1.CR
Archaeologists have discovered that the ancient Maya produced pottery using volcanic ash with distinctively sharp-edged particles, indicating that the ash was incorporated into the clay while still fresh. However, geological evidence suggests that no volcanic eruptions occurred locally during the period when the pottery was made. The archaeologists concluded that the volcanic ash used to produce the pottery must have been transported from volcanoes in neighboring regions.
Which of the following, if true, most strengthens the archaeologists' argument?
(A) Geological evidence indicates that the local area experienced volcanic eruptions in the distant past, but not during the period when the pottery was produced.
(B) The pottery produced by the Maya in this region was highly friable and fragile due to the volcanic ash content, making it impractical to transport long distances without damage.
(C) Chemical analysis of the volcanic ash used in the pottery reveals trace elements that are characteristic of volcanoes located in neighboring regions.
(D) Archaeologists have discovered ancient Maya trade routes that connected the local area with other regions where volcanic eruptions were known to have occurred during the relevant time period.
(E) The sharp-edged volcanic ash particles would have caused the wet clay to dry out more quickly, necessitating that the Maya work more rapidly when producing the pottery.
In a small Swiss town, a type of unofficial lottery called the "Red Lottery" was historically popular. Historians believe that this lottery disappeared in the 1850s, replaced by an official state lottery. However, new research indicates that the Red Lottery was still being played in one small town as late as the 1890s. Nevertheless, this discovery does not undermine the historians' judgment, because...
(A) the town where the Red Lottery persisted until the 1890s was geographically isolated and not representative of the rest of Switzerland.
(B) the official state lottery and the Red Lottery coexisted for several decades in the 1800s before the latter ultimately disappeared.
(C) the Red Lottery was outlawed by the Swiss government in the 1850s, making any later instances of the game illegal and rare.
(D) the town in question was abandoned in the early 1900s, making it an unreliable indicator of broader lottery trends in Switzerland.
(E) while the Red Lottery continued in one town, the vast majority of Swiss towns had indeed replaced it with the official state lottery by the 1850s.
2. DI
The French jewelry industry, a paragon of artisanal excellence and creative ingenuity, has long been a bastion of the nation's economic resilience and cultural cachet. Steeped in a rich tapestry of history and tradition that spans centuries, this illustrious sector employs a formidable workforce of over 58,000 highly skilled artisans, who collectively generate annual revenues exceeding a staggering €5.9 billion. The industry's sprawling ecosystem encompasses a diverse array of enterprises, ranging from the venerable luxury maisons that have served as the custodians of French savoir-faire for generations to the burgeoning ranks of avant-garde designers who are boldly redefining the very essence of French jewelry for the 21st century and beyond.
At the heart of this intricate web of creation and commerce lies the iconic Place Vendôme, a resplendent Parisian square that has served as the epicenter of the French jewelry trade since the reign of Louis XIV in the 17th century. This hallowed ground, steeped in the lore and legend of the industry, is home to the ateliers and boutiques of the most illustrious names in French jewelry, including such luminaries as Cartier, Van Cleef & Arpels, and Boucheron. These maisons, with their peerless artistry, unrivaled heritage, and unwavering commitment to excellence, have not only shaped the trajectory of French jewelry design but have also played an instrumental role in establishing France as the preeminent destination for connoisseurs and collectors of high jewelry the world over.
For centuries, the grand dames of the Place Vendôme reigned supreme, their hegemony unchallenged and their influence unrivaled. Theirs was a world of unparalleled luxury and exclusivity, where the most exquisite gems and precious metals were transformed into sublime works of art by the most skilled hands in the industry. The clientele of these storied maisons was equally rarefied, comprising royalty, aristocracy, and the upper echelons of the global elite, who sought out the inimitable craftsmanship and timeless elegance of French jewelry as the ultimate symbols of status and refinement.
However, in recent years, the winds of change have begun to blow through the rarefied halls of the French jewelry establishment, as a dynamic new generation of independent designers has emerged to challenge the status quo and inject fresh perspectives and innovative approaches into the industry. These visionary creators, often eschewing the rigid conventions and hierarchical structures of the traditional maisons in favor of a more intimate and experimental approach, have garnered significant acclaim for their daring aesthetics, unconventional materials, and steadfast commitment to sustainability and ethical sourcing practices.
The meteoric rise of these independent designers can be attributed, in large part, to the profound transformations wrought by the digital revolution and the concomitant proliferation of social media platforms. These technological advancements have democratized access to the once-exclusive realm of high jewelry, enabling emerging talents to circumvent the traditional gatekeepers and engage directly with a global audience of discerning consumers. By harnessing the power of Instagram, Twitter, and other digital channels, these intrepid creators have cultivated devoted followings and captured the zeitgeist of a new era in luxury consumption, one that prizes individuality, authenticity, and social responsibility above all else.
Faced with this tectonic shift in the luxury landscape, the grand maisons of the Place Vendôme have been compelled to adapt and evolve, lest they risk losing their relevance and market share to their nimble and disruptive competitors. In a bid to stay ahead of the curve and maintain their preeminence in an increasingly crowded and competitive field, many of these venerable institutions have embarked on ambitious initiatives to modernize their offerings, streamline their operations, and connect with a new generation of savvy, digitally-native consumers.
These efforts have taken myriad forms, from the development of immersive e-commerce platforms and the launch of exclusive digital-first collections to the cultivation of strategic partnerships with influential tastemakers and the adoption of cutting-edge technologies such as augmented reality, 3D printing, and blockchain. Moreover, recognizing the growing importance of sustainability and ethical sourcing to today's socially conscious consumers, several of the most prominent maisons have taken significant steps to bolster their environmental and social credentials, introducing eco-friendly materials, implementing responsible mining practices, and supporting a range of philanthropic causes.
Yet even as the French jewelry industry grapples with the challenges and opportunities of the digital age, it remains deeply rooted in the traditions and techniques that have defined it for centuries. From the meticulous craftsmanship of the artisans who toil in the ateliers of the Place Vendôme to the uncompromising standards of quality and excellence that have long been the hallmark of French jewelry, the industry remains committed to preserving and perpetuating the rich cultural heritage that has made it the envy of the world. This deep reverence for tradition is evident in the painstaking attention to detail that goes into every piece of French high jewelry, from the selection of the finest precious stones to the countless hours of skilled labor required to bring each creation to life.
At the same time, the French jewelry industry is increasingly looking to the future, embracing innovation and experimentation as key drivers of growth and relevance in the 21st century. This forward-looking ethos is exemplified by the rise of a new generation of jewelry designers who are pushing the boundaries of what is possible with materials, techniques, and technologies, creating pieces that are at once timeless and utterly of the moment. From the use of unconventional materials like titanium, carbon fiber, and even 3D-printed plastics to the incorporation of interactive elements and digital functionalities, these pioneering creators are redefining the very notion of what constitutes jewelry in the modern age.
As the French jewelry industry navigates this period of unprecedented transformation and disruption, it is becoming increasingly clear that the key to its continued success and relevance lies in its ability to strike a delicate balance between honoring its rich heritage and embracing the spirit of innovation and adaptability that will propel it forward into an uncertain but undeniably exciting future. By fostering a dynamic symbiosis between the old and the new, the classic and the cutting-edge, the French jewelry sector is poised to maintain its position at the forefront of the global luxury market for generations to come, setting the standard for excellence, creativity, and savoir-faire in the 21st century and beyond.
This process of evolution and reinvention is not without its challenges, however. As the French jewelry industry seeks to adapt to the changing tastes and preferences of a new generation of consumers, it must also grapple with a host of complex issues and challenges, from the ethical sourcing of materials to the environmental impact of its operations to the need for greater diversity and inclusion in its ranks. These are not easy problems to solve, and they will require a sustained commitment from all stakeholders – designers, artisans, executives, and consumers alike – to build a more sustainable, equitable, and responsible future for the industry.
One of the most pressing challenges facing the French jewelry industry today is the need to ensure the ethical and responsible sourcing of the precious materials that form the backbone of its creations. In an era of heightened social and environmental consciousness, consumers are increasingly demanding greater transparency and accountability from the brands they patronize, and the jewelry industry is no exception. To meet these expectations, French jewelry maisons must work to develop robust and verifiable supply chain management systems that can trace the origins of their materials and ensure that they are sourced in a manner that respects human rights, labor standards, and environmental sustainability.
This is no small feat, given the complex and often opaque nature of the global jewelry supply chain, which can involve multiple intermediaries and span multiple continents. However, by investing in cutting-edge technologies such as blockchain and artificial intelligence, French jewelry brands can enhance the traceability and transparency of their operations, providing consumers with greater assurance that the pieces they purchase are not only beautiful but also ethically and responsibly produced.
Another key challenge facing the French jewelry industry is the need to reduce its environmental footprint and promote greater sustainability throughout its operations. From the energy-intensive process of mining and refining precious metals to the carbon emissions associated with global transportation and distribution, the jewelry industry has a significant impact on the planet, and there is growing pressure on brands to take action to mitigate these effects.
To address these concerns, French jewelry maisons are increasingly exploring innovative solutions such as recycled and upcycled materials, renewable energy sources, and circular economy models that prioritize the reuse and repurposing of materials over the extraction of virgin resources. By embracing these sustainable practices and investing in the development of more eco-friendly production methods, the French jewelry industry can not only reduce its environmental impact but also appeal to a new generation of environmentally conscious consumers who prioritize sustainability and social responsibility in their purchasing decisions.
In addition to these environmental and ethical challenges, the French jewelry industry must also grapple with the need for greater diversity and inclusion in its ranks. Historically, the industry has been dominated by a relatively homogeneous group of designers, artisans, and executives, with limited representation from women, people of color, and other marginalized communities. This lack of diversity not only perpetuates systemic inequalities but also stifles creativity and innovation, as it limits the range of perspectives and experiences that inform the industry's artistic and strategic direction.
To address this issue, French jewelry maisons must take proactive steps to promote greater diversity and inclusion at all levels of their organizations, from the recruitment and training of new talent to the appointment of diverse leadership teams and the development of more inclusive marketing and advertising campaigns. By embracing diversity as a core value and actively working to create a more equitable and representative industry, French jewelry brands can not only enhance their social and ethical credentials but also tap into new sources of creativity and innovation that will help them remain relevant and competitive in an increasingly diverse and globalized marketplace.
Despite these challenges, there is reason for optimism about the future of the French jewelry industry. With its unparalleled creativity, its unwavering commitment to excellence, and its deep respect for tradition and heritage, the French jewelry industry is uniquely positioned to thrive in the years and decades to come. By embracing change while remaining true to its core values and ideals, the industry can continue to inspire and delight consumers around the world, creating timeless works of art that will be cherished for generations.
As the French jewelry industry looks to the future, it is clear that the path forward will be shaped by a complex interplay of forces – technological, cultural, economic, and environmental. Navigating this shifting landscape will require vision, agility, and a willingness to take risks and embrace new ideas and approaches. But with its deep reserves of talent, passion, and expertise, the French jewelry industry is well-equipped to meet the challenges of the 21st century head-on, and to continue to set the standard for excellence and innovation in the global luxury market for years to come.
One of the most exciting developments on the horizon for the French jewelry industry is the increasing convergence of jewelry and technology. As the boundaries between the physical and digital worlds continue to blur, French jewelry designers are exploring new ways to incorporate cutting-edge technologies into their creations, from smart materials that can change color or shape in response to external stimuli to digital interfaces that allow consumers to customize and personalize their jewelry in real-time.
These technological innovations are not only transforming the way that jewelry is designed and produced but also the way that it is experienced and consumed by customers. With the rise of virtual and augmented reality, for example, consumers can now try on and explore jewelry in immersive digital environments, allowing them to experience the beauty and craftsmanship of French jewelry in entirely new ways. Similarly, the integration of blockchain technology into the jewelry supply chain is enabling greater transparency and traceability, giving consumers unprecedented insight into the origins and journey of the materials that make up their favorite pieces.
As the French jewelry industry continues to evolve and adapt to these technological trends, it is also becoming increasingly attuned to the changing values and priorities of a new generation of consumers. Today's jewelry buyers are not only looking for beautiful and well-crafted pieces but also for brands that align with their personal values and beliefs, whether that means a commitment to sustainability, ethical sourcing, or social justice.
To meet these evolving consumer expectations, French jewelry maisons are increasingly embracing a more holistic and purpose-driven approach to their business, one that goes beyond the mere creation of exquisite objects to encompass a broader vision of social and environmental responsibility. By investing in sustainable and ethical practices, supporting diverse and inclusive workplaces, and using their platform to advocate for positive change, French jewelry brands can not only enhance their reputation and appeal to conscientious consumers but also contribute to the creation of a more just and equitable world.
Ultimately, the story of French jewelry is a story of resilience, creativity, and enduring beauty. It is a testament to the power of human ingenuity and the enduring appeal of art and craftsmanship in an age of rapid change and disruption. And it is a reminder that, even in the face of the most daunting challenges, the pursuit of beauty, excellence, and meaning will always endure, as long as there are those who are willing to dedicate their lives to its creation and preservation.
As the French jewelry industry stands at the threshold of a new era, it is poised to build on its illustrious past while embracing the boundless possibilities of the future. With its unrivaled expertise, its commitment to innovation and sustainability, and its deep connection to the timeless values of beauty, craftsmanship, and human expression, the French jewelry industry is uniquely positioned to shape the future of luxury and to set the standard for excellence and creativity in the 21st century and beyond.
Questions:
1. The passage suggests that the rise of independent jewelry designers in France has been primarily facilitated by:
A. The declining influence and market share of traditional luxury brands
B. The widespread availability of digital platforms and social media channels
C. Shifting consumer preferences towards more affordable, mass-market jewelry
D. An increased emphasis on sustainable and ethically sourced materials
E. The development of innovative new technologies like 3D printing and augmented reality
2. According to the passage, which of the following is NOT a strategy that established French jewelry maisons have employed to adapt to the changing market landscape?
A. Developing immersive e-commerce platforms to reach digital-native consumers
B. Launching exclusive digital-first collections to appeal to younger, tech-savvy audiences
C. Cultivating strategic partnerships with influential tastemakers and celebrity endorsers
D. Relocating their ateliers and boutiques away from the Place Vendôme to reduce overhead costs
E. Investing in cutting-edge technologies such as augmented reality and 3D printing
3. The author's perspective on the future of the French jewelry industry can best be described as:
A. Pessimistic about its ability to adapt to the challenges posed by technological disruption and changing consumer values
B. Neutral and objective, presenting a balanced assessment of the industry's strengths and weaknesses without taking a strong position
C. Cautiously optimistic, acknowledging the significant challenges facing the industry while expressing confidence in its resilience and adaptability
D. Unequivocally positive, asserting that the industry is poised for continued growth and success despite the obstacles it faces
E. Deeply uncertain, suggesting that the industry's future is impossible to predict given the complex and rapidly evolving nature of the global luxury market
4. The passage implies that the clientele of traditional French jewelry maisons has historically been:
A. Primarily composed of middle-class consumers seeking affordable, everyday jewelry
B. Drawn from a broad cross-section of society, including both wealthy elites and ordinary individuals
C. Largely comprised of royalty, aristocracy, and the upper echelons of the global elite
D. Mostly made up of younger, digitally-native consumers with a penchant for experimentation and self-expression
E. Evenly split between connoisseurs who prioritize craftsmanship and heritage and fashion-forward buyers who seek out the latest trends
5. The author mentions the use of "recycled and upcycled materials" and "circular economy models" as examples of:
A. The innovative new technologies that are transforming the way that jewelry is designed and produced
B. The sustainable practices that French jewelry brands are adopting to reduce their environmental impact
C. The unconventional materials and techniques that avant-garde designers are using to create more experimental and boundary-pushing pieces
D. The strategies that established maisons are employing to appeal to a new generation of socially conscious consumers
E. The challenges that the French jewelry industry faces in ensuring the ethical and responsible sourcing of its raw materials
6. The passage suggests that the lack of diversity in the French jewelry industry has:
A. Had little impact on the industry's creativity and innovation, as these qualities are inherent to the French artistic tradition
B. Been a major asset for the industry, allowing it to maintain a consistent and cohesive aesthetic vision over time
C. Stifled creativity and innovation by limiting the range of perspectives and experiences that inform the industry's artistic direction
D. Been a deliberate strategy on the part of established maisons to preserve the exclusivity and prestige of their brands
E. Only recently become a concern for the industry, as a result of growing public pressure and media scrutiny
7. According to the passage, which of the following is NOT one of the key challenges facing the French jewelry industry as it seeks to adapt to the changing global market?
A. Ensuring the ethical and responsible sourcing of precious materials through transparent and verifiable supply chain management systems
B. Reducing its environmental footprint and promoting greater sustainability throughout its operations, from production to distribution
C. Promoting greater diversity and inclusion at all levels of the industry, from the recruitment of new talent to the development of marketing campaigns
D. Maintaining the exclusivity and prestige of established luxury brands in the face of growing competition from more affordable, mass-market alternatives
E. Navigating the complex legal and regulatory landscape governing the global trade in precious metals and gemstones
8. The author's discussion of the "convergence of jewelry and technology" suggests that:
A. The integration of technology into jewelry design and production is a passing fad that is unlikely to have a lasting impact on the industry
B. The use of technology in jewelry is fundamentally at odds with the values of craftsmanship and artisanship that have traditionally defined the French jewelry industry
C. The incorporation of technological innovations into jewelry is transforming the way that consumers experience and engage with French jewelry brands
D. The adoption of technology by French jewelry maisons is primarily a cost-saving measure aimed at streamlining production and reducing labor costs
E. The convergence of jewelry and technology is a threat to the creativity and originality of French jewelry design, as it risks homogenizing the industry's artistic output
9. The passage indicates that today's jewelry consumers are increasingly seeking out brands that:
A. Offer the widest range of styles and designs at the most competitive price points
B. Prioritize the use of rare and exotic materials sourced from remote regions of the world
C. Provide bespoke, one-of-a-kind pieces that are tailored to their individual tastes and preferences
D. Align with their personal values and beliefs, such as a commitment to sustainability or social justice
E. Have a long and storied history of serving royalty and aristocracy, as a symbol of prestige and status
10. The author's characterization of the French jewelry industry as "a story of resilience, creativity, and enduring beauty" serves to:
A. Downplay the significant challenges and obstacles that the industry has faced throughout its history
B. Emphasize the industry's ability to adapt and thrive in the face of change while remaining true to its core values and traditions
C. Suggest that the industry's future success is guaranteed, regardless of the actions it takes to address the challenges it faces
D. Imply that the industry's contributions to art and culture are more important than its commercial and economic impact
E. Question whether the industry's long-standing association with beauty and creativity is still relevant in the modern age
11. The passage suggests that the French jewelry industry's ability to thrive in the 21st century and beyond will depend on its ability to:
A. Resist the temptation to embrace new technologies and maintain a strict focus on traditional craftsmanship and design
B. Prioritize short-term profits and market share over long-term sustainability and social responsibility
C. Abandon its historical association with luxury and exclusivity in order to appeal to a broader, more mainstream audience
D. Embrace change and innovation while remaining true to its core values of creativity, craftsmanship, and excellence
E. Relocate its operations to emerging markets with lower labor costs and more favorable regulatory environments
12. The author's overall tone in the passage can best be described as:
A. Critical and disapproving, highlighting the shortcomings and failures of the French jewelry industry
B. Dispassionate and objective, presenting a factual account of the industry's history and current challenges without taking a strong evaluative stance
C. Celebratory and triumphalist, portraying the French jewelry industry as an unassailable paragon of artistic achievement and cultural refinement
D. Cautiously hopeful, acknowledging the industry's challenges while expressing confidence in its ability to adapt and succeed in a changing world
E. Nostalgic and wistful, lamenting the industry's decline from its former glory and expressing pessimism about its future prospects
3.RC
Why are some firms more successful at introducing radical product innovations than others? Following Schumpeter (1942), many researchers have suggested that firm size is the key organizational predictor of radical product innovation. The authors provide an alternate view and argue that one key variable that differentiates firms with strong radical product innovation records from others is the firms' willingness to cannibalize their own investments. The authors identify three organizational factors that drive a firm's willingness to cannibalize. Results from a survey of three high-tech industries tend to support the alternate view that willingness to cannibalize is a more powerful driver of radical product innovation than firm size is. These results suggest a need to reconsider conventional wisdom on firm size, cannibalization, and organizational synergy.
Much of the research on the causes of organizational innovation is rooted in Schumpeter’s (1942) seminal work. His notion of “creative destruction,” in which innovations destroy the market positions of firms committed to old technology, first drew attention to the powerful effects of radical innovation on the economy and the fortunes of individual firms. A key Schumpeterian hypothesis is that large firms innovate more “intensively” than small firms do (Scherer 1992, p. 1422). This hypothesis has been the subject of ex- tensive and continuing research (Cohen 1995). More than 100 research articles have studied the effects of size on innovation (Acs and Audretsch 1991). However, results of the research have been decidedly mixed (Scherer 1991).
Authors such as Galbraith (1952) and Ali (1994) build on Schumpeter's basic arguments and suggest that large firms have many advantages over small ones in their ability to produce radical innovations. They note that large firms enjoy economies of scale in research and development, can spread risks widely, and have greater access to financial resources. Other researchers argue that, as firms become large, they become more bureaucratic, slower to react, and less willing to take risks (e.g., Mitchell and Singh 1993). As a result, they are less likely to produce radical innovations than smaller firms that do not possess these handicaps. These two views are contradictory. In addition, some authors suggest that the relationship between innovative productivity and size is bell-shaped (e.g., Ettlie and Rubenstein 1987). Medium-sized firms are positioned best for radical product innovation, because unlike small firms they possess the critical mass for research but do not suffer from the bureaucratic inertia of large firms. Conversely, Pavitt (1990) argues for a U-shaped curve. He suggests that the "proportions of significant innovations made by both large and small firms have been increasing at the expense of the medium-sized firms in between" (p. 23). Perhaps medium-sized firms have the liabilities of large and small firms and few of their strengths.
Willingness to cannibalize is critical because firms that dominate markets often are reluctant to embrace or foster radical innovations in their markets. Their reluctance derives from the established base of specialized investments with which they serve such markets. Nevertheless, organizational forces can compensate for the negative effects of specialized investments on willingness to cannibalize. In particular, the presence of internal markets, influential product champions, and future market focus can overcome the reluctance to cannibalize and motivate radical product innovations. Thus, willingness to cannibalize mediates the relationship between these organizational factors and radical product innovation. Although marketing managers have little control over their firm’s size, they have considerable influence over these organizational factors (e.g., Kohli and Jaworski 1990; Menon, Bharadwaj, and Howell 1996). In Figure 1, we summarize these effects. The subsequent sections explain each of the concepts.
Although not every technological breakthrough becomes a radical product innovation, radical product innovations do have the potential to render existing products obsolete. Thus, a firm’s willingness to cannibalize is a vital factor that drives managerial support for radical innovation (e.g., Nault and Vandenbosch 1996).
1. The authors' argument that willingness to cannibalize is a more powerful driver of radical product innovation than firm size implies that:
A) Firm size has no bearing on a company's ability to produce radical product innovations.
B) The relationship between firm size and radical product innovation is spurious and entirely mediated by willingness to cannibalize.
C) Willingness to cannibalize is a necessary and sufficient condition for radical product innovation, regardless of firm size.
D) While firm size may have some influence on radical product innovation, willingness to cannibalize is a more critical determinant.
E) The impact of firm size on radical product innovation is moderated by a firm's willingness to cannibalize, such that the effect of size is amplified when willingness to cannibalize is high.
2. Which of the following hypothetical scenarios would most strongly support the authors' argument regarding the role of willingness to cannibalize in radical product innovation?
A) A large firm with a low willingness to cannibalize consistently outperforms smaller firms with a high willingness to cannibalize in terms of radical product innovation.
B) A small firm with a high willingness to cannibalize consistently outperforms larger firms with a low willingness to cannibalize in terms of radical product innovation.
C) Firms of various sizes with similar levels of willingness to cannibalize exhibit no significant differences in their ability to produce radical product innovations.
D) The relationship between firm size and radical product innovation is found to be stronger than the relationship between willingness to cannibalize and radical product innovation.
E) Willingness to cannibalize is found to have no significant impact on radical product innovation when controlling for firm size.
3. The passage suggests that the mixed results of research on the relationship between firm size and innovation can be attributed to:
A) Differences in the operationalization and measurement of key variables across studies
B) The presence of moderating variables that influence the direction and strength of the relationship
C) The existence of multiple, competing theories that predict different outcomes
D) Variations in the industries and contexts in which the studies were conducted
E) All of the above
4. Based on the passage, which of the following statements about the relationship between specialized investments and radical product innovation is most accurate?
A) Specialized investments are a necessary precondition for radical product innovation, as they provide the foundation for breakthrough technologies and products.
B) Specialized investments are a hindrance to radical product innovation, as they create a reluctance to cannibalize existing assets and capabilities.
C) The impact of specialized investments on radical product innovation is entirely mediated by a firm's willingness to cannibalize.
D) The relationship between specialized investments and radical product innovation is moderated by organizational factors such as internal markets, influential product champions, and future market focus.
E) The passage does not provide sufficient information to determine the relationship between specialized investments and radical product innovation.
5. The authors' discussion of the organizational factors that drive a firm's willingness to cannibalize suggests that:
A) These factors operate independently of one another and have distinct effects on willingness to cannibalize.
B) The presence of any one of these factors is sufficient to overcome a firm's reluctance to cannibalize.
C) The impact of these factors on willingness to cannibalize is cumulative, such that the presence of multiple factors has a greater effect than any single factor alone.
D) The relative importance of these factors in driving willingness to cannibalize varies depending on the size of the firm.
E) The passage does not provide enough information to determine the relationship between these organizational factors and willingness to cannibalize.
6. If a study were to find that the relationship between internal markets and radical product innovation is fully mediated by willingness to cannibalize, which of the following conclusions would be most consistent with the authors' argument?
A) Internal markets have no direct effect on radical product innovation, and their influence operates entirely through willingness to cannibalize.
B) The effect of internal markets on radical product innovation is stronger than the effect of willingness to cannibalize.
C) Willingness to cannibalize is a necessary but not sufficient condition for the impact of internal markets on radical product innovation.
D) The mediating role of willingness to cannibalize in the relationship between internal markets and radical product innovation contradicts the authors
E) The finding of full mediation supports the authors' argument that willingness to cannibalize is a critical factor in the relationship between organizational factors and radical product innovation.
7. The authors' characterization of the relationship between technological breakthroughs and radical product innovations implies that:
A) Technological breakthroughs are a necessary but not sufficient condition for radical product innovations.
B) Radical product innovations are a necessary but not sufficient condition for technological breakthroughs.
C) The relationship between technological breakthroughs and radical product innovations is bidirectional and mutually reinforcing.
D) Technological breakthroughs and radical product innovations are independent phenomena with no causal relationship.
E) The passage does not provide sufficient information to determine the nature of the relationship between technological breakthroughs and radical product innovations.
8. Which of the following inferences about the impact of market dominance on radical product innovation is best supported by the passage?
A) Market dominance has a positive effect on radical product innovation, as it provides firms with the resources and market power necessary to pursue breakthrough technologies and products.
B) Market dominance has a negative effect on radical product innovation, as it creates a disincentive for firms to cannibalize their existing offerings and investments.
C) The effect of market dominance on radical product innovation is mediated by a firm's willingness to cannibalize, such that dominance only hinders innovation when willingness to cannibalize is low.
D) The relationship between market dominance and radical product innovation is moderated by organizational factors, such that dominance can promote innovation when these factors are present.
E) The passage does not provide enough information to determine the impact of market dominance on radical product innovation.
9. Based on the passage, which of the following statements about the role of influential product champions in radical product innovation is most likely to be true?
A) Influential product champions are the primary drivers of radical product innovation, and their presence is sufficient to overcome organizational resistance to cannibalization.
B) The impact of influential product champions on radical product innovation is entirely mediated by their ability to increase a firm's willingness to cannibalize.
C) Influential product champions are necessary for radical product innovation, but their effectiveness is contingent on other organizational factors such as internal markets and future market focus.
D) The presence of influential product champions is more critical for radical product innovation in large firms than in small firms.
E) The passage suggests that influential product champions can promote radical product innovation, but does not provide enough information to determine the specific nature of their role or the conditions under which they are most effective.
10. If a study were to find that the relationship between future market focus and radical product innovation is partially mediated by willingness to cannibalize, which of the following conclusions would be most consistent with the authors' argument?
A) Future market focus has both a direct effect on radical product innovation and an indirect effect through its impact on willingness to cannibalize.
B) The direct effect of future market focus on radical product innovation is stronger than its indirect effect through willingness to cannibalize.
C) Willingness to cannibalize is a sufficient but not necessary condition for the impact of future market focus on radical product innovation.
D) The partial mediation of the relationship between future market focus and radical product innovation by willingness to cannibalize contradicts the authors' argument.
E) The passage does not provide enough information to determine whether a finding of partial mediation would be consistent with the authors' argument.
2.填空题
P：非官方的RL流行，历史学家认为在1850年消失，被官方的取代
C：发现RL持续到1890，但没有削弱历史学家的观点，因为。。。
A：到1890年的小镇与Switzerland地理隔绝了，无关
B：共同存在了一段时间，无关
C：RL变的违法，无关
D：存在RL的小镇被放弃了，与A 类似
E：大部分都被替代了在1850你那，表明只是个例
我的答案：E 正确答案：E作者: CHEyun 时间: 2024-5-21 15:54
C作者: 薯片家的 时间: 2024-5-21 16:10
CR: C C
RC: D B C A A A C C E A
P1-为什么有些公司更能发明呢？有人提出和公司规模有关，但F提出和公司调拨人员有关。
P2-S提出了创新型毁灭，公司致力于老技术的会被市场摧毁，有超过100的研究论文的研究的是公司规模与创新，但是结论不一
P3-G和A又提出了大公司在创新上有很多优势，
更有钱更能平摊风险。也有学者提出规模更大，更慢反应更不能创新。也有学者提出中型公司最好。P提出U型曲线，中型公司在中间
P4-组织力也会影响创新
P5-调拨人员非常重要作者: jeilham 时间: 2024-5-22 23:47
0000000000000000作者: 有机盐 时间: 2024-5-23 08:07
Mark一下！ 作者: 绵延CC 时间: 2024-5-23 11:16
5/23打卡作者: maryyy1019 时间: 2024-5-23 14:13
看一下！ 作者: 豆奶 时间: 2024-5-23 21:44
看一下！ 作者: 杨翠花 时间: 2024-5-24 09:24
Mark一下！ 作者: 杨翠花 时间: 2024-5-24 22:23
CR，答题卡：CE，答案：CE
1. P：考古学家发现Maya人的陶瓷是用火山灰做的，但是地质证据表示那段时间那附近没有火山爆发
C：考古学家认为是用隔壁城市的火山灰做的
选项C：直接说化学元素表明就是隔壁地区的火山灰
2. P：在瑞士，以前很流行红色乐透，到了1850s就没有了，变成政府乐透。但是有一个小镇子仍然存在红色乐透直到1890s
C：红色乐透的确1850s就没了
选项E：尽管有一个镇子存在，但是大部分都替换成政府乐透了。作者: BWV1007 时间: 2024-5-25 09:47
cb作者: Dreambig13 时间: 2024-5-25 14:04 作者: Petitedanidan 时间: 2024-5-25 14:34
Xie xie作者: sandyfffeng 时间: 2024-5-25 14:48
支持~作者: Perilla 时间: 2024-5-26 23:10
131
1.CR
C
P：火山灰制陶，该时期当地无火山喷发
C：附近火山运送火山灰
加强
A. 当地至少有火山喷发，与结论无关
B. 运送pottery ，与运送原料火山灰无关
C. 化学分析表明陶瓷中微量元素与附近火山有相同特点
D. 贸易路线不如C直接
E. 工作效率，无关作者: Yeelin椰林 时间: 2024-5-26 23:26
【CR】
1、 选C。AB弱化，D不够直接，E无关。
2、 选E。最可观公正。 作者: 此去经年+ 时间: 2024-5-27 21:31
BE作者: Katelynns 时间: 2024-5-29 14:54
CR：1. C characteristics和周边火山match 加强了premise 2.CE纠结选了E E直接加强了premise C make something illegal不代表会杜绝
RC：看懂了文章但是题难做
DBADC EADEA作者: pooooooooh 时间: 2024-5-29 19:46
11作者: cecilia_770 时间: 2024-6-2 15:04
mark作者: gmatcantkillme 时间: 2024-6-5 00:04
Day 131
CR
DC(CE)
RC
P1: why are some firms more successful at introducing product innovations
P2: effects of size on innovation are mixed
P3: G&A: large firm have advantages, others: large. Firm less willing to take risks. Some: bell-shaped: mid size firm are best for product innovation. P: U-shaped, large and small have significant product innovation.
P4: willingness to cannibalize is critical.it mediates the relationship between organizational factors and radical product innovation.
P5: willingness to cannibalize is vital
C(D)BEB CE(A)AE(B) EE(A) 作者: xiaoyuzhou90 时间: 2024-6-6 13:03
CR
我的答案：C；Maya生产的陶瓷用了一种新鲜火山灰；但是在生产陶瓷时当地没有火山爆发；结论：加进陶瓷的火山灰来自附近其他的火山；---加强---C陶瓷里的火山灰有附近火山的元素；
我的答案：A在一个瑞士小镇，RL一直很流行；历史学家认为RL在1850s消失了，被官方的L取代了；但是，新研究发现RL在1890s还在一个小镇被玩；不过这个新发现并没有削弱历史学家的判断，因为---E尽管一个小镇还在玩，但是在大部分瑞士小镇都被官方L取代了；A RL一直持续到1890s的那个小镇在地理上独立，并且不能代表剩下的瑞士地区；
