Many potential benefits of new product introductions (NPI) have been identified in existing literature, yet there are empirical and theoretical evidence that suggests that such benefits are not assured. Building on the concepts of time compression diseconomies, absorptive capacity, and time diversification, we argue that benefits that a firm derives from introducing new products depend on the process of NPI, which we conceptualize as how and what products are introduced by the firm. We propose that pace, rhythm, and the scope are three important characteristics of the process of NPI that affect firm value. Further, we argue that this effect is moderated by organizational marketing and technological intensities. We use an unbalanced panel dataset of the products introduced by public firms between 1991 and 2015 to investigate the proposed framework in the bio-pharmaceutical industry. We estimate the proposed model using a multilevel modeling framework, accounting for endogeneity, unobserved heterogeneity, and heteroscedasticity. The proposed framework and modeling approach provide empirical support for the role of pace, rhythm and scope of NPI on firm performance, and guide managers on choosing the right growth strategy to improve new product performance.

O trabalho reflete uma pesquisa sobre o processo de ensino e aprendizagem inicial do teatro, desenvolvido pela própria pesquisadora, no ano de 2007, que tem como sujeitos os alunos participantes do Curso de Extensão Introdução à interpretação Teatral: Corpo, Voz, Ação, do Departamento de Arte Dramática do Instituto de Artes da Universidade Federal do Rio Grande do Sul. O estudo busca compreender como os alunos que frequentaram o Curso caracterizam o processo de iniciação teatral em que estiveram inseridos. A partir dos depoimentos desses sujeitos, analisados de acordo com as teorias de Constantin Stanislavski, Jean Piaget, Viola Spolin, Sandra Chacra, Ingrid Koudela, dentre outros, considera-se que a "interação" é um dos aspectos constitutivos da arte teatral, que se desenvolve na medida da relação do ator consigo mesmo e com o mundo que o cerca, no sentido da progressiva "descentração". Nessa direção, o desenvolvimento das capacidades de "ver e ouvir" é compreendido como um caminho possível para o estabelecimento de uma ação consciente e presente durante a cena teatral. / This research expose a theoretical reflection regarding the learning process developed by its own author in 2007, which subjects analyzed were students who have attended the academic course Introduction to the Theatrical Interpretation: voice, body and action, offered to the community by the Institute of Arts' Theater Chapter, UFRGS. This scientific contribution was proposed in order to understand how those students realized the theatrical introduction process in which they were evolved with. Their speeches were analyzed under the theories of Constantin Stanislavski, Jean Piaget, Viola Spolin, Sandra Chacra, Ingrid Koudela. The research's outcome brought into light the interaction as a constitutive part of the Art of Theater, that is developed whereas starts the relationship between the actor, itself and the beyond context, achieving a relative conscioness called "descentração". In this perception level, the development of the capacity of seeing and listening is an important way to achieve a conscious and present action during the theatrical scene.

O trabalho reflete uma pesquisa sobre o processo de ensino e aprendizagem inicial do teatro, desenvolvido pela própria pesquisadora, no ano de 2007, que tem como sujeitos os alunos participantes do Curso de Extensão Introdução à interpretação Teatral: Corpo, Voz, Ação, do Departamento de Arte Dramática do Instituto de Artes da Universidade Federal do Rio Grande do Sul. O estudo busca compreender como os alunos que frequentaram o Curso caracterizam o processo de iniciação teatral em que estiveram inseridos. A partir dos depoimentos desses sujeitos, analisados de acordo com as teorias de Constantin Stanislavski, Jean Piaget, Viola Spolin, Sandra Chacra, Ingrid Koudela, dentre outros, considera-se que a "interação" é um dos aspectos constitutivos da arte teatral, que se desenvolve na medida da relação do ator consigo mesmo e com o mundo que o cerca, no sentido da progressiva "descentração". Nessa direção, o desenvolvimento das capacidades de "ver e ouvir" é compreendido como um caminho possível para o estabelecimento de uma ação consciente e presente durante a cena teatral. / This research expose a theoretical reflection regarding the learning process developed by its own author in 2007, which subjects analyzed were students who have attended the academic course Introduction to the Theatrical Interpretation: voice, body and action, offered to the community by the Institute of Arts' Theater Chapter, UFRGS. This scientific contribution was proposed in order to understand how those students realized the theatrical introduction process in which they were evolved with. Their speeches were analyzed under the theories of Constantin Stanislavski, Jean Piaget, Viola Spolin, Sandra Chacra, Ingrid Koudela. The research's outcome brought into light the interaction as a constitutive part of the Art of Theater, that is developed whereas starts the relationship between the actor, itself and the beyond context, achieving a relative conscioness called "descentração". In this perception level, the development of the capacity of seeing and listening is an important way to achieve a conscious and present action during the theatrical scene.

O trabalho reflete uma pesquisa sobre o processo de ensino e aprendizagem inicial do teatro, desenvolvido pela própria pesquisadora, no ano de 2007, que tem como sujeitos os alunos participantes do Curso de Extensão Introdução à interpretação Teatral: Corpo, Voz, Ação, do Departamento de Arte Dramática do Instituto de Artes da Universidade Federal do Rio Grande do Sul. O estudo busca compreender como os alunos que frequentaram o Curso caracterizam o processo de iniciação teatral em que estiveram inseridos. A partir dos depoimentos desses sujeitos, analisados de acordo com as teorias de Constantin Stanislavski, Jean Piaget, Viola Spolin, Sandra Chacra, Ingrid Koudela, dentre outros, considera-se que a "interação" é um dos aspectos constitutivos da arte teatral, que se desenvolve na medida da relação do ator consigo mesmo e com o mundo que o cerca, no sentido da progressiva "descentração". Nessa direção, o desenvolvimento das capacidades de "ver e ouvir" é compreendido como um caminho possível para o estabelecimento de uma ação consciente e presente durante a cena teatral. / This research expose a theoretical reflection regarding the learning process developed by its own author in 2007, which subjects analyzed were students who have attended the academic course Introduction to the Theatrical Interpretation: voice, body and action, offered to the community by the Institute of Arts' Theater Chapter, UFRGS. This scientific contribution was proposed in order to understand how those students realized the theatrical introduction process in which they were evolved with. Their speeches were analyzed under the theories of Constantin Stanislavski, Jean Piaget, Viola Spolin, Sandra Chacra, Ingrid Koudela. The research's outcome brought into light the interaction as a constitutive part of the Art of Theater, that is developed whereas starts the relationship between the actor, itself and the beyond context, achieving a relative conscioness called "descentração". In this perception level, the development of the capacity of seeing and listening is an important way to achieve a conscious and present action during the theatrical scene.

Dagens rörliga arbetsmarknad karaktäriseras av strukturell förändring och teknisk utveckling som ställer krav på organisationer att arbeta aktivt för att behålla sin arbetskraft. Undersökningar visar att anställda som anser att deras arbete meningsfullt samt är nöjda med introduktionsprocessen tenderar att stanna längre på sin arbetsplats, jämfört med anställda som är missnöjda. Syftet med denna studie är att bidra med kunskap om anställdas meningsskapande, vilket vi undersökt genom att studera hur doktorander vid Uppsala universitet tillskriver introduktionsprocessen mening. För att fånga individernas uppfattningar av meningsskapande till introduktionsprocessen har vi använt oss av semistrukturerade intervjuer. Intervjuerna har genomförts med sex stycken doktorander vilka alla gått samma introduktionsutbildning. För att bidra med kunskap om hur anställda skapar mening till introduktionsprocesser har vi använt oss av Karl Weicks (1995) teori om meningsskapande i organisationer. Genom kodning och tematisering av intervjutranskripten har studiens centrala frågeställningar Hur beskriver doktorander sina upplevelser av introduktionsprocessen? och Hur upplever doktorander att de har påverkats av introduktionsprocessen? besvarats. Resultatet visar att anställda beskriver introduktionsprocessen som en ordningsskapande och kontinuerlig process samt att tidigare erfarenhet och förväntningar påverkar meningsskapandet. Individer skapar mening till introduktionsprocessen genom kommunikation samt genom att motsätta sig och anpassa sig till de budskap som förmedlas från organisationen. Resultatet påvisar även att den mening som de anställda tillskriver introduktionen samspelar med identitetskonstruktion och agerande. / In light of a changeable labor market characterized by structural transformation and technical development, organizations today need to work actively on maintaining their labor force. Studies show that employees who consider their work meaningful and are happy with their introduction tend to stay employed longer at the organization, then employees that are dissatisfied. The purpose of this study is to contribute with knowledge of employees’ sensemaking. This purpose has been achieved by study of how PhD students at Uppsala university make sense of their introduction process. In order to capture the individuals’ sensemaking of the introduction process, semi-structured interviews were conducted with six PhD students, all of whom have participated in the same introduction process. To gain further insight into how sensemaking is expressed, in regard to introduction processes, we have used Karl Weick's (1995) theory of sensemaking in organizations. Through coding and thematization of interview transcripts the research questions How do PhD students describe their experience of the introduction process? and How do PhD students experience that they have been affected by the introduction process? are answered. The results demonstrate that employees experience the introduction as a continuous and sequencing process and that their background and expectations affect their experience. Individuals make sense of the introduction process through communication as well as by opposing and adapting to the messages conveyed from the organization. The results also show that sensemaking interacts with identity construction and action.