|
美國國會中國軟權力報告
|
瀏覽13,183|回應46|推薦1 |
|
|
5/15開始美國參議院外交關係委員會舉行一系列聽證會,副國務卿Negroponte等人將作證 Biden also announced a series of hearings the Committee plans to hold examining U.S.-China strategic relations and opportunities for advancing shared interests, beginning on Thursday, May 15th with testimony by Deputy Secretary of State John Negroponte and a panel of outside experts. This is a continued effort by the Committee to evaluate ‘smart power’ initiatives and the importance of an integrated approach to 21st century U.S. security challenges. Sen. Biden believes that in order for the United States to advance its interests in the era of globalization, it must increasingly utilize ‘smart power,’ – the non-military tools of U.S. foreign and national security policies – to complement its ‘hard power,’ or military force.
To read the full CRS study on China's rising influence, please click here. 以上謹呈 副市長,市長卓參
|
|
|
http://pewglobal.org/ http://pewglobal.org/2010/06/17/obama-more-popular-abroad-than-at-home/ ..... China AscendantA growing number of people around the globe see China’s economy as the most powerful in the world. Looking at the 20 countries surveyed in each of the last three years, China’s economic star keeps rising. The median number naming China as the world’s leading economy has risen from 20% to 31%. Meanwhile, the percentage naming the U.S. has dropped from 50% to 43%. The publics of the countries surveyed vary in their views of China’s growing economic clout. In the West, opinion is divided in Britain, while majorities in Germany, France and Spain and a plurality in the U.S. see China’s economic strength as a bad thing for their country. The Pakistanis (79%), Indonesians (61%) and Japanese (61%) regard China’s rising economic power as a positive development. Indians and to a lesser extent South Koreans do not. Latin American, Middle Eastern and African publics see their countries benefiting from China’s economic growth. The Turks (18%) overwhelmingly see it the other way. China is clearly the most self-satisfied country in the survey. Nine-in-ten Chinese are happy with the direction of their country (87%), feel good about the current state of their economy (91%) and are optimistic about China’s economic future (87%). Moreover, about three-in-four Chinese (76%) think the U.S. takes into account Chinese interests when it makes foreign policy. ================ Chapter 5. Views of ChinaOverall views of China have remained largely steady in the past year. Currently, majorities or pluralities in 15 of 21 countries outside of China have a positive view of this rising Asian power. In addition, publics in most nations surveyed see China more as a partner than as an enemy. The survey also finds that the Chinese are overwhelmingly positive in their attitudes towards the U.S. Large majorities see an improvement in the relations between the two countries and characterize their interactions as cooperative. However, as most of Europe and the U.S. still face varying degrees of hardship resulting from the economic downturn, China’s accelerated growth continues to generate concerns about its economic power. Publics in most countries also believe that China’s military prowess is a bad thing for their country. Lukewarm Ratings for China in WestAfter a slight improvement in favorability ratings in 2009, views of China have held steady in most countries surveyed. In both the U.S. and Western Europe, fewer than half view China positively. Majorities in Germany (61%) and France (59%) give China an unfavorable rating. Elsewhere in Western Europe, China’s image has worsened in Britain, making it at par with 2008 levels. Spain is the only Western European country surveyed where views of China have improved steadily since 2008. While only 31% of the respondents evaluated China in a positive light in 2008, this number increased to four-in-ten in 2009 and now stands at nearly half (47%). China receives high marks from both African countries surveyed; 86% of Kenyans and three-fourths of Nigerians have a favorable opinion. Russians also remain largely positive towards China (60%), as do majorities in Middle Eastern countries. In Asia, strong majorities view China positively in Pakistan (85%) and Indonesia (58%). Among China’s BRIC (Brazil, Russia, India and China) counterparts, Indians remain the most negative in their views of China. Slightly more than one-third (34%) of Indians view China favorably, a significant decline since 2009, when nearly half (46%) said the same. Few in Japan and South Korea view China in a positive light. Only 38% of South Koreans and slightly more than one-quarter (26%) among the Japanese say that they have a favorable view of China. In fact, among the countries surveyed, Japan is the most likely to view China unfavorably (69%). China as a PartnerWhile majorities in the U.S. and Western Europe consider China neither a partner nor an enemy, large majorities among African countries, as well as sizeable numbers in the three Latin American countries polled, view China as a partner. More than half of the respondents in the U.S. (52%), Spain (53%) and Germany (55%) and roughly seven-in-ten in Britain (71%) and France (70%) see China as neither a partner nor an enemy. Even though only one-quarter of Americans see China as a partner, this reflects a 12-percentage-point increase since 2008, when the question was last asked. Consistent with their positive views of China, strong majorities in both African countries surveyed are likely to see China as a partner, including 84% in Kenya and 75% in Nigeria. Meanwhile, in Latin America, more than four-in-ten Brazilians (45%), Argentines (42%) and Mexicans (42%) hold this view. China is also considered a partner in Pakistan (84%) and Indonesia (54%). Other Asian countries, however, are more wary of China. Indians are the most likely among the countries surveyed to consider China an enemy (44%) and only 32% consider the country a partner. In fact, Indians have become more distrustful of China since 2009, when more than four-in-ten (43%) saw the country as a partner. In South Korea as well, more than one-third consider China an enemy (35%), although a roughly similar proportion do not consider China either an enemy or a partner (38%). While only 32% of the respondents in Japan consider China a partner, this reflects a significant increase since 2009, when less than one-quarter (23%) saw China in this positive role. Among the Middle Eastern countries surveyed, respondents in Jordan are the most likely to consider China a partner (47%). Views of China’s Economic and Military PowerConcerns about China’s economic might are high among publics in the U.S. and Europe. In most of these countries, majorities or pluralities consider China’s growing economy a bad thing for their countries. Respondents in France are the most likely of all the countries surveyed to be concerned about China’s economic prowess (67%). In Britain, the public is divided on this issue, while in Russia, a plurality think China’s growing economy is a good thing for their country (49%). In several developing countries, majorities consider China’s growing economic strength a good thing. Notable exceptions are Turkey (60%) and India (56%), where majorities are concerned about China’s economic might. Majorities or pluralities in every Middle Eastern, African and Latin American country surveyed see China’s growing economy as a good thing for their country. In Asia, Pakistan, Indonesia and Japan are also largely positive about China’s growth, while opinions are divided in South Korea. Concern about China’s growing economy has declined in seven of 21 countries surveyed. In Mexico, nearly half evaluated Chinese economic might as a bad thing for their country in 2008, compared with roughly one-third (34%) now. A similar drop is seen in Jordan, with somewhat smaller declines in Japan, South Korea, the U.S., Argentina and Russia. In some countries, however, there is now greater concern about China’s economic power. For example, a majority of Indians (56%) now say that China’s growing economy is a bad thing for their country and just 34% say it is a good thing. In 2008, opinions were nearly evenly split; 45% of Indians were concerned about China’s economic growth and 42% were not. With few exceptions, the publics in this survey worry about China’s growing military might. Consistent with their overall views of China, Japan and South Korea remain among the most likely to evaluate China’s growing military might as a bad thing for their countries (88% and 86% respectively). The French are also similarly concerned (87%). In India, a nation that fought a brief war with China in the early 1960s, concern about China’s military strength stands at more than six-in-ten (64%). Large majorities in Europe and the U.S. have a negative view about China’s growing military prowess. Yet, publics in a few countries surveyed widely consider China’s military growth a good thing for their countries. Pakistanis, who have benefited from the acquisition of Chinese arms and military technology in the past, are among the most positive: 70% consider China’s growing military might a good thing. Opinions about China’s military strength are also positive in the African countries surveyed. More than six-in-ten among both Kenyans (66%) and Nigerians (64%) think that China’s growing military strength is a good thing for their country. Chinese Say Relations With U.S. Are GoodChinese views of the U.S. are largely positive. Chinese respondents widely believe that relations between the two countries have improved. Chinese respondents are also likely to see the relationship between their country and the U.S. as one of cooperation. More than seven-in-ten (73%) Chinese say that relations with the U.S. have improved in recent years, while only 18% think that relations have not improved. A majority of Chinese also have a positive view of the U.S. (58%). By contrast, fewer than half of Americans have a positive view of China (49%). Further, a wide majority of Chinese (68%) considers the relationship between the two countries as one of cooperation, while only 8% evaluate it as one of hostility.
|
中国经济军事实力增长令美欧担忧
|
|
推薦0 |
|
|
http://www.bbc.co.uk/zhongwen/simp/china/2010/06/100618_china_survey.shtml 美国皮尤研究中心发布最新国际民意调查显示,美国和西欧国家民众普遍对中国的军事和经济实力增长感到担忧。 专业进行民意调查的皮尤研究中心对22个国家的2.4万名民众进行了问卷调查。 调查显示,中国的国际形象在过去一年中并没有出现太大的波动,在除中国之外接受调查的21个国家中,有15个国家的民众对中国大致持积极看法。 其中巴基斯坦和肯尼亚以及尼日利亚三个国家对中国的态度最为积极。 巴基斯坦有85%的民众表示喜欢中国,肯尼亚和尼日利亚民众中认为中国是积极影响力的人分别占86%和76%。 但是在美国和西欧以及日本,对中国持负面观点的人则大幅增加。 对中国态度最为负面的是日本人,对中国印象不好的人占总数的69%;其次是土耳其和德国,分别是61%;另外在法国、韩国以及印度,也分别有50%、56%和52%的人对中国持负面印象。 美国和英国对中国持负面印象的人分别占总数的36%和35%,均低于两国居民中对中国持积极印象的民众比例。 49%的美国人对中国态度积极,在英国这个比例达到46%。 调查显示,非洲和拉美国家民众普遍将中国视为发展伙伴。中国目前正积极向这些国家投资。 在除中国以外的21个受访国家中,15个国家的民众对中国持基本积极态度。 不过美国、西欧国家以及日本则对中国军力和经济实力的增长感到受威胁。
|
|
|
World warming to US under Obama, BBC poll suggests | Views of the US around the world have improved sharply over the past year, a BBC World Service poll suggests. For the first time since the annual poll began in 2005, America's influence in the world is now seen as more positive than negative. The improved scores for the US coincided with Barack Obama becoming president, a BBC correspondent notes. As in 2009, Germany is viewed most favourably while Iran and Pakistan are seen as the most negative influences. Nearly 30,000 people in 28 countries were interviewed for the poll, between November 2009 and February 2010. Fifteen of the countries have been surveyed every year since 2005, allowing long-term trends to be discerned. In these nations - or 14 of them, not including the US itself - positive views of the US fell to a low of 28% on average in 2007, from 38% in 2005, but recovered to 35% in 2009 and 40% in this year's poll. Meanwhile, perceptions of China in the 14 other countries have been declining - falling from 49% on average in 2005, to 34% in 2009 and 2010. "People around the world today view the United States more positively than at any time since the second Iraq war," said Doug Miller, chairman of international polling firm GlobeScan, which carried out the poll with the Program on International Policy Attitudes (Pipa) at the University of Maryland. "While still well below that of countries like Germany and the UK, the global standing of the US is clearly on the rise again." China 'in neutral' Pipa director Steven Kull noted: "After a year, it appears the 'Obama effect' is real. "Its influence on people's views worldwide, though, is to soften the negative aspects of the United States' image, while positive aspects are not yet coming into strong focus." He added: "While China's image is stuck in neutral, America has motored past it in the global soft-power competition." Of the full list of 28 countries surveyed this year, the US is viewed positively in 19 (20 including the US itself), while six lean negative and two are divided. Compared with 2009, positive views of the US jumped 21% in Germany, 18 in Russia, 14 in Portugal and 13 in Chile - though Russia and Germany continued to have a negative view of the US overall. | SEE THE FULL RESULTS
Most computers will open this document automatically, but you may need Adobe Reader |
Meanwhile, negative opinions of the US declined by 23% in Spain, 14 in France and 10 in the UK, with the result that all three lean towards a positive view of the country. In only two of the 28 countries, Turkey and Pakistan, do more than 50% have a negative view of the US. Germany is the most favourably viewed nation (an average of 59% positive), followed by Japan (53%), the United Kingdom (52%), Canada (51%), and France (49%). The European Union is viewed positively by 53%. In contrast, Iran is the least favourably viewed nation (15%), followed by Pakistan (16%), North Korea (17%), Israel (19%) and Russia (30%). The 15 countries included in the poll every year since 2005 are: Australia, Canada, Chile, China, France, Germany, India, Indonesia, Italy, Mexico, the Philippines, Russia, Turkey, the UK and the US. |
|
|
|
張曉剛作品 文革家庭 http://artnews.com/issues/article.asp?art_id=2542¤t=True As works by Chinese artists fetch multimillion-dollar prices, the international art world is waking to the power of the Asian market. China has spawned hundreds of new galleries, 1,600 auction houses, art fairs, and growing numbers of contemporary-art collectors, while accusations surface that some are engaging in widespread speculation. by Barbara Pollack The market for Chinese contemporary art has developed at a feverish pace, becoming the single fastest-growing segment of the international art market. Since 2004, prices for works by Chinese contemporary artists have increased by 2,000 percent or more, with paintings that once sold for under $50,000 now bringing sums above $1 million. Nowhere has this boom been felt more appreciably than in China, where it has spawned massive gallery districts, 1,600 auction houses, and the first generation of Chinese contemporary-art collectors. This craze for Chinese contemporary art has also given rise to a wave of criticism. There are charges that Chinese collectors are using mainland auction houses to boost prices and engage in widespread speculation, just as if they were trading in stocks or real estate. Western collectors are also being accused of speculation, by artists who say they buy works cheap and then sell them for ten times the original prices—and sometimes more. Those who entered this market in the past three years found Chinese contemporary art to be a surefire bet as prices doubled with each sale. Sotheby’s first New York sale of Asian contemporary art, dominated by Chinese artists, brought a total of $13 million in March 2006; the same sale this past March garnered $23 million, and Sotheby’s Hong Kong sale of Chinese contemporary art in April totaled nearly $34 million. Christie’s Hong Kong has had sales of Asian contemporary art since 2004. Its 2005 sales total of $11 million was dwarfed by the $40.7 million total from a single evening sale in May of this year. These figures, impressive as they are, do not begin to convey the astounding success at auction of a handful of Chinese artists: Zhang Xiaogang, Yue Minjun, Cai Guo-Qiang, Liu Xiaodong, and Liu Ye. The leader this year was Zeng Fanzhi, whose Mask Series No. 6 (1996) sold for $9.6 million, a record for Chinese contemporary art, at Christie’s Hong Kong in May. Zhang Xiaogang, who paints large, morose faces reminiscent of family photographs taken during the Cultural Revolution, has seen his record rise from $76,000 in 2003, when his oil paintings first appeared at Christie’s Hong Kong, to $2.3 million in November 2006, to $6.1 million in April of this year. Gunpowder drawings by Cai Guo-Qiang, who was recently given a retrospective at the Guggenheim Museum in New York, sold for well below $500,000 in 2006; a suite of 14 works brought $9.5 million last November. According to the Art Price Index, Chinese artists took 35 of the top 100 prices for living contemporary artists at auction last year, rivaling Jeff Koons, Damien Hirst, and a host of Western artists. “Everybody is looking to the East and to China, and the art market isn’t any different,” says Kevin Ching, CEO of Sotheby’s Asia. “Notwithstanding the subprime crisis in the U.S. or the fact that some of the other financial markets seem jittery, the overall business community still has great faith in China, bolstered by the Olympics and the World Expo in Shanghai in 2010.” There are indications, however, that the international market for Chinese art is beginning to slow. At Sotheby’s Asian contemporary-art sale in March, 20 percent of the lots offered found no buyers, and even works by top record-setters such as Zhang Xiaogang barely made their low estimates. “The market is getting mature, so we can’t sell everything anymore,” says Xiaoming Zhang, Chinese contemporary-art specialist at Sotheby’s New York. “The collectors have become really smart and only concentrate on certain artists, certain periods, certain material.” For their part, Western galleries are eagerly pursuing Chinese artists, many of whom were unknown just a few years ago. Zeng Fanzhi, for example, has been signed by Acquavella Galleries in New York, in a two-year deal that exceeds $20 million, according to a Beijing gallerist close to the negotiations; William Acquavella declined to comment. Zhang Xiaogang and Zhang Huan have joined PaceWildenstein, and Ai Weiwei and Liu Xiaodong showed with Mary Boone last spring. Almost every major New York gallery has recently signed on a Chinese artist: Yan Pei Ming at David Zwirner, Xu Zhen at James Cohan, Huang Yong Ping at Gladstone, Yang Fudong at Marian Goodman, Liu Ye at Sperone Westwater. Their works are entering private and public collections that until now have not shown any particular interest in Asian contemporary art. “The market hasn’t behaved as I anticipated,” says New York dealer Max Protetch, who has been representing artists from China since 1996. “We all anticipated that the Chinese artists would go through the same critical process that happens with art anywhere else in the world. I assumed that some artists would fall by the wayside, which has not been true. They all have become elevated. It seems like an uncritical market.” One of the key artists buoyed by this success is Zeng Fanzhi, who is best known for his “Mask” series. Five years ago his works sold for under $50,000. Today he commands prices on the primary market closer to $1 million, with major collectors Charles Saatchi and Jose Mugrabi among his fans. Now preparing for his first solo show at Acquavella in December, he is considered one of the more serious artists on the Beijing scene because he works alone, without the horde of assistants found in most other artists’ studios in China. Still, his lifestyle is typical of that of his equally successful peers. When asked if he owns a mammoth black Hummer parked outside his studio, he answers, “No, that’s an ugly car. I have a G5 Benz.” This success has blossomed under the watchful eye of the Chinese government. Movies, television, and news organizations are strictly censored, but on the whole, the visual arts are not. Despite sporadic incidents of exhibitions being closed or customs officials seizing artworks, by and large the government has supported the growth of an art market and has not interfered with private activity. In the 798 gallery district in Beijing, a Bauhaus-style former munitions complex that has been transformed into the capital’s hottest art center, with more than 150 galleries, one finds works addressing poverty and other social problems, official corruption, and new sexual mores. The icons of the former China—happy workers and peasants and heroic soldiers raising the red banner—are treated with irony, if at all, by the artists whose works are on view in these galleries, which are private venues generally not under the strict control of the Ministry of Culture. On the eve of the Olympics, however, the government asked one gallery to postpone an exhibition until after the games. Considered unsuitable was “Touch,” a show by Ma Baozhong at the Xin Beijing Gallery of 15 paintings depicting important moments in Chinese history, including one based on a photograph showing Mao Zedong with the Dalai Lama and the Panchen Lama in 1954. The Beijing municipality spent enormous funds to renovate the 798 district before the Olympics, putting in new cobblestone streets and lining its main thoroughfare with cafés. Shanghai, which has benefited less from government support, now boasts at least 100 galleries. Local governments throughout the country are establishing SoHo-style gallery districts to boost tourism. One person who seems confident about the future of the Chinese market is Arne Glimcher, founder and president of PaceWildenstein, who opened a branch of his gallery in Beijing in August. Located in a 22,000-square-foot cement space with soaring ceilings, redesigned at a cost of $20 million by architect Richard Gluckman, the gallery is in the center of the 798 district. “We are committed to the art, and we wanted to open a gallery where our artists are,” says Glimcher. Adding that he normally eschews the “McGallery” trend of setting up satellite spaces around the world, Glimcher insists that it was necessary to establish a branch in Beijing because there is “no local gallery of our caliber” with which Pace could partner. He has, however, recruited Leng Lin, founder of Beijing Commune, another gallery operating in 798, to be his director. Another Western dealer who has taken the China plunge is Arthur Solway, who recently opened a branch of James Cohan in Shanghai. “I started coming to China five years ago, and I was fascinated by the energy,” says Solway, who wanted to introduce gallery artists like Bill Viola, Wim Wenders, and Roxy Paine to Asia but, like Glimcher, could not find a public museum or private gallery that he considered professionally qualified to handle such exhibitions. James Cohan Gallery Shanghai is located on the ground floor of a 1936 Art Deco structure in the French Concession, a particularly picturesque section of the city. The building was once occupied by the military, and red Chinese characters over the front door still exhort, “Let the spirit of Mao Zedong flourish for 10,000 years.” “From 1966 to 1976, during the Cultural Revolution, people had nothing, but now there are spas in Shanghai and people drinking cappuccinos and buying Rolex watches—it’s an amazing phenomenon,” says Solway, who believes it is only a matter of time before these same newly affluent consumers begin to collect contemporary art. Chinese collectors—or the hope that there will be Chinese collectors—are the key draw luring these galleries to Beijing. As recently as two years ago, few could name even a single Chinese collector of contemporary art. It was a truism that the Chinese preferred to spend their money acquiring antiquities and classical works. Since then several well-known mainland collectors have emerged on the scene. Most visible is Guan Yi, the suave, well-dressed heir to a chemical-engineering fortune, who has assembled a museum-quality collection of more than 500 works. A major lender to the Huang Yong Ping retrospective organized by the Walker Art Center in Minneapolis in 2005, he regularly entertains museum trustees from all over the world, who make the pilgrimage to his warehouse on the outskirts of Beijing. Now he is building his own museum. Another noted figure is Zhang Lan, head of the South Beauty chain of Szechuan-style restaurants throughout China; she also has assembled an enviable collection and displays pieces from it in her chic establishments. The film actress Zhang Ziyi is representative of a new class of collectors from the entertainment industry, while Pan Shiyi and Zhang Xin, chairman and CEO of the mammoth SOHO China real estate empire, have commissioned projects for their upscale residential properties. Two collectors who are cheerleaders for the Beijing art scene are Yang Bin, an automobile-franchise mogul, and Zhang Rui, a telecommunications executive who is also the backer of Beijing Art Now Gallery, which took part in Art Basel in June, one of the first Beijing galleries to appear at the fair. These two do more than collect art. They have hosted dinners for potential collectors, organized tours to Art Basel Miami Beach, and brought friends with them to sales in London and New York. Zhang Rui, who owns more than 500 works, has lent art to international exhibitions, most notably the installation Tomorrow, which features four “dead Beatles” mannequins floating facedown, created by artists Sun Yuan and Peng Yu for the 2006 Liverpool Biennial, which rejected it. Zhang is now building an art hotel, featuring specially commissioned works and artist-designed rooms, outside the Workers’ Stadium in the center of Beijing. “I am trying to think of ways of changing my private collection into a public collection,” Zhang explained to ARTnews through a translator. It isn’t financially advantageous to do this in China, as no tax benefits accrue from donations to museums or other nonprofit institutions. Zhang Rui represents the handful of Chinese collectors who are public about their activities and are building noteworthy collections. Far more typical of buying activity in China is the rampant speculation taking place in the mainland auction houses. There are 1,600 registered auctioneers, and their sales attract hundreds of bidders. Chinese buyers are more comfortable with auction houses, which have been in business since 1994, than with galleries, which weren’t licensed to operate by the government until the late 1990s. These auction houses run by their own rules, generating what sometimes seems like a “wild, wild East” atmosphere. It is, for example, fairly common for a house to get consignments directly from artists, who then use the sales to establish prices for their works on the primary market. More often, now that China has hundreds of galleries, dealers come to a sale with buyers in tow, publicly bidding up works to establish “record prices” and advertise their artists. This kind of bidding ring would be considered illegal in the United States, but in China it is viewed as a savvy business practice. There is little regulation of auction houses and few developed legal norms in the field, so that even when buyers have grievances—with fakes and forgeries, for example—they do not feel they can resort to the law. Bidding is a social as well as a business activity, and buyers are happy to flaunt their status by paying record prices or quickly flipping artworks, not only for profit but so they can boast of their short-term gains. As the domestic market for contemporary art matures, however, many of these practices are coming into question. “Two years ago it was more necessary for me to bring my artists to auction,” says Fang Fang, owner of Star Gallery in Beijing, which specializes in young emerging artists such as Chen Ke and Gao Yu. “Now that the gallery market has increased, I find it is better to keep my artists out of the auction rooms, and there is much less reason to sell there.” Two mainland firms, Beijing Poly International Auction Company, and China Guardian Auctions Company, dominate the field of contemporary Chinese art. Their combined 2007 total of more than $200 million in sales represented nearly two-thirds of all auction sales in this category in mainland China for the year. Last spring Guardian achieved $142 million in sales of classical artworks, furniture, ceramics, silver, and coins, and $40 million in sales of contemporary material. The latter figure included the $8.2 million fetched by Liu Xiaodong’s Hotbed No. 1, a record for a painting sold on the mainland. In a similar range of sales last spring, Poly sold $130 million worth of works, including $27 million in a single evening contemporary-art sale. (These figures represent a slight decline for the year because both houses held benefit sales for Szechuan earthquake victims, raising more than $20 million to support relief efforts.) Poly and Guardian reflect two vastly different perspectives on the domestic market in Chinese contemporary art. Guardian is the oldest and most respected auction house in China, founded in 1993 by Wang Yannan, daughter of Zhao Ziyang, the former Communist Party leader who was placed under house arrest after opposing the government’s use of force against demonstrators at Tiananmen Square in 1989. If Poly is known for its vast resources and willingness to make deals to nab consignments, Guardian is known for its respected specialists and long-term client relationships. For example, when the Museum of Fine Arts, Boston, decided to sell 20 pieces of Qing dynasty porcelain in mainland China, it consigned the collection to Guardian. The atmosphere of a sale at Poly or Guardian is surprisingly similar to that in the salerooms of Christie’s or Sotheby’s. The catalogues are identical in design, and the bidding proceeds in an orderly, even sedate, fashion, despite the crowds of spectators in the room. “From our beginning, we studied what the principles of an auction house should be, and we stick to these principles,” says Guardian president Wang. She also serves on the board of the new nationwide auctioneers’ association, which hopes to enforce regulations on the auction market. Poly is an enterprise within the China Poly Group Corporation, a $30 billion conglomerate that is the privatized branch of the People’s Liberation Army. Established initially to repatriate artworks and antiquities, Poly has spent $100 million buying objects such as the bronze animal heads from a water-clock fountain that were looted from Beijing’s Summer Palace by British and French troops in 1860; the pieces later turned up in the West. The repatriated objects are showcased in the Poly Art Museum in the sparkling New Beijing Poly Plaza, a glass-enclosed tower designed by Skidmore, Owings & Merrill. The more freewheeling Poly is known for practices such as putting up for auction works from its own collection or having consignors guarantee that they will bring buyers to the sale to meet low estimates. Still, even here there are signs that the market is maturing and has become too expensive for casual speculators. “These collectors that you are talking about are actually quite small collectors,” explains Zhao Xu, senior consultant at Poly. “They bought for several years at very affordable prices, but now that prices are skyrocketing, the only way they can afford to buy is to sell. The collectors that I know already come from a high social status, and they can afford to buy pieces worth $1 million or $2 million and are looking for the best works, the masterpieces, to add to their collections.” When asked if Poly follows the rules of the Western auction houses, Zhao sharply retorts, “Sometimes even Sotheby’s doesn’t follow the rules.” Or as Gong Jisui, an art-market specialist who is a professor at the Central Academy of Fine Arts in Beijing, says, “The Chinese learned this game of speculation from the Westerners who played it first.” The incident to which both men are referring is the sale of the Estella Collection at Sotheby’s Hong Kong on April 9 of this year. The event reaped $18 million for 108 works. (An additional 80 works will be up for sale this month at Sotheby’s New York.) The collection was put together from 2003 to 2006 by New York dealer Michael Goedhuis for a group of investors that included Sacha Lainovic, a director of Weight Watchers International, and Raymond Debbane, CEO of the Invus Group, a private equity firm. Last year the collection of approximately 200 works was sold to William Acquavella, who consigned it to Sotheby’s. Auction house officials will not discuss financial details, but Sotheby’s had a stake in the collection. After the sale it was widely reported that many of the artists were angered by the auction because, they said, they had sold their works to Goedhuis at discount prices in exchange for promises that the collection would remain together for public display. “The idea was to keep the collection intact and to see it safely into some institution,” says Goedhuis, who denies that any promises were made. “The ideal situation was to see it with an institution in China, because there is no such collection.” The collection was published in a book, China Onward, with an essay by leading China expert Britta Erickson, and it was exhibited at the Louisiana Museum of Modern Art in Denmark and the Israel Museum in Jerusalem shortly before the sale. According to Goedhuis, because of the rapid rise in prices, the investors chose to sell the collection with hopes that it would not be broken up. “Since the museums in China aren’t mature enough nor are they rich enough to do an acquisition like this, my hope was that Steve Wynn would do so for his sophisticated casino complex in Macao,” Goedhuis says. He turned to Acquavella because, he says, he believed the dealer would bring the collection to Wynn; Acquavella paid a reported $25 million. Acquavella director Michael Findlay laughs at the suggestion that there was any indication that the collection would go to Wynn. “I think this whole thing is surrounded by so much rumor and speculation,” he says. “We bought a group of paintings, and we sold a group of paintings, and that’s the whole story.” According to Maarten ten Holder, Sotheby’s managing director for North and South America, the firm received inquiries before the sale from several artists in the collection, wondering why the works were to be auctioned. There is disagreement about whether Goedhuis made firm promises to keep the collection together or merely made a sales pitch to artists that inclusion in the collection would enhance their reputations. Yue Minjun, who had two works in the sale, says no promises were made. And Goedhuis bought Zeng Fanzhi’s Chairman Mao with Us from Hanart T Z Gallery in 2005 for the asking price, $30,000, no discount given. It sold for $1.18 million. “You have to understand that there was no market for this work when I was buying,” says Howard Farber, whose collection brought $20 million at Phillips de Pury & Company in London last October. Farber assembled 100 choice works by assiduously visiting artists’ studios in Beijing in the late 1980s, accompanied by the Beijing-based critic Karen Smith, a leading author and curator in this field. A work for which he paid $25,000 in 1996, Wang Guangyi’s Great Criticism: Coca-Cola, was sold at Phillips de Pury for $1.6 million. The buyer was Farber’s son-in-law, Larry Warsh, who bid on several works at the sale, according to newspaper accounts. “I really didn’t actually know I was going to buy the Wang Guangyi until that moment,” says Warsh. “Howard has his collection, and it’s not my collection, and there were many pieces I wanted from that collection that I would have wanted to buy but couldn’t afford.” Many Beijing artists had agreements with Warsh to produce work for his collection and his art advisory business, which began in 2004, inspired by Farber’s example in the field. “I was enamored by China, and then I was enamored by the art of China as I learned about important artists,” says Warsh. “But what really hit me first was how the pricing did not make sense to me at all—everything was out of whack.” Warsh, who amassed a collection of works by Jean-Michel Basquiat, Keith Haring, and Kenny Scharf in the late 1980s, was the publisher of the now-defunct Museums Magazine, which he sold to LTB Media in 2004. He stated at one point that his collection totaled more than 1,200 works; now, he says, he owns approximately 400 paintings and photographs. Part of his collection is managed by his new business venture, AW Asia, which has a gallery in Chelsea and intends to assemble collections of Chinese contemporary art for museums and major private collectors. The Museum of Modern Art in New York recently acquired 23 photographs from AW Asia. With Farber and Warsh circulating in Beijing for a variety of purposes, it was easy for Chinese artists to become confused about who was buying for whom and for what purpose. In recent interviews, several artists—most notably Zhang Xiaogang, who had an agreement with Warsh—pointed to him as an example of a speculator. Warsh replies, “While some artists are not so pleased with their decision to have sold quantities of artwork at what was then their current values not so long ago, there are many artists who are not resentful and actually pleased that someone has taken an interest in their work.” New York dealer Jack Tilton, who has worked with Chinese artists since 1999, says, “All of these artists are hoping that their work finds good homes rather than getting churned in the commercial market. But they have also played a part in this market, embracing capitalism more than we have, in funny ways. They are not naive about any of this stuff.” When asked about the artists’ reactions to the sale of his collection, Farber was flabbergasted: “So what? Now I am the bad guy. That pisses me off!” A number of major collectors of Chinese contemporary art who have been in the field for some time are holding on to their collections. Uli Sigg, Swiss ambassador to China, Mongolia, and North Korea from 1995 to 1998, has built a collection of key works that he has toured in the exhibition “Mahjong” to museums throughout Europe and, most recently, the University of California’s Berkeley Art Museum (September 10–January 4). Belgian collectors Guy and Myriam Ullens have used their resources to establish the first nonprofit contemporary-art center in Beijing, where they are currently exhibiting their historic collection. So far, collector Charles Saatchi has been hanging on to his purchases in preparation for opening his new gallery in London on the 9th of next month with a show of Chinese contemporary art; he has also launched a Chinese-language Web site on which mainland artists can post their works. In comparison with Western buying, mainland Chinese participation pales. Though there are many rumors about the power of the new Chinese buyers, their presence has not been felt in the major auction houses, where most of the records are being set. “Hong Kong right now covers the global buyers, especially those from across Asia,” says Eric Chang, Christie’s international director of Asian contemporary art. “I am not really seeing mainland Chinese buyers—less than 10 percent—a drop from around 12 percent.” Dealers in China also have seen few mainland collectors among their regular clients. “I don’t know yet about collectors,” says New York dealer Christophe Mao of Chambers Fine Art, which recently opened a branch in Beijing. Despite the current shortage of mainland art collectors, China is emerging as a major art center, having become a hub for buyers from South Korea, Taiwan, Singapore, Indonesia, and Southeast Asia, and for overseas Chinese from all over the world. Reflecting this diversity is the wide range of foreign dealers among the 300 galleries in Beijing, including Continua from Italy, Urs Meile from Switzerland, Arario and PKM from South Korea, Beijing Tokyo Art Projects from Japan, and Tang from Indonesia. “In Beijing it’s getting increasingly difficult to talk about the Chinese market as a separate entity from the broader Asian art market or the international art market,” says Meg Maggio, an American who came to China in 1988 and ran one of the first galleries in the country, CourtYard, in Beijing, from 1998 to 2006. Now she has her own gallery, Pékin Fine Arts, where she represents an international stable of artists. ”How do you describe the market for a Korean artist showing in China or a Chinese artist living in New York?” she asks, noting that her business can come from South Korean collectors visiting Beijing or European companies doing business in China. One factor in China’s development as a center for contemporary art is the proliferation of art fairs. Beijing has two, the China International Gallery Exposition and Art Beijing; Shanghai has the newly created ShContemporary, now in its second year; and Hong Kong just launched ART HK. CIGE director Wang Yihan says her fair attracted 40,000 visitors this year, while the more high-toned ShContemporary brought in 25,000 and ART HK 08 had 19,000. These numbers may seem small in comparison with the 60,000 who crowd Art Basel, but dealers believe that the fairs in Asia are worthwhile because they attract new buyers and make Asian collectors feel more comfortable about acquiring art from galleries. “Anywhere else, a fair is just a fair,” says Lorenz Helbling of ShanghART, one of the oldest galleries in China and a participant in Art Basel. “But in Shanghai a fair feels like so much more because only there can it make an impact on several million people.” He is referring not only to attendance but to the intensive publicity and official recognition given to ShContemporary in its inaugural year. Just a few years ago it would have been impossible to try to sell contemporary art to Asian buyers, let alone mainland Chinese collectors, in the public forum of an art fair. Now, with the astounding success of Chinese contemporary art, collectors from across the region—and more than a few from the United States and Europe—are targeting China as a destination. According to Nick Simunovic, who has opened an office and showroom for Gagosian Gallery in Hong Kong, it is only a matter of time before these regional buyers turn their attention to Western contemporary art. “My sense is that wherever you have tremendous wealth creation, the collecting cycle goes through three phases,” he says. “First, people collect their cultural patrimony, and then they collect their own contemporary art. I think the final stage is when they gain a more globalized contemporary-art approach.” Gagosian first considered opening an office in Shanghai but encountered obstacles to doing business on the mainland. The most formidable of these is a 34 percent luxury tax on art, which foreign galleries that participated in ShContemporary found difficult to avoid. Hong Kong, by comparison, is a duty-free zone. And Simunovic found that even Jeff Koons was a tough sell in Shanghai, whereas Hong Kong offers more possibilities for Western contemporary art. Just a year ago Hong Kong billionaire Joseph Lau paid $72 million for Andy Warhol’s Green Car Crash (Green Burning Car I). In May Christie’s brought a Warhol portrait of Mao, valued at $120 million and for sale privately, for viewing in Hong Kong. (At press time it had not yet been sold.) “Sure, China is hot, but that’s just the peak of the iceberg,” says Lorenzo Rudolf, former director of Art Basel and cofounder of ShContemporary. “This is not just about a group of Chinese painters. It’s about a growing market going on in this continent.” With the sheer abundance of galleries, auction houses, and art fairs in China, the larger art world is recognizing the power of the Asian market. Standing in an auction house in New York or London watching paintings by Chinese artists sell for millions, one can grouse about this boom and hint that it will turn out to be a bubble. But strolling in a bustling gallery district in Beijing, with students and tourists crowding the cafés and boutiques and filling the huge art showrooms, few would predict a downturn in the near future. Barbara Pollack is a contributing editor of ARTnews.
本文於 修改第 1 次
|
|
|
|
by Yasushi Watanabe, Professor, Graduate School of Media & Governance, Keio University
In March this year I had the opportunity to serve as a panelist in a public symposium at Harvard University, “Soft Power and Public Diplomacy,” cosponsored by the Japan Foundation Center for Global Partnership, the Social Science Research Council, and Harvard’s Reischauer Institute of Japanese Studies.1 I was impressed by the fact that although it was a weekday evening there was a standing-room-only audience in the 150-seat auditorium. Professor Joseph S. Nye, Jr., of Harvard, who coined the term “soft power,” was surprised at the turnout, remarking that it was highly unusual these days to see such a crowd at a symposium on Japan-U.S. relations. An indication of the rising interest in the subject of soft power can be seen in the fact that when I ran an English-language Google search of the term around the time of the symposium I found some 42 million hits (a Japanese-language search revealed about 60,000 hits). This compares with about 60,000 English-language hits and 3,000 Japanese-language hits a year earlier. At the time of writing (August 2006), there are about 94 million English-language hits and 130,000 Japanese-language hits. Because Google tweaks its algorithm from time to time, one cannot make a simple comparison, but it is clear that there has been an amazing increase. The significance of soft power It is well known that soft power refers to a country’s ability to obtain the outcomes it wants not through coercion or rewards but through its attractiveness—specifically, the attractiveness of its culture, political values, and policies. This concept underlies the philosophy of the ancient Chinese strategist Sun Tzu’s adage “It is best to win without fighting.” It is regarded as another form of power, one that cannot be disregarded in the context of international politics, which tends to be discussed solely in terms of hard power (military and economic power). According to Nye, to disparage soft power threatens the legitimacy of the exercise of hard power, raising the costs of the accomplishment of policy objectives. A good example is Turkey ’s refusal, out of concern for domestic anti-American sentiment, to permit U.S. forces to make use of bases in Turkey , which significantly limited U.S. forces’ options for its 2003 Iraq invasion. What interests me most about the concept of soft power is the similarity of the thinking behind it to the thinking behind the concept of social capital that has been attracting so much attention in recent years. Social capital, a concept developed by Nye’s colleague Robert Putnam, refers to the characteristics that support social institutions in fundamental ways by encouraging cooperative behavior—trust, norms, networks, and so on. An important point in Putnam’s argument is his identification of such cooperative behavior as “capital” because it enhances the operational efficiency of institutions and society. Articulating the dynamics of foreign policy and society—traditionally treated as peripheral or second-order issues because they are hard to quantify, even though everyone acknowledges their importance—in terms of soft power (Nye) and social capital (Putnam) and thus placing them on the platform of debate is a major achievement. It is interesting that although Nye and Putnam, two of America ’s leading political scientists, specialize in different fields—foreign policy (international relations) and society (civil society), respectively—they have similar viewpoints. American political science gives the impression of being totally dominated these days by rational-choice theory making maximal use of mathematical models, and one is often disillusioned by its superficial understanding of humanity. On the other hand, the emergence of arguments like those of Nye and Putnam impresses one with the depth of American political science. Evaluation of the concept of soft power must be grounded in this intellectual context. Misunderstandings of soft power In a recent article Kazuo Ogoura, president of the Japan Foundation, writes, “Confusion over the concept of soft power has arisen because it has been somewhat distorted, misused, and in extreme cases abused.”2 Here I would like to advance a number of points I have noticed in this connection. First, the main point of soft power is that it lowers the costs (what systems theory calls transaction costs) of accomplishing policy objectives; it is not just about the promotion of “soft content” industries. Perhaps because of the use of the term “attractiveness” in discussing soft power, or perhaps because of a kind of snobbism, there seems to be a tendency to call anything “attractive” soft power. Attractiveness enriches life, but attractiveness on its own is not soft power. More precisely, attractiveness can be a source of soft power, but whether it can become soft power depends on the policy objective itself, of course, and also policy aims and context and the methods employed. Moreover, naturally enough, in gauging how attractive a source is there is a perception gap between the sender and the receiver, or within each. One must not conflate source and soft power. The matter is more complex. For example, when Japanese people hear the term “Self-Defense Forces,” they tend to think of immediately of an entity that wields hard power. But depending on how and why the SDF are mobilized, and in what context, they can also be the source of soft power. Consider, too, Prime Minister Jun’ichirô Koizumi’s visits to Yasukuni Shrine, which honors Japan’s war dead (including a number of men convicted as class-A war criminals after World War II), much criticized both within and outside Japan. It cannot be denied that to some conservatives, at least, “Yasukuni is soft power.”3 Of course, depending on developments in domestic politics and the international situation, Japanese public opinion as a whole may come to endorse this view; alternatively, Yasukuni may cease even to be a source of soft power. To tell the truth, one thing that makes me uncomfortable with Nye’s articulation of soft power is that he himself disregards or oversimplifies this complexity, or at least gives the impression of doing so. For example, he names Japan ’s low birthrate and aging population structure and its poor English-language skills as constraints on its soft power. Whether these are constraints, though, depends on Japan ’s view of the ideal nation and society and the policy objectives for achieving that ideal; they cannot be itemized so simply. I think the criticism that Nye’s argument puts too much emphasis on America ’s national interest—especially what liberals consider national interest—springs from this. Still, this is a matter of the way Nye discusses soft power; it does not devalue the idea of soft power itself. We must also understand that behind Nye’s strident advocacy of soft power lies concern over the Bush administration’s (especially the neoconservatives’) foreign policy, which seems to rely on hard power alone, and over America’s isolation in the world—that which al Qaeda most desires. Nye is an authority on nuclear deterrence, and it is well known that as assistant secretary of defense for international security in the Clinton administration he played a central role in redefining the Japan-U.S. security relationship. Perhaps for this reason, many critics assert that for all the talk of soft power, in the end America relies on hard power, and that soft power merely camouflages the intent of great powers (especially America ) to make use of hard power. Leaving aside conspiracy theorists who see a sinister plot behind every U.S. action, Nye has responded to critics as follows: “The Soviet Union once had a good deal of soft power, but it lost much of it after the invasions of Hungary and Czechoslovakia. Soviet soft power declined even as its hard economic and military resources continued to grow. Because of its brutal policies, the Soviet Union ’s hard power actually undercut its soft power.”4 He also points to Norway and Canada as examples of countries that exercise greater political influence than their military and economic power would suggest: Norway for its conflict mediation and Canada for its stance of international cooperation, which distances it from the United States . Another criticism of soft power is that it is “too soft.” In other words, its efficacy is hard to measure and evaluate. But although soft power is difficult to quantify, the concept of soft power is significant precisely because the dynamics of international politics are articulated in terms of power. This criticism seems to me to put the cart before the horse. In the field of international relations, power is seen as the skills and endowments for bringing about the outcomes a country desires. But whether it be military power or economic power, the more rigorously one thinks about power, the harder it is to measure and evaluate. Here, too, sources and power must not be conflated; even if sources can be quantified, it does not necessarily follow that the sum of sources and the sum of power will be proportionate. When it comes to soft power, a crime committed by a single American soldier in Japan can abruptly undo all the goodwill for America built up until then. To give another example, an overheated “ Korea boom” in Japan can evoke in some people a nationalistic anti-Korean sentiment prompted by a kind of cultural defensiveness. Measurement and evaluation are a thorny business, but that does not mean that the concept of soft power is pointless or unnecessary. The application of soft power Nye discusses the application of soft power in the context of public diplomacy (public relations and cultural diplomacy). He divides public diplomacy into three dimensions: “daily communications” (the explanation of policy decisions), “strategic communication” (“symbolic events and communications” focused on strategic themes), and long-term cultural exchange (citizen and intellectual exchange).5 This classification follows the U.S. Department of State’s public diplomacy categories. Nye also states that government cannot manage soft power to the same extent as hard power; pointing out the strong influence of such actors as civil society organizations, businesses, universities, foundations, religious organizations, ethinic groups, and international organizations, he maintains that government needs to take their influence into consideration and, when necessary, collaborate with them. It cannot be denied that underlying this consideration and collaboration is national interest, which is one reason that Nye’s concept of soft power is sometimes criticized for placing the state too much at the center of things. Nye’s idea of national interest is far from narrow, however. At the symposium he used the term “meta–soft power” in the context of the state’s capacity and introspective ability to criticize itself, saying that this most fundamentally defines a country’s attractiveness, legitimacy, and reliability. If we take this viewpoint, excluding themes, opinions, or participants critical of a nation’s policies from publicly funded cultural exchange activities on the grounds that such activities use “taxpayers’ money” can go against the national interest. Especially in today’s information-rich and highly networked society, such narrow-mindedness will immediately be known worldwide. At the symposium Nye also declared that soft power is not a zero-sum game. In other words, through cooperation one’s own country and other countries (or other actors) can together enhance their soft power. This also sounded to me like a warning against the “power game” view of national interest predicated on war. Nye’s point is extremely important today, when national interest exists in a context of various “publics” or “public interests,” including not only relations between states but also everything from civil society to regional alliances and global society. In Japan these days, we hear calls for strengthening soft power and nationwide solidarity so as not to “lose out” to hypothetical enemy and competitor states, but I would not like to see us lapse into a zero-sum-game way of thinking. A “cool Japan” burdened with a weird sort of nationalism or a narrowly defined national interest will simply turn off people around the world. Unquestionably, the Japan Foundation is an organization involved with soft power rather than hard power. As an independent administrative institution, it is also most definitely an organization representing Japan’s national interest. I hope and trust that this will never be a narrowly defined national interest. [NOTES] 1. For a discussion of the symposium (in Japanese), see Wochi Kochi 11 (June-July 2006), pp. 53–59. 2. Kazuo Ogoura, " Sofuto pawâ ron no shikaku," Wochi Kochi 11 (June-July 2006), pp. 60–65; translated under the title of "The Limits of Soft Power," Japan Echo vol. 33, no. 5 (October 2006), pp. 48–50. 3. These are the words of Hiroshi Yuasa, an editorial writer with the Sankei Shimbun newspaper. 4. Joseph S. Nye, Jr., Soft Power: The Means to Success in World Politics (New York: Public Affairs, 2004), p. 9. [AUTHOR PROFILE] Yasushi Watanabe has a Ph.D. in cultural anthropology from Harvard University. He has been a visiting fellow at the universities of Oxford and Cambridge and is now a professor at Keiô University. His special fields are cultural anthropology, cultural policy, and American studies. In 2002 he was an Abe Fellow. His works include Afutâ Amerika [After America], winner of the Suntory Prize for Social Sciences and Humanities and the Hiroshi Shimizu Award of the Japanese Association of American Studies. 5. Nye, Soft Power, pp. 107–9.
This article was translated from “Sofuto pawa ron saiho,” Wochi Kochi, (a quarterly journal by the Japan Foundation,) October/November 2006, pp. 64-68. |
|
NYT: Another Chinese Export Is All the Rage: China's Language
|
回應給:
lukacs(lukacs)
|
推薦1 |
|
|
January 11, 2006 NYT Another Chinese Export Is All the Rage: China's Language SHANGHAI, Jan. 10 - Conquering the world is not supposed to be easy, but that's exactly how things must look some days to Xu Lin, head of the government's new effort to promote the Chinese language overseas. Ms. Xu is creating a global network of Chinese cultural centers, called Confucius Institutes, to teach foreigners throughout the world a language with a forbidding reputation for difficulty. But far from having to round people up, Ms. Xu is finding they are beating down her door. "There is a China frenzy around the world at the moment," she said. "The launch of this program is in response to the Chinese language craze, especially in neighboring countries." For decades, people in those countries have viewed China with deep suspicion. But now mastering Chinese as a door to lucrative business opportunities, or simply as a matter of popular fashion, is suddenly all the vogue - not only there but in the United States and Europe as well. Just as new, though, is the decision of the Chinese government to ride the wave, not just capitalizing on the newfound chic that surrounds the language but also determined to perpetuate it as a way of extending Chinese international influence and good will toward the country. For some, the choice of a slightly fusty name like Confucius Institute, which evokes images of anything but a rising new power, might seem odd given Beijing's increasing penchant for high-tech imagery and slick public relations. Yet the carefully selected label speaks volumes about the country's soft power ambitions. Among other things, using the name of the country's oldest and most famous philosopher avoids reference to the official ideology, which remains Marxism. Confucius, who was an educator and quasi-religious figure, also stands for peace and harmony, values that China insistently proclaims today, hoping to disarm fears about its rapid rise. Judging by the reactions of its long-wary neighbors, the effort appears to be paying off. Indonesia, which for three decades banned the teaching of Chinese because of Beijing's support for Communist rebels, recently lifted the prohibition. Vietnam, which has long had strained ties with Beijing, has accepted a Confucius Institute amid a boom in Chinese language instruction. In South Korea, an American ally that fought alongside the United States in a war against China's troops a half century ago, Chinese has reportedly outstripped English as the most popular foreign language among students. "Chinese is as popular in Korea today as English is in China," Ms. Xu said enthusiastically. Although Chinese language studies may be most advanced in neighboring countries, where the ability to understand the Mandarin dialect has traditionally been considered a mark of cultivation, they are making huge strides farther afield. Eleven Confucius Institutes are up and running, in Europe and Africa as well as Asia. One center is already operating in the United States, at the University of Maryland, and five others are expected to open soon in Honolulu, Kansas City, Mo., San Francisco, Chicago and New York. Twelve more are under discussion. Even before that first center opened, the College Board, the body that administers advanced placement exams, added Chinese to its list of foreign language tests, the first time an East Asian language has been included in its testing. In a 2003 survey of American high schools, the College Board found that 50 said they would like to add advanced placement courses in Russian, about 175 said Japanese and 240 said Italian - and 2,400 said they would prefer Chinese. "We had no idea there was such an incredible interest out there," Tom Matts, a College Board official, told CNN. Ms. Xu said that "education officials from several states, actually several dozen states, have sent us requests" to help them establish Chinese language programs. In many respects, China's Confucius Institutes seem like a throwback to the 1950's and 1960's, when the United States, the Soviet Union and leading European countries were competing intensely for international prestige and influence. Moscow distributed magazines like Soviet Life through its embassies, and others promoted their languages through cultural organizations like the Alliance Française, the Goethe Institute and the Cervantes Institute. As China becomes a major economic and military power and its diplomacy becomes more assertive, Beijing is also working harder at winning friends and influencing people. Indeed, taken together with China's recent launches of manned space flights, and the huge push to build world-class universities and to produce prize-winning scientific research, some have called the language initiative part of this country's "Sputnik moment," after the first artificial satellite, launched by the Soviet Union in 1957. But where Sputnik fed a sense of alarm in the United States and elsewhere about the rise of an aggressive new superpower, the Confucius Institutes are intended to do almost the opposite, elevating the country's prestige while easing anxieties over the arrival of a new power. "They are using Chinese culture to create a warmer, more positive image of Chinese society," said Nancy Jervis, vice president of the China Institute, a nonprofit Chinese-language study group that will be home to a Confucius Institute in New York City. "That's probably why the State Council has funded them, and why they've given a fair amount of money in turn to the College Board." China's re-entry into the contest for global influence reflects the broader strategy of a nation that is still poor by many measures but is moving fast and making a big impression. The approach often involves advancing with frugal means through lots of hustle and word of mouth. "The British Council spends over 3 billion pounds a year," or more than $5 billion, Ms. Xu said, adding that China is spending only about $12 million on the Confucius Institutes. Instead of building expensive new headquarters in each city, the institutes team up with local partners, taking space in their buildings or getting foreign governments to pay for their housing. Instead of sending teachers who will instruct foreigners directly, the institute sends teacher trainers who can help upgrade the skills of local Chinese teachers. "The vision for this sort of thing has existed in China for a very long time," said Wu Yongyi, deputy dean of the International College of Chinese Studies at East China Normal University in Shanghai, who has been involved in overseas language instruction missions since the 1980's. Mr. Wu said China worked hard to promote its language among third world nations from the 1960's to the 80's, when he got his start teaching in Africa and elsewhere overseas. Today, about 90,000 foreign students come to China every year to study the language, he said, with 30 million more people around the world studying Chinese. "After China's economic reforms started, we discovered we had an urgent need for communication, and we found that it's not enough that we learned foreign languages," he said. "Communications could be better if other people could speak Chinese. We need two-way communications, and now that our economy is strong, we can support this."
|
|
|
Can culture be China's next export?http://english.peopledaily.com.cn/200612/29/print20061229_336975.html As China's economy has continued its double-digit growth, entrepreneurs are beginning to ask if the country's rich cultural heritage backed by 5,000 years of history would be translated into products of universal appeal? The aspiration was reinforced by the growing popularity of Chinese language studies, award-wining Chinese movies, artists rising to international acclaim and closer exchanges with cultural circles abroad. The government has embarked on a massive drive to popularize the language. China has announced plans to set up 100 Confucius Institutes around the world to help foreigners learn the official language, Mandarin, and Chinese culture. To those who admire Chinese culture, a firm grasp of the language is the key to its understanding. The Ministry of Education says 40 million people are learning Chinese the world over, but predicts the figure will hit 100 million by 2010. In China alone, the number of foreigners studying Mandarin has grown from 36,000 ten years ago to 110,000 this year. With cultural glamor and language popularity, a nation can gain prestige and consolidate its position as a global player, says Xu Lin, head of the National Office for Teaching Chinese as a Foreign Language. TOYS, GARMENTS MORE POPULAR THAN BOOKS However, the reality of China's cultural influence is far from being prestigious. Experts say the popularity of Mandarin is largely driven by economic profit rather than the appeal of culture itself. The country's heavy deficit in cultural trade demonstrates the real situation. As the world's largest publisher of books, magazines and newspapers, China has failed to make its publications as popular as its toys, garments and electronic products. Each year, China imports foreign publications worth of hundreds of millions of dollars. But its exports are scarce. Most of its books were bought by publishers from Southeast Asian countries and Hong Kong, Macao and Taiwan. No obvious presence was seen in the Western market. Books exported are often on traditional Chinese culture, such as qigong and Chinese herbal medicine. "The presence of books on contemporary Chinese society and culture is still rare," says Wei Yushan, deputy director of the China Publishing Sciences Institute. Even in Asia, where Chinese culture has had a historic influence on many countries, the cultural role is overshadowed by Japan and the Republic of Korea, who have risen as the pop-culture trend-setters. Japan and South Korea's cultural industries account for 13 percent of the international culture market, while China and all the other Asian countries make up just six percent, according to the Ministry of Culture. A national project to popularize books of China was launched in 2004 with subsidies from the government to local publishers who translated Chinese works into foreign languages. The government's efforts have helped reduce the copyright deficit to 1:8.6 in 2004 from 1:15 in 2003, according to the General Administration of Press and Publication. The potential was glimpsed last year when Penguin Books set a Chinese record with its purchase for 100,000 U.S. dollars of the worldwide English rights for Jiang Rong's literary bestseller, "The Wolf Totem." MOVIES WIN ACCLAIM This year also saw a feast of films as China's movie industry grew rapidly. The number of Chinese films produced in 2006 is expected to reach a record 330. Three big-budget films by award-winning directors, all martial arts epics -- Chen Kaige's The Promise, Feng Xiaogang's The Banquet and Zhang Yimou's Curse of the Golden Flower -- all captured public attention. In September, director Jia Zhangke took home this year's Gold Lion award for best movie with Still Life from the 63rd Venice Film Festival. Another winner, Zhang Yuan scooped an award at the Berlin International Film Festival 2006 for his movie Little Red Flowers. Later director Zhang Jiarui won the Best Film award at the 30th Cairo International Film Festival for The Road. Low-budget movies, such as Ning Hao's black comedy Crazy Stone and Chen Daming's One Foot off the Ground, also won critical and box office success. Experts say Chinese movies have begun breaking away from the traditional planning mechanism and made an increasingly powerful punch on the international stage. Commercial films also helped the Chinese box office break free from 10 years in the doldrums. Before 2003, home-made movie box office takings sat on a constant one billion yuan (128 million U.S. dollars). In 2004, Chinese films pulled in 1.5 billion yuan (192 million U.S. dollars), rising to two billion yuan (256 million U.S. dollars) in 2005 with 1.6 billion yuan (205 million U.S. dollars) coming from overseas. This year, with eight Chinese films boasting budgets exceeding 100 million yuan (12.8 million U.S. dollars), takings are expected to hit a record 2.6 billion yuan (333 million U.S. dollars). However, experts warn that despite the seeming "prosperity" of China's movie industry, the films themselves remain outside the mainstream theaters of the Western market. From 2000 to 2004, China imported 4,332 film and TV products, but very few Chinese movies were sold abroad. Zhang Yu, general manager of China Arts and Entertainment Group, said China is not sophisticated in developing and marketing its cultural products. "The market share of Chinese cultural products in the United States is close to zero," he said. "Most exported Chinese TV plays are old fashioned and poorly packaged by international standards, which are doomed to be failures." Many experts also blame the industry for a lack of creativity. "Low quality, outdated ideas and the repetition of similar stories... have reduced Chinese movies' competitiveness in the international market," said Yin Hong, a professor with Qinghua University. TRYING TO EXPORT TV PROGRAMS ALONG WITH TV SETS With Beijing due to host the 2008 Olympic Games, the next few years are perceived as an opportunity for the country to show that it is more than just the world's largest manufacturing workshop. "It is high time to make ourselves better understood by the world," Du Ruiqing, a scholar with the Xi'an International Studies University, said. Scholars have urged the government to seize the opportunity to refurbish its global image with more cultural products representing modern China. "It is fair to say that both China and the whole world are in the process of getting used to China's new role," Zhang Yiwu, a professor with the Beijing University, said. "How to make the world see China's vitality and glamor is a challenge faced by the country," Zhang said. Early this year, the government announced its ambition to increase cultural influence in the 11th five-year (2006-2010) plan of cultural development, pledging to actively participate in international cultural cooperation and competition, expand cultural trade and increase its cultural presence. The government has pledged to adopt favorable policies to promote the development of nine cultural industries, including film and TV production, publication, advertising and animated cartoon production. It also says it will further explore channels for cultural exchanges and communication and "make use of all resources" to promote the influence and competitiveness of Chinese cultural products. "China doesn't intend to become a superpower," said Zhao Qizheng, former head of China's State Council Information Office. "But as one of the ancient civilizations, it will become a 'hardware workshop' if it only exports TV sets without TV programs." Source: Xinhua
|
|
|
富而不貴 中國能否掙脫緊箍咒? | | 【聯合報╱陳欣之/成大政治系副教授(台南市)】 | 2009.05.30 03:21 am |
| | 國共兩黨主席廿六日進行吳胡會,吳伯雄與胡錦濤均推崇孫中山先生,胡錦濤更期許兩岸同胞同心實現孫中山念茲在茲的中華民族偉大復興。 金融海嘯以來,中國豐厚的外匯存底數額,全球第一大債務國的優勢,公開併購全球原物料生產公司的氣勢,以及創設超主權儲備貨幣以扭轉美元地位的倡議,大有中國國際政經地位已經一飛衝天的幻影。不過冷靜思考一下,這些有形的數據並未轉化為無形的權力暨地位。如何實現孫中山先生求中國之自由平等的願景,有待中國掙脫「富而不貴」的全球政經束縛。 第一,中國面臨改造國際制度與改變生產模式的雙重壓力,徘徊在提升國家地位與承擔國際責任的矛盾。美國主導下的國際經貿制度,固然對中國有其不利之處,但中國無需以有限資源去支付無限的國際責任,因而取得了「韜光養晦」的空間,實現了由貧轉富的經濟成就,不過亦默默接受了矮化中國參與國際政經決策的限制。 國際經貿制度失靈已不容許中國再冷眼旁觀,在中國的產業改造並未全部完成,金融服務業與涉外投資仍處於初步起飛的階段,中國如果不挺身而出,不單過往的努力將全部付諸流水,甚至未來發展亦可能成為幻影。如何在準備不足的情況下,穩健地提升中國的主導地位,轉型為一個「既富且貴」的領導國家,成為中國未來最嚴肅的挑戰。 此外,中國仍承受著諸多無形的限縮,成為中國大陸左右全球經貿格局的絆腳石。受制於「非市場經濟國家」的緊箍咒,中國承受不利於中國出口貨品的反傾銷計算公式,先天上處於低人一等的競爭劣勢。固然東協與部分經貿開發中國家取消對中國使用「非市場經濟」的相關規範,但歐盟與美國等國並沒有絲毫的讓步。 最後,中國的形象只停留在錦衣夜行的層次,並沒有提出一個具備高度吸引力的全球政經願景,看不見超脫平凡財富的宏博目標。取得國際政經主導地位,有必要以不容質疑的領導正當性作為基礎,但中國現行將基本人權降格至吃飽穿好的立論,固然難以說服歐美日等經濟先進國家,東亞、非洲暨拉丁美洲國家亦未必能全盤領受。台灣民眾對簽署兩岸經濟合作框架協議的憂心,更無疑反映了對未來生活方式的不安。 誘之以互利的兩岸互動固然定有所成,不過中國大陸轉型為既富且貴的國際更生,中國國際形象的改造,以及中國內在涵養的昇華,才是兩岸關係行穩致遠以及孫中山強調以王道促成民族再起的關鍵。 【2009/05/30 聯合報】 |
|
|
|
中国外交应给欧洲划红线 2008年12月08日 12:44:02 来源:国际先驱导报 日前,法国总统萨科齐一再利用所谓西藏问题挑衅中国,激起了中国人的强烈不满,因萨科齐执意要会见达赖喇嘛,中方不得不推迟中欧峰会。 但是中国维护国家尊严的外交动作,却引起了欧洲的哗然,尤其是法国一些人的“诧异”:中国“强硬”,中国“霸权”了。 萨科齐让拿破仑揪心 这些“站着说话不腰疼”的人,似乎忘记了自己的历史。想想法国戴高乐先生,当时美国要压制法国研制核武器,力图削弱法国的国防自主权,用戴高乐先生的话说,就是要让法国当“联盟的步兵”,戴高乐就以退出北约组织来回应。那时的法国是西方大国中受霸权欺辱最重的国家,因而它也是西方阵营中最理解中国人民坚持国家独立不屈服于西方压力心情的国家。1964年,在中国即将成为有核国家、西方舆论对此一片“诧异”之中,戴高乐领导的法国率先打破西方对中国的外交封锁,并与中国建立外交关系。 今天法国领导人似乎是伤疤没好就忘了痛。美国对法国的压力尚存,萨科齐就开始在中国国家利益最核心的部位“撒盐”,而中国人只表现出一点不满,这在萨科齐的眼里就成为了“问题”,欧洲的一些舆论就开始诧异了,这表明今天的法国、欧洲还在做着18、19世纪的亚洲梦游。 法国历史上有成就的政治家,比如拿破仑、戴高乐,一定是对中国谦虚并尊重中国的人;反之,一个在中国面前自以为是的人,那他一定是一个政治上不成熟的人,而萨科齐就是这样的人。他接见达赖的举动,说明他不仅不了解中国,他其实也不了解法国,因为其只逞口头之快,根本不顾或不知道法国国家的长远利益。 拿破仑曾经有“中国睡狮”之说。因为拿破仑知道欧洲退出亚洲是迟早的事,亚洲的崛起对法国是有好处的,这可以缓解来自英国的持久压力。拿破仑在1803年将路易斯安那卖给了美国,其目的就是“为英国创造了一个迟早会挫其锋芒的海上对手。”而戴高乐打破西方禁忌与中国握手,则是为了缓解美国对它的压力。拿破仑与戴高乐都深知:世界多元制衡,法国才有出路,而中国的崛起有利于世界的多元制衡。 西方战略能力整体衰落 目前法国萨科齐的作为,从一个侧面反映了西方国家战略能力在整体衰落,西方领导人长期浸泡在“糖水”中,其政治素质和治理世界的能力整体在下降。治理世界能力是国家战略能力的重要表现,国家战略能力包括战略文化、战略思维以及战略管理能力三个方面。目前西方从小布什开始其国家政治已沦落为儿戏,总统大选如海选“超女”,选出来的领导人表演能力超过实际能力,这说明西方的战略文化在“民主”的幌子下已相当程度地丧失了国家危机意识。“9·11”事件虽然或多或少地唤起了这种意识,但其智库人士多出身学堂,没有太多实战经验,且习惯于指手划脚,其战略思维具有浓重的“赵括”即纸上谈兵色彩。 有人说中国在回应萨科齐反华行为表现得“强硬”了,其实,中国只是在外交上做了应当做的事,与政策上的软硬没有关系。国家统一是原则问题,这是任何一个有尊严的国家不许触动的政策底线。 外交要把握刚柔力度 西方渲染中国威胁论,导致国际社会上也有一些人因此认为中国外交应该“低调、温和”,发展军力要“谨慎”。低调没有错,但问题是低到什么程度。西藏、台湾主权问题都是中国的核心利益,这是不能突破的原则问题,在这个问题上要让别人明白中国的底线和原则,这也是对国际社会负责的做法。 中国外交应该给西方国家划一条红线,比如在台湾问题上,中国的红线就十分清楚,美国因此也不会轻易作出挑战这条红线的举动。这次中国对萨科齐反华举动的惩戒,也是给他划出一条外交红线,让他知道哪些问题涉及不容讨论的中国的核心利益。 目前,中国外交风格日渐成熟,柔中有刚,刚中带柔,节奏力度都把握得比较好。与当年戴高乐先生不屑美国对法国说三道四,径直找即将拥有原子弹的中国握手的道理一样,这次中国对萨科齐反华行为的反应,只是维护中国的基本原则、核心的国家利益。只要是有自尊的国家,都会这么做。(张文木 北京航空航天大学战略问题研究中心教授 本报记者梁辉采访整理)
|
|
|
你說我沒有競爭性選舉,可我有八千萬黨員,兩百萬解放軍,核武,要找我談不?還是得要。 我說你也有虐囚、貧富差距過大、選制紊亂並不利弱勢等問題,我當然也是會跟你談,不過關心的是你的進口能力,第七艦隊,還有搞亂我的其他種種能力。
|
|
|