本研究的主要目的為探討三星電子、宏達電和台積電，除了可能因產品面、營運面的操作影響公司價值外，在面臨外匯波動的競爭環境時，是否有做好足夠的避險措施來抵銷外匯風險，採取的實證方法為，曝險彈性模型、現金流量迴歸模型和股價迴歸模型等，資料時間由2003年至2012年。 從實證結果來看，三星電子在營運避險和財務避險的操作都相當合適，都能有效的降低外匯風險。而台灣的主要企業-宏達電和台積電均有相似的避險問題，融資現金流量過度的曝險，推測為外幣負債操作的不足，造成財務避險不足，無法有效降低外匯風險，這部分相較於主要競爭對手-三星電子而言是比較可惜的地方，必須盡快改善財務避險策略，以防止公司在外匯波動上承受匯兌損失。 而在台幣是否該貶值以刺激出口的論點裡，可以發現不同時間點，公司對於台幣貶值的反應不同，時間點若是近十年來，則台幣貶值對於公司的幫助並不大，故不應該支持台幣貶值以刺激出口。但若把時間點分成金融海嘯前後，兩間公司對於台幣貶值的反應則有反轉的現象，在金融海嘯後，台幣貶值對於這兩間公司均是有利的結果，故由此應該支持台幣該大幅貶值以刺激出口。

近年來，魏晉思想研究開始運用新視角與新議題切入，為數不少且多有所獲，然而在魏晉儒家研究上，仍是較為缺乏的。從學術思潮來看，漢魏之際重刑法之學，正始時期倡道家學說，故在某種程度上，儒家顯得相形失色。這種情況到了元康之時，則更為明顯，當時玄風大開，一些魏晉名士，即便談到儒家思想，卻也只是拉上儒學的旗幟而已。也因此，一般學術界所關注到的「儒道會通」之研究，實際上是站在道家的立場上，卻鮮少直接以儒家為主體的。不過本文則意在指出，魏晉儒家並未退出歷史舞台。因此用時代分期，挑選出具有代表性的八位思想家：即荀悅、徐幹、杜恕、傅玄、裴頠、歐陽建、袁宏、王坦之。並用內在理路的方式，分析這八個人，將其哲學義理溯源到荀子，說明魏晉儒家的一些基本特徵都與荀學關係密切。也就是以荀學為進路，不但可以合理地解釋該時期的儒家思想體系，同時還使魏晉儒家更深刻化與系統化。因此認為，魏晉儒學，其實是以荀學作為主要表現的思潮氛圍的。不難發現，從漢末政治社會的變動到魏晉士人崇尚自然的虛浮風氣下，勢必會更加強調一個重禮（禮教、名教）的世界。但他們不只是強調規範秩序，還嚴別禮法，凸顯出「禮」的精神與身國同構的概念；而在自然與名教的會通下，則提出兼顧「有」（名教、禮制）、「無」（自然、無為）的思想，以「執兩用中」的方式，在荀學脈絡下，收攝老莊之學。由此可知，魏晉儒家應自有其主體性與特色，不必只是淪為陪襯腳色，或只是對兩漢思想的反動而已。意即從整個思想史的脈絡來看，在魏晉階段，儒學自身也在思考著它應該如何前進。因此本文的研究，即是以「荀學」為主軸，審視這八位思想家的言論主張，探討他們的「魏晉荀學」。

中國在近年來經濟實力漸增，國際上貿易出超，國內股市多頭，房地產市場景氣過熱，中共有穩定經濟局勢的巨大壓力存在。因此中國宏觀調控政策的成效與否，一直是大陸學界探討與爭論的一個主題，因此本文之研究目的是希望瞭解究竟什麼是宏觀調控？宏觀調控任務為何？在2006年與2007年新一波的宏觀調控政策的執行是否有效？藉由中國宏觀調控政策對股票市場之影響來探索宏觀調控政策之有效性，希望對宏觀調控政策之研究有一新視野之探索。本文預期對宏觀調控政策對股價研究之影響進行研究，並假設宏觀調控對股價指數有漲跌之影響。並希望搜集研究宏觀調控之文獻，進而對宏觀調控之定義有一更深入之確定，以期對宏觀調控有更明確之了解。 一般來說總體股票市場會受到整個總體經濟形勢（如經濟成長好壞、國家是否有戰爭，即系統風險）、投資者對未來前景的展望（投資者的預期心理）與政府的干預政策（如證券交易稅或資本利得稅的公布）等因素所影響。假如要研究個別股票的狀況，以分析程度上來說，會更加的複雜，本文排除非系統風險的問題，單純探討股票市場的總體層面，從國家干預的角度來切入分析宏觀調控對股票市場的影響狀態。宏觀調控政策可以從短期與長期來觀察，而本文希望從短期的貨幣政策與財政政策對中國股票價格的變化來探究其政策的效果。首先，從貨幣政策開始，瞭解中國人民銀行調整存款準備率對股票市場漲跌之狀況；再分析調整利率的影響情況。第二，從財政政策來探討中國政府課徵印花稅對股價指數的變化程度瞭解政策的成效。 關鍵詞：宏觀調控、中國股市、股市泡沫、貨幣政策、政策有效性

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。

本研究旨在研究台灣企業如何由製造代工（OEM）/設計委託（ODM）代工階段走上自創品牌，以本研究架構為分析基礎，探討不同產業下自創品牌成功企業之案例，進而發現或歸納影響其自創品牌成功之主要因素為何，提供給目前身處於OEM或ODM企業在有心轉往自有品牌發展時，在擬訂未來經營策略時，能有所依循方向。 本研究以定性方法進行個案研究分析，透過次級資料的整理與個案訪談完成撰寫內容，個案訪談公司共計兩家，依序為法藍瓷與宏達電。依據文獻探討與個案訪談結果，整理出四項研究分析構面，解構個案公司自創品牌成功之影響因素，此四構面為產業環境、營運範疇、事業網路與核心資源，透過四構面的整理分析，能有助於外界對於企業自創品牌決策背後之組織核心能耐，能有著更深入的瞭解。 本研究發現成功企業於自創品牌之歷程中，共同存在著某些影響因素，有心自創品牌之企業可參照下述要項進行衡量： 一、分析產業之特性並隨時衡量企業所處產業價值鏈之位置 二、描繪自身產業網路進而分析自身事業網路之優劣 三、與產業內關鍵事業夥伴結盟與合作，建構專屬核心資源 四、積極延伸企業價值活動組合之服務，如往上游研發設計或下游行銷通路 五、衡量企業代工產品於市場上競爭強度如何，例如藉由在指標性市場之銷售量分析 / The goal of this research is to study how corporations in Taiwan transform original equipment manufacturer (OEM) / original design manufacturer (ODM) into the development of their own brands. In this thesis, the research approach is to analyze and discuss successful cases in different industry sectors and evaluate the critical factors that contribute to the successes. The results can serve as a strategic guideline for companies that are seeking to develop new and innovative brands. In this research, qualitative approaches are applied to case examinations through secondary data analysis and case interviews. There are two companies in the case study: Franz and hTC. The results are organized into four categories corresponding to four major contributing factors for brand value development. These factors include industry environment, business scope, relationship network, and core resources. Through the analysis of these four categories, the logistics for success in brand development can be well understood. During the study, it is shown that there are common points which influence whether the corporations can overcome challenges involved in brand development. The intended managers can refer to the following points as guidelines: 1.Analyze the industry trait and evaluate the company’s positioning in the value chain constantly. 2.Describe its own industry network and analyze the strengths and weaknesses 3.Develop strategy alliances and cooperate with key players in the industry; build and acquire specific core resources 4.Progressively make decisions based on successes from other companies such as backward integration toward research& development, or forward integration toward marketing distribution 5.Evaluate the competitive strength of the contract manufacturing products on the market by analyzing the sales figures of the key-index markets.

本文係針對中國大陸各省市地區2000年至2007年之房地產指數進行分析，利用雙因子固定效果模型(two factor fixed effects model)探討中國大陸各省市地區房地產指數之重要影響變數，以及這些變數對於房地產指數影響程度之強弱。本文首先將文獻之檢閱做整理介紹，先概述至今國內外討論房地產價格指數文章之重要觀點，了解這些文章作者的研究時間與空間範圍、所使用分析方法、各學者之論點及其變數設定，希望在最後能與本研究之結論相互比較，觀察文獻與本研究之間是否具有一致性。 由於本論文重視各地區變數之影響，故本研究將使用具地域性之各省市數據資料作為變數，經由資料蒐集，將合適之變數（能夠量化及具有地域性之數據）納入研究考量，參閱文獻資料加上能夠取得之數據資料為考量，本文將討論下列變數：各省市地區居民收入、各省市地區居民消費水平、各省市地區城市建設面積、各省市地區固定資產投資指數、各省市地區交通情況、各地區外資投入金額、各省市地區人口數量、各省市地區人口縝密度、各省市地區衛生機構數以及各省市地區進出口總額等十個變數，對於中國大陸各省市地區房地產指數之關係，觀察其影響程度，了解各地區差異，期能提高對各地房地產價格波動之預測與預警水準，並為政府施政提供方向，當政府需要實施宏觀調控，將能夠較為明確的掌握調控之基本要素。

小筆電可說是筆記型電腦所演化的新產品，這個新產品在近兩年經濟不景氣的時代背景之下，迅速熱賣，市場的接受度可說是非常的高。本研究以文獻分析法探討小筆電的興起、宏碁公司的經營策略、筆記型電腦產業的競爭策略、筆記型電腦產業的核心能力分析模式、以及科技行銷策略，以｢技術採用生命週期｣的分析理論，建構研究模式。 近兩年小筆電的熱銷讓宏碁Aspire One出奇致勝，即使宏碁並不是首推小筆電的廠商，卻迅速反應，在很短的時間內，搶佔市場。Aspire One的熱銷是宏碁不巧受到幸運之神眷顧？還是宏碁在策略上運用得宜？小筆電的興起對宏碁筆記型電腦經營的策略有何特別的意涵？ 本論文以個案研究法，除了相關文獻的蒐集與分析之外，輔以筆者在筆記型電腦大廠深耕約二十年的工作經驗，深度分析小筆電的興起、以及宏碁公司的經營策略。 / Netbook can be seen as the new product developed from Notebook computer. In the wake of economic recession in recent two years, market acceptance for Netbook has become extremely high. This research is based on literature analysis, aims to analyze the rise of Netbook era, Acer‟s corporate strategy, the competitive approach in Notebook computer industry, the analysis model upon core competition in Notebook computer industry, and technology marketing strategy. The study is taking “Technology Life Circle” as research model . Acer‟s Aspire One is the biggest winner in Netbook selling record. Even Acer is not the first one to promote Netbook, its prompt response to the market brings Acer to the biggest Netbook player. Is Acer just lucky for perfect timing heading to this triumph, or it indicates Acer‟s strategies properly deployed? Besides, does the rise of the Netbook era since change the direction of Acer‟s business strategy? The research is doing in the manner of case study. On top of related literature analysis, my professional working experience within Notebook computer industry nearly twenty years is crucial for insight analysis of the rise of Netbook era and Acer‟s business strategy. Hopefully, this research brings reference value to industry.

品牌在現今激烈的環境變動中，已成為企業最穩固的長期競爭優勢之一，而能充分利用公司品牌資產的前提，就是要瞭解公司品牌權益的絕對價值。衡量品牌權益的衡量方式十分多樣化，有公司財務面、消費者知覺面以及消費者行為面的衡量等。方式雖多，但卻缺乏一個全面性的消費者基礎品牌權益衡量方式。因此，本研究最主要的研究動機與目的，即是建立一個以消費者面為基礎，而能以絕對數字呈現於公司報表的品牌權益衡量架構與模式。 本研究整合了許多學者對品牌權益的看法後，將品牌權益的來源與構面區分為六大構面－公司投入面、消費者知覺面、態度面、消費者行為面、結果面與其他專屬品牌資產。在品牌權益的衡量方式方面，則可區分為間接法與直接法兩大類，間接法可進一步分為質化方式與量化方式，而直接法則可區分為相對法與絕對法兩種，各構面依照這些衡量方式來取得資料與數據後，可建立本研究的品牌權益衡量模式。最後，再以品牌權益的效果來驗證品牌權益衡量模式之效度如何。 本研究決定衡量之標的品牌為黑松、宏□、泰山與台灣大哥大，先以專家意見調查法的方式，詢問43位專家學者，對於各構面形成品牌權益之相對重要性的看法，以決定各構面的權重。之後再透過實驗設計的方式，取得各構面品牌評價與價格溢酬間的轉換關係，以作為品牌評價轉換為金額數字之用。最後，以大台北地區的一般消費者為受測母體，進行各品牌的消費者問卷發放工作，以取得各品牌的消費者品牌評價。問卷採便利抽樣的方式，共發出960份問卷，回收819份，回收率85.31％，有效樣本則為794份。 將轉換成之金額數字，以所決定之各構面權重做加權平均，即可得出每位受訪者的品牌權益值，若再乘上台灣地區的人口數以及樣本中曾使用過該品牌的消費者佔總樣本數的比例，則可得出各品牌在台灣地區的品牌權益值。本研究所衡量出之各品牌品牌權益值分別為黑松沙士新台幣43,566,588，宏□手機2,400,190,204，宏□電腦52,058,415,322，泰山八寶粥138,093,624，泰山仙草蜜73,377,189，泰山沙拉油-44,428,954，台灣大哥大則為2,812,789,507。 本研究將公司投入面與結果面列為驗證之用後發現，公司投入面與品牌權益無較明顯的關係，其可能原因是與各品牌的產品特性密切有關，但還是可以觀察出公司投入面與品牌評價間的正向關係。而就結果面來看，投資報酬率與股價在某種程度上是可以反應品牌權益的，而且其與品牌權益間的關係較市場佔有率為緊密。產品價格與品牌權益間在本研究中所呈現出之正面相關性之意義則值得存疑，不宜擴大解釋，需要以更多的品牌做進一步驗證方可確定兩者間的關係。 透過本研究品牌權益衡量模式之建立，除了能使品牌授權與公司購併的品牌價值有公平計算依據外，更能讓公司的品牌經理有明確的品牌權益數據。對於公司的財務面而言，公司的會計原則在無形資產之商譽部分亦得以做正確的調整。在未來WTO叩關後，面臨即將產生的購併風潮，亦可讓國內公司瞭解本身品牌所具有的價值，不致因忽略了消費者心中的品牌價值而受到低估，蒙受損失。 / Nowadays, having a brand has become the most stable long-term competitive advantage of business in our dynamic and intensively fluctuated environment. The premise for taking advantage of brand equity is the necessity to understand its absolute value for a company. There exist many diversified methods to measure brand equity, including the measurements from the dimensions of company finance, consumer perception, consumer behavior and so forth. But despite the many methods available, there lacks an integrated and comprehensive consumer-based model to measure brand equity. Thus, the major motive and aim of this paper is to build a consumer-based measuring model, in order to provide the absolute number presented in financial statements. This research has integrated many opinions of scholars in regard to dividing the sources and dimensions of brand equity. Six major dimensions are: company input, consumer perception, consumer attitude, consumer behavior, company output, and other brand assets. Additionally, through various measuring methods, such as indirect and direct methods and their subcategories, this model can be further developed. In this study, Heysong, Acer, Taishan, and Taiwan Cellular were selected to be the four brands for measurement. The first step was to obtain the weights of every dimension by consulting with 43 professionals. The next step was determining the relation of brand evaluation and price premium through the experiment of price premium. For the last step, the questionnaire of brand evaluation was used to survey the grades of every measured brand in the Greater Taipei Area. By adapting the convenient sampling method, 960 questionnaires were sent out. 819 responses were received. The response rate was 85.31%; 794 samples are effective. The brand equity of every consumer can be obtained by using the weighted average method for calculating the weight obtained and proceeding with the dollar amount which has been transformed because of the relation between brand evaluation and price premium. Moreover, if brand equity is multiplied by the number of people in Taiwan, and the ratio of those who have ever used the product of the brand in the total samples, the total brand equity of the brand in Taiwan is obtained. The measured outcomes of this research show that Heysong Sarsaparilla-NT. to be 43566588, Acer Cellular-NT. 2400190204, Acer Computer-NT. 52058415322, Taishan Mixed Congee-NT. 138093624, Taishan Honey Herbal Jelly-NT. 73377189, Taishan Soybean Salad Oil-NT. -44428954, and Taiwan Cellular-NT. 2812789507. This research uses the company input and output to test the measured outcomes. The result displays no obvious relationship between company input and brand equity. The possible reason may be related to the nature of the product. However, this research still finds that there exists a positive correlation between brand evaluation and company input. From the aspect of company output, return on investment and stock price can reflect the brand equity to some degree, and their relationship with brand equity is closer than that of brand equity with market share. Through the establishment of this model, in the future, substantial contributions can be brought to business accounting, brand managers, brand licensing, and M&A from the intrusion of WTO.

本研究主要在探討多國企業面對全球環境變化與全球策略的改變時，如何針對不同角色的子公司進行整合與協調。另外，並提出多國企業整合與協調的權變模式，試圖瞭解在不同的全球環境與全球策略下，子公司角色如何變化、資本流與知識流如何移動、應採取何種整合與協調機制。本研究採用個案研究法，以國內國際化程度最深之一的宏碁集團為對象，針對集團總部與六個子公司進行研究，並以 Client-ServerO.X、Client-Server l.X 與 LOB 將宏碁集團整合與協調分為三個階段，兼用結構化問卷與對子公司高階經理的深度訪談取得詳細資訊。另外並椅子公司的「相對優勢」、「全球整合／地方回應」與「策略重要性」將子公司角色分成八類，亦定義出六個整合與協調的機制。研究結果發現，當全球整合壓力增強時，多國企業將增加成本領導策略與與複雜創新策略的權重，優先促使全球整合導向、策略重要性高但相對優勢較低的子公司改變其角色，此時對不同角色的子公司仍需採取不同的整合與協調機制，但皆加強結構調整機制與資源管理機制的使用；當地方回應壓力增強時，多國企業將增加行銷差異化策略與廣度策略的權重，優先促使地方回應導向、策略重要性高但相對優勢較低的子公司角色移動，但較不強調資源管理機制的使用。 / This paper investigate how a Multinational Corporation(MNC) integrates and coordinates subsidiaries with different roles, in the context of global competition . A contingency model MNC's integration & coordination is proposed in order to provide a in-depth understanding of how to deal with the flows of knowledge and capital. Integration and coordination mechanisms are also suggested to manage the strategic role changes of subsidiaries. A qualitative approach consists of questionnaires and interviewing of CEOs is used to explore the relationships among global environment, global strategy, subsidiary's roles and mechanisms to integrate and coordinate the activities of a MNC. One of the MNCs in Taiwan with high degree of internationalization, Acer Group is the focus of the study. The head office and six subsidiaries were interviewed and the following three phases of Acer's history were examined: Client-Server O.X, Client-Server l.X and LOB. Three dimensions, relative advantage, integration/responsiveness and strtrgic importance, were used to classified the roles of subsidiaries into eight categories. We also identified six mechanisms of intrgration and coordinition. The research findings suggest two important patterns to integrate and coordinate. First, increasing pressure to integrate will push MNCs to strengthen the cost strategy and complex innovation strategy, to change subsidiaries'roles. The head office should adopt different integration and coordination mechanisms to deal with subsidiaries with different roles. Two types of the mechanisms, the microtructural arrangement mechanism and the resource management mechanism should be emphasized in all subsidiaries. Second, increasing pressure to response to host demands will push MNCs to strengthen the marketing differentiation strategy and breadth strategy, to change subsidiaries'roles as well.

2000年，一個世紀的終結與新世紀的開端，全球化的腳步方興未艾，時尚圈刮起「中國熱」，電影《臥虎藏龍》延燒至西方世界，流行音樂產業的工業化生產模式應和著全球化的文化傳遞，MTV頻道在1980年代的出現使音樂自聽覺延伸至視覺。在台灣，流行音樂走過數十載，解嚴後的百花齊放和文化水平提升觸發了旺盛的創作生命力，台灣成為華語流行音樂的重要集散地；在中國大陸，1978年改革開放後的經濟蓬勃發展，帶動了人民的生活水平和消費力，廣大的市場受到全世界關注。 　　2000年至今，華語流行音樂出現了一種名為「中國風」的音樂類型，上述看似低度關聯的敘述可由「中國風」歌曲串起。流行音樂的本質在於爭取最大多數人的認同和消費，中國大陸無疑是各方積極爭取的市場，在「中國熱」的興頭上，與「中國」相關的主題便融入西洋流行音樂曲風當道的華語流行樂壇，而流行音樂的畫面時代隨著MV作為行銷宣傳的利器大行其道，當視覺與聽覺同等重要，與「中國」相關的歌曲主題自然少不了能辨識出「中國性（Chineseness）」的元素。職是之故，這些音樂中創造了一種「中國」的氛圍，透過歌曲的歌詞、旋律、編曲、唱腔，一磚一瓦建構了音樂裡的「中國」。 　　然而，「中國」作為一敏感辭彙，兩岸三地見解不一，但在文化上，根源均來自「中華文化」，在這「最大公約數」的交集中找尋創作主題和元素，成了音樂裡的「中國」所操作的手法，可辨視為「中國」的元素來自「中華文化資料庫」的取樣和拼湊，而此「中國」絕非可明確指認的對象，乃是帶有可明顯辨識出「中國性」符碼的「虛擬中國」，透過去脈絡化的元素採擷和再脈絡化的拼貼建構，築成了一幅聽覺和視覺中的「中國韻味」，是擬仿的、拼貼的文化商品，帶著若有似無的熟悉感和似曾相識的懷舊（nostalgia）。 　　這種音樂裡的「中國」，採用「中國風」（Chinoiserie）的稱呼，可視為由華人主張的反向挪用，在一來一往的觀看間，華人將融合了「中國味」的西洋曲風流行音樂稱作「中國風」，辭彙本身從西方的角度轉為東方的視角，在全球化的流行脈絡下，「中國風」亦成為東方力求在全球化浪潮中站穩腳步，避免自我迷失的宣稱。 　　本研究廣蒐2000年至2010年6月與「中國風」歌曲相關的資料，歷時近兩年，蒐集、分析、聆聽、觀察華語流行音樂的過去和現在，訪談方文山、鍾興民、林隆璇等18位來自各界的要角，盡己所能描繪過去十年「中國風」歌曲的發展面貌。 　　過去十年的「中國風」歌曲，在華語流行音樂雖不至稱作過去十載的標竿類型，但至少引起「一陣風潮」，歌頌者有之、看衰者有之、仿效者有之、鄙夷者有之。無論如何，「中國風」替流行音樂的視覺化聽覺時代做了註腳，「中國風」仍會繼續吹拂，拂過這個世代的每對耳朵。 / In 2000, the intersection of two centuries, the globalization has been pacing merrily; “China Fever” was burning in the fashion circle; the film “Crouching Tiger, Hidden Dragon” surprised the Western world; the industrial productive methods of pop music responded to the globalized cultural transmission, and the appearance of MTV Channel in the 1980s has extended the music from auditory to vision. In Taiwan, pop music has been played for decades; the freedom in inventiveness and the aroused cultural standards after the martial law being lifted in 1987 enhanced strong vitality in creations, and Taiwan has become the major distribution center of Chinese pop music. In PRC, the booming economic development after the Chinese economic reform in 1978 has brought up populations’ living standards and consumption, and the enormous market has drawn the worldwide attention. 　As a new type in Chinese pop music, “Chinoiserie” has emerged since 2000, and the Chinoiserie songs could string together the above narrations that seemed to be weakly related. The essence of pop music is to strive after conformity and consumption from maximum people, and undoubtedly PRC has the market that everyone eagerly fights for. Whereas “China Fever” dominates, the themes related to “China” integrate into Chinese pop music in which Western pop music takes the lead. Moreover, seeing that vision is equally important as auditory, and the image era of pop music becomes popular with music video as the perfect tool for marketing, the song themes related to “China” would absolutely contain elements that can be identified as “Chinoiserie.” Therefore, these songs have created a “Chinese” atmosphere, a “China” in music that is constructed brick by brick through lyrics, melody, arrangement, and aria. 　However, “China” is a sensitive term that is considered quite differently in PRC, Hong Kong and Taiwan though the civilizing roots are all from “Chinese culture.” Seeking themes and elements for creativity in the intersections of this “Greatest Common Divisor” becomes the operating practice of “China” in music, in which the identical elements of “China” are the samplings and put-together from the “database of ancient Chinese culture.” Thus “China” here is absolutely not a clearly distinguishable object, but a “virtual China” with codes of “Chineseness” that can be obviously recognized; a “China Charm” built in auditory and vision through de-contextualized elements picking and re-contextualized collage constructing; yet a cultural merchandise of mimicry and bricolage with slightly familiar nostalgia. 　This “China” in music, named as “Chinoiserie,” can be considered as a reverse embezzlement claimed by Chinese. While exchanging ideas and cultures, Chinese entitle the Western style pop music merged with “Chinese taste” to be “Chinoiserie,” and thus turn the term from the Western point of view to the Eastern one. In the context of globalization, “Chinoiserie” has also become the statement that the Eastern seeks to stand firmly in the tide of globalization and to avoid losing oneself at the same time. 　In this study, the author broadly collected information related to “Chinoiserie” songs from 2000 to June 2010 in order to describe their developments in the past decade. In addition, the researcher has not only spent two years to collect, analysis, listen to, and observe the past and present of Chinese pop music, but also interviewed 18 key roles in different professions, including Vincent Fang, Hsing-Ming Chung, and Kevin Lin. 　Even though the “Chinoiserie” songs in the past decade can’t be viewed as the benchmark of the decade in Chinese pop music, at least they have caused “a vogue,” which some people praise, some are not optimistic, some imitate, and some disdain. In any case, “Chinoiserie” has made a statement for the visualized auditory era of pop music, and it would continue playing to deeply impress everyone of the time.