『要如何將科技研發技術商品化』是國際間運用科技成果帶動經濟發展最重要的議題，本研究目的即在透過文獻探討及個案研究從對下列三議題的研究： 一、『研發技術商品化』的推動行之有年，然而，聯結『技術價值』與『經濟價值』間的環節為何？ 二、智慧資本管理如何有效協助『研發技術商品化』？ 三、透過個案研究實証，值得借鏡的做法為何？ 探討技術成果商品化的機制。 從文獻的探討，本研究獲得許多學者專家曾提出精闢的看法，並從這些看法中歸納出對『技術商品化組織內機制』的評論與建議，後續並透過對British Technology Group(BTG)的案例研究，驗證實施的可行性。 本研究重要結論如下： 一、利用科技成果帶動經濟發展，近年來成為先進國家重要經濟發展策，『研發技術商品化』仍然有很大的調整空間。 二、技術商品化是一連串複雜的加值過程，透過商品化模式可將技術價值與經濟價值聯結聯結。 三、智慧資本為企業帶來價值，同時為達成技術商品化模式提供競爭策略決策分析。 四、目前大學與研究機構在流程上缺乏以『商品化模式』聯結『技術價值』與『經濟價值』。從文獻回顧，大學與研究機構除擁有技術和專利外，已逐步開始建立社群網脈，從經營觀點來看，專業人力仍是最大的弱點。 關鍵辭：技術商品化、商品化模式、智慧資本管理 / In order to have a competitive economic growth, “how to turn the value from R&D technology to knowledge-based economy” becomes one of the most important issue of multi-nations. Hence, the purpose of this study is to explore the mechanism of how to commercialize the R&D technologies. There are three following topics will be studied by the methods of articles review and case study to explore the mechanism : 1.What is the gap from transferring the technology value to economic value? 2.How intellectual capital management help technology commercialization? 3.What we learned from the benchmark case after studied? Many profound articles of technology commercialization from those named scholars has been reviewed and summarized into this study as references. The British Technology Group (BTG) was choused as the benchmark of feasibility case, based on its pioneered and experienced performance. The conclusions of this study are: 1.There are still have many space available for increasing competitive economic value by building up the mechanism of commercialization of R&D technology. 2.”Technology commercialization” is a series of complex value-added process. “Business Model” plays the bridging role linking the “technology value” and “economic value” during the processing. 3.”Intellectual capital management system” provide strategic analysis for competitive business model decision on technology commercialization process. 4.Currently, business model still not play the bridging role between technology value and economic value for most University and R&D institute during the technology commercialization processing. However, from the articles review, some universities and R&D institutes are starting to build up the technology commercialization network will be good for the business promotion, and the most week point for those organization still lock on the shortage of experienced manpower. Key Word: Technology Commercialization, Business Model, Intellectual Capital Management

八○年代，台灣文化出版界湧起一陣文學已被商品化的譴責之聲。談論文學商品化現象的人士甚多，可是卻少有人詳陳其概念內涵，更遑論深入舉證具體剖析。由文學商品化論述的興起所引發的種種疑惑，乃是促成本論文的研究動機。簡言之，本論文試圖回答以下研究問題：一、究竟什麼是文學商品化？其在學術上的理論淵源為何？為什麼會產生商品化這種現象？而這種現象真的始自八○年代嗎？二、被商品化的文學究竟是嚴肅文學還是通俗文學，亦或二者？ 　　本研究分為二部分來解答上述問題：第一部分是文學商品化概念的理論探討與歷史實證研究，本部分的研究先由理論探討中抽繹出文學商品化現象的觀察層面，再依據理論的啟示從歷史縱剖面（五○~八○年代）來實際探討該現象濫觴之年代以及發崛其可能之形成（或未形成）原因。第二部分探究第二個研究問題。這一部分的研究乃是以九○年代的台灣社會為橫切面，從中揀選出最具代表性的嚴肅及通俗文學出版社（分別是洪範與皇冠兩家出版社），然後根據前一階段中所探討之商品化概念，去檢測九○年代文學出版事業是否有被商品化的現象。 　　研究結果扼要簡述如下： 　　從理論探訪中得知：商品化是伴隨現代他工業發展而來的一個現象，面文學商品他應走在工業經濟發展成熟之後才會產生的現象。文學商品化簡言之就是文學成為資本家牟利的工具，作品存在的意義是以交換價值而非美學價值來衡量。文化產品逐漸如同工業產品一般，必須不斷地被產出、交換為資本家積累財富。文學商品他封藝街創作領域造成的最大傷害便是－－讓異化現象在文化領域中出現。此外，商品他現象令論者關切的焦點是人的自主性，或者說是在資本主義社會中消費者自主性的問題。綜合上述，我們在實際研究文學商品化現象時，觀察的局面當放在文學產銷過程中，究竟有沒有造成文學創作者與消費者自主性逐漸淪喪的問題。 　　隨者資本主義經濟體制在台灣社會的深化，文學商品他現象確實有愈來愈盛行的趨向。七○年代時商品化現象僅發生在文學翻譯領域中，到了八○年代創作領域開始受到侵害，八○年代以後，依循出版企劃目標而生產的文學集體創作有增加的趨勢，作者在有限的自主權束縛下，連創作意念的表達亦顯得支離破碎。九○年代之後商品他的情形更加普遍流行。就目前來說，文學商品他現象封傳統藝術創作理念所造成的傷害應是遠遠地超過對文學消費者自主性的危害。 　　至於嚴肅及通俗文學被商品化的課題，研究結果顯示，皇冠出版社在文學生產方面確有較多商品化市場導向的作品，雖然洪範的出版計劃並非完全無視於市場需求的存在，可是它絕對遵循文人創作者導向的原則，不會為了牟利將理性化作法帶入藝術創作領域中，這一點就是洪範與皇冠最大的差別，至於在銷售模式上，皇冠與洪範倒是相去不遠。 　　九○年代的台灣社會已進入消費社會階段，文學商品化現象似乎是難以避免的趨勢。面對這樣的情勢，如何在當今社會中建立其他文學出版傳播途徑彌補市場機制之不足將成為迫切須要解決的問題。 / In the 1980s, many cultural elites consented to the view-point that "literary commodification" phenomenon was very pre-valent. This phenomenon was often discussed, but the "literary commodification" concept was seldom clarified. The main purpose of this thesis is to explore the following questions: (1) What is "literary commodification"? Why does the phenomenon take place? When did the phenomenon originate in Taiwan? (2) Is serious/popular literature commodified? 　　In order to answer questions mentioned above, this research is divided into two parts and each tries to answer one of those questions. The first part includes the theoretical exploration and historical empirical research of the "literary commodifi-cation" concept. The second studies the production and distri-bution of publishing firms of serious/popular literature. 　　The important results of this thesis are as follows: 　　"Literary commodification", simply speaking, is that literature becomes a profitable tool controlled by capitalists. Literary works are measured by exchange value, not aesthetic value. Cultural works are gradually like industrial products. Capital -ists accumulate wealth by producing and exchanging those cultural products continuously. When capitalist economical development is getting mature in Taiwan, "literary commodifi-cation" phenomenon is getting prevalent. In the 1970s, "liter-ary commodification" phenomenon took place only in literary translation field. After the 1980s, there are more and more market-oriented works designed by publishing firms. The authors of those works must conform to publishing firms' requirements. Under these circumstances, artists' autonomy is infringed seri-ously. "Literary commodification" phenomenon is getting worse in the 1990s. The results of the second part indicates that " literary commodification" mainly happens in popular literature field. 　　In the 1990s, Taiwan has become a consumer society in which commodification will be an inevitable tendency. "Literary co-mmodification" may make literary works more homogeneous in the book market, so how to establish other literary communication chaanel except market will be an urgent issue.

京都大学 / 新制・課程博士 / 博士(文学) / 甲第24348号 / 文博第922号 / 新制||文||732(附属図書館) / 京都大学大学院文学研究科行動文化学専攻 / (主査)教授 米家 泰作, 講師 杉江 あい, 教授 小島 泰雄 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

近年來台灣社會中健康商品與療法種類繁多，健康似乎成為了全民追求的目標。疾病型態的轉變，使得慢性病較急性病更為困擾大眾。然而正統醫療對於慢性病較難有效治療、易引發副作用以及醫病關係的疏離，使得強調自然、無副用的另類醫療的發展迅速，而芳香療法即是另類醫療深入民眾生活的最佳例證。許多芳香療法衍生商品於市場上流通，業者並於媒體中傳遞健康為個人責任，並塑造出人人都需接受治療的氛圍，亦間接造成醫療領域的擴張現象。這種促使大眾對於健康的追求，卻漸漸淪為資本主義商業體系下謀利的意識型態，而媒體亦成為傳遞商品化意識型態的場域。 媒體報導為影響民眾健康資訊的重要來源，因此本研究選擇新聞報導中對於對於芳香療法多所著墨者做為分析對象，來探討現今社會中另類醫療的媒體再現、醫療化與健康商品化的現象。首先，本研究將整理健康與疾病的定義，以及正統與另類醫療的特點；再來，將對於醫療化、健康促進與商品化做一文獻探討，且以符號學為分析方法，探究芳香療法新聞報導中的另類醫療特質如何再現，以及其外延意義、內涵意義與迷思。最後，本研究更進一步地剖析文本中所蘊涵的醫療化與商品化意識型態，藉此提醒大眾於閱讀媒體中健康相關訊息時，能有更警覺與批判之意識。

在知識經濟時代，知識成為傳統土地、勞力、資金之外的另一項生產元素。其次，媒體社會形成，符號的力量和價值提高，有時甚至超越真實。最後，市場導向的資本主義經營方式，使得媒體走向絕對的商業化：以上三點讓包括媒體在內的各行各業出現轉變。身為知識／資訊工作者的記者，其工作性質讓賦予他公眾知識份子的角色，讓他除了在所屬的媒體上生產訊息換取薪資之外，還能夠佔用社會中其他發言管道，將他自己變成具有使用、交換價值的商品。本文亦以台灣電視新聞性談話節目中的記者來賓為例，體現記者運用他本身的附加價值，使得自身成為可被消費的商品。 本文回顧了記者的發展史，歸納出記者在商業化媒體下的變化。然後本文整理知識經濟、知識政治、知識社會的相關文獻，加上符號學的分析，重新討論傳播商品化理論，提出記者（過度）商品化的模式。為了驗證此一模式的有效性，本文分析談話節目的來賓身份和出息次數、談話節目的內容言說及訪談閱聽人，一方面指出上節目記者的商業屬性，另一方面從閱聽人角度點出記者特殊社會地位權力。綜合理論分析和實際觀察資料，本文提出記者商品化的論述，也期待未來能有更多相關的研究。 / In an era of knowledge economy, knowledge, aside from land, labor and money, has become another productive element. Moreover, with the establishment of media society, the power and value of signs sometimes even surpass those of the reality. Finally, market-driven capitalism transforms the media into commercial-oriented companies. The above three phenomena change all walks of life. As an information worker, reporters are granted the role of public intellectual. They not only earn money by producing reports for its newspaper, they also make use of their use and exchange value by presenting themselves on other media channels. The dissertation takes the reporter guests in Taiwan’s TV news talk shows as example. Reporters make themselves commodities by the surplus value they carry. This dissertation reviews reporters’ history and the changes that industry has gone through. The dissertation then deals with theories such as knowledge economy, knowledge politics, knowledge society and semiology in order to re-discuss the commodity theory in communication studies. The result is a model of reporter’s “(hyper-) commodification.” The dissertation applies theories to analyze the background of talk show’s guests, and the discourse on the show. Interviews of the audience were conducted to further discuss the social power of reporters. The above analysis and theories finally give birth to a theory of the “hyper-commodification of reporter.”

本研究旨在探究世貿展場中以showgirl為促銷策略的運作方式與細節，試圖解讀隱藏於showgirl現象背後的意識形態結構，從而對以性訴求為主要說服策略的商業與消費行為提出批判。 本文回顧歷年相關報導與研究發現，showgirl逐漸從過往單純的產品解說員變成訴求性感、分飾多角的3C展場焦點，乃隨廠商需求、消費習性與社會文化而變遷。而雖然性訴求策略仍難斷言其效果，訴求性感的showgirl活動仍被3C廠商普遍採用，並且呈現出刻板單一的性感女性形象。 為了深入剖析展場showgirl活動，本研究援用Saussure提出的毗鄰軸/系譜軸分析法，以及Barthes的意識形態分析，針對所收集之五個個案中十七個足以代表3C展場showgirl活動樣貌的事件，進行深入的解讀。研究發現，3C展場活動的敘事符號結構，重點其實就是以穿著暴露的showgirl來貫串整個敘事脈絡，一切的目的在以性感、性化、提供性想像的showgirl作為酬庸，換取男性消費者的駐足參與，從而將showgirl物化為感官消費的商品，以順利達成廠商的銷售目標。 據此，本研究對3C展場showgirl活動提出兩項批評：（一）廠商在缺乏仔細思考下挪用性訴求說服策略於3C展場，反而將真正重要的產品利益與消費者需求邊緣化；（二）以男性消費者為目標的性訴求策略，枉顧女性消費者權益，也枉顧不關注showgirl活動的男性消費者，並將所有男性視為同質性的群體，如此偏狹的性別認知及其所造成的消費者歧視，無論對兩性與社會，都是深刻的傷害。 / This research aims to explore the function and details of “showgirls as a marketing strategy” in Taipei World Trade Center. The goal is to interpret the ideology structure hidden behind the showgirl phenomena, and to criticize adopting “sex appeal” as a persuasion strategy of consumption. Relating news reports and researches point out that the role of showgirls alters from simple product narrator to eye-catching sexy babe in 3C mall, which results from the demand of suppliers, consumption habits and social culture. Though the effect of sex appeal has not been proved yet, sexy showgirl activities still prevail, while the showgirls are molded into the stereotype of sexy female image. In order to interpret the showgirl activities in World Trade Center, Saussure’s syntagm and paradigm and Barthes’ ideology analysis are applied to seventeen cases out of five core events that can sketch the showgirl incidents. The research indicates that the whole point of the 3C mall narrative structure is the half-naked showgirls, and the purpose is to present these sexy, sexual and sexually-imaginative showgirls as rewards for male consumers’ attention and gaze. Showgirls are so objectified as products of sensuous consumption to achieve the sales-volume goal. Therefore, the research offers two criticisms regarding the showgirl activities in 3C malls: 1. the suppliers adopt sex appeal persuasion strategy without thorough consideration, which results in the marginalization of product benefits and consumer needs. 2. Aiming at the male consumers, the sex appeal strategy disregards the interactions of female consumers and also those male consumers who are not attracted by showgirls. Neglecting the variation of male consumers, such a narrow gender definition and the discrimination towards consumers does a serious damage to both sexes and the society.

本研究將華納威秀視同商品化空間來加以分析，在商品化理論採用Marx、 Baudrullardd等人的理論，重點在於肯認商品除了有使用價值、交換價值外，也有其符號價值。研究重點在於理解空間生產的過程，與其行動者為何，並討論歷史脈絡發揮何種影響。 研究結果發現，雖然華納威秀是外資影城，但是卻透過土地承租的方式與本地資本連結，而形成外資輸出影城軟硬體，本地資本提供土地的模式。因此華納威秀不是純粹的外資集團，而應透過土地產權的考量，視其為外資與本地資本共同投資的結果。 華納威秀由於經營項目涉及不動產租賃，因此同時在映演業與不動產兩個市場中運作，由於我國政府對於映演業幾乎是採放任態度，因此容易讓人忽略國家在華納威秀開發案所扮演的角色，其實如果從不動產業的角度來看待華納威秀的話，即會發現國家的「相對自主性」並未喪失。 研究顯示華納威秀的生產過程相當複雜，並不是只有跨國企業的意志就能解釋的。空間生產過程中，國家機器、本地資本、歷史等「在地條件」都扮演了重要角色，透過華納威秀的例子，我們想說明任何的全球化活動不應只被視為跨國資本意志的展現，而應多考慮在地與全球的種種衝突、緊張與妥協。

在各大藥廠明星藥品專利到期、新藥開發數量銳減的當下，全球首例植物新藥MediGene Veregen™ 的核准上市為製藥產業帶來新的希望，雖然製藥價值鏈與商品化模式已為人所熟知，但針對植物新藥特殊性所架構之商品化模式還是一個全新的議題，為了架構一個適合台灣中小型藥廠的植物新藥開發模式，本研究嘗試以技術層面為根基，從法規面、產品面與產業面深入探討MediGene Veregen™ 關鍵的成功因素，從中獲取值得台灣藥廠參考的經驗，同時考量台灣植物新藥開發的大環境限制因素，包括法規與健保，給予台灣藥廠一些植物新藥商品化策略建議。 本研究之架構以實務觀點出發，首先整理參考文獻以探討植物新藥包含的範圍與藥品開發流程，幫助藥廠了解植物新藥商品化需要具備的條件與資訊；接著針對台灣與美國在植物新藥方面審查上市之法規、流程與審核成果進行研究，結果顯示目前台灣有兩種植物新藥審查系統「中藥新藥」與「植物抽取新藥」，對廠商而言並不如美國單一系統來得便利；再者藉由探討植物新藥的價值鏈結構、法規結構、產品結構與產業結構，試圖架構植物新藥商品化模式；接下來以兩家新藥開發廠商為例進行實際個案研究，一家為成功推出植物新藥商品的德國藥廠MediGene AG，一家為台灣藥廠中天生技/合一生技，主要藉由分析MediGene Veregen™ 商品化過程的關鍵成功因素，比較中天生技/合一生技WH-1商品化模式的異同，探討是否有足以借鏡與改進之處。最後，歸納整理上述的研究做出結論，並且對於台灣藥廠提出策略建議，希望能對於台灣新藥開發公司有實質上的幫助。 / While the star drug patents of each big pharmaceutical company are expired one after another and the quantity of their newly developed drugs sharply declines in these years, MediGene Veregen™, the first botanical new drug in the world, enters the market and therefore brings a new hope for the pharmaceutical industry. Although the value chain and the commercialization model of pharmaceutical industry have been known and researched a lot, the specific construction of commercialization model for botanical drugs is still a brand new subject. In older to construct the model that is suitable for Taiwanese middle and small pharmaceutical companies for the process from development to commercialization of botanical new drugs, this research, based on the technical analysis, attempts to discuss the key success factors of MediGene Veregen™ through analyzing the aspects of the laws, regulations, industry and product itself. With the case study about the environmental limited factors of new drug development in Taiwan, including the laws and regulations as well as the health insurance, this research tries to offer Taiwan pharmaceutical companies some strategic suggestions for the development and commercialization of botanical new drugs. The structure of this research is based on the practical viewpoints. First, we reorganize the reference in order to define the scope of botanical new drugs and the processes of drug development. It can help pharmaceutical companies understand the conditions and information needed for botanical new drug commercialization. Then, our studies focus on the laws and regulations in Taiwan and the United States, as well as the application processes and approvals for botanical new drugs. The results show that there are two evaluation systems in Taiwan for botanical new drug applications. For those pharmaceutical companies, the dual system is not as convenient as the sole evaluation system in the States. Furthermore; based on the discussion on the structure of the value chain, laws, regulations, product and industry, this paper makes an attempt to construct a better commercialization model of botanical new drugs. Next, two pharmaceutical companies are chosen as case study in this paper. One is a German pharmaceutical company, MediGene AG, which launched the first botanical new drug. The other is a Taiwan pharmaceutical company, MicroBio Co., Ltd/Oneness Bio-Tech Co., Ltd. By analyzing the key success factors in the commercialization process of MediGene Veregen™ and comparing its commercialization model with MicroBio Co., Ltd/Oneness Bio-Tech Co. WH-1, we try to get any valuable idea and insight. Finally, our conclusion and strategic suggestions may have solid help for Taiwan botanical new drug pharmaceutical companies.

台灣電影產業發展至今，經歷了查禁、控制、國際競爭等艱辛的階段，一直以來，本土產製的電影很少有出現轟轟烈烈的商業成績。所謂的「國片」縱有不少智慧財產的產出，往往亦盤旋於台灣電影市場邊陲，極難成為大眾消費者眼中的主流商品。由此可知，台灣電影人豐富的創意價值，雖然在本質上是由層層智慧財產緊扣而成，卻在電影市場中缺乏創新的營運機制，使得藝術文化與市場的配合失去平衡，總體效益不了了之。 　　一部電影，本質上往往仰賴各方面創意為基礎，而創意的具體化則該透過適當的法律制度，以「智慧財產 (Intellectual Property)」的形式呈現，並加以應用於商業策略之中。換句話說，「商業策略」才是電影創意能否在大眾市場發揮價值的主要概念。過分注重法律保護、政策支援；或過度將票房表現視為電影創意人的價值，恐非台灣本土電影起死回生的好方法。 　　2008年，被視為台灣電影奇蹟的《海角七號》以亮眼的票房紀錄讓眾多台灣電影圈的人士看見了未來的希望，然而《海角七號》的製作團隊本身卻沒有積極利用電影產出的智慧財產。之後，一系列本土電影接著《海角七號》之勢上檔，不僅票房結果差強人意，智慧財產的運用更是闕如。故本論文以《海角七號》為個案，分析各項電影智慧財產的產出與應用情況，以探究如此空前的票房與其智慧財產價值發揮的關聯性。 　　本論文亦以「智慧財產商品化 (Commercialization)」及「智慧財產行銷」的概念為基礎，探求國片當前面臨的智財商品化問題與可能調整的方向，最後結論各項發現，建立智財觀點下的「電影市場價值組成」與「階梯式電影價值產生模型」，嘗試為台灣建立創新的電影智慧財產行銷運用方式。 / In the past one hundred years, the development of Taiwan film industry has gone through many arduous and crucial stages, including politically planned prohibition, bridles from government, and global competition. Ever since then, there are hardly successful cases. The so-called "Taiwan Cinema" might provide very much IP (intellectual property) to the film industry; however, the value of IP could not be merchandised well at all. It's difficult to make the IP of "Taiwan Cinema" be consumed by audience or consumers. Today, the creativity of Taiwan cinema production is absolutely sufficient, and properly conjugated to IP, nevertheless, the realization of creativity value still fails to get the balance between art, culture and marketability. A "movie" intrinsically consists of multiple creativity, and which is concretized with legal system to make intellectual property rights (IPR) come into being. And then, the IP can be applied to business strategies. Therefore, the business strategies ought to be critical to the IP value in mass market. In other words, paying to much attention on the legal protection and administrative policies may not be proper. In 2008, the movie "Cape No. 7" achieved many expectations of many people. Despite the demolished box office records, the film production team seems not to actively commercialize the IP from this movie, and so do many Taiwan cinemas after "Cape No. 7". In order to clarify the commercial relationship between the box office performance and the value of IP application, this study is going to discuss the situation of IP commercialization of movie "Cape No. 7". On the other sides, this study will also point out the challenges Taiwan film industry is just undergoing at present, and try to provide appropriate suggestion based on the views of IP commercialization and IP marketing. Finally, this study will conclude the findings and comments to establish the “Compositions of Market Value of Films with Value Generation Model” and innovative means of IP operation in Taiwan film industry.

在知識掛帥的社會裡，技術創新極具重要性，無論是個人、學術機構、研究機關、企業團體或政府組織，技術創新是成長發展與面對競爭的原動力，同時也是國家於國際競爭中，賴以存活的力量。 有鑑於1980年美國制定拜杜法案(Bayh-Dole Act)推動技術創新，台灣於1999年跟進制定「科技基本法」，而韓國亦於2000年制定「技術移轉促進法」，但根據統計資料顯示，韓國與台灣無論在技術移轉比例或技術資金規模皆不比美國拜杜法案帶來的經濟成效顯著。技術移轉收入，也較研究開發費用為低，技術移轉與推及商業化之預期效益，仍相當有限，顯見由於文化及產業環境上的差別，美國經驗在韓國、台灣並不能全然適用。 現今台灣的學術研究機構及民間技術交易機關，仍試圖迴避技術移轉的相關活動，對市場動向抱持著觀望的態度；相反地，需要技術的中小企業，卻依舊在探索新亮點技術，期盼增快技術移轉商品化的腳步。在供需高度失衡的現況之下，可以想見該市場仍有龐大的發展空間；反觀韓國，在相關輔導政策與執行成效上，似有較詳盡之規劃與成果。 本研究藉由分析韓國相關的技術移轉政策與制度，綜合相關內容提出以下建議：首先，台灣技轉單位強化技術移轉後之管理並提高專任組織之能力與競爭力、善用外部專業能力協助遴選優良技術；研發單位亦須更注重市場端的技術需求；政府則應合併改組重複的部門、協助提供客製化教育訓練、培養技術商品化專家，並依技轉實績進行獎勵或支援，最後，大學、政府與產業界之間應加強溝通交流，方可解決技術及市場間的供需失衡議題。