A trilogy on discontinuous innovation. Part I : search

In this article we discuss the concept of Discontinuous Innovation (DI) and how it differs from incremental (or steady-state) innovation. We propose a model to conceptualise the different aspects of DI and discuss the complex nature of the DI process through an investigation of previous literature, and propose a sequence of articles roughly following the key components as described in the conceptual model, beginning with aspects of ‘search’. We then describe an on-going multi-national action research program established to investigate DI through the development of learning networks of firms in several European nations and Australia. The research progress to date is outlined and initial results of analysis on both quantitative and qualitative data collected thus far is used to explore how companies go about searching for clues or ideas about potential discontinuous innovations, which may either create competitive advantage for, or threaten the survival of the business. Key outcomes of the research to date include the identification of the most common search strategies within the participating companies and some descriptive analysis on just how these strategies are implemented in targeted firms. Finally we describe the proposed future research program and the two papers to follow completing the planned three part series on Discontinuous Innovation.

Preliminary reflections on Latin America and the Caribbean in the post-2015 development agenda based on the trilogy of equality

This document has been prepared in accordance with the mandate contained in resolution 687(XXXV) The regional dimension of the post-2015 development agenda, adopted by the Economic Commission for Latin America and the Caribbean (ECLAC) at its thirty-fifth session.

Alex Garvie. Aeschylus' Supplices. Play and Trilogy, Bristol Phoenix Press, UK, 2006, i-xxiv + 279 pp.

Fil: Fernández Deagustini, María del Pilar. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Alex Garvie. Aeschylus' Supplices. Play and Trilogy, Bristol Phoenix Press, UK, 2006, i-xxiv + 279 pp.

Fil: Fernández Deagustini, María del Pilar. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

The redemption : a sacred trilogy /

For solo voices (SATB), chorus (SATB) and orchestra; English and French words.

Siegfried : music-drama in 3 acts : second day of the trilogy The Nibelung's ring /

Mode of access: Internet.

Love's trilogy : Julie's diary, Marie, God's peace /

Mode of access: Internet.

Das Rheingold (The Rhinegold) a music drama in four scenes, prelude to the trilogy "Der Ring des Nibelungen" (The Nibelung's ring).

German and English on opposite pages.

The childhood of Christ a sacred trilogy, op. 25.

Mode of access: Internet.

‘Why are there always three?’: The Gothic Occult in Dario Argento’s Three Mothers Trilogy

Thomas De Quincey’s essay ‘Levana and Our Ladies of Sorrow’ provided Dario Argento with the spark of an idea, which was further ignited by tales from his then wife, Daria Nicolodi, who told him of her grandmother’s stay at a music school which was run by a coven of witches. From these sources Argento came up with the mythology of The Three Mothers, which were to feature in three of his films: Suspiria (1977), Inferno (1980) and La terza madre/The Mother of Tears (2007). This article will examine the occult and esoteric sources of The Three Mothers trilogy, and explore how these references work to create a series of films that may superficially appear to use the supernatural and occult to create scares, but actually incorporate elements of Western Esotericism rather than traditional Christian images of evil. By doing this, these films transcend their apparent flaws (in terms of shallow plot and character development, a common complaint directed toward many Italian horror films) and instead imbue the mise-enscene itself with meaning, character and narrative. Although the films are situated within the Gothic genre, and in many respects follow traditional Gothic lines with witchcraft and the occult becoming synonymous with evil, I will argue that the films actually belong to the long tradition of art forms that have attempted to investigate the allure and the danger of occult exploration.