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The purpose of this study is to draw on terror management theory (TMT) to explore the impact of pervasive mortality cues on consumer behaviour as a result of residing in a community ravaged by escalating violence.

A qualitative analysis of 27 in-depth interviews of consumers living in Ciudad Juárez, Mexico during the height of the Mexican drug war provides insight into their coping strategies and consumption.

Living under such conditions results in unrelenting mortality salience (MS), as well as the adoption of consumption-related coping strategies that can conflict with cultural worldviews and threaten self-esteem. The normalization of coping strategies severely strains worldviews. Consumers manage their ensuing intrapersonal evaluative tension by developing consumption safe havens and through identity fragmentation. Moreover, permanent proximal defences result from persistent MS.

Although cross-sectional and idiosyncratic to the Mexican culture, the findings broaden TMT by suggesting that consumers facing relentless MS experience altered brand meanings and social interactions, as they were reluctant to acquire prestige brands, while indicating an increase in the value placed on relationships over possessions.

Marketers can help consumers alleviate their death-related anxiety by eliminating telemarketing campaigns, promoting online shopping, using unique customer identification numbers and investing in visible security measures such as gates, security cameras, and guards.

This exploratory study provides a preliminary theoretical framework for consumers’ reactions to persistent MS.

The figure of the Castilian knight Rodrigo Díaz de Vivar, better known as El Cid, is progressively becoming a frequent topic in metal music. This growing presence has been evident particularly since the explosion of power metal in the late 1990s, and the more recent rise of folk metal, being felt not only in Spanish and Spanish-influenced bands, but also in others with no known links to the Spanish culture. This chapter establishes how the choice of such sources influences the final portrait of El Cid in metal music and the message conveyed to and the effect on the listener. The motivation behind the choices above is explored with a focus on musical, socio-cultural and political–ideological factors.

Ecology shows us not only environmental problems; it shows that we need a new balance and harmony between individuals, beings, communities and all of Nature. We need a new contract with Nature (SERRES, 1991) and new Ethics (GUATTARI, 1990) for our lives. What is therefore new in Architecture? The environmental ethics have given us a universal and supra-generational vision of the management of our Nature and, as a consequence, a new way to construct our “second” nature. What is essential for this new architecture that the new ethics demand?

Exploring this subject, the paper firstly analyzes how the relationship between ethics and architecture has been described by other authors. Secondly, how the relationship between mainstream architecture and ecology is evolving, from technical matters to social and more complex issues, to work towards ethics. Finally, the convergence between them (Ethics, Architecture and Nature) could provide the clues to understand the ends and means of eco-architecture.

As a result of this analysis, we interpret that there are underlying keys in the post-eco-architecture. These summarize in new roles for the “locus” and the break of habitual limits of architecture, which have been replaced for new ones. There are no limits of scale: macro-structures such as mega-cities, as well as micro-organism are involved in the architectural process. The client of our construction is universal: we do not build only for our client, we must think about all beings, including animals since we know how our decisions may inflict damage to biodiversity. The site has no boundaries: we know how any local actions can have an effect in remote locations of the planet, since natural phenomena are interconnected. There is also no time limit: we must build now, but we must think about future generations.

More than 20 songs by Spanish and non-Spanish bands about the Castilian lord and epic hero Rodrigo Díaz de Vivar, El Cid, account for the topicality of the Hispanic Middle Ages in heavy metal. This chapter explores how diversely El Cid is addressed in 10 of these songs, in particular, from the perspectives of reception theory and both the cultural background of the band (Spanish or non-Spanish) and the language in which the lyrics are written (Spanish or English). Through detailed textual analysis and contextualisation, I will examine how, for Spanish (and Spanish-American) bands, El Cid serves the purpose of naturalising the stereotypical heavy-metal medieval knight, thereby functioning as a vindication of Hispanic cultural heritage within what is perceived to be an Anglo-American (and Germanic-Nordic) dominated musical scene. By contrast, non-Spanish bands resort primarily to El Cid to refresh the overused motif of the medieval knight, but sometimes in a more connoted manner as well, in which his iconic value as a Moor-slayer and a defender of the Western white Christian principles is highlighted. Moreover, I will discuss the appropriation and re-appropriation of El Cid by, respectively, non-Spanish and Spanish heavy metal bands, from the point of view of cultural appreciation and appropriation, and Islamophobia.

This paper presents a comparative analysis of artwork produced in the context of social movements waged by Mexicans and Chicanos (U.S. inhabitants of Mexican descent) during the two decades between the mid-1960s and the mid-1980s. Despite the fact that activists in these movements shared many elements of Mexican culture and history, were part of the same generation of radical social movements born in the 1960s, and experienced some significant interchange among movement participants from each side of the U.S.-Mexico border, an examination of movement art reveals significant differences in key elements of the movements’ collective identity and expression of political citizenship. Analysis of the artwork also highlights different aesthetic choices made by movement artists, particularly with regard to the deployment of formal elements associated with the “Mexican School” of art made famous by artists associated with the Mexican Revolution of the early 20th century. Variations in the representational strategies developed by movement artists reflect the distinct relationship of movement constituents in Mexico and the U.S. to each nation's prevailing regimes of accumulation and modes of regulation. The analysis is based on an examination of 374 pieces of art.

This study's main goal is to expand the theoretical perspective and discuss the unique influence of age and tenure on R&D teams' incremental innovation outcomes. We answer scholars call for additional research on age-related processes by testing pathways through which older employees can benefit organizational performance. The current study advances the literature by relating to the context-related process of cohesion and investigating its moderating influence on the relationship between team antecedents (i.e. age and tenure) and incremental innovation.

This research sample consists of 108 R&D teams operating in six mature high-tech organizations located in Israel. The participating entities design and manufacture state-of-the-art innovations in the semiconductors, communications and information technology sectors. The number of teams in each participating entity was 35, 21, 21, 19, 7 and 5, respectively. The sample consisted of 443 R&D employees and 212 team leaders/managers. The total sample comprised 655 participants. Team members filled out questionnaires to assess the independent variables. The dependent-variable questionnaire focusing on the team's incremental innovation accomplishments was completed by two managers for each team.

We found a negative association between team members' age and incremental innovation. Hypothesis 2, which predicted a positive association between team members' tenure and incremental innovation, was marginally supported. The interaction between team members' age and team members' tenure on incremental innovation was marginally supported. Hypothesis 4, which predicted that the negative association between team members' age and incremental innovation would be mitigated when the level of team cohesion is low, was supported. Hypothesis 5, which assumed that the positive association between team members' tenure and incremental innovation would be stronger when the level of cohesion is high, was supported.

This research's results regarding the negative influence of R&D employees' age on incremental innovation are crucial for managers and team leaders in the high-tech industry. Following the age stereotype, many of them avoid recruiting and assigning older employees to R&D teams dealing in innovation creation and development. They should expand their perspective and consider additional attributes in order to assign the employees that best match the team's mission. The results show that R&D teams produce high and similar levels of incremental innovation when the level of team members' tenure is high, regardless of their age.

This study benefited from a relatively high number of respondents and teams from leading high-tech organizations, a high response rate and a research design that made it possible to establish a linkage between data on the independent variables and data on incremental innovation collected from separate independent sources. The data on the dependent variable—incremental innovation—was based on independent assessments made by two managers for each team. The study's measurements were based on leading studies on innovation.

This chapter presents a form of both co-participation theory and artful inquiry methodology as useful approaches in carrying out research into the student experience. Participatory Pedagogy is predicated on repositioning participants as co-producers of knowledge by introducing them to important aspects of the research, providing a platform to foster expression and affording opportunities to co-shape the research process. Artful inquiry can take many different forms, but collage in particular has the capacity to bring new meanings to the surface even in well-researched fields, such as the student experience. In supporting a Participatory Pedagogy approach, collage can unpack powerful testimonies of personal experience. A practical application of this pairing is also presented based on research into the student experience. This gives readers an insight into how it can be applied to a study, what its limitations might be and especially how students, particularly those from under-represented backgrounds, can benefit from being involved.

The purpose of this paper is to analyze whether triad structures, as the smallest unit of a network, can facilitate or inhibit the evolution into a service ecosystem. According to SD logic literature, the triad structure and the institutions that dominate the triads determine the evolution into ecosystem, remain as triad or die. “Balanced centricity” is considered a desirable institution that increases the possibility of transforming triads into ecosystems through marketing equilibrium.

The authors apply a conceptual approach to develop a framework for deepening understanding about triads’ structures from the institution’s perspective (balanced centricity). Qualitative case study research was conducted using different methods of data generation including personal interviews and netnography analysis in the arts sector. Three case studies were developed, one for each triad structure: Sothebýs, Patreon and Vibuk.

New business models start being a triad, and it is a strategic option to evolve into an ecosystem. In this sense, authors argue for considering balanced centricity as an institution that enables the ecosystems to arise. From this perspective, balanced centricity can be considered a strategy that helps to balance and reach positive relationships among actors, enabling the process to become a “balance triad structure”.

The paper is a conceptual work that combines with an empirical approach. The empirical approach considers three success cases on the arts context. Considering other contexts as different from arts industry would be useful to add new perspectives to the theory development.

The present paper defines a new form of triad “balanced triad structure” (BTS) and identifies categories depending on the way balanced centricity institution is adopted, facilitating or inhibiting the future evolution into an ecosystem. Hitherto, previous papers have not put together these concepts that build on the triads and ecosystems theory to better understand triads management and facilitate the evolution of three-actor networks into ecosystems.

This chapter provides higher education faculty with a model that promotes equity and inclusion by engaging students in developing critical consciousness about their country’s social problems. This model has been developed and refined through research and practice at a private liberal arts university in Quito, Ecuador since 2011. It is a service-learning program where students work directly, for 80 hours, with a vulnerable human group while taking a course where the academic content includes topics, such as poverty, education, health, gender, and discrimination. With this experiential learning model, students have gone through a transformational process that has allowed them to question their mental schemes. This transformation has been documented with qualitative data. The impact of this model has been researched using both quantitative and qualitative measures of students’ civic attitudes and skills using a scale called the Civic Attitudes and Skills Questionnaire, which includes six factors: Civic Action, Interpersonal and Problem-Solving Skills, Political Awareness, Leadership Skills, Social Justice, and Diversity Attitudes. A significant impact of the course on students’ skills has been found on almost all factors in two studies conducted in recent years. This chapter describes the service-learning program in detail mentioning the research done.

This paper explores whether, in the context of university–industry (U–I) collaboration, new innovation strategies can be developed through actors' interactions, the exchange of resources and the co-creation of value for and within the system. In the context of the U–I relationship, the innovation perspective can highlight the need to develop strategies that elicit new formulas of value co-creation, which then facilitate innovation as a result of actor collaboration.

A total of 45 public universities in Spain, representing 95% of the total, participated in qualitative research. Personal in-depth interviews with technology transfer officers (TTOs) were conducted by an external firm; in a second phase, two of the researchers conducted eight interviews with the directors of TTOs in those universities with higher rates of transfer.

Findings reveal that enterprises with a technological focus are strengthening their relationships with universities and attempting to build a university business ecosystem by designing strategies for value co-creation such as co-ownership, co-patenting, and co-invention.

The empirical research is conducted in Spain, and results should be interpreted according to this context. Future research should examine new contexts (other countries) to improve the robustness of the data and enrich the results, thus enabling generalization of the management consequences.

The results provide a means to design strategies under a new collaborative and innovating logic. The theoretical framework contributes to theory, with implications for management.