With the development of globalization and gradual intensification of mutual dependence of the world, "hard power" which includes economic and military strength is no longer the primary consideration for many...With the development of globalization and gradual intensification of mutual dependence of the world, "hard power" which includes economic and military strength is no longer the primary consideration for many countries. They tend to pay more attention to the attractiveness of their "soft power",which includes values,life style , ideology and so forth. Just as Joseph S. Ny , the famous professor of Harvard who puts forward the concept of soft power, says ,"only by widespread communication and diffusion can a country reinforces its soft power". This is mass media's function. Since the 1990s, tens of thousands cultural products brought in from America are exported to foreign countries, including popular music, films ,TV programs, magazines, books and so forth. By making advantage of its monopoly position in media circle, the United States pursues cultural hegemonism and expands its popular culture all over the world. This thesis takes a general view of the great advantages of America multi-national media groups and how they push forward the American popular culture all over the world.展开更多
Since the mid-2000s, the PRC has increasingly focused on pursuing cultural diplomacy abroad to improve its national image and enhance cultural soft power. Although China＇s cultural ＂Charm Offensive＂ has not gone un...Since the mid-2000s, the PRC has increasingly focused on pursuing cultural diplomacy abroad to improve its national image and enhance cultural soft power. Although China＇s cultural ＂Charm Offensive＂ has not gone unnoticed, a variety of specific activities have not been subject to research so far. This paper, therefore, attempts to fill this research gap by analyzing Chinese state-level cultural diplomacy through a comparative case study of three China Culture Year events held in France （2004）, Italy （2010）, and Germany （2012）. These findings are subsequently compared to the China Culture Year in Australia （2012）, thereby allowing the identification of spatial variations. I argue that the Chinese government applies a general approach of organizing the events abroad by making use of local institu- tions. At the same time, through the strategic selection of events, the festivals portray distinct national images that transmit particular narratives of self-presentation to the European audience and take into account country-specific preferences.展开更多
文摘With the development of globalization and gradual intensification of mutual dependence of the world, "hard power" which includes economic and military strength is no longer the primary consideration for many countries. They tend to pay more attention to the attractiveness of their "soft power",which includes values,life style , ideology and so forth. Just as Joseph S. Ny , the famous professor of Harvard who puts forward the concept of soft power, says ,"only by widespread communication and diffusion can a country reinforces its soft power". This is mass media's function. Since the 1990s, tens of thousands cultural products brought in from America are exported to foreign countries, including popular music, films ,TV programs, magazines, books and so forth. By making advantage of its monopoly position in media circle, the United States pursues cultural hegemonism and expands its popular culture all over the world. This thesis takes a general view of the great advantages of America multi-national media groups and how they push forward the American popular culture all over the world.
文摘Since the mid-2000s, the PRC has increasingly focused on pursuing cultural diplomacy abroad to improve its national image and enhance cultural soft power. Although China＇s cultural ＂Charm Offensive＂ has not gone unnoticed, a variety of specific activities have not been subject to research so far. This paper, therefore, attempts to fill this research gap by analyzing Chinese state-level cultural diplomacy through a comparative case study of three China Culture Year events held in France （2004）, Italy （2010）, and Germany （2012）. These findings are subsequently compared to the China Culture Year in Australia （2012）, thereby allowing the identification of spatial variations. I argue that the Chinese government applies a general approach of organizing the events abroad by making use of local institu- tions. At the same time, through the strategic selection of events, the festivals portray distinct national images that transmit particular narratives of self-presentation to the European audience and take into account country-specific preferences.
