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.

<p>Background: The theater market has matured – supply now exceeds demand. Government funds are on a decrease, replaced by other means of financing. The city of Stockholm will be introducing a bonus system that will benefit independent theater groups that succeed to increase their revenue and attendance. Hence, the audience will play an even greater role, a tendency some free theater groups come to terms with by interacting with the audience to create value.</p><p>Thesis statement: What factors lead to the long-term survival of the independent theater groups, allowing them to benefit from the imminent bonus system?</p><p>Purpose: To analyze and evaluate the marketing strategies of the independent theater groups, in reference to their capability of long-term survival through value creation along with the audience, thereby increasing attendance and ticket revenue.</p><p>Methodology: The study combines quantitative and qualitative approaches and methods. Interviews were conducted with the producers at three independent theater groups in the city of Stockholm. The questionnaire was answered by 90 members of the independent theater group audience.</p><p>Areas of theory: Value creation, marketing communication and customer characteristics.</p><p>Results: There is a lack of coherence between the marketing strategies of the independent theater groups and the characteristics of the audience. Hence, the independent theater groups are currently facing poor conditions for long-term survival through growth in audience and revenue. However, if the strategies are adjusted to the audience’s inclination to participate in the value creation, the conditions may improve.</p><p>Conclusions: The important factors leading to long-term survival of the independent theater groups, thereby increasing audience participation and ticket revenue, are: ”Co-production of values”, ”Enabling” and ”Word of mouth”. Co-production of value must however not apply to the artistry, since the audience seems to guard artistic freedom.</p> / <p>Bakgrund: Teatermarknaden har mognat – utbud övergår efterfrågan. Bidragen minskar till förmån för en breddad finansiering. Ett bonussystem ska införas i Stockholms stad, vilket kommer att gynna fria teatergrupper som ökar sina intäkter och sitt publikantal. Publiken spelar således en allt viktigare roll och vissa fria teatergrupper försöker hantera detta genom att värdeskapa i interaktion med publiken.</p><p>Problemformulering: Vilka faktorer är viktiga för att fria teatergrupper ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet?</p><p>Syfte: Att analysera och utvärdera fria teatergruppers marknadsföringsstrategier med avseende på deras förutsättningar att överleva långsiktigt genom att värdeskapa med publiken och på så sätt öka sitt publikantal och sina biljettintäkter.</p><p>Metod: Studien kombinerar kvantitativa och kvalitativa ansatser och metoder. Intervjuer har genomförts med producenterna för tre fria teatergrupper i Stockholms stad och enkätundersökningar har genomförts med totalt 90 personer i de fria teatergruppernas publik.</p><p>Teoriområden: Värdeskapande, marknadskommunikation och kundegenskaper.</p><p>Resultat: Studien visar att de fria teatergruppernas publik är villig att skapa värde tillsammans med teatergrupperna. Såtillvida har de fria teatergrupperna goda förutsättningar att överleva långsiktigt genom att värdeskapa med sin publik. Det råder dock brist på överensstämmelse mellan de fria teatergruppernas strategier och publikens egenskaper. För att uppnå långsiktig överlevnad genom att öka sitt publikantal och sina biljettintäkter måste de fria teatergrupperna anpassa sina strategier till publikens vilja att deltaga i värdeskapandet.</p><p>Slutsats: De faktorer som är viktiga för att de fria teatergrupperna ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet är ”samproduktion av värde”, ”möjliggörande” och ”word-of-mouth”. Samproduktionen av värde bör dock inte gälla den konstnärliga verksamheten, då publiken tycks värna den konstnärliga friheten.</p>

Background: The theater market has matured – supply now exceeds demand. Government funds are on a decrease, replaced by other means of financing. The city of Stockholm will be introducing a bonus system that will benefit independent theater groups that succeed to increase their revenue and attendance. Hence, the audience will play an even greater role, a tendency some free theater groups come to terms with by interacting with the audience to create value. Thesis statement: What factors lead to the long-term survival of the independent theater groups, allowing them to benefit from the imminent bonus system? Purpose: To analyze and evaluate the marketing strategies of the independent theater groups, in reference to their capability of long-term survival through value creation along with the audience, thereby increasing attendance and ticket revenue. Methodology: The study combines quantitative and qualitative approaches and methods. Interviews were conducted with the producers at three independent theater groups in the city of Stockholm. The questionnaire was answered by 90 members of the independent theater group audience. Areas of theory: Value creation, marketing communication and customer characteristics. Results: There is a lack of coherence between the marketing strategies of the independent theater groups and the characteristics of the audience. Hence, the independent theater groups are currently facing poor conditions for long-term survival through growth in audience and revenue. However, if the strategies are adjusted to the audience’s inclination to participate in the value creation, the conditions may improve. Conclusions: The important factors leading to long-term survival of the independent theater groups, thereby increasing audience participation and ticket revenue, are: ”Co-production of values”, ”Enabling” and ”Word of mouth”. Co-production of value must however not apply to the artistry, since the audience seems to guard artistic freedom. / Bakgrund: Teatermarknaden har mognat – utbud övergår efterfrågan. Bidragen minskar till förmån för en breddad finansiering. Ett bonussystem ska införas i Stockholms stad, vilket kommer att gynna fria teatergrupper som ökar sina intäkter och sitt publikantal. Publiken spelar således en allt viktigare roll och vissa fria teatergrupper försöker hantera detta genom att värdeskapa i interaktion med publiken. Problemformulering: Vilka faktorer är viktiga för att fria teatergrupper ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet? Syfte: Att analysera och utvärdera fria teatergruppers marknadsföringsstrategier med avseende på deras förutsättningar att överleva långsiktigt genom att värdeskapa med publiken och på så sätt öka sitt publikantal och sina biljettintäkter. Metod: Studien kombinerar kvantitativa och kvalitativa ansatser och metoder. Intervjuer har genomförts med producenterna för tre fria teatergrupper i Stockholms stad och enkätundersökningar har genomförts med totalt 90 personer i de fria teatergruppernas publik. Teoriområden: Värdeskapande, marknadskommunikation och kundegenskaper. Resultat: Studien visar att de fria teatergruppernas publik är villig att skapa värde tillsammans med teatergrupperna. Såtillvida har de fria teatergrupperna goda förutsättningar att överleva långsiktigt genom att värdeskapa med sin publik. Det råder dock brist på överensstämmelse mellan de fria teatergruppernas strategier och publikens egenskaper. För att uppnå långsiktig överlevnad genom att öka sitt publikantal och sina biljettintäkter måste de fria teatergrupperna anpassa sina strategier till publikens vilja att deltaga i värdeskapandet. Slutsats: De faktorer som är viktiga för att de fria teatergrupperna ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet är ”samproduktion av värde”, ”möjliggörande” och ”word-of-mouth”. Samproduktionen av värde bör dock inte gälla den konstnärliga verksamheten, då publiken tycks värna den konstnärliga friheten.

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

Se realiza una investigación comparada de los consejos de las artes de tres regiones subnacionales de países distintos: Cataluña (España), Escocia (Reino Unido) y Jalisco (México) para investigar la aplicación del principio de “arm’s length”, su ejecución, su relación con el contexto cultural y político, así como su inclusión en sistemas institucionales distintos al anglosajón. Con una metodología cualitativa y el uso de estudios de caso, se llevan a cabo trabajos de campo en cada lugar mediante entrevistas, observaciones y trabajo documental, aplicando el canon conjunto de concordancias y diferencias para su análisis. Se concluye que un consejo de las artes no es necesariamente un organismo bajo el principio de “arm’s length” y se reflexiona sobre la influencia que los actores involucrados buscan ejercer a través de sus diversos recursos. La relación entre los consejos y sus contextos muestra las dialécticas entre legitimidad/eficiencia, transparencia/clientelismo y diferenciación/estandarización y tensiones entre centro/periferia. Desde la política se utiliza este principio como argumento retórico, mientras se pretende tener mayor control sobre las decisiones, aunque esto aumente su nivel de responsabilidad. Desde el sector cultural se ignora que el principio busca también mantener su distancia con él para evitar clientelismos. Se evidencia un mimetismo que copia modelos ajenos sin adaptarlos suficientemente al contexto y sin profundizar en experiencias externas ni con reflexiones teóricas, lo cual deja al descubierto algunos errores del proceso. / Titol: Els consells de les arts i el principi d’“arm’s length” en les politiques culturals subnacionals: un estudi comparatiu entre Catalunya (Espanya), Escòcia (Regne Unit) i Jalisco (Mèxic). Resum: Es realitza una investigació comparada dels consells de les arts de tres regions subnacionals de països diversos: Catalunya (Espanya), Escòcia (Regne Unit) i Jalisco (Mèxic) per investigar l'aplicació del principi d’"arm's length", la seva execució, la relació amb el context cultural i polític, així com la seva inclusió en sistemes institucionals diferents a l’anglosaxó. Amb una metodologia qualitativa i l’ús d'estudis de cas, es porten a terme treballs de camp en cada lloc mitjançant entrevistes, observacions i treball documental, aplicant el cànon conjunt de concordances i diferències per a la seva anàlisi. Es conclou que un consell de les arts no és necessàriament un organisme sota el principi d’"arm 's length" i es reflexiona sobre la influència que els actors involucrats busquen exercir a través dels seus diversos recursos. La relació entre els consells i els seus contextos mostra les dialèctiques entre legitimitat/eficiència, transparència/clientelisme, diferenciació/estandardització i tensions entre centre/perifèria. Des de la política s'utilitza aquest principi com argument retòric, mentre es pretén tenir major control sobre les decisions, encara que això augmenti el seu nivell de responsabilitat. Des del sector cultural s'ignora que el principi busca també mantenir la seva distància amb ell per evitar clientelismes. S'evidencia un mimetisme que copia models aliens sense adaptar-los suficientment al context i sense aprofundir en experiències externes ni amb reflexions teòriques, la qual cosa deixa al descobert alguns dels errors del procés. / Title: The arts councils and the arm’s length principle in cultural policy at a subnational level: A comparative study between Catalonia (Spain), Jalisco (Mexico) and Scotland (UK). Abstract: Comparative research on the arts councils of three sub-national regions from different countries, Catalonia (Spain), Jalisco (Mexico) and Scotland (United Kingdom), is carried out to examine the application of the arm's length principle, its performance, its relation to the cultural and politic context and its inclusion in institutional systems other than the Anglo-Saxon system. With a qualitative methodology and case study strategy, fieldwork is performed in each place through interviews, observations and documentary work, applying the joint canon of agreement and difference for analysis. The conclusion reached is that an arts council is not necessarily a body under the arm's length principle and the influence that stakeholders seek to exert through their various resources is reflected upon. The relationship between arts councils and their context shows the dialectics between legitimacy/efficiency, transparency/clientelism and differentiation/standardisation, and the tensions between the centre/periphery. This principle is used from politics as a rhetorical argument, while the aim is to have more control over decisions, even though this increases the level of accountability. The cultural sector is unaware that the principle also seeks to keep its distance from it to avoid clientelism. There is an evident mimicry, copying foreign models without adapting them sufficiently to the context and without delving more deeply into external experiences and theoretical reflections, which reveals some mistakes of the process.

This thesis describes how and what Wattana-dharm Thai [Thai culture] has influenced Thai PR practice through the eyes of Thai PR managers and practitioners. It also provides some background information about the evolution of Thai PR practice to link to the current Thai PR practice. The study employs a qualitative paradigm with in-depth interviews as the main method. Documentary sources are mostly used as a supplement. This thesis provides detailed qualitative data describing how Thai public relations (PR) practitioners operate in Thailand both offline and online. The findings highlighted that Wattana-dharm Thai has a strong influence on Thai PR practice. There are eight main Wattana-dharm Thai aspects that influence Thai PR practice: 1) Relationship orientation (relationships in a Thai style including Bunkhun, Pen-Mitr, and Alum aluay relationships); 2) Community-based orientation; 3) Sanook orientation; 4) Hierarchical structure; 5) Buddhist orientation, 6) Monarchy institution respect; 7) Face and eyes in society; and 8) Form over the content. Thai PR practice has an emphasis on Saang Kwaampratabjai [impression building] through Wattana-dharm Thai. For example, historically, Thais accepted westerners because they did Saang Kwaampratabjai by bringing technology and development to the country. Thais have a positive attitude toward westerners because of this history of impression. Thai PR practitioners also try to use Saang Kwaampratabjai influence the public, such as journalists and opinion leaders by offering incentives altruistically (e.g. Namjai, Bunkhun, etc). Thai PR practice Saang Kwaampratabjai based on Buddhism and their respect of the monarchy. Thai PR place an importance on details of public’s personal information to instigate Saang Kwaampratabjai. For online PR, Thai PR use Information and Communication Technologies (ICTs) to support Saang Kwaampratabjai. It would appear that ICTs, in part, are used to promote company’s image rather than having any practical use. Hence, the core of Thai PR is how to practice Saang Kwaampratabjai based solely on personal and social relationship. This thesis aims to fill in the gaps in knowledge relating to PR and culture. It will make a contribution to the academic literature on culture and public relations, not only in the West but globally. This will also provide a framework for Thai PR practitioners to improve and develop their work. This thesis examines culture and PR through the lens of Thai terminology and discourse facilitated by a native inside-out view moderated by the distance obtained by leaving my country for a substantial proportion of the period of the study. This distance allowed me to re-consider many taken-for-granted aspects of my own culture, as well as allowing me to take on board other cultural perspectives available in a Western but international university. Thus this thesis is in part autobiographical, product of my research journey that allowed me to engage with a range of fundamental issues central to cross-cultural living such as hierarchy, religion, political and regal institutional frameworks, and gender.

In the 1950s and 1960s, the Organization of American States (OAS), a multinational political organization headquartered in Washington, DC, attempted to mediate U.S.-Latin American political and cultural relations. This dissertation traces how, in the United States, Latin American art emerged as a field of art historical study and exhibition via the activities of the OAS. I center my analysis on José Gómez Sicre and Rafael Squirru, two prominent curators who influenced the circulation of Latin American art during the Cold War. Part I focuses on Gómez Sicre, who served as head curator at the OAS from 1946 to 1981 and who founded the Museum of Modern Art of Latin America in 1976. I offer an analysis of Gómez Sicre’s aesthetic tastes, contextualizing them in relation to his contemporaries Alfred H. Barr, Jr., Marta Traba, and Jorge Romero Brest. I also discuss his efforts to build a network of art centers across the Americas, indicating how his activities fed into a Cold War struggle around notions of the “intellectual.” Part II examines the activities of poet and art critic Rafael Squirru, who served as Director of Cultural Affairs of the OAS from 1963 to 1970 and who theorized Latin American art in terms of the “new man.” I reconstruct how the phrase “new man” became a point of ideological conflict in the 1960s in a battle between Squirru and his political rival, Ernesto Ché Guevara. Throughout this dissertation, I indicate how Gómez Sicre and Squirru framed modern art within different Pan-American dreams of future world prosperity, equality, and cooperation. By examining the socio-political implications behind those dreams, I reveal the structures and limits of power shaping their influence during the Cold War. My study concentrates on the period from the founding of the OAS in 1948 to the establishment of the Museum of Modern Art of Latin America in 1976, and I contend that the legacies of Pan-Americanism continue to affect the field of Latin American art today. / text

By comparative analysis of Swedish cultural policy (including art policy, heritage policy and Church policy) during the Riksdag periods of 1970-73, 1991-94, 1994-98 and 1998-2002 the relationship between cultural policy and the concept of the nation as a homogenous cultural community (defined by either an ethnic or a state-framed concept) is explored. Neoinstitutional analysis of cultural policy as an organisational field is combined with analysis of how the nation is conceived as an imagined community, and what values it strives to uphold to show how these values and concepts are institutionalised in its cultural policy and how this supports the legitimacy of the State as a nation-state. In the early seventies, when a general cultural policy was first established in Sweden, most of its fields were already institutionalised and bound by strong path dependencies, binding art policy to protecting universal aesthetic values within the state-framed nation and heritage policy to ethnic particularism while Church policy stood between universalism and ethnic particularism (which infected the relationship between Church and State). These contradictions were managed by strong borders between the fields. In the early seventies these were overlaid with a general cultural policy focused on universal civil values within the state-framed nation. Since then the conflict between Church and State has been defused and the norms of heritage policy have become closer to those of cultural policy at large by the claim that cultural heritage should be used to uphold civil values (e.g. democracy and tolerance). In the late nineties cultural policy has again become less integrated by new government initiatives with specific goals. Civil universal values remain dominant while concepts of the nation are increasingly multi-ethnic. / Genom jämförande analys av svensk statlig kulturpolitik (inklusive konstpolitik, kulturarvspolitik och religionspolitik) under riksdagsperioderna 1970-73, 1991-94, 1994-98 and 1998-2002 undersöks relationen mellan kulturpolitiken och föreställningen om nationen som en homogen kulturell gemenskap som i vissa fall tänks inkludera dess innevånare och i andra fall en etnisk grupp. Nyinstitutionell analys av kulturpolitik som organisatoriskt fält kombineras med analys av hur nationen konceptualiseras som en föreställd gemenskap och vilka värderingar den upprätthåller för att visa hur dessa värden och koncept institutionaliseras i statens kulturpolitik och hur denna bidrar till att upprätthålla nationalstatens legitimitet. När en enhetlig kulturpolitik etablerades i Sverige i början av 1970-talet var de flesta av de ingående fälten redan låsta i sedan länge etablerade stigberoenden som band konstpolitiken till upprätthållandet av estetiska värden inom ramarna för en med utgångspunkt i staten definierad nation samtidigt som kulturarvspolitiken bundits vid etniskt partikularistiska nationskoncept och kyrkopolitiken slets mellan universalism och etnisk partikularism (vilket komplicerade kyrka-stat-relationen). Motsättningar hanterades genom kraftiga institutionella gränser mellan fälten. Till dessa fogades en övergripande kulturpolitik baserad på universella civila värden inom ramarna för den statsdefinierade nationen. Sedan dess har konflikten mellan kyrka och stat lösts upp och kulturarvspolitiken integrerats i den generella kulturpolitiken bl.a. genom organisatoriska reformer. I slutet av 1990-talet tycks trenden mot en allt mer integrerad kulturpolitik dock ha vänt bl.a. genom direkta men begränsade regeringsinitiativ. Den domineras fortfarande av universella civila värden, men också av alltmer mångetniska föreställningar om nationen.

This diploma thesis reveals the processes of shaping the image of Emil František Burian, the theater director, composer, journalist and playwright in three key headings. The first heading explains the principles of self-presentation and choice of characteristic means to build its external image in the changing personal attitudes and social development in the 30th - 50 years of 20th century. The second heading shows the coordinates of cultural policy communist regime and monitors the construction of public image representative of official socialist culture. Both headings are mainly based on a detailed analysis of Burian's theater activity, broadcasting activities and articles in professional and social printing. The third heading of qualification work pays attention to creating individual memory of a systematic effort to build a "cult of personality" of E. F. Burian. Interpretation biography and memories of actors, directors, journalists and politicians attempts to profile the professional and private life of this artist.

Z. Dudová Using the Effects of Public Cultural Services in the Development Strategies of Cities Abstract This dissertation focuses on analysing the utilization of the effects of public cultural services in the development strategies of selected towns (Český Krumlov, Velké Meziříčí and Blatná) for the development of these localities. The theoretical part of the dissertation is dedicated to the research of existing approaches to the solution of the issue, the definition of key concepts and the framework of the concept of public cultural services in the context of the specific situation of strategic management and planning culture of the administrative units in the Czech Republic. It has identified a wide range of potential non-economic benefits of public cultural services, from individual benefits to social impact for the wider community. The analytical part is focused on the position and the importance of culture, cultural services, and its possible benefits in key policy and strategic documents of the selected cities. For a broader understanding of the context regarding the situation of strategic planning culture in selected Czech cities, conceptual and strategic materials related to the regional and national cultural policy, and also some of the most important Czech cultural organisations (National Museum,...