A lot of enterprises are requesting the production system for which it appeals to the sensibility now. Therefore, all people's eyes are focused on the key word of “Customer Experience”. However, the experience model is not enough in the point of practical application. A concrete explanation of the idea how the enterprise should create customer experience value is insufficient. In this study, we thought “Customer Experience” to be “Entertainment value”. And, the Johnny's theatrical agency that was the enterprise of excellent was taken up as an object of study. We consider the creation of “Entertainment value” by using the case with kansei value that the TV performer of Johnny's creates.

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Japanophilia in Taiwan, which arose since the late 1990s, refers to a passion for Japanese culture products. People who actively practice Japanophilia by consuming products with "Japaneseness" or getting involved with Japanese popular culture are called Japanophiles. They share in common the characteristic of relating themselves to Japaneseness in daily life. In this paper I focus on the life story of one Japanophile girl to clarify a specific mode of relation with Japaneseness. I trace her life story to illustrate how she enjoys her life which is filled with Japanese idols and animations, and how she creates the "feeling of realness" arising from the gap between the real and the virtual, while constantly constructing fantasies of such Japaneseness from afar. Her case implies a specific practice of Japanophilia, that is, she uses her imagination and interpretation to construct a paradoxical pleasure from the representation of Japaneseness by combining a fluctuating but close relationship with it.

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本研究の目的は，音楽により喚起される懐かしさ感情が自伝的記憶の想起に及ぼす影響を検討することであった．参加者は大学生57名であり，小学校高学年時と中学校時の記憶，および小学校高学年時に聴いていた音楽の記述を求めた．1カ月後，参加者に，画面に提示されたエピソードが参加者の小学校と中学校のどちらの記憶かを判断させ，その反応時間を測定した．反応時間を懐かしさあり音楽条件，懐かしさなし音楽条件，音楽なし条件の3条件で比較検討した．その結果，懐かしさを感じた時は，懐かしさを感じさせる時期の自伝的記憶のみが想起されやすくなることが明らかになった．また，小学校高学年の時に聞いた音楽に対し，より懐かしさが喚起されると，中学校の記憶に対する誤反応が増加することが示された．

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Musical psychologists illustrated musical emotion with various numbers of dimensions ranging from two to eight. Most of them concentrated on classical music. Only a few researchers studied emotion in popular music, but the number of pieces they used was very small. In the present study, perceptual experiments were conducted using large sets of popular pieces. In Experiment 1, ten listeners rated musical emotion for 50 J-POP pieces using 17 SD scales. The results of factor analysis showed that the emotional space was constructed by three factors, ``evaluation,'' ``potency'' and ``activity.'' In Experiment 2, three musicians and eight non-musicians rated musical emotion for 169 popular pieces. The set of pieces included not only J-POP tunes but also Enka and western popular tunes. The listeners also rated the suitability for several listening situations. The results of factor analysis showed that the emotional space for the 169 pieces was spanned by the three factors, ``evaluation,'' ``potency'' and ``activity,'' again. The results of multiple-regression analyses suggested that the listeners like to listen to a ``beautiful'' tune with their lovers and a ``powerful'' and ``active'' tune in a situation where people were around them.

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