董澤平Tse-Ping Dong竹中享Toru Takenaka2019-09-032014-3-12019-09-032014http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN060056017O%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/94711近年來「企業責任」逐漸受到社會與企業的重視，企業積極地參與各種社會公益活動，藝文活動也可見到企業的參與。而國家藝術基金會是台灣唯一以藝術獎助為主要業務的機構，扮演企業資源與文化藝術領域間的中介角色。由於世界經濟發展面臨泡沫化，企業及社會各界對藝文贊助意願大幅降低。但反觀日本企業麥賽那協議會對藝文活動贊助還是一直持續。 企業藝文贊助的跨國比較研究不多，而日本麥賽那協議會是跟台灣國藝會類似的組織，因此本研究以文獻分析法，深度訪談法為研究方法，從麥賽那協議會及國藝會的現況與企業藝文合作策略加以分析比較，了解如何加強企業與藝文團體的夥伴關係，提高互動性，發展因應策略。 研究發現相較於台灣國藝會，日本麥賽那協議會的藝企合作專案，已經發展出許多長期且持續進行的方案，藝企合作的重點比較在於推廣「地方性密集藝文活動」如何結合藝文團體資源，促進地方、市民藝文的發展的認識，最終的目的不是藝術本身，是將藝術擴大到社區與生活。而台灣國藝會的專案規劃較為短期，著重於企業端的推廣，增加企業對藝文的認識，進而擴大藝術文化消費的市場。然而台灣在藝企合作的方案中有較多元的發展，企業與藝術界的合作模式也已從以往單向的贊助模式，希望企業透過藝文消費方式藝術，逐漸開展出互利的夥伴關係，跳脫以贊助金錢為主的參與方式，以實物贊助為主的新形態專案。 國藝會未來需要強化平台功能，建立與其他組織與地方的夥伴關係。台灣獨特的藝術文化，若能加以結合，更能強化企業、藝術文化的活動與地方的連結發展長期的合作。另外以日本的經驗來看國藝會的「企業化」是必須的路，但「企業化」的時候也要以社會貢獻為基礎，並且「公益性」上要取得平衡，利益的部分要有效的運用，才能夠得到市民與企業的支持。In recent years "Corporate Social Responsibility" has come to the attention of society and companies, and they are enthusiastically putting a great deal of effort into these activities. They have begun sponsoring various public utilities, cultural activities, and environmental programs in an effort to show themselves as socially responsible. The National Culture and Arts Foundation (NCAF) is the only organization in Taiwan, which supervises cultural programs, subsidizes cultural undertakings, awards grants to arts professionals and implements the cultural mission set forth in the foundation's grant regulations. Since the world’s economy entered into the current depression, corporations have significantly reduced the sponsoring budgets for the arts. However, in Japan, Kigyo Mécénat Kyogikai (KMK: Association for Corporate Support of the Arts), a similar organization to the NCAF, has continued to sustainably support the arts and also to successfully promote and heighten awareness of corporate arts support, and to build cultural infrastructure for the encouragement and development of business and arts’ partnerships. This thesis uses document analysis, in-depth interviews, and analysis strategies to examine the NCAF and KMK‘s corporate support of the arts, to further examine the partnership of corporations and artists, and the platform strategy to increase interactivity, and develop coping strategies. 　　This research found that KMK’s corporate support focused on promoting many long-term activities, and specifically promoting local activities. In contrast, NCAF does not have programs for corporate support, and are mostly short term. However, NCAF’s cooperate model have the possibility of development in many ways, and companies can break the money-based sponsorship model. 　　Therefore, NCAF should improve their platform function, and build up their relationship with organizations including the local community. This model can be an improbable model for corporate management. To do so, NCAF needs to more greatly apply corporate social entrepreneurship.企業藝文贊助平台策略國藝會麥賽那協議會Corporate Support of the ArtsPlatform StrategyNational Culture and Arts Foundation (NCAF)Kigyo Mécénat Kyogikai (KMK: Association for Corporate Support of the Arts)