何以跨國出版公司，能夠在國際市場成功經營? 經研究了解，除了選擇尊重智財權的市場，還有多元運用經營模式，皆是發展無形『智慧財產』的必要條件。二次世界大戰之後，歐美跨國出版公司對於全世界『智慧財產權』的法律積極運作，唯有在智財權受法律保護的國家之下，出版業才有利可圖。舉亞洲為例，日本是最先響應智財權的法令推動的國家，戰後的日本受到重創，從廢墟中重新建立，新法律的推動，不僅重視本土的智慧財產權外，更重視對外來智慧財產權的保護。推出這樣的法案無異是送了一個很強的訊號給美國；歐英跨國出版公司陸續在日本建立亞洲分公司，以日本為跳板，開啟亞洲其他的市場。 至於台灣的早期的出版發展，可以追溯到70、80時期日治時代的出版事業（參考註一 ），直到90年代台灣經濟起飛，帶動國內多項產業蓬勃發展。當時台灣的商業人士拎著公事包在全球做生意，國際貿易成為時代顯學；其中在台灣世貿每年舉辦的『國際書展』吸引了無數的愛書人，擁擠的會場，不因出版業文化與語言地域限制而限縮，版權（翻印與翻譯）交易熱絡，堪稱亞洲排名第一；在1992智財權法的實行，促使所有不合法的翻譯，以及翻印書籍在1994年 『612大限』以前清空，從此台灣揚棄『海盜王國』的名稱。 研究者試圖提出如何突破台灣有限市場，進入國際市場，並借鏡跨國出版公司全球化運作之經營模式，強化在國際市場運作實力，達成企業成長的目標與海外國際市場經營發展。 本研究論文案例，舉用台灣市場中對國際化方面有經驗並多元發展的原創出版公司四家為例，以及一家跨國出版公司為輔，進行質化研究分析，深入訪談做成紀錄，並對照比較各家執行國際化的現況與模式運用，同時另外分析整理出適合國內出版業者，便於採用的國際市場擴展的經營模式矩陣。研究者希望對業者可以產生輔佐參考的功用。 然而研究的部分限制是，無法進行全面性的訪談個案或因為時間、空間與能力的限制等；最後，研究者提出三項作為未來研究參考，數位出版在近幾年因為電信、電訊、與IT資訊的整合運用，ㄧ是、出版業國際購併案例的研究；二是、如何將文創產業數位內容作更廣泛運用與實際的發展；三是、未來華語的學習熱潮，是否可以透過歐美跨國公司的經營模式，作為參考。 / Why does the international publishers can manage the international market successfully? Through the study we can understand not only the enforcement of the intellectual property (IP) law in place is important, but also the practice of various of business models . After World War II, international publishing companies were aggressively engaged in the implementation of intellectual property (IP) law, in order to provide regulation and protection to ensure their business profits in global market. In Asia, Japan was the first country to deploy specific law to protect both local and foreign businesses that involve intellectual property, for those who intended to expand their business into Asia. As a result of that, Japan became their first priority of choice to setup the overseas branches. The development of publishing industry in Taiwan could retrospect to the 70’s to 80’s, the period of time that Taiwan was under the reign of Japan. Given the economic booming in the 90’s, Taiwanese businessmen thus had the opportunities to extend their antennae all over the world. International trading gradually became important and prevailing ever since. This annual event , International Taipei Book Fair (TIBF), held by the World Trade Center in Taiwan, always attracts vibrant attendance from both international traders and end customers. The trading volume in copyrights at the TIBF is huge and considered as the number one in Asian book fair markets. The enforcement of IP law in Taiwan in 1992 was a key action that helped to eliminate Taiwan’s notoriety as a "Piracy Kingdom." Pursuant to such law, all illegal translations and unauthorized copies must be destroyed before the D-Day "612 deadline" in 1994. Since then, Taiwan has successfully turned over its long-haunted negative image in IP protection. The business models are cited and organized from the interviews of four domestic and one international publishing company. The comparison of each Business models has summarized as a comprehensive chart for deduced case analysis. This study is conducted by a qualitative research method with the information abridged form in-depth interviews. It elucidates the current operation and unique internationalization experience of each referred company. Following the analysis of the Business model, current study gives a full set of internationalization model matrix suitable for domestic publishers who are interested in business globalization to use as a practical reference. By drawing references and citing the business models from some of the major international publishers, the author is trying to make points of the strategic proposition and maneuvers on how to efficiently and successfully reach beyond the domestic market and be possessed of considerable shares in the competitive international market. The conclusion and suggestion drawn from current research are based on representative cases, yet expected to be able to precisely indicate the essence of business acquisitions internationalization in publishing industry first. To envision the prospects of publishing industry advocated by technology advances, the transformation of digital contents and its impact on the development of digital publishing have been outlined and proposed as well.

十世紀的文化創意產業伴隨著科技的進步，已經逐漸成為生活文化中重要的產業項目。文創產業成為世界各國注意的焦點。台灣能不能吸引創意新貴、文化創意人久居 將決定台灣未來是否衰退。 文化及文創產業之所以受到矚目，乃是因為現實生活中，文化掌握關鍵角色的社會階層愈來愈有影響力。所謂的「創意新貴（Creative Class）」的社會階層會是肩負二十一世紀發展最為重要的階層。 文化創意人非常關心自然環境、人權、和平、和精神層面，是六○年代市民.學生運動的始祖。 對於「創意新貴」沒有吸引力，缺乏文化性的國家、區域、以及都市將會日益衰退。 本研究透過個案研究方式，使用Rchard Florida、Elizabth Currid、出井伸之、青木貞茂、村上隆、野中郁次郎、茂木健一郎、李仁芳等美、日、台等產學業者的創意經濟理論，對京都3家文創老產業、藝匠產業，進行個案研究，尤其針對其中一家四百年歷史的唐長進行深度個案研究，分類歸納這三家老文創產業長青因素何在。 研究發現，京都老產業之所以長青是因為吸取了京都歷史、地理所孕育而來的京都特有文化風格與美學，並且以嫡傳精簡家族為經營核心；將京都的山川文明、歷史文化、家族傳承精華內化成自己的內隱知識；並且不斷地歷史、在地文化、甚或國際衝擊，以螺旋方式激盪出屬於自己的有機學習組織。 不過這中間最關鍵的還是這個藝匠達人是否對所繼承的藝匠家業充滿熱情與中興的慾望；以及京都市政府本身是否有意持續維持京都的優勢。 研究結果建議1︰民間業者方面，必須能向時間縱軸──歷史學習；也必須能向所在地理橫軸──所在地的文化孕育老產業的美感，做知識螺旋，結合時空環境下，孕育而來的美學創新素養，將外顯知識內化，內化之後，再成為文創產業的內隱知識，再繼續傳承下去。 建議2︰國家及在地政府必須重視各個地方的歷史與文化的原味封存以及鼓勵觀光客來個文化之旅，才能活絡地方的新陳代謝。 / As technolgy innovations accelerate, creative industries have gained more prominance in our daily life in the 20th century.Creative Industries have drawn attentions in every develped country.Whether Taiwan can attract the new creative class and culture glitterati will determine Taiwan's path fo development. The creative industries have gained more and more influence in today's society. The so-called "Creative Class" is the most primary and significant social class in the 21th century. The creative class is concerned about environment, human rights, peace, and spiritual wealth. They are the forerunners of civil movement and student activism in the 1960s. The countries, regions, and cities, who failed to attract creative class, will face the inevitable fate of decline. This study attempts to explore the reason of longevity and sustainibilty of Kyoto's creative industries. Through the methodology of case studies. This thesis draws on theories of Richard Florida, Elizabeth Currid、 Nobuyuki Idei 、Takashi Murakami、Yuichiro Nonaka、Ken Mogi、Renfan Lee This thesis focus on deep analysis of one 400-years-old 唐長 and discussion on other 2 craftmanship and creative enterprises in Kyoto to arrive at the conclusion of ever-gr0wing vitality of Kyoto's creative industries. This studies find out that the old creative industries in Kyoto has absorbed the historial tradition, geographical characteristic, and culture uniqueness of Kyoto. The core philosophy of management is familial succession. The historical tradition, geographical characteristics and family management have become implicit knowledge and gives birth to Kyoto-unique organic learning organiztion. This research suggests that private enterpreneur should learn from local history and local culture and distill geniune local flavors, refine the aesthetic flavors into "knowledge spiral," and make the implicit knowledge of knowledge to pass on to future generations. The second advice is that county and local government should encourage the preservation of local culture and culture tourism to lay the foundation for future new creative enterpreneurship.