Results 31 to 40 of about 115,609 (218)

New evidence of visual space anisotropy with autostereograms [PDF]

open access: yes, 2014
Postprint (published ...
Aznar-Casanova, J. Antonio   +4 more
core   +2 more sources

Growth Strategy of Circular Startups

open access: yesBusiness Strategy and the Environment, EarlyView.
ABSTRACT Circular startups (CSUs) play a crucial role in the circular transition by developing circular business models (CBMs) that minimise resource use and narrow material and energy loops. However, empirical research on how CBMs shape growth strategies and how ecosystems enable or constrain scaling remains limited.
Gustavo Dalmarco   +3 more
wiley   +1 more source

DIE VERFILMUNG DES E. T. A. HOFFMANNS ERZÄHLUNG „DER SANDMANN“ [PDF]

open access: yesHum, 2010
In Hoffmanns Novelle „Der Sandmann“, dem ersten Werk aus dem Zyklus der Nachtstücke, setzt sich der Student Nathanael mit den Ängsten aus seiner Kindheit und den Gefahren der Gegenwart auseinander. Die Figur Coppelius aus seinem Albtraum, der ihn seit
Ivica Bevanda
doaj  

Weather Variability and the Tourism Industry: A Panel Data Analysis [PDF]

open access: yes, 2017
Increasing weather variability around the world has led to many researchers examining the impacts of weather variability on vulnerable industries. For example, the tourism industry can make up a large portion of an economy’s growth, with some of the most
Coppola, Carmela
core   +1 more source

Translating Circularity Into Strategy: A Governance Meta‐Capability Framework

open access: yesBusiness Strategy and the Environment, EarlyView.
ABSTRACT Firms struggle to transition to circular economy (CE) models, often citing external barriers. Yet some firms succeed, whereas others fail: Why? We argue that success depends on a specific governance capability—a meta‐capability that allows firms to (1) sense and strategically reframe CE imperatives, (2) seize opportunities by aligning diverse ...
Felix Carl Schultz   +1 more
wiley   +1 more source

Flatness, Nostalgia, and the Digital Uncanny in Sofia Coppola’s Priscilla (2023)

open access: yesArts
This article contends that Sofia Coppola’s Priscilla (2023) uses digital filmmaking to re-animate the commodified image of Priscilla Presley, privileging surface and affect over historical realism.
Abby H. Shepherd
doaj   +1 more source

Il matricida (Nerone, Agrippina e l' imitatio Alexandri )

open access: yesDialogues d'Histoire Ancienne, 1997
Cet article est composé de deux parties. La première (de A. Coppola) présente une comparaison entre la tentative d'assassinat d'Agrippine et celle d'Olympias : il s'agit d'un exemple ď"imitatio Alexandri" par Néron. Dans la seconde partie (de L. Braccesi)
Lorenzo Braccesi, Alessandra Coppola
doaj   +1 more source

Rubber/crete: mechanical properties of scrap to reuse tire-derived rubber in concrete. A review [PDF]

open access: yes, 2019
The recycling of waste tires is of paramount importance for the environment protection and for economic reasons too. The amount of scrapped tires in USA reached 550 million tires per year and it is still raising.
Marco Valente, SIBAI, ABBAS
core   +1 more source

AI‐Enabled Circular Business Model Transition for Mitigating Climate Change: A Natural Resource‐Based View Perspective on Business Strategies

open access: yesBusiness Strategy and the Environment, EarlyView.
ABSTRACT The role of artificial intelligence (AI) in achieving sustainability goals has garnered attention in academic literature. While AI has been argued to be crucial in addressing circularity challenges, organizations face challenges in configuring a business model.
Jian Wang   +4 more
wiley   +1 more source

Szaleństwo zwyczajności – zwyczajność szaleństwa. „Rumble Fish” Francisa Forda Coppoli

open access: yesKwartalnik Filmowy, 2011
Film Rumble Fish (1983) wydaje się niedoceniony wśród osiągnięć F. F. Coppoli. Fabuła dotyczy relacji między dwoma braćmi uwięzionymi w beznadziejnym podmiejskim świecie – Rustym Jamesem (M. Dillon) i starszym, Motocyklistą (M. Rourke).
Krzysztof Lipka
doaj   +1 more source

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