in Naples. The Opening part of this work is about Naples, a city which, in spite of political decline, remained culturally and economically attractive, while its ever cosmopolitan tradition is best depicted borrowing the words of travelers who visited the region, starting with the Great Tour. Local institutions live up to challenges set by the foreign institute. Closer scrutiny of the main foreign communities however, reveals how shallow-rooted France is, over there. The second part focuses on the creation and evolution of the Institute between 1914 and 1925. The French government sees it as way of starting an area of influence in the Southern Italian regions and across the Mediterranean. The Institute develops at quite an impressive pace, especially considering the contemporaneous rise of fascism and the threat of a "legal dictatorship". Charismatic professors, a increasing interest of the French officials and the very motivations of fascism in the South contributed to its success. In the third part, we shall see how paradoxical the development of the Institute is. An institution faced with an all conquering radicalized Fascism, unfit to meet the needs of a new world order and the poor relation between France and Italy. Despite the 1983 reshaping of all Institutes in Italy, the one in Naples is literally slowly dying ans will end up hostage of the Italian government in 1940.

Submitted by manuela cavalcante bezamat (manubezamat@msn.com) on 2013-04-12T20:01:37Z No. of bitstreams: 1 Dissertação Manuela Bezamat.pdf: 1266405 bytes, checksum: 28fc53e68d75a84af519e73f6698d717 (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2013-05-10T15:40:21Z (GMT) No. of bitstreams: 1 Dissertação Manuela Bezamat.pdf: 1266405 bytes, checksum: 28fc53e68d75a84af519e73f6698d717 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2013-05-15T11:39:43Z (GMT) No. of bitstreams: 1 Dissertação Manuela Bezamat.pdf: 1266405 bytes, checksum: 28fc53e68d75a84af519e73f6698d717 (MD5) / Made available in DSpace on 2013-05-15T11:39:58Z (GMT). No. of bitstreams: 1 Dissertação Manuela Bezamat.pdf: 1266405 bytes, checksum: 28fc53e68d75a84af519e73f6698d717 (MD5) Previous issue date: 2013-03-26 / A phenomenon that has suffered a major growth in the last few decades, the constitution of corporate memory projects takes place in a broader context of valorization of the past in the modern day society, characterized by the ‘memory fever’. A p art of a n expedient that has the final goal of strengthen ing the identity and the image of these institutions among their employees and the larger public, these init iatives have generated different products and lines of action , being initially connected to the marketing and communication fields, but showing signs of professionalization and broadening of their horizons. The present study had as an object Banco Itaú’s corporate memory project, created in 2003, aiming to understand the nature of this initiative and the representations of ‘’archive’’, ‘’ legacy’’ and ‘’tradition’’ that were used. Furthermore , it was sought to analyse how this project reinforces and updates the bank’s ‘’cultural calling’’, legitimizing, through its archive and a series of actions, the corporate speech regarding the investme nt in the arts, science and culture. / Fenômeno que tem sofrido um crescimento considerável nas últimas décadas, a constituição de projetos de memória empresarial se insere em um panorama mais amplo de valorização do passado na sociedade contemporânea, caracterizada pela 'febre da memória'. Parte de um expediente que tem como objetivo final fortalecer a identidade e a imagem dessas instituições entre seus funcionários e o público mais amplo, essas iniciativas têm gerado diferentes produtos e linhas de ação, sendo inicialmente vinculadas às áreas de marketing e comunicação, mas mostrando sinais de profissionalização e ampliação dos seus horizontes. O presente estudo tomou como objeto de análise o projeto memorial do Banco Itaú, criado em 2003, buscando compreender a natureza dessa iniciativa e de que maneira ela colabora na consolidação da imagem de 'vocação' cultural do Banco.