隨著網際網路興起，資訊的交流與傳遞產生了革命性的變化，同時也影響了許多產業既有的經營與交易模式，電子商務以及產品/服務數位化的概念開始大行其道。近年來，網際網路的即時性與互動性，更促成平台經營模式的興起，藉由打破傳統交易模式中單向的供應鏈形式，平台建立了多方使用者對資訊及產品/服務在供給與需求上的循環性，促成交易成本降低，進而創造更多新的商機。 以傳統出版業為例，受限於書籍在印刷出版時高額的固定成本，廠商通常只能向已具有市場規模的知名作家或經濟人進行作品出版的提案與邀約；而對於消費者來說，也僅能就市場提供的產品進行選擇。另一方面，對於許多有潛力但尚未被發掘的創作者而言，也因為缺乏能實際接觸市場的機會與管道而遭到埋沒，而對廠商來說，過高的搜尋成本與投資風險也形成了發掘這些新銳作家的障礙。 本研究試圖以平台策略與經營模式為基礎，探討創作交流平台對於傳統出版業以及其數位化過程中所產生的衝擊與影響，並試圖建立一套能有效促成創作者、使用者與廠商三方獲益的資訊交流平台；最後，針對創作在數位化過程中最容易遭遇到的著作權問題，本研究也將以平台經營管理的角度加以審視分析，並提出相關政策上之建議。因此，本研究之研究問題係總結為以下三點： 1.創作交流平台對於傳統出版業與出版數位化的影響與競合關係 2.創作交流平台經營模式與成功關鍵之分析 3.創作交流平台著作權法律相關政策與議題之探討 / As Internet became more and more popular, there was a revolutionary change about transportation of information, and it also deeply influenced many industries’ original operation and transaction models. For this reason, e-commercial and digitization of products and services started to prevail. In recent years, because of Internet’s instantaneity and interactivity, platform business models start to spring up. By breaking through the traditional one-way supply chain, platforms try to find the circulation between each type user’s supply and demand of products or services. Platforms model decrease the transaction cost and help many people find the new business. Take traditional publishing industry for example, for fear of the high fixed cost of books publishing; publishers only publish books by well-known authors or through agents with good reputation. For customers, they can only passively choose from the items supplied. Besides, many potentially brilliant authors may be neglected under this circumstance, because they lack channels to approach the market and audiences. Considering the searching cost and risk, it’s also difficult for publishers to discover these potential creators. This research will be based on platform strategies and business models, discussing the influence and transformation result from creation communication platforms during digitization process of traditional publishing industry. Furthermore, this research will try to build up a platform business model to make users (including creators, audiences and publisher) profit. At last, this research also covers the copyright issue about creation communication platform, and brings up some advices for platform policies. After all, this research will focus on three questions as below: 1.Influence and transformation result from creation communication platforms during digitization process of traditional publishing industry. 2.Analysis about creation communication platforms’ business models and key factors for making success. 3.Discussion of creation communication platforms’ copyright issues and related business policies.

隨著資訊時代來臨、社群媒體普及，現今的消費者有能力從網路尋找多元的資訊進行購買決策，消費者也能互相交換資訊。YouTube的時尚美妝影片數量多、內容豐富，消費者在尋找產品或使用教學的影片時，會將其作為搜尋來源之一，並相信這些內容不具商業利益，客觀且公正。 美妝YouTuber樂於創作影音內容，分享產品資訊、購物經驗、和生活事物等議題，進而培養出一群訂閱的觀眾，成為具社群影響力的網路名人；然而這些YouTuber如何影響消費者、為何能吸引特定族群的消費者，目前國內外相關的研究仍十分稀少。 本研究以美妝影音部落格和美妝消費者為研究對象，探討「美妝消費者的購買決策過程，及其如何受到YouTuber之影響」，採用質性的網路民族誌 (netnography) 作為研究方法，先搜集三個YouTube熱門美妝頻道的網路資料，參與留言區的討論，再訪談十六位千禧世代的美妝消費者。本研究發現：一、創作者和觀看者透過YouTube凝聚成美妝「社群」；二、美妝YouTuber具備「發起者」和「影響者」的角色；三、美妝消費者的行為和態度可能受到人氣YouTuber影響。 / Nowadays, consumers search information about products, prices and distribution on the Internet before their purchase decisions so that social media has radically changed the communication landscape. Consumers are able to share their purchase experiences online and interact with other users. More and more users are using YouTube as a search engine as well as looking for makeup tips, tutorials, and product recommendations because consumers would believe these user-generated contents are reliable and trustable. The aim of this research is to explore how YouTubers of beauty industry in Taiwan, have influenced their viewers and to what extent this influence on the purchase decision process. This study uses a qualitative approach ‘netnography’ as the main research methods to collect data. Three YouTube beauty channels were observed and participated; additionally, 16 in-depth interviews with millennial consumers were conducted. The research finds out that YouTube beauty channels can be seen as communities where relationships between YouTubers and viewers is formed. YouTubers are the initiator and influncer on the purchase decision journey. The study also found that the popularity of YouTuber may affect consumers’ behaviors and attitudes.

本研究著眼於原住民文化產業智慧資源規劃的議題，特別是以原住民工藝產業當中的編織工藝作為研究對象。在智慧資源的創造和保護方面，對於原住民民俗創作的法律討論和立法行動，在我國雖然已有初步成果，但卻仍有許多爭議尚待解決，因而仍無法提供原住民族人充足的保護，不過即使如此，產業仍然需要在此模糊不清的法律狀態下，尋找最佳的發展路徑，換言之，從智慧資源的管理和應用方面，在盡可能建立智慧資源的基礎之後，管理者應如何透過原先具備或後天取得的資源，促使經營的事業體找出適當的發展模式，毋寧更是原住民文化產業能否永續發展的優先考量。而在產業發展較成熟之後，若再回頭主張產業從業者真正需要的法律規範，或許更可以提供規範制定者值得參考的意見。 在上述的法律和管理並重的思考邏輯之下，本研究從文獻探討開始，檢視國際間、各國和我國在處理原住民民俗創作保護時的問題現狀，在確定文化資產和智慧財產各有其規範角色，卻又會互相影響的前提之下，推導出存在於原住民文化產業當中，同時可以致力於文化資產活化，以及智慧財產創造的幾種可能的發展模式，供作本研究後續個案的探討模型，以及未來的產業從業者決定發展方向時的可能參考選項。 故在本研究個案部份，即同時反映上述類型化模型的思考。第四章的第一個個案就是較具有公共性(commons)本質的尤瑪‧達陸與野桐工坊個案，而第五章的第二個個案就是較具有完整企業經營理念的湛賞文化藝術工作坊，此二個案同時都是以編織工藝為主要經營項目，但是因為經營者的目標不同，因而展現出不同樣貌，本研究透過此二個案呈現經營面向的議題，同時也針對智慧資源規劃議題，給予個案未來發展之建議。 最後的結論與建議，本研究主要針對於政府機關和產業從業者兩方面，從之前論述當中發現的議題和可參考的適例，重新思考現存問題的解決方案，期待在研究者的共同努力下，台灣原住民文化產業能夠走上更亮麗的舞台。 / This research is focused on intelligence resources planning of indigenous cultural industry, especially in the field of knitting techniques. From creation and protection of intelligence resources perspective, legal discussion and legislative movement for aboriginal people’s cultural expressions seem to achieve slight success in Taiwan, but there still exists many unresolved issues, resulting in insufficient protection for aboriginal people as before. However, even in such legally ambiguous situation, the industry still needs to find its way out, looking for the best path to develop itself. In other words, from management and application of intelligence resources perspective, after trying best efforts to set up the foundation of intelligence resources, how the managers are devoting to figure out the suitable model for the business unit, by using original or adopting resources, becomes the first priority of concerns of whether the indigenous cultural industry can be sustainable. When the industry becomes more mature, the participants of the industry may look back, to propose their real needs for regulations, and at the same time, these proposals may be very valuable for the regulators. Based on the above thinking in accordance with both legal and managerial logic, this research makes observation to problems when dealing with aboriginal people’s folklore expressions in international society, in various countries and in Taiwan, from the beginning part of literature analysis to the latter parts; then, this research makes sure that cultural heritage and intellectual property both play parts on the focused topics, while each has its regulatory role as well as has impact on the other, and such nature and connection becomes the premise of the following several models respectively for activation of cultural heritage and creation of intellectual property at the same time in indigenous cultural industry. These models will be used as the analytic tools for the following case study and as the referable choices of business development for future participants in the industry. Furthermore, case study of this research reflects foregoing categorical models. The first case in Chapter 4 is commons-oriented Yuma Taru and Lihang Studio case. The second case in Chapter 5 is under complete company management, which is Siku Sawmah Cultural Art Workshop case. Both cases’ major revenue come from knitting techniques, but the managers have different business goals, resulting in different business models. This research tries to reveal managerial issues when running workshop through these two cases; this research will also gives suggestion to them in relation to intelligence resources planning. In the final part of conclusion and suggestion, this research aims at governmental departments and participants in the industry, and for them it rethinks solutions towards existing problems regarding previously found issues and referable cases. This research expects the indigenous cultural industry in Taiwan to eventually get on a more radiant stage with the cooperation of all the researchers and participants.

摘要 觀察著作權法的演進，可說是一部為因應新興科技帶來著作利用型態改變，所造成衝擊的歷史。而現今著作權法面對資訊科技進步，所造成的法制衝擊時，卻因採取反規避措施等激烈的因應手段，造成著作權法制針對數位著作保護之爭議，出現了原先為平衡權利人利益與促進文化創作發展之兩大目的，發生了失衡的現象。該現象的發生，似乎於某種層度上，驗證了德國學者哈伯瑪斯（Jürgen Habermas）於觀察資本主義社會演進的歷史脈絡後，結合馬克斯的社會進化觀點與盧曼的系統論，所主張的晚期資本主義下的四重危機。 而隨著國際間有關數位著作保護的立法趨勢，無形中賦予了著作權人擁有對於他人接近其著作，幾乎完全的管制權利；而合理使用原則之適用卻遭受科技管制的嚴重限縮，使得著作權的保護對象，究竟是表達方式或是無形的概念，產生了保護界限的模糊，著作權法制似乎已轉往著作權利人之一方傾斜。如此的法制發展，將可能造成法律系統的內在衝突與矛盾，危及系統存在的正當性，進而產生數位著作權法制上的合法性危機。 本文試圖依循哈伯瑪斯有關溝通理性與擴大參與以型塑公共領域的主張，尋求爭議解決的可能途徑。並試圖藉由新興之創作共享授權機制（Creative Commons），結合網際網路之互動特性，嘗試探討網路中出現創作之公共領域（Public Sphere）的可能性。並期待開啟以強化社會對話與互動的溝通模式，來尋求爭議問題解決的討論開端。 / Abstract The evolution of Copyright Act reflects the change of publication displaying methods due to technology. Legislators create Anti-Circumvention Provision in reaction to the shock of technology progression on Copyright Act. However, these provision triggers the debate on the purpose of Copyright Act on publication protection, whether it is to protect the obligees or to enhance publication development. This phenomenon verifies Jürgen Habermas’s argument on the four crises under advanced capitalism, which combines Marx’s evolution of society, Luhmann’s system theory, and Habermas’s own observation on the transformation of Capitalism. The legislative trend on digital copyright protection gives the obligees almost complete control over their writings. However,“fair use” is limited by technology restrain. As a result, the Copyright Act seems to be tilted towards obligees. Such development may create inner conflict and endanger the legitimation of the law system. Moreover, the legitimation crisis on Copyright Act may be aroused. This thesis is aimed to solve the debate based on Harbemas’s claim on creating public sphere through rational communication and enlarging participation. For example, the writer combines creative commons and the interactive feature of the Internet to explore the possibility of public sphere on the Internet. In sum, this thesis is intended to resolve the Copyright Act problem.

著作肩負著人類對文化傳承、藝術發揚及知識分享的重責大任，影響深遠，自應創造因誘因加以鼓勵並給予適當的法律保障；惟現代著作權法保護創作人的思維均藉由「創作完成自動保護」的途徑，賦予創作人各種著作人格權及著作財產權，一改往昔仍須藉由註冊審查或登記列冊方能享有著作權的傳統作法。然而,任何偉大的著作,其價值乃貴在廣為利用方能源遠流傳，前述各類創作人是否分享或放棄著作權之意願，由法律自動保留全部權利（all rights reserved）的預設（default）立場，使得利用人在利用著作或接續創作的平台受到重重的限制，除了能符合較抽象的「合理使用」範疇以外，利用著作前均須依法取得權利人之同意或授權方能免除因此所生侵權責任。 對於一向主張著作應視為公共財的自由派學者，前述加諸廣大利用人動輒得咎的法律限制，顯然會認為對於知識分享擴散造成阻礙的結果無法忍受，於是美國史丹福大學Lawrence Lessig教授即於2002年間號召有識之士，倡導「Creative Commons」（本研究稱為「創作共享」）之運動，藉由「保留部分著作權」（some rights reserved）的理念，設計鬆綁著作權法以釋出著作權的機制，現正積極在世界各國間推廣中。 本研究即針對上述理念之興起，思考此一創新機制與知識分享擴散及著作權保護間有無相關，並試圖找出可能直接影響機制之關鍵因素提供建言。在第一章部分，除敍明研究動機、目的、範圍、限制外，更直指本研究之問題所在及預期之貢獻；第二章即針對研究主題，包括過去對著作權保護、創作共享機制、知識分享擴散及制度創新的研究進行文獻探討，第三章則對研究核心創作共享機制具體實踐之契約條款予以法律剖析檢驗，並釋疑部分易為外界混淆或誤解之觀念；第四章則詳細闡明研究方法後，設定各個命題及假設，並各賦予操作化定義，落實為問卷調查之問題及選項，第五章則以立意取向調查方式發放及回收共547份有效問卷，並以11.0版SPSS軟體執行問卷數據分析並進而出各項判讀，印證前述命題及假設相關程度，另從管理意涵賦予各項解讀之詮釋；第六章則藉由坊間已先後運行的四個類似創作共享機制的個案，將前述檢驗的內外因素、體質因素、驅動因素等研究構面逐一比較，第七章即就研究成果列出結論並提出後續研究之建議以供來者繼續接棒發揚。 / Creative work carries the responsibilities of cultural inheritance, artistic manifestation, and knowledge sharing; its influences are far reaching and the work ought to be encouraged and properly protected by law. In contrast to traditional copyright laws, whereby protection was given only after registration or examination, current copyright laws give protection to creative work upon its completion, and provide the creator with all kinds of moral integrity rights and copyrights. However, the value of a masterpiece lies in its widespread use, and the current legal system gives the creator, by default, all rights to reserve their intention to share or forfeit their copyrights. From the user’s standpoint, this protective system means limitations and restrictions in using creative work or in continuing creative platform—requiring the user to obtain agreement or license from the rights owner for any use of the work outside the scope of “fair use.” Liberal scholars who believe creative work ought to be public property find these legal restrictions on users and limitations on the proliferation of knowledge sharing intolerable. In 2002, under the appeal of Stanford’s Professor Lawrence Lessig, the movement for Creative Commons was begun. Under this model, relaxation of copyrights with some rights reserved is called for, and this idea is being widely promoted throughout the world. This study focuses on the development of this new ideology and examines its relationship with the proliferation of knowledge sharing and copyrights protection, and further inspects the key factors that may directly influence this new mechanism as well as provides necessary suggestions. Chapter One explains the motivation, purpose, scope, and limitation of this study as well as pointing out the problems and expectations of this study. Chapter Two focuses on the main theme of this study, including empirical studies on past copyright protections, creative commons mechanism, proliferation of knowledge sharing and innovation of its system. Chapter Three examines the legal aspects of the creative commons licensing agreement and clarifies the parts that are confusing or can be easily misunderstood. Chapter Four explains the research approach and sets up theories for each topic, and defines the procedures for selecting questions for the survey. Chapter Five analyzes the 547 valid surveys, which were distributed using the conceptual approach, using v.11.0 of SPSS against the topic and theories set forth in the previous chapter, and interpret each item in the survey via management connotation. Chapter Six compares four existing mechanisms similar to the creative commons model in terms internal and external factors, physical factors, and driving factors. Chapter Seven discusses the results of this study and states suggestions for subsequent research.

本文旨在研究俄羅斯傳統服飾文化與當代俄羅斯時裝產業之進程。首先介紹俄羅斯傳統服飾種類及特色，再依不同時代背景詳述俄羅斯服飾文化的演變，其次透過與西方服飾設計之比較，進一步探討俄羅斯當代時裝產業的轉變，最後解析俄羅斯時裝產業在21世紀所面臨的國際情勢影響與後續發展。 俄羅斯因其獨特的地理位置及種族多元文化之特性，造就其服飾文化的豐厚與迷人。筆者希望透過本之研究，瞭解俄羅斯複雜而多樣的服裝美學，也讓國人一同認識人類文明最綺麗的瑰寶。