The Impact of Strategic Fit on Innovation Performance: Focusing on Manufacturing Industry

학위논문 (박사)-- 서울대학교 대학원 공과대학 협동과정 기술경영·경제·정책전공, 2017. 8. 강진아.In a rapidly changing business management environment, continuous technological innovation is necessary in order to sustain a competitive advantage. However, technological innovation, by itself, does not necessarily guarantee success in firm management. There are many examples of firms that have failed to create values through technological innovation, despite the fact that they possess excellent innovative resources. I can easily find examples of firms that have failed to innovate because they could not seamlessly integrate their internal and external resources and because of inconsistencies in the strategies within the organization. The mutual interaction of various stakeholders, including top management teams (TMTs), suppliers, competitors and shareholders in exploring and developing innovative technologies, the convergence of a firms resources within a consistent strategy direction, and the creation of a synergistic effect are important. In other words, the way in which all the resources of technological innovation align is important in improving innovative performance. This dissertation emphasizes the importance of strategic fit in firm innovation. This study first criticizes that the concept of fit is used inconsistently and indiscriminately in many literatures, and develop a framework of strategic fit that is suitable for the study in technological innovation. Based on this framework, this dissertation examines the effect of the strategic fit of various factors, especially centered on the three major factors such as the top management team attribute, the internal context as well as the external context of the firm. As the first study, this dissertation examines the effect of TMT cognitive characteristics on fir innovation contingent upon internal context such as organizational search behavior. The central premise of upper echelons theory is that the organization is a reflection of the top management team. The top management team has the authority to formulate, execute and evaluate a firms innovation strategies. The knowledge base of the top management team is a key variable in predicting the firms innovation strategy tendencies. This study focuses on this knowledge diversity. The decision-making tendencies of a top management team with a diverse knowledge base and one with a homogeneous knowledge base are bound to differ. The majority of pre-existing study concludes that the greater the knowledge diversity, the better the innovation performance. However, just as the existing quantitative analysis shows, this tendency does not apply to all firms across the board. This is due to the fact that the top management teams strategy direction is executed by the internal organization of the firm, and the TMT effect can be distorted through the firms organizational behavior and routine. Therefore, this dissertation analyzes how the relationship between the TMTs knowledge diversity and the innovation performance changes because of the organizations internal structure. As a result of conducting quantitative analysis of 120 manufacturing companies in the U.S., a positive correlation was determined between the knowledge diversity founded on the past industrial experience of the top management team and innovation performance. However, the results vary depending on the organizational search scope. The more expansive the organizational search scope, the greater the effect of the TMTs knowledge diversity on innovation performance. Conversely, the narrower the organizational search scope, the more constrained the top management team effect. When TMT with diverse knowledge leads to a broad search organization, therefore, fit as internal complementarity increases, which improves innovation performance. The effect of the TMTs knowledge diversity must also match the managerial discretion of the firm. The managerial discretion indicates the extent of the TMTs direct and proactive intervention into corporate affairs, and there is a high degree of variance depending on the type of industry. The effect of the TMTs knowledge diversity is greater in industries with high managerial discretion like computer or semi-conductor industries. In contrast, the TMT effect is limited in industries with low managerial discretion like forestry or simple manufacturing industries. Therefore, industries with high discretion are more likely to achieve fit as external complementarity with TMT with diverse knowledge, which improve innovation performance. This dissertation also analyzes the relationship of external collaboration strategy and innovation performance. Firms can create innovative values by collaboration with many external partners. Some forms of external collaboration for innovations are mergers and acquisitions, alliances, and joint ventures. For the purpose of this study, the analysis focuses on alliances. In particular, the study analyzes the effect of alliance portfolio diversity on innovation performance. Alliance portfolio diversity refers to how many alliances firms forge with a diverse array of partners. Even if alliances are forged with great companies, alliances, by themselves, do not impact the innovation of the organization. From this perspective, I argue that the internal capability of value creation plays a critical role in leveraging alliance portfolio diversity. The alliance portfolio diversity can be represented as a pool of external resources which the focal firm can access. The extent of benefit that the focal firm gains from the portfolio will depend upon the internal capacity to create the value from the external resource pool. Based on the dynamic capabilities framework that emphasizes competitive advantage is generated from the capabilities to combine and recombine internal and external resources (Teece, 1996Teece, Pisano, &, Shuen, 1997), this study empirically investigates how the fit between an alliance portfolio strategy and internal capabilities affects innovation performance. First, I confirm the direct relationship between innovation performance and alliance portfolio diversity in terms of industry, then examine how internal capabilities of value creation leverage this relationship. In this study, the internal capabilities of value creation are examined in two aspects: routine (organizational search routine) and ability (technological capabilities). The results of this analyses show that the alliance portfolio diversity alone cannot explain the relationship with innovation performance, and this relationship is determined by internal contexts such as organizational search routine or technological capabilities. Apart from the hypotheses tests, this study conducted additional analysis by adding interaction terms with industry volatility as dummy variable, to examine how interplay of alliance portfolio diversity and internal capabilities is applied in certain environment such as high volatile industries. The result of this analysis shows the interaction of alliance portfolio diversity and organizational search routines becomes more significant in industries with high volatility while interaction of alliance portfolio diversity, technological capabilities, and high volatility have no significance. This study analyzed the impact of alliance portfolio diversity on innovation performance in terms of fit as integrated complementarity that considers internal and external components simultaneously.Chapter 1. Introduction 1 1.1. Backgrounds 1 1.2. Research purpose 2 1.3. Research outline 6 Chapter 2. Literature review 11 2.1. The concept of strategic fit 11 2.1.1. Definition. 11 2.1.2. Strategic fit in various theories. 11 2.2. Critical review on strategic fit 11 2.2.1. Critical review on prior studies 11 2.2.2. Suggesting new framework for technological innovation study. 20 2.2.3. Empirical studies on strategic fit for innovation performance 28 2.3. Top management team and internal-external context 30 2.3.1. TMTs Knowledge base 30 2.3.2. Organizational search behavior 32 2.3.3. TMT Knowledge base and organizational search behavior 33 2.3.4. TMT Knowledge base and managerial discretion . 34 2.4. Alliance portfolio and internal and external contexts 35 2.4.1. Alliance portfolio diversity 35 2.4.2. Alliance portfolio diversity and internal capabilities . 38 2.4.3. Alliance portfolio diversity, internal capabilities, and industry volatility . . 39 Chapter 3. Strategic fit of TMT knowledge base and internal-external contexts 40 3.1. Introduction 40 3.2. Research hypotheses 44 3.2.1. Top Management Team Knowledge Diversity and Organizational Innovation. 44 3.2.2. Top Management Team Knowledge Diversity and Organizational Search Scope . 49 3.2.3. Top Management Team Knowledge Diversity and Managerial Discretion. 53 3.3. Methods 55 3.3.1. Data and sample 55 3.3.2. Dependent variable . 56 3.3.3. Independent variables 57 3.3.4. Control variables 59 3.3.5. Empirical model specification 60 3.4. Results 61 3.5. Sensitivity analysis 65 3.6. Discussion 68 Chapter 4. Strategic fit of alliance portfolio strategy and internal-external contexts 71 4.1. Introduction 71 4.2. Research hypotheses 74 4.2.1. Alliance portfolio diversity and firm innovation 74 4.2.2. Alliance portfolio diversity and internal capabilities of value creation . 76 4.2.3. Organizational search routine as an internal value creation routine 77 4.2.4. Technological capabilities as an internal value creation ability. 80 4.3. Method . 83 4.3.1. Data and sample . 83 4.3.2. Dependent variable 84 4.3.3. Independent variables 84 4.3.4. Control variables 86 4.3.5. Empirical model specification 87 4.4. Results 88 4.5. Sensitive analyses 93 4.6. Discussion 95 Chapter 5. Conclusions 98 5.1. Summary and contributions 98 5.2. Limitations and future research 102 Bibliography 103 국 문 초 록 146Docto

의궤 및 현존 유물을 중심으로

이 논문은 조선 후기 어진(御眞)의 관련 문헌 기록과 유물에 대한 과학적 조사를 통해 그 제작기법을 고찰한 것이다. 전통 회화 중 왕의 초상을 그린 어진은 당대의 가장 뛰어난 화원들에 의해 최고의 재료로 제작되었기 때문에 그 시대 초상 회화의 대표적 상징이 될 수 있다. 특히 조선시대에는 이러한 어진들을 계속 이모(移模)하면서 그 제작 과정에 대해 기록하고, 전통 제작기법을 이어갔다. 그러나 일제강점기 이후 전통 초상 회화의 재료와 기법이 거의 전승되지 않았고, 현재까지 제대로 복원 되지 못한 실정이다. 조선시대의 어진에 대해 역사적 연구와 제작기법 연구가 함께 이루어진다면, 일제강점기에 단절된 조선 초상 회화의 정신과 기법을 다시 살려낼 수 있으며, 전통을 바르게 계승하는 길이 될 수 있을 것이다. 현존하는 어진들은 모두 조선 후기에 제작된 것으로, 1872년에 이모한 , 1900년에 이모한 , 영조가 왕자인 시절의 1714년에 제작한 , 1900년의 , 1826년의 , 1861년의 이 있다. 여섯 점의 어진들을 개별적으로 분석하고, 종합하여 조선 후기 어진의 제작기법에 대해 논하고자 하였다. 본 논문에서는 어진에 관한 문헌 조사와 유물에 대한 과학적 조사 두 가지를 바탕으로 연구를 진행하였다. 그리고 어진을 실견(實見)한 후, 그 어진을 다시 제작하는 모사의 과정에서 확인한 제작기법에 대한 종합적 연구가 기존 연구와의 차별성을 갖는다. 우리나라의 어진은 중국의 진전 제도를 받아들여 유사한 형식으로 발전하였다. 특히 조선시대 어진은 유교의 사상적 기반 위에 효의 정신을 실천할 수 있는 제의적 기능과 목적을 가졌다. 따라서 그에 따른 의식과 절차는 매우 까다롭고 정해진 틀을 따라야 했으며, 왕을 중심으로 여러 대신들이 함께 하였다. 그리고, 구본이 낡고 희미해지면, 조상에 대한 예의가 아니었으므로 새로운 본으로 이모하여 봉안하였다. 그런데 임진왜란과 병자호란 이후 조선 후기에 생긴 변화로 어진 전개과정에 이전과 다른 차이점이 생기게 된다. 전란으로 인해 소실된 선조들의 어진 제작은 단지 복원이라는 의미를 넘어 조선 왕실의 권위를 다시 세우는 역할을 기대할 수 있었을 것이다. 이것은 기존 어진 제작에 대한 인식과는 다른 것으로 전란 이후 조선 왕실 복구의 성격이 강조된 것이라고 할 수 있다. 특히 숙종대에 100년 가까이 이루어지지 않았던 왕의 도사를 시작하고, 왕의 초상을 지칭하는 어진이라는 용어의 선택, 숙종 개인의 서화에 대한 취미는 숙종대에 어진이 크게 발전할 수 있었던 배경이 되었다. 그리고 정통성을 계승하려는 적극적인 배경 아래 어진 제작 관련 제도의 변화가 생기게 되었다. 전란과 붕당 정치의 당쟁 등으로 약화된 왕실의 권위를 되살리는데 주력하였고, 숙종대와 영•정조대의 중앙집권강화의 정치적 방향에서 어진 제도도 예외일 수는 없었다. 선조들의 어진 모사와 봉안을 통해 조선의 정통성을 계승하고 강조하였다. 그리고 당대 왕의 어진 도사는 그 맥락을 잇는 상징성을 가졌으며, 모든 대신과 백성들이 살아 있는 최고의 어버이로서의 왕을 섬기도록 하는 의미를 지녔다. 또한 영조와 정조는 10년을 주기로 어진의 도사본을 제작하도록 하여 제도적 발전과 당위성을 확고히 하는데 주력하였다. 그리고 정조의 규장각을 중심으로 한 자비대령화원제도의 경우에는 최고의 화원 육성과 조선 후기 어진 제작을 발전시키는 원동력이 되었다. 실제 어진 유물은 많이 남아 있지 않지만, 그에 관한 기록은 상당수가 현존하고 있어 연구가 가능했다. 특히 어진 제작과 관련된 의궤들은 기록 문화의 정수라고 할 수 있다. 자세한 제작기법이 기술된 것은 아니지만, 제작과정의 순서와 기간, 어진 화사 선정 과정, 담당화원, 재료의 종류와 수량 등에 대한 기록 덕분에 어진 제작의 전반적인 내용들을 확인할 수 있다. 대체로 주관화사, 동참화사, 수종화사들의 10여 명이 어진 제작에 참여하였다. 그리고 전신상인 경우 일주일 전후, 반신상인 경우 삼일 정도의 비교적 짧은 기간 동안에 비단에 상초하여 완성한 것을 알 수 있다. 전문적인 화원들의 우수한 실력과 협동 작업에 의한 결과라 할 수 있을 것이다. 이러한 어진 화사들은 시재를 통해 선발 되거나 도감에 의해 시재 없이 추천되기도 하였다. 어진 제작에서 화원이 사용한 색료와 기타 재료들도 의궤 기록을 바탕으로 연구하였다. 색료는 실제 화면에서 보여지는 색보다는 그 수가 적은 기본색들이 사용되었으며, 혼합 또는 조합하여 사용하였다. 화원이 사용한 기타 재료들에는 아교, 붓, 종이, 그릇, 탄, 각종 연장과 철재, 목재류, 수건과 천류, 풀과 향류 등이 기록되었다. 다음으로 어진의 제작과정과 제작기법을 살펴보면 몇 가지 중요한 특징을 확인할 수 있다. 우선 어진 제작과정은 유지에 초를 뜨고 배채와 전채의 과정을 거쳐 완성하는 유지초본 과정으로 시작하였다. 유지초본 과정은 매우 중요했기 때문에 잘 나올 때까지 다시 고쳐 만드는 경우도 확인할 수 있었다. 유지초본이 완성되면 정본 제작이 시작되었다. 상초, 배채와 전채 과정을 거쳐 마무리 하였다. 어진 제작기법의 특징들은 선묘, 재료와 채색 기법으로 구분하여 살펴볼 수 있다. 어진에 나타난 선묘는 다시 얼굴선과 의습선으로 구분하여 그 특성들을 찾을 수 있다. 먼저 얼굴의 선을 살펴보면, 고고유사묘 계통에서 혼묘 계통으로의 변화를 볼 수 있다. 의습선에서는 비수의 변화가 큰 정두서미식 의습묘에서 후대로 갈수록 비수의 변화가 거의 없는 철선묘로의 변화를 확인할 수 있다. 의습선의 표현에서도 처음 그은 선이 약해져 다시 그었거나, 처음 그은 선이 유지되는 종류로 구분할 수 있다. 어진들의 세밀한 문양들에서 선 중심의 표현기법을 다시 확인할 수 있다. 이러한 부분들을 통해 조선 후기 어진에 나타난 선묘 중심의 채색기법을 확인할 수 있다. 어진 제작에 사용한 재료를 살펴보면, 당시 구할 수 있는 최고의 재료를 사용하였으며, 왕과 왕자의 초상에서도 재료의 구분이 있었다. 그리고 한 부분의 배면과 전면에 다른 색료를 사용하였음을 확인할 수 있었다. 어진의 채색 기법에서 배채는 매우 중요한 부분을 차지한다. 배채를 통해 얻을 수 있는 효과는 예술성, 보존성, 경제정, 효율성이라고 할 수 있다. 또한 유물과 관련된 문헌 기록과 과학적 조사를 바탕으로 실제 제작에 사용한 색료를 추정하였다. 문헌 기록에 나타난 색료명과 안료 구성 성분 연구 결과를 연결하여 종합하고, 실제 제작하면서 알게 된 부분까지 더하여 조선 후기 어진의 각 부분에 사용한 색료를 추정하여 정리하였다. 색료뿐만 아니라 어진 제작에서 화원들이 사용한 재료들에 대해서도 고찰하였다. 일제 강점기 이후 어진은 서양화적 묘사법에 치중하거나 이전 방식을 답습하는데 그치는 양상이 나타났다. 동양화의 초상화 기법 또한 시대적 변용이 가능하고, 창의적으로 바꾸어 나가야 하지만, 그 과정에서는 언제나 중심이 되는 전통을 바탕으로 해야 함을 알 수 있다. 어진들의 제작기법 연구와 함께 손상된 어진들의 복원 모사를 하였다. 복원 모사를 통해 단지 문헌과 유물의 조사를 통한 피상적인 제작기법 연구가 아닌 실질적인 기법 복원이라는 의의를 찾을 수 있다. 있는 그대로를 베껴내는 것에 그치는 것이 아니라, 손상된 유물을 전통의 기법으로 다시 되살려 가시화 될 수 있도록 하였다. 복원 모사를 통한 이 제작기법 연구가 단절된 기법의 복원뿐만 아니라, 전통을 이어 갈 수 있고, 이 시대 초상화 및 회화 기법에 다시 적용할 수 있는 전통과 현재의 가교 역할이 되는 것을 기대해 본다.This study describes the techniques used in royal portraiture during the late Joseon Dynasty (the Late 17th Century through the early 20th Century) based on academic studies, a collection of royal protocols from the period, and scientific surveys of the portraits in question. Because of the Japanese occupation of Korea (1910-1945), Korea lost many of its traditional arts, including its time-honored portraiture techniques. Later, during the Korean War (1950-1953), many royal portraits from the Joseon period were burned. However, a few of these portraits—as well as a collection of royal protocols detailing their construction—survived, so scholars can still study the techniques employed and marvel at the skills of traditional Korean portraitists. Only six royal portraits survive: two of King Taejo (the founding father of the Joseon Dynasty who reigned from 1392-1398)—one is in blue clothing (1872) and the other is in red clothing (1900)—two of King Yeongjo (who reigned from 1724-1776)—one portrait (1714) was made before he took the throne when he was known as Prince Yeoning and another (1900) after his ascension—one (1826) of King Ikjong (who reigned from 1809-1930), and one (1861) of King Cheoljong (who reigned from 1849-1863). These traditional royal portraits demonstrate both the quality of the Joseon artists and also the techniques that they used. Unfortunately, with the exception of one of the portraits of King Taejo (in blue clothing), all of these royal portraits were severely damaged by fire. While several studies about these royal portraits currently exist, they are written from an art history point-of-view and do not provide a substantial analysis of the actual techniques, skills, and materials involved in the painting of the portraits. Several artists have made replicas of these royal portraits before, but due to extremely limited access to the original portraits, most of these replicates were forced to use photographs of the paintings as their sole reference material. This meant that they had to use mere conjecture and imagination to determine their replica-making process. In addition, although there are numerous collections of royal protocols related to traditional royal portraiture, few artists afforded them anything more than a cursory examination. Therefore, the proper techniques and materials described in the protocols have been lost on most artists and scholars. Not only have I taken these collections into account, but I also had access to the original paintings, which allowed me to do my research directly from the source. This opportunity allowed me to make replicas that followed the original techniques, mimicking the original materials as closely as possible. I explored the techniques, skills, and materials used in these traditional portraits, and then applied them towards creating my own replicas of the portraits. To accomplish this, I thoroughly researched the original portraits, making use of both academic studies—a list of the painters chosen by the court and many of the pigments, papers, silks, etc. used were documented in the a collection of royal protocols called Uigwe(儀軌)—and scientific surveys—such as, microscopic examination and XRF (X-Ray Fluorescence Spectrometry) pigment analysis of the portraits. This research allowed me to determine which techniques and raw materials were used with a great deal of accuracy. By mimicking the techniques and using similar materials, I attempted to make my paintings as similar to the originals as possible. Through this research, I discovered several important characteristics of the royal portraiture of the late Joseon Dynasty. Each royal portrait was produced by a group four to ten portraitist chosen from among the court painters. This group consisted of a chief painter and several assistant painters. Usually, it took between seven and ten days to make a full-length portrait and about three days to finish a half-length one. The process starts with drawing a draft on oil paper, which is translucent and similar to silk canvas. In draft drawing, the portraitist sketched the king with charcoal and then drew lines with ink and brush on top of the charcoal sketch. After that, coloring began. Both sides of the oil paper were painted, beginning with the reverse. This draft drawing was very important in establishing the look of the final portrait, and was, therefore, repeated multiple times before the artists moved on to the next step. If the draft drawing was satisfactory, the painters advanced to drawing on a silk canvas. The draft drawing was traced directly onto the silk canvas with ink and brush, because the silk canvases used were so transparent and sheer that charcoal lines would be easily visible through the canvas. After the ink tracing is done, the portrait was colored (as before) on both sides, beginning with the reverse and then progressing to the front. When the painting was finished, it was pasted onto paper and silk in order to strengthen the structural integrity of the painting. Finally, the top and bottom of the portrait was decorated with tassels and pieces of silk and made into a scroll. The most important stylistic element in traditional Korean painting, as well as most other traditional Asian painting is the line. Traditional Asian painting developed many types of lines and brush strokes, which mimicked various elements in the painters environments. Three of the most common line types in traditional Korean portraiture are: Gaoguyousimiao (高古遊絲描), which refers to a series of thin lines resembling the long, loose, waving strands of a silk worms thread, Tiexianmiao (鐵線描), which is a thin, steady line resembling wire, and Dingtoushuweimiao (釘頭鼠尾描), which is a series of long, tapering lines resembling rat tales. Though my research, I was able to determine which lines were employed in traditional Korean portraiture and for which purposes they were used. Gaoguyousimiao is usually used to depict the faces of the kings with a series of dark brown lines. For the painting of the kings robes, however, usage differs between the portraits. Dingtoushuweimiao is used in the portraits of Prince Yeoning and King Taejo, but Tiexianmiao is used in the portraits of King Yeongjo, King Ikjong, and King Cheoljong. In addition to which types of lines are used, other technical differences exist between the portraits. For example, in the portraits of King Taejo and King Cheoljong, the Tiexianmiao lines of the robes were retraced after coloring, since the pigment used on the front of the portrait was too thick and made the lines appear too faint. On the other hand, in the portraits of Prince Yeoning and King Yeongjo, all of the lines were painted only once, and the pigment used in coloring the front was kept remarkably thin, which allowed the original lines to show through and alleviated the need for retracing. Many other such variations in technique were discovered through my research, and they are detailed in the full essay. Materials used for royal portraits were of the highest quality available in the Joseon Dynasty. Gold leaf was used extensively on the reverse of the canvas, and gold powder was used for coloring the front of the canvas. In addition, other mineral-based and plant-based pigments were used. First-hand observation of the original portraits showed which pigments were used on which side of the canvas to create the final color effect of the portraits. This technique of painting both sides of the canvas is unique to silk-canvas portraiture and has several benefits. From an aesthetic perspective, the artists were able to create a clear, watercolor-like effect on the faces of the subjects by using only a very thin layer of plant-based pigment to color the faces on the display-side of the portrait. This made the ever-important lines clearly visible, thanks to the transparency of the thin pigment layer. The technique was also useful in terms of preservation and conservation, as the majority of the coloring, and the thickest layers of pigment were painted on the reverse of the canvas and then pasted to paper and silk, protecting them from harm. It also made economic sense, since the artists could use relatively cheap plant-based pigments (such as indigo dye) for the majority of the back of the canvas, while more expensive mineral-based pigments (such as azurite) were on display over most of the front side. The essay details many common characteristics between the six royal portraits and compares them with other Korean and Chinese portraits of the period, examining both the artistry of traditional Korean portraits as well as the techniques, skills, and materials used to create them.Docto

상표를 통한 계층의식 표현 연구 : 본인의 작품을 중심으로

학위논문(석사)--서울대학교 대학원 :동양화과 동양화전공,2004.Maste