This thesis deals with German foreign cultural policy in the Czech Republic after 1989 in relation to the promotion of German language promotion. The thesis describes both the development of the conceptions of German foreign cultural policy and the promotion of German language based on activities of three German institutions: Central Agency for German Schools Abroad (ZfA), Goethe-Institut and German Academic Exchange Service (DAAD). The research period is divided in two parts -before 1999 and since 2000, because the thesis assumes that there have been changes concerning quantity and quality of German policy regarding language promotion since about 2000. In addition the thesis searches for the effects on the real measures in the Czech Republic concerning the conceptual changes in German policy. After the 90's when the German was promoted massively in the Czech Republic as well as in the whole region of Central and Eastern Europe, the promotion of German has been rather declining since 2000. It is given by the lowering interest in the region just as by the lower importance that was attributed to the promotion of German. Simultaneously the number of people learning German in the Czech Republic has fallen rapidly. Lately the German actors have tried to counteract this trend by renewing their effort in...

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.

The dissertation "Czech and Slovak Public Diplomacy after 1993: The Transformation of Czech Centres and Slovak Institutes" seeks to compare Czech and Slovak model of public and cultural diplomacy after the peaceful separation of Czechoslovakia in 1993. It seeks to investigate whether the two countries embarked on similar journeys in their foreign affairs and whether the public and cultural diplomacy is at the forefront of their international policies. The dissertation aims to establish whether to accept or reject the hypothesis that the same historical circumstances and transformational similarities inevitably lead to similarities of Czech and Slovak public and cultural diplomacy. The first chapter of the dissertation focuses on a theoretical interpretation of public and cultural diplomacy. The second chapter of the dissertation deals with both countries' historical experience and describes the model of public and cultural diplomacy in each country from year 1993 to now. This part of the dissertation delineates conceptual documentation and describes the institutional dimension of this issue. The third and fourth chapter of the dissertation then separately deal with Czech Centres and Slovak Institutes as the primary players in the cultural diplomacy abroad. The final and core chapter of the...

This doctoral thesis deals with fundamental changes in West German foreign cultural policy during the 1960s and 1970s. Its objective is not only to examine how and under what circumstances the first (West) German conception of foreign cultural policy was conceived or which institutions and individuals participated most actively in its formation, but also to assess the understanding and definitions of foreign cultural policy and its role in the overall foreign policy of the Federal Republic of Germany. Further, the topic is analysed within a broad historical and international context. The research primarily uses the methodology of political history but has also been inspired by cultural history and political science.

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.