cultural diplomacy

Dyplomacja kulturalna ASEAN-u

Author: Agata Domachowska
Year of publication: 2016
Source: Show
Pages: 47-63
DOI Address: https://doi.org/10.15804/kie.2016.03.03
PDF: kie/113/kie11303.pdf

greater security than another submarine

Polskie sztuki teatralne na chińskich scenach - krótkie wprowadzenie

Author: Mao Yinhui
Institution: Guangdong University of Foreign Studies
Author: Maciej Szatkowski
Institution: Uniwersytet Mikołaja Kopernika w Toruniu
ORCID: https://orcid.org/0000-0002-6540-4140
Year of publication: 2021
Source: Show
Pages: 133-143
DOI Address: https://doi.org/10.15804/npw20213006
PDF: npw/30/npw3006.pdf

Polish Theatre on Chinese Stage - a short introduction

In the second decade of the 21st century the number of Polish theater pieces in China increased in comparison with previous years. Polish plays and performances raised a great interest of Polish art among Chinese theatrologists and the theatre circles, forming an excellent reputation for Polish culture in artistic and opinion-making circles. The dynamic and effective promotion of the Polish culture in China depends on the economic and political relations of both of the countries. From the Polish side, the Ministry of Culture and National Heritage, the Adam Mickiewicz Institute (IAM), the Polish Institute in China (part of the Embassy of the Republic of Poland in Beijing) and various Polish theater groups effectively show the initiative to present the best of Polish theater art to Chinese audience. In the recent years Polish theater appears at major theatre festivals in China, books on Polish theater are being published and there are new translations of Polish drama, which proves that only in a few years Polish theater became familiar to Chinese theatregoers.

Public and cultural diplomacy in European cities and states’ branding

Author: Szymon Ostrowski
Institution: Nicolaus Copernicus University in Toruń
ORCID: https://orcid.org/0000-0002-3529-0365
Year of publication: 2022
Source: Show
Pages: 31-43
DOI Address: https://doi.org/10.15804/npw20223202
PDF: npw/32/npw3202.pdf

Public and cultural diplomacy in European cities and states’ branding

Article “Public and cultural diplomacy in cities’ branding” is a try to set ideas of city diplomacy and idea of branding into theory of international relations. Also, analysis of two West-European and two East-European cities is a chance to analyze chances and threats that both states and cities can encounter during a process of brand building. The main questions that article is answering are “Can cities use their resources and connections to make public and cultural diplomacy?” and “What influence on that process has factor of being a city in post-soviet country or former Soviet Satellite state?” It can be said that cities are able to brand and rebrand itself and they are more flexible than states that cannot run away from some aspects of its identity. In case of difference between western and post-soviet states, the difference is none. In research, numerous rankings, articles and analyses were used as a primary sources in order to characterize how different are images of Italy, Germany, Hungary and Ukraine. Also, paper tries to determine, what is relation between states brand and branding of its cities.

Italy’s Cultural Diplomacy: From Propaganda to Cultural Cooperation

Author: Lorenzo Medici
Institution: University of Perugia
ORCID: https://orcid.org/0000-0001-6973-6639
Year of publication: 2019
Source: Show
Pages: 25-46
DOI Address: https://doi.org/10.15804/siip201902
PDF: siip/18/siip1802.pdf

Cultural diplomacy has always been an important tool in Italian foreign policy. Culture represented a significant resource already in the liberal period and was also widely used by Fascism. During the inter-war period, cultural promotion abroad aimed at spreading the regime’s political-social organizational model. In the second post-war period, cultural resources played a fundamental role in Italian international relations. The democratic government carried out a transition from an essentially propagandistic action, which Fascism implemented especially in the second half of 1930’s, to a cultural diplomacy more attentive to the issues of dialogue and cooperation. The soft power of culture grew in importance. Lacking effective diplomatic tools of a political and economic nature, the new ruling class promoted the nation’s cultural tradition. Although with means and personnel widely used already during the Fascist period, democratic Italy adopted an innovative cultural diplomacy with regard to premises and goals. This policy was apparently low-key and devoid of political themes, but in reality it was aimed at acquiring, in the long run, the friendship and the sympathy of the elites of other countries, so as to bolster political and economic relations. In the framework of a broader course of action, aimed at supporting multilateral diplomacy, the new leaders of post-Fascist Italy also promoted an international cultural cooperation which reversed the previous power politics and the unilateral assertion of Italian culture, but was still careful to defend the nation’s interests. This cooperative dimension was realized above all with the participation in the United Nations Educational, Scientific and Cultural Organization (UNESCO).

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