Orlando Curioso: E il Segreto di Monte Sbuffone

BAO Publishing
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Orlando vive con la famiglia su un'isoletta gli abitanti della quale guardano con infinito sospetto il vulcano, perché... non si sa mai. Orlando però è un bambino troppo curioso per non andare a esplorare nei dintorni del fumaiolo di Monte Sbuffone, e la sorpresa che ci troverà sarà così deliziosa, per i lettori di tutte le età, che non ve la diciamo.
Teresa Radice e Stefano Turconi, due degli autori fondamentali del catalogo BAO, si misurano con una storia a prova di bambini dal tono narrativo e visuale delicato e straordinario. La amerete, e non vedrete l'ora di tornare a trovare Orlando sulla sua isola!


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About the author

Teresa Radice e Stefano Turconi nascono entrambi nella Grande Pianura, a metà degli anni ’70… ma s’incontrano solo nel 2004, grazie a un topo dalle orecchie a padella e a una pistola spara-ventose. Lei, per vivere, scrive storie; lui le disegna. Si piacciono subito, si sposano l’anno seguente. Scoprendosi a vicenda viaggiatori curiosi, lettori onnivori e sognatori indomabili, partono alla scoperta di un bel po’ di mondo, zaino e scarponi. Dal camminare insieme al raccontare insieme il passo è breve. Le prime avventure a quattro mani sono per le pagine del settimanale Disney “Topolino”: arrivano decine di storie, tra le quali la serie anni ’30 in 15 episodi Pippo Reporter (2009-2015), Topolino e il grande mare di sabbia (2011), Zio Paperone e l’isola senza prezzo (2012), Topinadh Tandoori e la rosa del Rajasthan (2014) e l’adattamento topesco de L’Isola del Tesoro di R.L.Stevenson (2015). Nel 2011 si stabiliscono nella Casa Senza Nord – a 10 minuti di bici dalle Fattorie, a 20 minuti a piedi dal Bosco, a mezz’ora di treno dal Lago – e piantano i loro primi alberi. Nel loro Covo Creativo, i cassetti senza fondo straripano di progetti: cose da fare, posti da vedere, facce da incontrare. Nel 2013 esce Viola Giramondo (Tipitondi Tunué, Premio Boscarato 2014 come miglior fumetto per bambini/ragazzi, pubblicato in Francia da Dargaud). I frutti più originali della loro ormai decennale collaborazione hanno gli occhi grandi e la testa già piena di storie. I loro nomi sono Viola e Michele.

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Additional Information

Publisher
BAO Publishing
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Published on
Mar 23, 2017
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Pages
48
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ISBN
9788865439074
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Language
Italian
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Genres
Comics & Graphic Novels / General
Juvenile Fiction / Comics & Graphic Novels / Fairy Tales, Folklore, Legends & Mythology
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Content Protection
This content is DRM protected.
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Stefano Turconi
Research Paper (postgraduate) from the year 2008 in the subject Business economics - Business Management, Corporate Governance, London Business School (London Business School / INSEAD), language: English, abstract: This report examines the subject of profitable growth in the modern cruise industry by comparing the financial and operating performance and the management practices of the two leading cruise operators, Carnival and Royal Caribbean, over the twelve-year period from 1996 to 2007. During the past 40 years the cruise industry has evolved from a form of mere transoceanic transportation to an alternative vacation at sea. Despite growing at a CAGR of 7.7% since 1980, the penetration rate for the cruise industry is only 17%. In North America alone the cruise industry generated $20.6 billion in 2006. By comparison, the lodging industry in North America generated revenues of $133.4 billion during the same year. The cruise industry remains a relatively young industry. This is proven by the fact that, of the 168 million passengers that have cruised globally since 1990, 72% cruised in the past ten years and 43% in the past five years alone. The cruise industry has continually expanded to meet or boost demand: 40 new ships were built in the 1980s, 80 new ships were built in the 1990s, and 46 new ships are scheduled to enter the global market within the next four years. Even though there are more than 30 brands of cruise lines, only two companies dominate this industry: Carnival Corp & Plc (CCL) and Royal Caribbean Cruises Ltd (RCL). The cruise industry remains highly segmented by product—with a variety of brands targeting a wide array of price points, consumer needs, and itineraries—but by the end of 2007 Carnival and Royal Caribbean alone controlled about two-thirds of the global capacity, with shares of 45% and 21% respectively. Back in 1987, their estimated combined share of global capacity was only 11%. Up until 2000, Carnival and Royal Caribbean followed a parallel revenue growth trajectory, though Carnival’s profitability has always exceeded Royal Caribbean’s. However, from 2001 onward Carnival consistently and visibly outperformed Royal Caribbean, virtually doubling in terms of global capacity share, and tripling in terms of revenues. A closer scrutiny of the two companies reveals that during the period 1996–2000 Royal Caribbean outgrew Carnival in terms of revenues 4 out of 5 years. Conversely, during the period 2001–2007, Carnival outgrew Royal Caribbean 5 out of 7 years. Most remarkable of all, Carnival achieved such astounding growth while sustaining superior profitability, as measured by its greater return on capital employed.
Stefano Turconi
Master's Thesis from the year 2007 in the subject Business economics - Business Management, Corporate Governance, grade: A+, London Business School, language: English, abstract: Fashion retail has always been a highly competitive and fast-changing business where many chains have risen dramatically and then fallen just as quickly. Today, as many firms are struggling to compete while simultaneously managing their costs and delivering adequate returns, others are thriving in the face of shifting circumstances. In the past decade, a relatively new phenomenon called fast fashion has commanded the attention of the consumers, managers and investors. Fast fashion retail pioneers like Zara and H&M, with their super-responsive supply chains and efficient decision-making processes, are able to produce and distribute affordable high-end fashion at breakneck speeds. They relentlessly offer customers the cheap-chic products they want, where they want, avoiding any unnecessary faux pas. As a result, they enjoy higher profit margins than their competitors—an average of 16-plus percent versus a modest 7 percent for typical apparel or specialty-apparel retailers. And in European countries, where the concept began, this business represents anywhere from 5 to 18 percent of the total apparel market. An in-depth analysis of a set of fashion retailers has revealed some of the critical ingredients of success, distinguishing such factors from incidental ones. In essence, we found that what sets fast fashion companies apart from all other competitors is that they conceive strategy and its implementation as an iterative rather than a linear process. They intuitively yet consistently move through a loop, placing less emphasis on hierarchy and more on feedback, dialogue, group processes, understanding organisational complexity and dynamics, and limiting uncertainty. By moving through the iterative cycle of translating understanding into action, they are able to fashion superior strategies and performance.
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