abstract: This thesis is an art-historical inquiry into the National Endowment for the Arts (NEA) and its controversies in the 1990s. A socio-economic model of instrumentalization of the arts based on Pierre Bourdieu's and David Throsby's conceptualizations of cultural capital is first developed. The model is then used to explore the notion of "congressional aesthetics," or a particular brand of arts-instrumentalization adopted by the U.S. Congress for post-WWII federal projects involving art, and two cases of its implementation. The first case is the successful implementation of congressional aesthetics in the instrumentalization of the arts in Sino-American cultural diplomacy during the Cold War. The kind of American art in the 1950s enabled the successful implementation of congressional aesthetics. The opposite case is then investigated: the failed implementation of congressional aesthetics in the operation of the NEA in the 1980s. Specifically, the NEA controversies of the 1990s can be traced to the agency's failure to conform to congressional aesthetics. Failed congressional aesthetics also results largely from the type of American art being produced in the 1980s. / Dissertation/Thesis / Masters Thesis Art 2015

Nesta dissertação, investiga-se a difusão da cultura brasileira no exterior durante o período 2003-2010. Para isso, foi escolhida como objeto de pesquisa a Divisão de Operações de Difusão Cultural (DODC) do Itamaraty, principal órgão governamental responsável pela diplomacia cultural. Foram analisados os Atos Bilaterais de Cooperação Cultural assinados entre o Brasil e terceiros países, assim como os Programas de Difusão Cultural de 22 postos brasileiros no exterior, relacionando-os às políticas externa e cultural implementadas durante a gestão do Presidente Luiz Inácio Lula da Silva. O trabalho inclui a compilação de 220 documentos referentes ao Programa de Difusão Cultural, disponibilizada em CD ou por meio do link: http://bit.ly/PDC_YVES_FINZETTO / This essay investigates the diffusion of Brazilian culture in an international context between 2003 and 2010. For this purpose, the source of research chosen was the Division of Cultural Diffusion Operations run by the Itamaraty, which is the main gov- ernmental body responsible for cultural diplomacy. The material analysed were the Cultural Cooperation Bilateral Acts signed between Brazil and other parties, as well as the Cultural Diffusion Programmes run by 22 Brazilian posts overseas; these will be related to foreign and cultural policies implemented by president Luiz Inácio Lula da Silva during his time in office. This work includes a compilation of 220 documents related to the Cultural Diffusion Programme, which is made available on CD or via the web link: http://bit.ly/PDC_YVES_FINZETTO

The diploma thesis deals with the tertiary education of Weimar Republic, specifically with the Czechoslovak students of German nationality who studied in Germany between years 1919 and 1933. The main goals of the text are to evaluate to what extent the tertiary education served propaganda and cultural diplomacy, which methods were used to influence the students during their studies and how the students were introduced to the positive image of Germany, which found itself in international isolation after the First World War. The thesis is based on primary sources from German and Czech archives and on foreign and Czech secondary sources and literature.

Cultural diplomacy is one part of the public diplomacy which affects almost everybody of us. Studied countries- Germany and France - carry out two of the most intensive and generous foreign cultural policies, nevertheless which differ in basic principles. First two chapters examine both policies from the general point of view. The last one compares their cultural diplomacy in the Czech republic, from both historical and contemporary (institutional question and programme question)point of view.

The diploma thesis is focused on defining the place of cultural diplomacy and concepts of soft power and nation branding in the foreign policy of the Russian Federation, as since the end of the Cold War importance of culture and cultural diplomacy in international relations has started to grow. It analyses the question whether cultural diplomacy as part of the foreign policy of the Russian Federation contributes to increase attractiveness and positive image abroad. To determine positives, negatives and exploit the potential, SWOT analysis was applied. In the case study the position of Slovakia in the cultural diplomacy of the Russian Federation with regard to problem areas of cooperation is defined. It also includes analysis of the activity, its results and major projects of the Russian Centre of Science and Culture in Bratislava.

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Comblant un fossé dans les études relatives à la diplomatie culturelle des pays émergents, cette thèse s’inscrit dans le cadre d’une analyse quantitative et qualitative de la diplomatie culturelle vietnamienne. Celle-ci est une partie intégrante de la politique étrangère en vue d’assurer une intégration internationale du pays et ce, au service du développement socio-économique. L’objectif primordial de cette stratégie, reconnue comme l’un des trois piliers de la diplomatie vietnamienne avec l’économie et le politique, est de présenter le Vietnam dans le monde entier afin d’attirer les investissements. Dans ce sens, elle constitue un outil de « marketing » pour le pays. L’histoire séculaire contre les invasions étrangères, une détermination de préservation de l’identité culturelle ainsi que la nature du régime politique sont à l’origine des particularités de cette stratégie qui articule diplomatie du parti communiste, du gouvernement et du peuple. L’élément étatique est indispensable dans la formulation de cette politique. L’observation des pratiques ainsi que le résultat de notre évaluation montre que cette diplomatie se concentre sur les activités évènementielles au détriment des projets structurels (éducation et information). Sa mise en œuvre constitue un défi pour le gouvernement, en raison d’une absence de véritable mécanisme de coordination d’une part, mais aussi d’une conception de la « culture » attachée à l’idéologie d’autre part. L’UNESCO est le partenaire principal du Vietnam car l’inscription au patrimoine mondial de sites ou de pratiques nationaux demeure l’un des sujets phare de cette diplomatie, contribuant à l’essor du tourisme. La Francophonie, elle, a des compétences spécifiques en particulier dans la diversité culturelle mais le Vietnam n’en a pas encore bénéficié. Si l’UNESCO est un forum où le Vietnam pourrait se présenter dans la communauté internationale, l’OIF, avec le dossier économique et la promotion du français, servirait de lieu pour promouvoir une recherche d’influence dans la région d’Asie du Sud-Est. / Filling a gap in studies on cultural diplomacy of the emerging countries, this thesis constitutes of a quantitative and qualitative analysis of the Vietnamese cultural diplomacy. This is an integral part of foreign policy in order to ensure international integration of the country and also for socio-economic development. The primary objective of this strategy, recognized as one of the three pillars of Vietnamese diplomacy with economy and politics, is to present Vietnam to the worldwide in order to attract investment. Thus, it is a “marketing” tool for the country. The secular history against foreign invasions, a determination to preserve the cultural identity and the nature of the political regime are the specific features of this strategy, articulating diplomacies of the Communist party, the government and the Vietnamese people. The element “state” is essential in the formulation of this policy. The observation of practices and the results of our evaluation show that this diplomacy focuses on event activities while seconding structural project (education and information). Its implementation is a challenge for the government, due to a lack of effective coordination on the one hand, but also a concept of “culture” attached to the ideology on the other. UNESCO is the main partner of Vietnam because inclusion in the World Heritage sites remains one of the major subjects of the Vietnamese cultural diplomacy, contributing to the development of tourism. La Francophonie has its specific expertise especially in cultural diversity but Vietnam has not benefited from that yet. If UNESCO is a forum where Vietnam could arise in the international community, OIF, with the economic issue and the promotion of French, would serve as a place to promote influence of Vietnam in the South-East Asia.

文化外交是近年來國際關係中的一項重要議題，各國皆對外輸出軟權力來增加該國在世界上的影響力，中國自改革開放後經濟與軍事能力大幅成長，因此近年來便開始加強對外文化輸出的工作，運用文化外交的力量以達到國家政策的目標。 本研究的目的在於對胡錦濤主政時期的文化外交政策做一全面性的認識，論文首先探討文化外交的理論淵源，進而建構出文化外交的意涵；其次從總體的角度來研究胡錦濤政府文化外交政策，包括其產生原因以及訴求，並對執行此政策的各相關機構與指導方針做分析。另外在具體實踐方面，論文從孔子學院及2008年北京奧運來探討中國文化外交政策的成效，最後針對這兩項實踐以及總體文化外交政策做深入的評估。 研究發現中國的文化外交政策之興起有其內、外在環境的影響，而執行的結果雖然有達到一定的成效，但受限於部份因素的制約，使得中國的文化外交政策仍有許多待改進之處。 / Cultural diplomacy is an important issue in international relations in recent years; many countries output their soft power to increase their influences in the world. Since the success of China’s reform and open policy, its economy and military power had a large growth. Therefore, China started to strengthen the policy of cultural output, using the power of cultural diplomacy to achieve its national goal. The purpose of this research is to have a comprehensive understanding on the cultural diplomacy during Hu Jintao’s administration. In the beginning of this research, we discuss the theories of cultural diplomacy, and then to describe it’s meaning. Secondly, we analyze this policy, including the background and purpose, from the overall viewpoint, and also study on the government departments and documents related to this policy. In addition, we take Confucius Institute and Beijing Olympic Games for examples to discuss the result of China’s cultural diplomacy. At last, this research has the analysis on these two practices and the policy. This research found that the appearance of China’s cultural diplomacy is influenced by the inner and outer environments. Although this policy has its result, it is still restricted by some factors. It means there are still many places of this policy need to be improved.

S’inscrivant à la croisée de l’histoire des expositions et des relations culturelles internationales, la thèse a pour principal objectif l’étude de la construction d’une certaine image de la nation mexicaine à l’étranger à travers l’art et de la manière dont celle-ci a été perçue par des audiences diverses dans différentes contrées. Pour ce faire, la thèse propose une étude de la présence de l’art mexicain dans l’espace transnational analysant des phénomènes de circulation, médiation et réception autour de la première grande exposition d’art mexicain itinérante en Europe. Entre 1952 et 1953, l’exposition Art mexicain du précolombien à nos jours a été présentée successivement à Paris, Stockholm, Londres et Mexico. Cette manifestation culturelle participe d’une longue génèse qui remonte aux années 1920. Après plusieurs tentatives échouées, l’idée de présenter une exposition d’art mexicain en Europe émerge à nouveau dans le monde de l’après-guerre, impulsée par le gouvernement mexicain et une constellation d’acteurs européens étatiques et non-étatiques qui ont fait que le projet se concretise en 1952. La thèse étudie les enjeux que cette manifestation a répresentés pour ses promoteurs, ainsi que la manière dont son discours curatorial consacre une certaine rhétorique nationaliste qui insiste sur la continuité du génie artistique mexicain à travers les époques. L’étude des réceptions et des va-et-vient au sein de l’espace euro-américain est alors menée à travers l’analyse des diverses représentations autour du Mexique exprimées par les publics européens, ainsi que par les manières dont la société mexicaine resignifie les réactions européennes vis-à-vis de l’art mexicain afin de les adapter au contexte local. Ensuite, ce travail se concentre sur les adhésions et les rejets exprimés au Mexique par rapport à ce portrait de lo mexicano impulsé depuis l’État. La thèse démontre comment cette exposition est devenue par la suite un modèle pour la présentation de l’art mexicain à l’étranger, décliné à plusieurs reprises dans les décennies suivantes comme le fer de lance de la diplomatie culturelle mexicaine. / Located in the intersection of the fields of History of Exhibitions and History of International Cultural Relations, this thesis studies the construction of a particular image of the Mexican nation abroad through the medium of art, and the ways in which this image was perceived by diverse audiences in different countries. The thesis analyzes the circulation, mediation and reception of Mexican art in a transnational context for the first major traveling exhibition of Mexican art in Europe.Between 1952 and 1953, the exhibition Art mexicain du précolombien à nos jours (Mexican art from pre-Columbian times to the present day) was successively presented in Paris, Stockholm, London and Mexico City. This cultural event draws upon a long prehistory that dates back to the 1920s. After several failed attempts, the idea of presenting an exhibition of Mexican art in Europe reemerges in the postwar period driven by the Mexican government and a constellation of European state and non-state actors, leading up to the opening of the exhibition in Paris on May 20, 1952.The thesis studies the stakes that various promoters had in the exhibition as well as the ways in which its curatorial discourse crystallized a nationalist rhetoric that stresses the continuity of the mexican artistic genius through the ages. It further investigates the different receptions and interactions within the Euro-American space by analyzing the various representations of Mexico articulated by the European publics; conversely, it examines the ways in which Mexican society resignifies the European reactions vis-à-vis Mexican art and adapts them to the local context. Moreover, this work scrutinizes the approvals and rejections expressed by the Mexican public with regard to the particular image of lo mexicano promoted by the state. The thesis demonstrates how this exhibition became a model for the display of Mexican art abroad, reappearing several times in various declensions over the following decades as a trademark of Mexican cultural diplomacy.

Ce travail de recherche historique retrace l’évolution de l’école française au Vietnam de 1945 à 1975, en s’appuyant à la fois sur les archives et sur les témoignages d’anciens élèves et professeurs. Dans l’Indochine coloniale, sous couvert de la « mission civilisatrice », les Français instaurent un système éducatif destiné à produire des subalternes, leur crainte étant de créer des « déclassés » menaçants pour l’ordre colonial. Pourtant, en dépit des résistances officielles, les élites vietnamiennes font entrer leurs enfants dans les lycées français réservés en principe aux Européens, s’appropriant en partie ces établissements.Après la Seconde Guerre mondiale, le Vietnam s’engage dans la voie de l’indépendance, obligeant les Français à repenser leur doctrine scolaire, qui, après avoir cru un moment que la France resterait « l’éducatrice de l’Indochine », se résolvent à un rôle d’accompagnement via la création d’une mission culturelle. Il n’est plus question de limiter l’accès des Vietnamiens aux lycées français mais au contraire de leur ouvrir les portes pour leur proposer un enseignement de haut niveau. La défaite française de Ði?n Biên Ph? en 1954, qui voit la France se désengager du Vietnam, accélère la mutation de l’ancien système éducatif colonial. En passant sous la tutelle des Affaires étrangères, l’enseignement français au Vietnam devient un instrument de la diplomatie culturelle. Les Français espèrent qu’une présence culturelle assurée notamment par leurs prestigieux lycées leur garantira une influence déterminante. Au Nord, dans la République Démocratique du Vietnam pro-soviétique, le Lycée Albert-Sarraut devient la seule école occidentale à fonctionner dans un État du bloc communiste, et permet aux Français de conserver en pleine Guerre froide un lien privilégié avec un pays considéré en Occident comme un ennemi. Cette expérience unique s’achève en 1965 faute d’entente entre Français et Nord-Vietnamiens sur la nature du lycée. Au Sud, dans la République du Vietnam nationaliste et pro-américaine, la situation reste plus longtemps favorable aux Français. Les élites vietnamiennes se pressent aux portes des lycées français, gages d’un enseignement de qualité et d’un meilleur avenir pour leurs enfants dans un pays en guerre. Pour les Français, cette attirance pour leurs écoles et pour la culture française leur permet de contrer l’influence grandissante des États-Unis, qui investissent lourdement dans la réforme de l’État sud-vietnamien et notamment dans celle du système éducatif. Cependant, les gouvernements sud-vietnamiens, pour des raisons politiques, décrètent à la fin des années 1960 la nationalisation progressive de ces écoles. Après la réunification en avril 1975, tous les établissements français sont rendus au Vietnam. Telle qu’il est raconté par l’histoire « officielle » des archives, le parcours du système d’enseignement français au Vietnam se termine donc par un échec. Au Nord comme au Sud, les satisfactions qu’en retirent les dirigeants français sont minimales. Les élites vietnamiennes ne se sont pas ralliées aux positions françaises. Culturellement, la francophonie au Vietnam régresse dès les années 1950.En revanche, pour la centaine d’anciens élèves que nous avons interrogés sur cette période de leur vie, le système d’enseignement français est décrit comme un véritable succès, en dépit de parcours familiaux et scolaires particulièrement tourmentés. Leur perception de l’école française est unanimement positive. Ils ont étudié au sein de ces établissements dans une ambiance pacifique, studieuse et égalitaire.... / This historical research traces the evolution of the French schools in Vietnam from 1945 to 1975, drawing from archives and interviews with former students and teachers. In colonial Indochina, under the guise of the "civilizing mission", the French established an educational system designed to produce only subordinates, as they feared that a better education would create individuals likely to threaten the colonial order. Yet, in spite of the resistance of colonial authorities, Vietnamese elites always managed to send their children to the local French schools that were, in principle, open only to Europeans.After World War II, Vietnam embarked on the path of independence, forcing the French to rethink their educational policy in a country that was no longer a colony. After believing for a while that France would remain "the educator of Indochina", the French accepted to play a supporting role in Vietnamese education through the creation of a cultural mission. There was no longer question of limiting access to French schools: rather, those schools opened their doors wide to Vietnamese students to offer them a high-quality education. The French defeat of Ði?n Bien Phu in 1954, which resulted in France’s political withdrawal from Vietnam, accelerated the transformation of the former colonial education system. Passing under the tutelage of Foreign Affairs, the French schools in Vietnam became an instrument of cultural diplomacy. The French hoped that their continuing cultural presence, and particularly their prestigious lycées, would grant them a decisive influence in Vietnamese affairs. In the North, in the pro-Soviet Democratic Republic of Vietnam, the Lycée Albert-Sarraut became the only western school to operate in a communist nation, allowing the French to maintain a special relationship with a country that the West considered as an enemy. This unique experience was terminated in 1965 due to lack of agreement between the French and the North Vietnamese on the nature of the school. In the South, in the nationalist, pro-American Republic of Vietnam, the situation remained favorable to the French. Vietnamese elites rushed the gates of French schools, which promise them a quality education and a better future for their children in a war-torn country. For the French, the attractiveness of their schools and of French culture allowed them to counter the growing influence of the United States, who were then pushing ahead with reform, especially in the Vietnamese educational system. Nevertheless, the South Vietnamese government, for political reasons, decreed in the late 1960s the gradual nationalization of the French school system. After the Reunification of April 1975, all French schools were returned to the Vietnamese state. As told by the "official" history described in the archives, the story of the French educational system in Vietnam ends in failure. In both North and South Vietnam, French efforts in cultural diplomacy in Vietnam came to naught. Not only the Vietnamese elites did not concur with the French political positions, but the prominence of French language and culture actually decreased in Vietnam from the 1950s onwards.However, the hundred or so alumni we have interviewed about this period of their lives have described the French school system as a success....