藝術與商業的結合愈趨頻繁，越來越多行銷手法透過加入藝術來與競爭對手做出區別，近年來更出現了藝術與可愛角色結合的趨勢，雖然在實務上的案例不勝枚舉，但學術上的文獻支持多僅限於藝術注入的研究探討，針對藝術嘲仿和結合可愛角色的文獻少之又少。因此，本研究欲探討在加入可愛角色的基礎下，藝術注入及藝術嘲仿之間的作用機制與效果上的差異，如何影響消費者的態度（廣告態度、產品態度）、知覺（知覺品質、知覺風險）、與行為意願（購買意願、傳播意願），以及不同產品涉入程度可能帶來的干擾。並將可愛角色分為嬰兒可愛與古怪可愛，探討藝術注入及藝術嘲仿與不同可愛類型之間的適配性。
本研究使用實驗設計法，實驗一採取4（注入內容：圖片 vs. 中性可愛角色vs. 中性可愛角色+藝術注入 vs. 中性可愛角色+藝術嘲仿） x2 （產品涉入程度：高 vs. 低）的二因子受測者間實驗設計；實驗二採取2（注入內容：藝術注入 vs.藝術嘲仿） x2 （可愛角色類型：嬰兒可愛vs. 古怪可愛）的二因子受測者間實驗設計。
研究結果顯示：（1）相較於其他形式的注入，以中性可愛角色結合藝術嘲仿對於應變數有較佳的影響效果；（2）對於低涉入產品，較適宜注入中性可愛角色或是中性可愛角色+藝術嘲仿；（3）對於高涉入產品，以中性可愛角色+藝術嘲仿帶來的注入效果最好，而中性可愛角色的效果變為最差；（4）對於高涉入產品，注入時結合嬰兒可愛角色可帶來較佳的效果；（5）高涉入情境下，藝術嘲仿與嬰兒可愛角色之搭配，會比藝術注入與古怪可愛的搭配，帶來更好的廣告效果。除此之外，本研究也確立了藝術注入與藝術嘲仿的作用機制 (奢華和幽默感知)、可愛角色對於藝術中奢華感受溢出的負面影響等重要理論意涵，並提供相關業者進行可愛行銷與注入藝術之重要建議。

The combination of art and commerce is becoming more frequent; additionally, more and more marketing techniques are differentiated from competitors by adding art elements. In recent years, there has been a trend of combining art elements and cute characters. Although there are numerous practical cases, the existing academic studies are mostly limited to the discussion of art infusion effect; moreover, the literature on art parody and the combination of art and cute characters is rare. Therefore, based on the premise of combining cute characters, this research intends to explore the differences in the mechanism and effect of art infusion and art parody, and examines how they affect consumer attitudes (ad attitudes and product attitudes), perceptions (perceived quality and perceived risk), and behavioral intentions (willingness to buy and willingness to spread), and possible moderation caused by different product involvement. Moreover, it divides the cute characters into kindchenschema and whimsical cuteness, and explores the match-up relationship between art infusion and art parody with different cute types.
This research uses an experimental design method: experiment 1 adopts a 4 (infusion content: pictures vs. neutral cute characters vs. neutral cute characters + art infusion vs. neutral cute characters + art parody) x 2 (product involvement: high vs. low) between-subject factorial design; experiment 2 adopts a 2 (infusion content: art infusion vs. art parody) x 2 (cute character type: kindchenschema vs. whimsical cuteness) between-subject factorial design.
The main research findings are as follows: (1) Compared with other infusion content, the neutral cute character combined with art parody has better effect on the dependent variables. (2) For low involvement products, the neutral cute character and the neutral cute character + art parody have better effect. (3) For high involvement products, the neutral cute character + art parody has the best effect, while the neutral cute character has the worst effect. (4) For high involvement products, combining kindchenschema characters when using art infusion can bring better results. (5) Under high involvement situations, compared with the combination of art infusion and whimsical cuteness characters, the combination of art parody and kindchenschema characters has a better effect. In addition, this research clarifies the functional mechanisms (luxury and humor perception) of art infusion and art parody and finds that cute characters yield a negative influence on the spillover effect of luxury perception of art. For practitioners, the research results also provide important suggestions on how to use cute characters and art elements in marketing.

論文審定書……………………………………………………………………………………………………………i
致謝……………………………………………………………………………………………………………ii
摘要……………………………………………………………………………………………………………iii
Abstract……………………………………………………………………………………………………………iv
目錄……………………………………………………………………………………………………………vi
圖目錄……………………………………………………………………………………………………………ix
表目錄……………………………………………………………………………………………………………ix
第一章 緒論…………………………………………………………………………………………………1
第一節、 研究背景…………………………………………………………………………………1
第二節、 研究動機…………………………………………………………………………………4
第三節、 研究目的與問題……………………………………………………………………..8
第二章 文獻探討…………………………………………………………………………………9
第一節、 藝術注入…………………………………………………………………………………9
一、 藝術注入定義…………………………………………………………………………………9
二、 藝術注入的正面效果…………………………………………………………………10
三、 藝術注入的手法運用………………………………………………………………………12
第二節、 藝術嘲仿…………………………………………………………………………………14
一、 藝術嘲仿定義…………………………………………………………………………………14
二、 幽默與幽默廣告…………………………………………………………………………………14
三、 嘲仿與嘲仿廣告…………………………………………………………………………………17
四、 小結…………………………………………………………………………………19
第三節、 可愛角色…………………………………………………………………………………21
一、 可愛定義…………………………………………………………………………………21
二、 可愛的分類…………………………………………………………………………………22
三、 可愛特質的影響…………………………………………………………………………………23
四、 小結…………………………………………………………………………………24
第四節、 涉入…………………………………………………………………………………25
一、 涉入的定義…………………………………………………………………………………25
二、 涉入的分類…………………………………………………………………………………26
三、 涉入對消費者行為的影響……………………………………………………………28
四、 小結…………………………………………………………………………………30
第三章 實驗一…………………………………………………………………………………31
第一節、 實驗一研究架構………………………………………………………………………31
第二節、 實驗一假說推論……………………………………………………………………32
一、 可愛角色對廣告態度與產品態度的影響………………………………………32
二、 可愛角色對知覺品質與知覺風險的影響………………………………………33
三、 不同注入內容對廣告態度與產品態度的影響………………………………34
四、 不同注入內容對知覺品質與知覺風險的影響………………………………36
五、 不同注入內容對購買意願與傳播意願的影響………………………………38
六、 不同注入內容效果的作用機制………………………………39
七、 涉入程度於不同注入類型對應變數影響之干擾效果………………………39
第三節、 實驗一研究方法………………………………43
一、 實驗設計………………………………………………………………43
二、 樣本與實驗刺激………………………………………………………………43
三、 前測一………………………………………………………………44
四、 前測二………………………………………………………………47
五、 實驗程序………………………………………………………………49
六、 變數衡量………………………………………………………………52
第四節、 實驗一分析結果………………………………………………………………56
一、 研究樣本組成………………………………………………………………56
二、 變數平均值、標準差、及量表信度分析……………………………………………57
三、 操弄性檢定與控制變數檢定………………………………………………………………58
四、 假說檢驗………………………………………………………………63
五、 討論………………………………………………………………91
第四章 實驗二………………………………………………………………96
第一節、 實驗二研究架構………………………………………………………………96
第二節、 實驗二假說推論………………………………………………………………97
一、 高涉入情境下，不同可愛角色類型如何影響應變數………………97
二、 高涉入情境下，不同可愛類型與注入內容如何交互影響應變數………98
第三節、 實驗二研究方法………………100
一、 實驗設計………………………………………………………………100
二、 樣本與實驗刺激………………………………………………………………100
三、 實驗程序………………………………………………………………101
四、 變數衡量………………………………………………………………104
第四節、 實驗二分析結果………………………………………………………………108
一、 研究樣本組成………………………………………………………………108
二、 變數平均值、標準差、及量表信度分析…………………………………………109
三、 操弄性檢定與控制變數檢定………………………………………………………110
四、 假說檢驗………………………………………………………………114
五、 討論………………………………………………………………131
第五章 結論與建議………………………………………………………………134
第一節、 主要研究發現………………………………………………………………134
一、 可愛角色會降低奢華感受、並提高認知上的風險程度……………………134
二、 藝術嘲仿的正面效果…………………………………………………135
三、 藝術嘲仿 vs. 圖片、可愛角色、藝術注入的作用機制……………………136
四、 涉入程度顯著干擾注入內容的效果……………………136
五、 高涉入情境下，嬰兒可愛對於產品相關評估較為有利……………………137
六、 名畫知名度高、藝術興趣高、角色可愛度高、角色知名度高，都有助於強化藝術嘲仿(vs.藝術注入)對於幽默感知的正向影響…………………… 138
第二節、 理論意涵……………………………………………………………………………………139
一、 確立藝術注入與藝術嘲仿的作用機制，以及藝術與可愛元素的適配性………………………………………………………………………………………………………………………139
二、 豐富藝術嘲仿的研究，探究其效果的普遍性，以及涉入程度的干擾影響……………………………………………………………………………………………………………………140
三、 釐清可愛角色的效果雙面性，以及涉入程度的干擾影響………………140
四、 定義不同可愛類型，確立其在特定情況下的效果差異……………………141
第三節、 實務意涵………………………………………………………………142
一、 使用藝術注入時，應設法使消費者將其視為單純藝術品，並避免與可愛角色一同使用…………………………………………………………………………142
二、 在不同注入內容做選擇時，建議優先選用藝術嘲仿，並可構思如何藉由強化其幽默感知和奢華感知，來進一步提升廣告效果……………………142
三、 奢華定位的產品宜避免結合可愛角色；而對於高涉入產品且結合藝術的推廣，則較適合搭配嬰兒可愛角色 (而非古怪可愛) ……………………143
四、 不同注入內容對於高低涉入產品的應用建議─藝術注入宜運用於低涉入情境；藝術嘲仿則可運用於高低涉入情境，為須注意其運作機制有別；單純可愛角色則宜運用於低涉入情境……………………………………………………………………………143
第四節、 研究限制與未來研究方向…………………………………………………………145
參考文獻…………………………………………………………………………………………………………147
附錄一 緒論實例……………………………………………………………………………………165
附錄二 前測一問卷……………………………………………………………………………………169
附錄三 實驗一與前測二問卷………………………………………………………………178
附錄四 實驗二問卷……………………………………………………………………………………190

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