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        • KCI등재

          Stochastic Approach for Analytical Fragility Curves

          Giuseppe Carlo Marano,Rita Greco,Mauro Mezzina 대한토목학회 2008 KSCE JOURNAL OF CIVIL ENGINEERING Vol.12 No.5

          One of the main problems is the assessment of "residual reliability" or "vulnerability" of a single existing structure, or of a given class of similar structures, against seismic actions. The fragility curves describe the probability of a structure to suffer a given damage level when it is subject to a given seismic excitation level. This research work is focused on an analytical method for constructing fragility curves of existing structures based on a stochastic approach. Analysed structure is modelled by a simple one degree of freedom system subject to a nonstationary Kanai-Tajimi process. The numerical values of the parameters of its constitutive law, here suitably described by means of a hysteretic model, are selected using an identification procedure with the non linear pushover analysis performed on the real assessed structure. To develop fragility curves, a displacement based damage index is adopted. Fragility curves are obtained in terms of probability of exceeding a given damage level by using an approximate crossings theory of stochastic processes.

        • INTERACTION EFFECT OF MONITORING ON INTERNATIONAL STRATEGIC ALLIANCES’ PERFORMANCE

          Giuseppe Musarra,Constantine S. Katsikeas,Mathew Robson 글로벌지식마케팅경영학회 2016 Global Marketing Conference Vol.2016 No.7

          We argue that a novel dark personality trait—the focal firm’s desire for control—may drive key decisions pertaining to how to monitor strategic alliances, which in turn can deter performance outcomes. Our conceptual model was tested based on a survey of 197 international strategic alliances. Results demonstrate that the firm’s use of process monitoring to oversee the counterpart drives its performance outcomes only if there is a low level of information exchange between alliance partners; as such, information exchange norms substitute for process monitoring. Whereas, the focal firm’s use of outcome monitoring enhances its performance outcomes only if it is reinforced by a high level of information exchange; that is, these two monitoring mechanisms complement each other in alliances.

        • KCI등재
        • KCI등재

          Convergence properties of hyperspaces

          Giuseppe Di Maio,Ljubi\v{s}a D.R. Ko\v{c}inac,Tsugunori Nogura 대한수학회 2007 대한수학회지 Vol.44 No.4

          In this paper we investigate relationships between closure-type and convergence-type properties of hyperspaces over a space X andcovering properties ofX .

        • KCI등재

          A numerical property of Hilbert functions and lex segment ideals

          Giuseppe Favacchio 대한수학회 2020 대한수학회지 Vol.57 No.3

          We introduce the \textit{fractal expansions}, sequences of integers associated to a number. We show that these sequences characterize the $O$-sequences and encode some information about lex segment ideals. Moreover, we introduce numerical functions called \textit{fractal functions}, and we use them to solve the open problem of the classification of the Hilbert functions of any bigraded algebra.

        • KCI등재

          Integrated Rail-to-Rail Low-Voltage Low-Power Enhanced DC-Gain Fully Differential Operational Transconductance Amplifier

          Giuseppe Ferri,Vincenzo Stornelli,Angelo Celeste 한국전자통신연구원 2007 ETRI Journal Vol.29 No.6

          In this paper, we present an integrated rail-to-rail fully differential operational transconductance amplifier (OTA) working at low-supply voltages (1.5 V) with reduced power consumption and showing high DC gain. An embedded adaptive biasing circuit makes it possible to obtain low stand-by power dissipation (lower than 0.17 mW in the rail-to-rail version), while the high DC gain (over 78 dB) is ensured by positive feedback. The circuit, fabricated in a standard CMOS integrated technology (AMS 0.35 μm), presents a 37 V/μs slew-rate for a capacitive load of 15 pF. Experimental results and high values of two quality factors, or figures of merit, show the validity of the proposed OTA, when compared with other OTA configurations.

        • KCI등재

          Corporate museums and brand authenticity: Explorative research of the Gucci Museo

          Giuseppe Bertoli,Bruno Busacca,Maria Carmela Ostillio,Silvia Di Vito 한국마케팅과학회 2016 Journal of Global Fashion Marketing Vol.7 No.3

          In this paper we explore the role played by a museum of a fashion company as a driver of brand authenticity. In fact, the museum could offer to its visitors a holistic view of the brand’s original culture and values, in a synthesis that integrates past and present, reinforcing the visitors’ connection to the brand. Drawing on the existing literature, this paper explores the attributes that, according to the objective and subjective dimensions of brand authenticity, characterized the role of corporate museums in the individual quest of authentic brands. Furthermore, in addition to the objective and subjective dimensions, the paper aims to understand how the brand’s authentication tools (pioneering, protagonist in history, stylistic continuity, geographic roots, personalization and characterization) may have been influenced by the perceptions of authenticity that the museum has preserves. Finally, according to the self-expressive dimension of brand authenticity, the paper explores how the brand’s authentication tools may have been influenced by the perceptions of authenticity of visit experience. This paper will focus on the museum created by Gucci. After a synthetic overview of the literature on brand authenticity, the methodology of explorative research will be explained and finally the results obtained will be presented.

        • BRAND AUTHENTICITY AND CORPORATE MUSEUMS: AN EXPLORATIVE RESEARCH OF GUCCI MUSEUM

          Giuseppe Bertoli,Bruno Busacca,Maria Carmela Ostillio,Silvia Di Vito 글로벌지식마케팅경영학회 2015 Global Fashion Management Conference Vol.2015 No.06

          Among the current trends that set the social and cultural scenario pertinent to marketing, the search for authenticity by consumers has taken the highlights, to the point that it is considered “one of the cornerstones of contemporary marketing” (Brown et al. 2003, p. 21).This trend is normally interpreted as a reaction to the traits of current post modern society, characterized by hyper materialism, globalization, virtualization and commercialization of experiences (Arnould e Price 2000). In this context, individuals turn with growing interest towards what is “genuine”, “real” , “faithful to the original” or “of undisputed origins” (Boyle 2004). In our paper we propose, under a consumer-based perspective, to explore the role played by corporate museums in the search for authenticity by individuals. Based upon this, the museum -- in the quality of “ bearer” of the corporate identity and image -- would consent to offer its visitors a holistic view of the brand’s original culture and values, in a synthesis that integrates past and present. From this point of view, the experience offered to visitors would reinforce their connection to the brand (Mitchell e Mitchell 2001), consolidating their involvement and loyalty towards it (Mitchell e Orwing 2002). The corporate museum would therefore arise as a vehicle to create and consolidate a profound relationship between brand and consumers. However, only a few of the research efforts sustained so far have tried to explore empirically the museum’s potential as a platform to enrich and strengthen brand authenticity. Our attention is focused on a museum created by a well known luxury brand (Gucci Museum, located in Florence) for the purpose of investigating its role as a tool for authentication, capable of strategically connecting past, present and future. After a synthetic literature review and a brief introduction of the museum under research, the methodology of the explorative research will be explained and finally, the main results obtained will be presented. Literature review According to Beverland (2009, p. 16), brand authenticity must be interpreted as “subjective, socially constructed, and given to an object by consumers, marketers and others”. Overcoming the modernist concept, authenticity is redirected towards individual valuations that are socially negotiated, more than towards objective attributes (Beverland e Farrelly 2010). The extant literature has identified the multidimensional and multi attribute aspect of the construct. In regards to the former aspect, the seminal work of Beverland (2005), theoretically identifies three dimensions that are conceptually relevant for brand authenticity: - objective, connected to the object and its artistic, historical or qualitative veracity; - subjective, deriving from the individual attribution of an authentic status to the objects, understood as expressive of formal harmony, equilibrium or of a connection with a determined time and location; - self expressive, connected to the genuine manifestation of individuality which is conveyed by the consumption of certain objects. Once the multidimensional nature of the construct is ascertained, it is possible to outline the various attributes that define it (Beverland 2006; Gundlach e Neville 2012; Brown et al. 2012; Grayson, Radam, 2004; Napoli et al. 2014). In view of the objective dimension, the perceptions of authenticity appear to be rooted in the brand’s tangible reality, which can be evaluated based on its observable characteristics: the corporate exponents; the geographical roots; the longevity; production characteristics; the product attributes. As to the subjective dimension, a brand can be interpreted as authentic if it is capable of conveying certain associations. These may initially regard the connection of the brand with individual history, as well as its evolution over time (in terms of continuity of positioning, style, aesthetics and image coherence). Also, the commitment towards quality, which expresses the brand’s responsibility towards its own products and the promises conveyed to the market (credibility, reliability) come together to induce the image of authenticity. In the same direction, there are also several perceptions in operation which are connected to the brand’s peculiarities, such as originality, pioneering and exclusivity. Furthermore, brand authenticity is also fuelled by an ensemble of value associations, connected to the pursuit of non purely commercial objectives, to its genuine priority of artisanal objectives or, more generally, to its integrity, naturalness or sincerity. Finally, for the self expressive dimension, brand authenticity may derive from its capacity to connect to the image and concept that customers have of themselves. The perception of authenticity can result from the fact that it suscitates in individuals sensations of self effectiveness, problem solving capabilities and therefore perceptions of having reached performance related objectives. A brand can then be understood as authentic also by its capacity to make consumers feel that they are part of a social or territorial community to which they feel linked. Furthermore, for people who attribute a particular value to moral principles, authenticity is associated to ideals and virtues which the brand continuously follows by means of ethical standards which allow individuals to feel truer to themselves. In conclusion, brand authenticity can be interpreted as the result of the interaction between objective factors, subjective constructs and existentialist motivations. Beverland and Farrelly (2010) observe that consumers seek different forms of authenticity, based on their own personal objectives. The understanding of how consumers associate a variety of authenticity attributes to brands and the ways in which those components reciprocally influence each other appears to be an extremely useful from the point of view of brand management. In fact, the brands that propose to refer to uniqueness in their strategies, must find leverage on the dimensions that are reputedly relevant for consumers and, for each one, identify the most critical attributes. Research methodology To investigate the capacity that brand museums of fashion luxury brands have to contribute towards the perception of brand authenticity, we conducted an esplorative research on the Gucci Museum’s visitors. The survey was held based on content analysis of the reviews posped on Tripadvisor by the visitors themselves. The research was therefore based upon 79 reviews, heterogeneous in terms of the geographic provenance of the commentators, date of visit and overall evaluation. Of these, 45 were published in English, 26 in Italian, 4 in Portuguese, two in French and two in Russian. Considering the evaluation, that is the rating expressed by visitors on a scale of 1 to 5, the most part (77,22%) of comments expresses a medium-high rating (corresponding to ratings 4 and 5). Finally, more than half of the comments were published during the same month as the visit and less than 5% within the following six months or more. Those reviews underwent a content analysis, a methodology considered appropriate in the extant literature (Pan et al. 2007; Banyai 2010; Volo 2010; Li e Wang 2011) for the purpose of investigating the perceptions, impressions and general feeling associated to a certain tourism destination, or a visitation experience. Discussion In trying to understand how the museum structure might add value to the brand’s meanings, in strengthening the perceptions of authenticity, we attempted to insert the brand authentication process into the broader museum visit experience, investigating how the brand’s authentication tools may have been influenced (positively and negatively) by the perceptions of authenticity of objects and experiences. The Gucci Museum acquires a real museum legitimacy, standing on the same level as other Florentine cultural sites; it was interpreted as a memory site, where the brand’s history and fashion history are connected thanks to the remembrance of past events, people or periods, effectively “dignifying” the museum and the visit as a fundamental part of Florentine tourism. Some visitors “authenticate” corporate structures as true cultural institutions. As such, they are legitimized in the righteous pursuit of preserving and being custodians not only of brand history but also of the precious testimonials of Italian fashion. Concerning the contents, that is, the objects displayed at the museum, several reviews attributed to these a real and proper museum aura, bearing artistic worth and interpreted as true masterworks. The process by which these visitors project their own perceptions of authenticity to the objects observed, seems to be tied as a conceptualization of constructivist nature to several elements that go from stylistic-aesthetic value and quality of the products, a result of knowledgeable artisanal mastery, to the refinement and creativity of the objects themselves. For some visitors, the objects collected in museums acquire authenticity in view of their antiquity and rarity. What is relevant is the indexical authenticity of objects. It is conceivable that this process for the authentication of objects may be susceptible of influencing the brand image perceived by visitors. For some visitors, the products displayed in commercial venues acquire, by the end of the visit, an aura that brings them closer to museum pieces, expressive of the same creativity, artisanal mastery or symbolic connection with the past. The same visit to the maison’s points of sale is lived by some as an occasion to observe up close the brand’s masterworks, showcased but distant and untouchable during the museum visit. Most reviews, when describing the museum visit, made reference not so much to impressions and evaluations regarding the museum structure or the objects it contains, but instead, to the visiting experience as a whole. For these reviewers, the corporate museum represents a platform on which to experiment authentic moments. From this viewpoint, the notion of existential authenticity seems more relevant than the authenticity of the objects, as postulated in a post modern approach. In reference to the dimensions of authenticity that can be imbued in an experience, it was possible to conceptualize the role of the corporate museum as a vector for the experimentation of different types of authentic experiences. In the first place, the corporate museum – thanks to its setting and content displayed – was identified as a medium capable of conveying a surreal experience. As such, it allows an authentic experience from the intrapersonal point of view, offering the opportunity for immersion into an atmosphere, a world far from reality, feeling transported into the past or into a world of imagery, thus departing from the commonplace. The museum was also understood as an occasion to live an evasive experience in regards to traditional Florentine museums.. Finally, the museum visit is lived by some as an opportunity to consolidate existing personal connections and/or to establish new ones. Deepening the analysis, it is possible to verify that the exhibition spaces are interpreted as a frame for the consolidation of personal relations with the individuals that share the visit experience. The visit to the museum distinguishes itself because it is a collective experience, an opportunity to spend time with other people that allows for the sharing of common passions towards the brand and its history.

        • KCI등재

          Effect of the indentation process on fatigue life of drilled specimens

          Giuseppe Marannano,Antonino Pasta,Francesco Parrinello,Antonio Giallanza 대한기계학회 2015 JOURNAL OF MECHANICAL SCIENCE AND TECHNOLOGY Vol.29 No.7

          Design and manufacture of mechanical elements are strongly influenced by the evaluation of the residual stresses due to their effectson the material strength. This paper presents numerical and experimental results performed on AW 6082-T6 aluminum alloy drilledspecimens when the hole is created after a bilateral indentation process. The plastic deformation induced by the indenters creates a compressiveresidual stress field around the hole, which persists after the drilling operation. Several numerical analysis have been carried outin ANSYS APDL explicit solver for different indentation depths and hole diameters in order to evaluate the compressive circumferentialstresses, optimal process parameters and relevant geometric features. Fatigue tests are performed in order to determine the cycles to failureand the corresponding Wöhler diagram.

        • KCI등재

          Lateral Nasal Artery Perforator Flaps: Anatomic Study and Clinical Applications

          Giuseppe AG Lombardo,Serena Tamburino,Luciano Tracia,Maria Stella Tarico,Rosario Emanuele Perrotta 대한성형외과학회 2016 Archives of Plastic Surgery Vol.43 No.1

          Background Previous studies have investigated facial artery perforators, but have reported inconsistent results regarding lateral nasal artery (LNA) perforators. Although several authors have described the use of LNA perforators for ala nasi and nasal sidewall reconstruction, the literature contains little information regarding the cadaveric dissection of LNA perforators, and most previously published studies have focused on facial artery perforators. Methods Sixteen hemifaces from eight fresh cadavers were dissected to study the LNA perforators. After the dissection was performed, the total length and diameter of the LNA and its perforators were measured. The quantity and the distribution of the LNA perforators supplying the overlying skin were then assessed. LNA perforator flaps were used for reconstruction in 10 nasal and perinasal defects. Results The mean total lengths of the LNA and its perforators were 49.37 mm and 16.06 mm, respectively. The mean diameters of the LNA and its perforators were 2.08 mm and 0.91 mm, respectively. Based on our findings, we mapped the face to indicate zones with a higher probability of finding perforators. No infection, hematoma, or complete flap necrosis were observed after the procedures. Conclusions Nasal reconstruction is a challenging procedure, and LNA propeller/V-Y perforator flaps are an excellent reconstructive option in certain cases. Based on our cadaveric study, we were able to identify an area in the upper third of the nasolabial groove with a high density of perforators.

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