In the early 2000’s Canada and France were at the forefront of what appeared to be a counter-hegemonic movement in the rapid creation of the Convention for the Protection and Promotion of the Diversity of Cultural Expressions at UNESCO to perceived US cultural hegemony at the World Trade Organization. However, the final Convention lacks the fundamental protections it set out to create and reinforces the commodification of culture and the promotion of cultural industries, rather than challenging commodification or supporting arts and culture. This thesis uses Marxian critical theories to interrogate the nature and form of the Canadian government’s involvement in the creation of the Convention and posits Gramscian evidence of the presence of behaviours of hegemony and resistance to hegemony, the formation of a Weltanschauung (common sense world view) led by organic intellectuals in civil society and demonstrates important instances of trasformismo (absorption of counter-hegemonic ideas) at work. / Graduate

This research will try to describe the reasons and motives which produce the programs of artist-in-residence (A.I.R) and international mobility by the phenomena of globalization with the four main bodies: the organization of operating residence program, art centre, artist, funding. Furthermore, the researcher will analyse the A.I.R. programs by three operating strategies: to set up the international cultural policy; to practie the international support and the fellowship; to establish the platform of international network. The exploration are as following: 1. To clarify the meaning and value of A.I.R and discuss the strategies and patterns. 2. According to the international A.I.R. and mobility programs. To examine and analysis the models of carrying out in other countries by the above three strategies. 3. To analyse and discuss the possibilities of A.I.R and Mobility program executed by Taiwan¡¦s Government , to suggest the operating prcedures and evaluation of official operation by Taiwan¡¦s government. Also, this research will take the operation of foreign examples as comparative cases and take their models to generalize the strategies and evaluations of official operation by Taiwan¡¦s government. These strategies are literature review, research in the internet, case studies, interview, fieldwork. Firstly, the literature review will include the evolution of artistic ecology for artists, the themes of A.I.R., and the tendency of globalization. Secondly, to analyze the operating strategies and provide the suggestion from the aspects of residence program, fellowship project, the scene of residence. Finally, the study will advise the official organizations, artists and art centre managers those who concern about the programs of A.I.R and International mobility as specific suggestion and strategies.

Avec d’une part les bouleversements de l’ordre mondial après la chute du système bipolaire, avec d’autre part et de manière corrélative l’extension considérable des échanges internationaux, le développement sans précédent des moyens de communications et la mondialisation économique (touchant évidemment aussi le domaine culturel), la fin du XXe siècle a inauguré une nouvelle donne dans les relations culturelles internationales qui revêtent désormais une signification capitale et, jusque-là, inédite. Dans le nouveau contexte mondial les relations culturelles internationales se sont attribué de nouveaux enjeux : elles ont pour objet non seulement la diffusion de la culture nationale en direction de la communauté internationale, mais aussi une impérative, voire vitale résistance aux dangereuses conséquences de la mondialisation, grâce au développement du dialogue interculturel et à l'affirmation des différentes cultures. Sous l'influence de ces nouveaux enjeux, les États du monde ont été obligés de réviser leur conception de la politique culturelle internationale et de perfectionner leur diplomatie culturelle nationale.Cette thèse de doctorat a pour objet la politique culturelle internationale de la France et de la Russie, que l’auteur étudie à travers le prisme des relations culturelles intergouvernementales franco-russes de 1991 à 2004. L’étude du renouveau du système des relations culturelles bilatérales après l’effondrement de l’Union soviétique tend à répondre à trois séries de questions, sur le plan national, mais aussi sur le plan des relations bilatérales et multilatérales (russo-européennes) :• quelle place la politique culturelle internationale a-t-elle prise dans la nouvelle conception nationale de la politique étrangère en France et en Russie ? quels sont les objectifs et les priorités de la France et la Russie concernant les relations culturelles internationales ? et quels sont les instruments dont la France et la Russie se sont dotées pour leur réalisation dans le contexte actuel de la mondialisation ?• quelle place les relations culturelles bilatérales ont-t-elles prise respectivement dans la conception de la politique culturelle internationale des deux pays ? quels sont les objectifs et les moyens de coopération culturelle bilatérale ? quels sont les résultats du renouveau des relations culturelles bilatérales ? et, finalement, comment peut-on caractériser les relations culturelles contemporaines franco-russes ?• quels sont les enjeux des relations culturelles franco-russes en vue de l’évolution de la relation Russie/Union européenne élargie ? et quelles sont les éventuelles perspectives de leur développement ? / On the one hand, together with the global disruptions following the end of the bi-polar political system and on the other hand and in close correlation with the considerable extension of the international exchanges, the unprecedented development of the means of communication and the economic globalization (obviously with regard to the cultural field), the end of the 20th century has launched a new deal in international cultural relations which now take on a major meaning which has remained unprecedented. In this new global context, the international cultural relations have set themselves new goals: they now not only aim at the circulation of the national culture towards the international community but also appear as an urgent even vital resistance to the dangerous impact of globalization, thanks to the development of intercultural dialogue and the affirmation of the different cultures.Under the influence of these new objectives, the world states have been forced to review their conception of international cultural policies and improve their national cultural diplomacy.This thesis mainly deals with the international cultural policies of France and Russia and its author focuses on Franco-Russian intergovernmental cultural relations from 1991 until 2004. The study of the renewal of the bilateral cultural relations after the collapse of the Soviet Union aims at answering three sets of questions, from a national perspective but also on bilateral and multilateral relations (Russo-European that is)• What place have the international cultural policies of France and Russia held in the new national conception of foreign affairs in France and Russia? What are the objectives and priorities of France and Russia as regards to international cultural relations? And what are the instruments used by France and Russia for their achievement in the current global context?• What place have cultural bilateral relations taken respectively in the conception of the international cultural policies of both countries? What are the goals and means used in the cultural bilateral cooperation? What are the results of the renewal of bilateral cultural relations? And finally, how can we characterize the contemporary Franco-Russian cultural relations?• What is at stake in the Franco-Russian cultural relations with a view to the evolution of the relation between Russia and the extended European Union? And what are the potential perspectives in their development?