私有財產權之保障在我國政治與經濟發展中扮演著重要的角色，但由於傳統上我國法律文化中並無權利之因素，且繼受西方國家法制時特別強調社會本位，以致憲法第十五條雖明文保障財產權，亦未能落實個人財產權免於國家公權力侵犯之核心。大法官釋字第三三六號解釋認為都市計劃法第五十條就公共設施保留地之取得不設期限係合憲，即是未能保障財產權之例子。 本文為建立財產權基本理論，從財產權之定義、財產權合理化理論及財產權理論之運用三方面著手。在何謂財產權專章中，析述財產權定義、特權、功能及缺失。在財產權合理化理論專章中，本文介紹現代最早之財產權理論(即先占理論)、勞力理論、人格發展理論、功效主義財產權理論及羅爾斯之分配正義理論。其中，個人擁有自身乃先占理論與勞力理論之源頭；功效主義理論認為財產權係因社會需要而生；人格發展理論認為財產權將人的意志具現在外部領域；羅爾斯之分配主義理論試圖建立同世代與世代間利用物質資源之公平正義。上述理論須經過重構後，方能深植在我國法律文化中。在財產權理論運用專章中，本文嚐試運用各種財產權理論於我國憲法財產權保障制度和徵收制度上。就憲法財產權保障制度而言，本文援引洛克天賦權利理論，認為財產權係先於國家存在之權利，並引伸出防禦權及有限政府之概念，避免過於偏重社會義務或國家義務之財產權制度。就徵收制度而言，本文評析大法官釋字第二三六號、三三六號、四００號及四四０號解釋。釋字第二三六號、三三六號解釋，偏重於社會整體利益之考量，犧牲個人財產權，釋字第四００號解釋則建立政府公權力不得侵犯個人及財產權係實現個人人格發展之概念，後者雖已將洛克及黑格爾理論共治一爐，此為我國憲法上財產權保障之大事，但從其前後不一貫之立場，我國財產權制度仍有尚待努力之處。 / The protection of property plays an important role in political and economic development of Taiwan. But in tradition there was no factor of　right in our legal culture, and especially considered social interests when we adopted and learned from western legal systems. It can't make people prevent from intervention of state power although Article 15 of Constitutional Law prescribes protection of property. For example, the interpretation of No.336 of Grand Justice upheld Article 50 of City Planning Law deleting deadline of public reservation. The said interpretation is a bad example. The goal of this dissertation is to establish fundamental theory of property. It is divided into three parts: what is property, why is property and how is property. Part I (what is property) analyzes definition of property. It also proceeds about characters、functions and flaws of property. Part Ⅱ(why is property) introduces the earliest modern theory of property (i.e., first occupancy theory)、labor theory、utilitarian property theory、personality development theory and Rawl's distributive justice theory. Suum is the origin of first occupancy theory and labor theory. Utilitarianism argues that property is derived from social demand. Rawl's distributive justice theory desires to establish the justice of using material about the same generation and the different generations. Only after reconstructing the said theories, property can deep input into our legal culture. Part Ⅲ (how is property) uses the said property theories to property protection of Constitutional Law and takings . For establishing the more protection system of property in Constitutional Law, it should employ natural right theory. And then it will produce the concept of negative right and limited government in Taiwan. It also can prevent from over - emphasising social obligations of individual and positive functions of state. In discussing takings, this dissertation analyzes the interpretation of No.236、No.336、No.400 and No.440 of Grand Justice. The interpretations of No.236 and No. 336 stress the importance of whole social interests, but it overlooks the individual right. The interpretation of No.400 constructs the concepts of limited state power and personality development. The latter is the turning point of property protection in our Constitutional Law. But oberserving contradiction of the said interpretations of Grand Justice, we still need to endeavor to establish the better system of property in our country.

「設計」應該是一種創造高附加價值的觀念，不過很可惜的是，在台灣的環境之下，很多的設計業者卻不得不和現實妥協、低頭，放棄當初投入設計的理想和初衷，來從事設計代工或接單(B TO B)等高度競爭的工作，儘管台灣的設計，在國際比賽中，贏得非常多的大獎，擁有很強的設計能力，和受到國際高度的肯定。不過，設計業者在環境的限制之下，仍然沒有辦法利用「設計」來創作高附加價值的作品，或賺取超額的收益及名聲。以拿下美國2009年Gen Art時裝大獎的設計師古又文曾經感慨得說：「我是被台灣這個產業，逼著我一定得出走，因為在這個環境中，如果我想要做我自己，想要做一個有創意，而不是拷貝人家創意的設計師，那幾乎是不可能的 。」 台灣的設計產業究竟出了什麼問題？智慧財產權的制度，又扮演著什麼樣的角色呢？本研究將從設計產業、智慧財產權以及集體管理組織的概念，來討論台灣設計產業所遭遇到的問題與困難，並試圖找尋出一個解決的方案。 在經過一連串的分析以及資料的統整之後，本研究認為台灣設計產業最大的問題有3項，第一，台灣的設計產業以中小型企業為主，競爭激烈，缺乏資金和資源，也無力拓展海外市場和經營品牌；第二，在台灣的設計產業之中，創新的價值，很難轉換到品牌或者商標之上，因此消費者不易分辨原創作品與仿冒商品之差異；第三，市場上缺乏穩健而且可靠的通路系統，設計業者很難將創作商品，在市場上換取收益，並獲得充足的資金來支持其後續的開發和創作。 本研究提出「設計品牌經紀商」的概念，希望能夠解決目前設計產業面臨的交易成本過高，以及中小型設計業者面臨「心有餘而力不足」的問題，如果依照智慧財產權整合的概念，這種類似集體管理團體的組織在達到一定的規模後，可以發揮類似保險公司分散風險的經濟模式，同時也具備了提高談判和議價能力，以及達到降低買賣雙方搜尋成本的好處。 / Design should be a concept of creating value added. However, in Taiwan, many designers are forced to compromise with the reality, doing high competitive jobs like B to B(business-to-business) instead of following their aspirations. Despite the fact that Taiwanese designers have won many international prizes and that their designing abilities have been highly recognized in the world, they are still unable to use “design” to create high value added works, make profits, and gain popularity out of it. Ku Yu-Wen, the designer who won the 2009 Gen Art Prize in the U.S., once said, “I was forced to leave because of this industry in Taiwan. In this environment, it’s almost impossible to be myself, be a creative designer who doesn’t copy.” What problems are we facing in Taiwan’s design industry? What role should the IP policy take? In this research, we will go through the concepts of design industry, intellectual property and collective management organizations, discuss the problems and difficulties faced in Taiwan, and work on a possible solution. After a series of data analysis, the research concludes that Taiwan’s design industry are facing three main problems: First, Taiwan’s design industry is composed of small companies, which are constantly competitive, lack capital and resources, and are unable to expand markets oversea or invest in brand management. Second, in Taiwan’s design industry, it’s difficult to transfer the value of innovation into the brand or the trade mark; therefore, customers are often unable to distinguish the genuine products from the couterfeits. Third, the market lacks stable and reliable marketing channels. It’s difficult for designers to make profits from their works and gain sufficient capital to support their following works. To solve these problems, the research proposes the concept of “designer brands broker” in hopes of lowering the transaction cost and helping those willing but unable designers. Like the integration of intellectual property, when reaching a certain scale, this kind of collective management organizations can help to diversification risk like an insurance company. Furthermore, it can help to increase designers’ negotiating ability and decrease the search cost for both the seller and the buyer.

在數位出版產業中，台灣出版業者面對網路改革的壓力，積極尋找網路數位出版發展趨勢與商業模式，並且華文網路市場機會的興起以及網路社會上智慧財產權的日益重要，本研究將以智慧財產權管理的角度探討在網路中，臺灣出版業者如何尋找新的商業模式掌握此次出版業的革命商機，為廠商提出發展建議。 網路數位出版，意指在內容出版的過程，從內容創造、流通到利用都是以數位化的技術進行，並且在網路的環境中完成這些過程。網路數位出版平台，指的是溝通內容創造與內容利用兩端的中間者。負責聯絡兩方平台業者所面對的智財權議題以著作權最為重要，因為數位出版產業立基於內容發展，而著作權主要說明內容的管理。 本研究從網路長尾理論出發，以該現象形成的原因作為分析廠商的智財權管理的面向，分析專業數位出版平台—商業周刊網站，以及業餘數位出版平台—PIXNET，尋找商業模式與智財權管理的關連性。 根據個案訪談的結果分析，專業數位出版平台內容發行與智財權管理皆為以業者角度為主的單向，然而業餘數位出版平台的內容發行與智財權管理都是以互動的方式完成，平台之商業模式確實影響智財權的管理。除此之外，對於未來數位出版平台的發展，專業與業餘之間的藩籬逐漸消弭，成為兩者的綜合，本研究亦建議業者朝向專業與業餘並行的發展方向前進。 / The importance of intellectual property increases with the growth of Chinese internet market. Taiwan publishers are now confronted with the pressure from internet innovation and thus are forced to find out a new business model and more opportunity. This study will focus on the possible business model of digital publishing and the strategy of IP management which Taiwan publishers should adopt. Digital publishing suggests an all-digitalized publication process. Every step of publication, from content creation, editing, publishing, selling to application, can be completed all through the internet. The platform of digital publishing serves to communicate both side of content providers and users. Hence, copyright of the digital content and the management of copyright becomes one of the most important intellectual property issues. The thesis will begin with Chris Anderson’s Long Tail theory. Two websites of digital publishing in Taiwan will be chosen for analysis: the Business Weekly as the commercial plaform and PIXNET Blog as the avocational one. Through the comparison, the study aims to find out the connections between the business model and the intellectual property management. According to the case studies, the content and the intellectual property management of commercial platform are unidirectional, decided by managers. On the other hand, tthese of avocational one are bidirectional, influenced by website managers and users. Intellectual property managements are influenced by different business model. However, it would be the trend that the barrier between commercial platform and the avocational one will melt away and the business model of website in the future will change. The business model and intellectual property management of digital publishing platform should combine characteristics of both commercial and avocational one.

從知識經濟到創意經濟，我們看到一個新的產業典範來臨，主導現階段經濟發展的正是創意，並且能不斷生成、運用、及永續發展。 創意經濟時代，創意產業以智慧財產權為核心，是文化與商業的結合，要真正形成產業，進而產生效益並創造產值，在產業價值鏈的建構、智慧財產的創造、保護、流通與運用等面向，需要進一步探討與落實。 電影產業是創意產業的火車頭，是十分複雜的綜合體，談到電影，一般人應該是直接想到好萊塢，最近幾年，印度寶萊塢與韓流可能也映入腦中，後臥虎藏龍時代，華語電影則迅速竄起，吸引各界目光。 惟典型的關於電影討論與研究，多集中於電影發展的歷史、電影類型、電影風格、電影導演或演員的藝術成就、以及電影市場展介紹等。 電影創造的過程是最複雜的創意管理，電影的保護、流通與運用的過程，更是最複雜的智慧財產權管理，透過電影產業價值鏈當中契約交易過程，將可作為經濟財的智慧財產權的價值極大化，並經由多元管道及平台重複運用，是一項繁複的產業化的跨領域整合。 近年來，我國開始逐漸重視智慧財產相關理論研究與實務運作，惟相當程度仍侷限於所謂高科技產業的適用，就型態、內涵、及營運模式迥異的創意產業，由於其本身具有不同邏輯的產業特性，是否或如何適用，或是如何創新，相關研究仍屬缺乏。 從智慧財產權的創造、保護、流通與運用的角度，深入探究創意產業當中的電影產業，必須先了解電影產業的發展歷史、現況、與趨勢，並應同時針對產業特性以及產業價值鏈進行分析，才能夠清楚探討電影產業的智慧財產權管理相關議題。 對於高度變動性、內部價值鍊密切結合、混合複雜的創意團隊或個人的電影產業，實則是由各類型的契約組成，因此，透過交易契約內容之審視，將是分析及了解現代化電影產業結構及發展的重要切入面向之一，也才能真正活化電影產業並促進發展。 具有現代商業概念及操作的管理機制，在電影產業中已經同等重要，這項具有創意性的管理，即是由電影製片所擔綱，電影製片就如同一位新創事業的創業家，要致力於如何將促成一部成功電影的所有必要元素統籌成一份專案事業計畫，促成投資者投資，籌募足夠資金，並協調創意人完成電影專案並推向市場。 面對文化與藝術的體驗性、創意工作者對其作品的高度重視性、創作的不可確定性、成本的變動性、消費者及市場的不可預測性等，本研究從經濟運作及市場交易法則切入，探討電影產業背景、發展趨勢、產業價值鏈、與產業特性，並以製片觀點，分析電影產業的智慧財產權管理與相關實務契約，將商業及管理概念導入文化創意產業當中，以形成具體的產業發展典型。 文末並提出研究與研究建議。 以創意產業中相對複雜的電影產業作為研究對象，本研究希望除了促成並強化電影產業本身商業與藝術結合的健全發展之外，也期望可以作為其他創意產業領域發展的重要典範。 尤其是，創意產業由於具有無體性特質及外溢效果，在流通與應用本即具有多元化面向與特質，不能以傳統意義上的單一產業視之，而是藉由跨越多個產業多樣平台的價值實現過程，將相關產業連結在一起，包括動畫電影、影視與數位內容、數位影音、數位典藏、行動應用、表演藝術、流行音樂、品牌授權、甚至文化創意園區發展、閒置空間再造、文化觀光、城市及國家行銷等，將是跨越領域與界線的融合。 / In the transition from a Knowledge-Based Economy to a Creative Economy, we see the advent of a new industry mode. What dominates present-day economic development is Creativity, which is able to be regenerated, applied and developed in a sustainable fashion. In the age of the creative economy, the creative industries are centered on intellectual property rights, and are a union of culture, art and commerce. In order for them to become real industries, generate profit and create output value, we need to further explore the establishment of an industry value chain, and create, protect, circulate and apply related intellectual property. The film industry is the driving force of all creative industries. Film is an extremely complicated synthesis. The process of making a film involves the most sophisticated creativity management expertise, while the process of protecting, circulating and utilizing a film requires the most complex intellectual property right management skills. Through the contract negotiation process within the film industry’s value chain, the value of intellectual property rights as economic goods are maximized. With multiple channels and repeated use of application platforms, film-making is a complex multidisciplinary integration process. In recent years, Taiwan has begun to pay more attention to the study of the theory and practice of intellectual property. However, this study has so far been limited to applications of the high-tech industries. With regards to the creative industries, whose forms, contents and operating modes are rather different from those of the high-tech industries, little study has been conducted due to their different industry characteristics. To investigate the film industry from the angle of creating, protecting, circulating and applying intellectual property rights, one needs to first understand the history, current status and trends of the film industry as well as analyze the industry’s characteristics and value chain before investigating issues concerning management of the industry’s intellectual property rights and revitalization of the industry. Modern-day business concepts and management mechanisms are equally important to the film industry. The producer is charged with this creative management task. The producer is like the entrepreneur of a newly established business, who endeavors to turn all the elements a successful film contains into a business plan, raise sufficient funds and coordinate efforts to complete the film and release it. From economic and market perspectives, this study examines the film industry’s historical background, trends, value chain and characteristics. In addition, from the producer’s viewpoint, the study analyzes the industry’s management of intellectual property rights and contracts, and introduces business and management concepts into creative industries in order to form a concrete industry development model. At the end of the study, it puts forward its research findings and suggestions for future research. With the film industry, a relatively complicated industry within the creative industries, as the subject, the study hopes to promote integration of commercial and artistic aspects, as well as aspiring to set an example for other creative industries. As a result of their intangible nature and spillover effects, the circulation and application of creative industries possess diverse facets and qualities and therefore cannot be viewed as a single industry from a traditional perspective. Rather, through a value realization process spanning several industries and a variety of platforms, relevant industries that include animated features, visual and digital content, digital videos, digital archives, mobile applications, performing arts, popular music, and brand authorization are linked. Creative industries even include development of cultural parks, rejuvenation of disused spaces, cultural tourism, and city and national marketing. They are a fusion of different fields and boundaries.

從轟動全球的鴻海與夏普併購案、安謀與英特爾兩個直接競爭者間的晶片架構授權、蘋果與三星纏身多年仍難分難解的設計專利訴訟，再再都顯示智慧財產的重要性，及妥適的規劃與運用企業智財策略管理，能為企業帶來 的競爭優勢與經營彈性，可惜的是相關文獻不僅相當少，既有策略管理文獻，對智慧財產層面之策略管理，又鮮有論述。為期許自己能夠對實務及學術領域皆盡棉薄之力，並推廣相關知識，本研究選擇企業智財策略管理為研究標的，以有無積極採取此面向策略管理之利弊分析為主軸，分別涉及之具體考量為核心，再輔以國際案例說明，以應證智財管理與企業經營整合之趨勢。 　　為完整探討企業智財策略管理，本研究前兩章先思考廣泛認知的策略管理面向，並套用至智慧財產層面，說明智財策略管理為何及其重要性，與企業應將其導入日常經營；於第三章與第四章，倚賴客觀嚴謹之文獻解讀與專家訪談，搭配靈活之商業邏輯分析，試圖拉近古今中外類似策略思維，說明此概念實非前所未聞，毋寧係吾人未善加利用之競爭策略，並由具體事項整理欠缺企業智財策略管理之危機與積極採取企業智財策略管理之國際趨勢，以充分說明欠缺注意之問題與徹底落實之好處，本研究更利用柯達和全錄，說明企業是如何從默默無聞到高度成功，後續又為何日漸衰敗，並以波音與安謀，描述其係如何日益壯大，與善用智財策略管理更上一層，應證前述分析，係實質可期之策略應用；於第五章嘗試歸納、分析與整合相關資料，經過多次思考、討論與修正，提出企業宜進行之內部組織調整及12步驟之企業智財策略管理，給予企業一套有具體步驟的策略指引，嘗試協助企業成就更上一層，維持高度競爭力，並永續經營；透過深入探討企業智財策略管理議題，亦希冀能夠達到拋磚引玉之效，激發更多討論，補充本研究之不足。 / From recent Foxconn-Sharp merger, licensing deal among ARM and Intel, and dogfight be-tween Apple and Samsung; the importance of intellectual property (IP) is self-evident. Enterprises could gain competiveness and flexibility if strategic IP management is carefully planned and applied. Generous IP activities remained, but only a handful of scholarships dedicated to the topic; more likely than not, these papers focused on traditional perspectives, rather than strategic IP management. This research intends to provide an account broadly discuss relevant issues, including, what strategic IP management is, how it should be treated by enterprises, and guidelines of integrating it to business management. Hope the thoughts provided could benefit current practices as well as academics. Chapter I & II described how the research is done, delved into traditional perspectives of strate-gic management, and construed strategic IP management to show the necessities of proper integra-tion for enterprises. Banked on resources and professional insights, Chapter III & IV carefully drew connections between strategic IP management and ancient Chinese wisdoms, and shown threats, benefits, and trends on why enterprise should incorporate strategic IP management into business. Further, it used famous corporations including Eastman Kodak, Xerox, Boeing Company, and ARM Holdings to show how successful businesses have failed due to careless on strategic IP management, in contrast to businesses indeed can benefited from proper integration of such instrument. Chapter V scrutinized materials, and integrated different opinions and perspectives, then provided adjustments to organizations within corporations and formulated a 12-steps strategic IP management intended to provide enterprises a guideline that would lead to further success. Lastly, Chapter VI provided a ret-rospect of the research, and wished to set an example and to stimulate more discussions.

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.