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Cette monographie consacrée à l’Exposition universelle de Shanghai (2010) voudrait être une contribution à l’histoire générale des Expositions universelles. Elle propose une approche plurifocale qui se déploie sur une temporalité à la fois longue et contemporaine.Il s’agit, dans un premier temps, de tenter de retracer l’histoire de la présence de la Chine dans les Expositions universelles (de 1851 à 2018) tout en mettant en lumière la motivation historique de l’organisation de l’Expo 2010 Shanghai.Dans un deuxième temps, l’attention se polarise sur l’organisation, le déroulement et l’appropriation de l’Exposition universelle de 2010 (Shanghai), un méga-événement qui se situe dans un temps très court (184 jours). Le rôle de cet événement dans la construction de l’image d’une ville « mondiale » et « harmonieuse », vitrine de la modernité chinoise est mis en avant.Dans un troisième temps est abordée la question de l’évaluation (matérielle et immatérielle) de l’événement sous un double aspect : les représentations que l’Expo 2010 a suscitées (en Chine et hors de Chine) et les conséquences sur le développement urbain et culturel de Shanghai.Une note finale s’attachera à questionner les enjeux de la création du World Expo Museum et du rôle que la Chine entend jouer de manière durable dans la valorisation des Expositions internationales, métaphore permanente de sa stratégie de « soft power ». / This monograph dedicated to the Expo 2010 Shanghai and it contributes to the general history of World Expos. It discusses the history of China’s participations in the World Expos and the contemporary effects of Expo 2010 Shanghai from multiple aspects.Firstly, it aims to trace the history of China's presence in the World Expos (from 1851 to 2018) by attempting to reproduce the of the country image of China that wanted to be shown to the world, but also to measure the impact of Chinese domestic politics on this international presence. Relative Chinese documents, including unpublished ones have been mobilized for this purpose.Secondly, the focus is on the Expo 2010 Shanghai, which was held within a very short time (184 days) as a mega-event. By reconstructing the root cause of the decision that led to this event, it is a question of identifying the role of this event that played on three scales: local, national and international. Expo 2010 Shanghai is part of a policy of geopolitical affirmation of China (like the Olympic Games) which wanted to show its ability to organize an event as a developing country for the events that usually held by western countries. The preparation, organization, and the influence of this event are the subject of a special study to understand the role of this event in the construction of a "world city" and a "Harmonious City" for Shanghai, in the practice of "soft power" strategy for China.Thirdly, the question of the evaluation (material and nonmaterial) of the event are considered from two points of view: Expo 2010 representations raised domestic and overseas; the influence generated by the left elements (pavilion, site, and materials) of this event on China, Shanghai city, as well as on World Expos.The final note seeks the future influence of the construction of the World Expo Museum and the experience of holding international expositions, which could be a permanent engine of China’s “soft power” strategy.

Wally Olins (2008:6), points out that in contemporary culture “brands and branding are all-pervasive and ubiquitous”. As he says, one need only walk down the high street of any major foreign city in the world, be it San Francisco or Shanghai, to be embraced by so many familiar brands, including Coca-Cola, KFC, Apple MAC, Chanel and Toyota, that one could mistake it for home. In the last 15 years particularly, the ubiquitous influence of brands and branding has seen the field outgrow its commercial role and expand into more secular and political spheres. Thus, the focus of this study is the role and influence of brands and branding on modern nations and their reputations via intentionally constructed national identities, with specific reference to South Africa. According to the main objectives of this study, focus was placed on the critical examination of South Africa’s nation brand, It’s Possible, in the light of the theoretical ideals for an intentional constructed national identity as proposed by Bartholmé and Melewar, Anholt and Olins. The examination centred on the analysis and interpretation of the individual communiqués that constituted the South African pavilion at the world Expo 2010, as their content is the result of the implementation of the nation’s visual brand language. The analysis and interpretation sought to, firstly, investigate the constitution of the South African visual brand language used in the design and construction of the pavilion’s communiqués and, secondly, to broadly identify the core values of the intentionally constructed South Africa nation brand – It’s Possible, made manifest in the South African exhibit through the visual communiqués. / Dissertation (Master of Arts)--University of Pretoria, 2012. / Visual Arts / unrestricted

The paper focuses on the Czechoslovak pavilions at the 1967 and 1970 World Expos. Both events took place in the period around 1968, when, however briefly, the Czechoslovak visual arts partially overlapped with the state's cultural policy. The pavilions (especially at Expo 70) also reflected the socio- political contexts of the year 1968.. In Czechoslovakia towards the end of the 1960s, the purpose of "exhibitioning" - i.e., the state-sponsored exhibition trade - was to communicate with the public and to (re)present the country abroad. Its main goal was to promote and spread the ruling ideology. On the other hand, the Czechoslovak visual arts scene was beginning to consciously work with the medium of the exhibition as a comprehensively composed unit, either through innovative exhibition design and installation or through installation art. While the exhibition trade reached its high point in the 1960s and began to disintegrate into rigid mannerism towards the end of the decade, real experiments with the format of the art exhibition were just beginning. This study focuses on the question of how these two fields (art and the exhibition trade) approached the medium of the exhibition in the 1960s. I study the Czechoslovak pavilions as a cultural artifact in which aesthetic, social, political, and economic forces...