當創新不再被視為全新的發明，而更近似於既有資源的重新組合，資源重組（recombination）便成為創新的重要來源。當企業的資源有限時，有一派學者主張運用隨創（bricolage）概念，就地取材地為既有資源賦予全新價值。不過，當組織內部的資源不多，重組之後所得到的創新也相對有限。因此，另一派學者主張從組織外部連結跨域資源，整合各方之長的仲介（brokerage）觀點，在許多知名企業紛紛採用之後，霎時之間蔚為主流。然而，過去對於仲介的研究，大多聚焦於資源重組的過程，卻忽略了企業所面臨的情境制約（constraint）。 有別一般的困難，制約根深蒂固於情境（context）之中，涵蓋的範圍極廣，單一企業往往難以獨力排除，故問題解決（problem-solving）的思維不易奏效。企業如何在制約之下發展創新，是過去的研究較少著墨之處，因此我們對於企業如何回應制約的瞭解相當有限。本研究由制約對創新者的影響切入，強調創新者如何在制約之下仲介資源，並且創意地回應制約，進而發展出「借力使力」的仲介方式，不僅化解制約的阻礙，也透過資源的重新整合，從既有的資源中創造新的價值。 本研究選擇國內某知名媒體集團A公司旗下的B集團為個案公司，B集團深耕活動事業多年，媒體背景為其建立廣博的社會網絡，使其在仲介各方資源時更加順利，因而發展出與眾不同的創意回應。本論文的研究問題為：「企業在面臨制約的情況下，如何仲介資源以回應制約？」本研究以個案公司在2009年底至2010年初所舉辦的梵谷畫展作為研究個案，深入企業以訪談法蒐集資料，採用詮釋型的質性研究方法，分析策展人如何仲介各方資源，借力使力地回應情境制約，使展覽順利舉辦。最後，本研究從策展人回應制約的仲介歷程中，歸納出三種創意回應的設計原則。本研究於學理上的貢獻有二：首先，本研究呈現創新者在制約之下的仲介歷程，補強過去研究較少著墨之處，進而豐富仲介理論的內涵；其次，本研究將創新者透過仲介作為回應制約的過程，作為一種創意回應的形式，進而豐富了創意回應的理論意涵。 / When innovation is regarded as resources combination rather than novel invention, recombination therefore becomes the origin of innovation. One school demonstrated the concept of 『Bricolage』, which transfers existed resources into new values, however, it would be limited if resources are insufficient. The other school referred to 『Brokerage』, which brokers the resources outside the organization and creates new combinations through diversified resources. Nevertheless, most of relative researches focus on the process of recombination, which led to disregarding the constraints met by enterprises. Unlike normal barriers or challenges, constraints in the context are hard to removed for enterprise with insufficient resources. Due to the pervasive effectiveness of constraints, the problem-solving concept may not work well when it is applied to this issue. That is to say, how enterprises innovate under constraints is the issue neglected by past researches. Hence, this research mainly focuses on how innovator brokers diversified resources to respond to constraints creatively. Then we find that a type of brokerage named 『leverage through brokerage』. By this type of brokerage, innovators could respond to the effectiveness of constraints, and create new values through the recombination of existing resources. This research chooses B group, which belongs to a leading media company in Taiwan, as our research case. Rather than ineffective problem-solving ability of enterprise, this research cuts to the point from the effects to innovators in such constraints. B group has devoted into curation industry for many years, it tends to be easier to broker resources from different stakeholders and develop unique creativity since its media background and wide social networks. This research explains: When an enterprise confronts constraints, how does it broker resources to respond such constraints? This research chose 『Van Gogh exhibition』 held from 2009 to 2010 as a case study, adopting deeper research by interviews and using interpretation as qualitative research method, trying to analyze how curator broker resources from different stakeholders and leverage them to respond constraints. Finally, this research generalizes three creative responses as design principles from the curator's responding process to the constraints. The findings of this research demonstrate two academic contributions: (1) Different from past research, this case focuses more on the process of the brokerage when an enterprise try to innovate under constraints, therefore enriches the Brokerage theory. (2) This case concludes the process of curator's responding to constraints through brokerage as a way of creative response, hence complements the creative response theory.

在全球化的浪潮之下，政治學的關注焦點逐漸從中央轉向地方。其中一個重要的領域即為政治經濟學框架下的全球城市研究。大型的全球城市政府如何具體呼應權力移轉的論述？以全球城市所組成的全球城市體系中，各種不同的城市功能，如吸引外資與提升軟實力文化可否兼顧？都是值得深究的議題。於此同時，文化創意產業的興起，廣受全球各大城市關注。在產業呈現上，文創產業以群聚的樣貌，出現在許多城市之中。此一熱潮的出現很快就帶動了相關研究。因著可觀察的群聚現象，群聚理論一時之間成了研究文創產業的顯學。在政策面上，群聚理論認為，輔助型與刺激型兩種政策能對產業群聚有所助益。然而文創群聚後續普遍所面臨的衰退現象，使其遠離群聚理論中的理想群聚，理論的政策觀點也無法對此提出解釋。本文重新導入全球城市研究的觀點，以中國的指標性全球城市–上海為例，從城市政府的能動性檢視其對文創群聚所造成的影響。政府透過設立文創群聚來提升地租，從中達成吸引資本與擴充財政收入的目標。文創產業雖能拉抬地租，但地租的拉抬最後卻也使其被商業活動取代而失去生存空間。儘管此動態過程所造成的結果在許多研究中受到惡評，但本文也發現，以確保產業自主為前提下，與商業活動的適度聯繫，能夠促使文創群聚運作活躍，更趨近於群聚理論所描述的群聚。而本文最後的研究成果，也正得以回應權力如何具體移轉以及不同的全球城市功能可否兼顧兩大疑問。 / The focus of political science has shifted gradually from central government to local government since the wave of globalization. One of the important fields in political science is global city research, which is under the framework of political economy. How do global cities respond to the transition of political power? Can a global city, which is situated in the global city system, maintain more than one global city functions, such as attracting foreign investment and developing soft power like culture? Both questions are issues worth analyzing. Meanwhile, the trend of cultural creative industry draw many cities’ attention. Most of the cultural creative industries are clustered in the city. Such prosperity soon led to increasing researches. Cluster theory became the main research approach due to the appearance of clusters. On the policy side, cluster theory points out that both helping policy and stimulating policy are beneficial to industrial clusters. However, the reality reveals that many cultural creative clusters face difficulties and decline, which cannot be explained by cluster theory. This thesis takes Shanghai, a significant global city in China as example to analyze city government’s autonomy and its’ impact on cultural creative clusters through global city approach. In this case, city government improves the land rent by setting cultural creative clusters. The movement helps government gain plentiful fiscal profit. However, after the land rent has been improved, cultural creative industries will be replaced by commercial activities and lose their living place during rent improving period. Such result was criticized in many previous researches. Nevertheless, in the precondition of industry autonomy, the Shanghai case finds out that appropriate connections with commercial activities foster the mechanism of cultural creative cluster, which is close to cluster theory. The final result of this thesis responds exactly to the two questions about power transition and global city function.

在過去的產業發展經驗中，廠商群聚發展的模式常常是很重要的一個考量，透過群聚能夠產生降低交易成本、整合產業鏈、人才的相互流通等諸多效益，然而隨著時代與環境的變遷，創意慢慢成為廠商或者產業的競爭基礎。這樣的知識經濟時代來臨加上文化創意產業（簡稱文創產業）在各國興起，而為了能夠讓文創產業有適合的發展環境，文創產業的發展與規劃就必須借鏡過去產業發展的經驗，在台灣甚至很多其他國家都選擇以文化創意產業園區（簡稱文創園區）的方式輔導文創產業的發展，因為群聚的模式對過去產業發展是有貢獻的。 台灣目前所規劃的五大文創園區中位在台北市的華山園區是起步最早的一個，目前由台灣文創公司經營，而針對華山園區也有很多質疑的聲音，包括華山經營得太過商業化，甚至排除很多創作者在華山發展的機會等，儘管如此廠商集中群聚在華山園區內部仍然能夠分享到群聚所造成的各種幫助。 透過訪談與文獻分析發現，華山園區的群聚效應對於園內廠商的貢獻有四： (1)華山園區形成並提供跨界合作的平台，園區內的廠商透過跨界的交流與合作促成更多創新。 (2)華山園區開始形成一個文創品牌以後，除了透過高知名度吸引更多顧客以外，也辦理主題性的活動來吸引廠商所需要的目標族群，達成市場區隔。 (3)華山園區能促進人才交流與流動的發生，這樣的過程將有助於廠商的創新行為，在人才培育上華山預期在未來的BOT旗艦中心能有更積極的作為。 (4)華山園區能夠讓廠商與顧客接觸，進一步使組織的知識與顧客互動結合產生如何做（know how）的知識，並且再次透過園區來讓這些知識能夠累積、傳承。 / From past industrial experiences, clusters are considered not only to cut firms’ cost but also integrate their supply chains and other favorable effects. Creativity becomes the base of competition over time and cultural industries had grown up in many countries. In order to make a favorable environment for cultural industries, past industrial experiences are needed because of the big contribution of clusters to past industries. And the cultural industrial cluster mode is not only adopted in Taiwan but also in many other countries. There are 5 cultural industrial clusters in Taiwan. Huashan1914 Creative Park, the first one which was established. Even if there are some criticisms of the park such as about over commercialized operating and artists are crowded out. However, firms in the park shared advantages from this cluster in many ways. Contributions of clusters to cultural industries in Huashan1914 Creative Park’s case can be summed up through literature review and interviews. There are 4 items: (1) Huashan1914 Creative Park offers a platform that firms and individuals share their ideas on it. The ideas on the platform are interdisciplinary. Moreover, the platform also stimulates collaborations and brings more innovations. (2) Since Huashan1914 Creative Park becomes a brand name, it attracts more customers by its high profile and also distinguishes the target customers from the public for firms in the park by holding events. (3) Huashan1914 Creative Park stimulates people to interact with each other and it’s also helpful to firms’ innovations. Moreover, Huashan1914 Creative Park is looking forward to making bigger and more contributions of talent cultivation after it finishes the BOT building. (4) The firms combine their organizational knowledge with the experiences of talking and interacting with customers in Huashan1914 Creative Park, thus the firms have their know how knowledge. And firms cumulate and create much knowledge by the park once again.

台灣曾被稱為蘭花王國、植物王國、水果王國，這都在在的說明台灣農業有著得天獨厚的特色，台灣的土壤條件、天然氣候、歷史軌跡、人文智慧等風土條件是其他產業所無法擁有的，台灣農產加工品的風格競爭力是有足夠的力量來替台灣產業找到出路。台灣的消費社會已經從符號消費進入體驗消費，藉由打造品牌，注入文化，營造體驗提供給消費者真實感的附加價值，能夠重新詮釋台灣農產品的獨特與價值，以提升台灣農企業的市場競爭力。過去以生產為主的農產加工業想轉型必須運用文化、創意、美學，橫跨一級農業、二級工業與三級服務業的價值鏈，透過「1＋2＋3」的產業組合，發揮「1 X 2 X 3」的綜效成為第六產業。 本研究透過體驗型農企業（概念同文化創意產業）的體驗核心要素與真實體驗Authenticity兩個概念，研究農產加工業轉型經營體驗型農企業的過程，透過動態能力的架構探討企業如何調整原有的組織能力與資源，進而建構品牌、營造體驗價值的動態歷程。研究問題如下：（1）農產加工業轉型為體驗型農企業的過程為何？（2）體驗型農企業的內涵為何？（3）體驗型農企業如何藉由營造品牌真實體驗提高附加價值？ 本研究發現，（1）農產加工業轉型為體驗型農企業的過程中，經營者是相當重要的掌舵人，不能搖擺。做中學是轉型很重要的助力。更要善用風土資產、產業文化資產當成發展體驗型農企業的武器。（2）轉型成體驗型農企業必須提出生活風格提案，藉由說一個真誠的故事，打造體驗型農企業的獨特形象，做出區隔。（3）藉由包含企業差異故事的獨立空間當作一獨特的媒介元素，品牌說故事的效果能達到差異化。空間經驗的體驗應包含形態、動線、相互作用、活動、背景環境。體驗型農企業的美感體驗打造應該從平面設計⇒產品設計⇒空間⇒城鎮。（4）體驗型農企業需要提供具有教育及忘我的體驗營造深度體驗的營造，讓體驗更加深刻。另一個深度體驗營造的要素是工作人員的服務，藉由工作人員與顧客的互動帶給顧客一場精彩又深刻的表演。（5）體驗型農企業營造品牌真實體驗提高附加價值的時候，要利用農產品的風土條件讓顧客感受到產品的天然性。勇於提供與市面上大部份產品不同的產品於服務，帶來原創性與獨特性的真實。體驗型農企業必須提出獨特經營理念，且真誠地執行，得到消費者影響性的認同。藉由勾起懷舊回憶或歷史的場域空間，與獨特的活動及服務，使顧客無可救藥地注意並喜歡上體驗型農企業提供的體驗。（6）最後必須用自己獨特的方式融合五個面向的真實價值，讓顧客感受到最真實體驗的感動，所以顧客願意花較高的價格購買產品或服務，提高體驗型農企業的獲利。 / Taiwan has been called as the kingdom of plants, the kingdom of fruits. The reason is the unique terrior capital of Taiwan, such as soil, weather, history, and human. By building the brand, putting the culture in, and creating the experience to customer, they could feel the added value and the unique of Taiwan’s agricultural produce. The agricultural processing industry in Taiwan had been regarded as the primary industrial sectors. However, the agricultural processing industry is transforming to Sixth industry, which integrates the primary industry, secondary industry and tertiary industry by culture, creative and aesthetics. The integration of different industrial sectors (1+2+3) got the synergy (1X2X3). There are two essential concepts in the study, one is the core experience element of experience-agribusiness (the concept is similar with the culture- creative industry), and the other one is Authenticity. Based on the two concepts, the research is to investigate the dynamic constructing process of the agricultural processing industry in Taiwan’s transformation, building brand, and creating the experience value. This research aims to investigate following questions: (1) What is the transformation process form the agricultural processing industries to experience-agribusiness? (2) What are the essential elements in the experience- agribusiness? (3) How does experience-agribusiness to increase added value by building brand? The preliminary research findings include 1. The owner should be determinate, which means the owner clearly know the vision. Learning by doing is the best way to successfully transform. The terroir capital and industrial culture is the very important tool. 2. The experience-agribusiness always tells a life style story to build a unique image. The space is the proper media, which includes shape, movement, event, interaction, and context. 3. The experience-agribusiness provides affective experience, which is educational, obsessed experience. The experience is given by the interaction of staff and customer. 4. The authenticity is the core of added value of experience-agribusiness. By integrating the five elements of authenticity, which are natural, original, exceptional, referential, influential elements. Afterward, customer is willing to pay more for the added value.

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.