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Light And Shadows In The Evolution Of South European Stenonoid Horses
No full textPalombo, Maria Rita, Alberdi, Maria Teresa (2017): Light And Shadows In The Evolution Of South European Stenonoid Horses. Fossil Imprint 73 (1-2): 115-140, DOI: 10.2478/if-2017-0006, URL: http://dx.doi.org/10.2478/if-2017-000
Text-fig. 13. Skull of E. hydruntinus from Kabazi II (Crimea), lateral view (modified from Burke et al. 2003). in Light And Shadows In The Evolution Of South European Stenonoid Horses
No full textText-fig. 13. Skull of E. hydruntinus from Kabazi II (Crimea), lateral view (modified from Burke et al. 2003).Published as part of Palombo, Maria Rita & Alberdi, Maria Teresa, 2017, Light And Shadows In The Evolution Of South European Stenonoid Horses, pp. 115-140 in Fossil Imprint 73 (1-2) on page 132, DOI: 10.2478/if-2017-0006, http://zenodo.org/record/477314
Text-fig. 6. Anterior proximal phalanx of the third finger (1PHIII) of Equus major (Br-40) from Chagny, stored in the Museum Guimet d'Histoire Naturelle (Lyon, France), in proximal (a), anterior (b), and posterior (c) view. in Light And Shadows In The Evolution Of South European Stenonoid Horses
No full textText-fig. 6. Anterior proximal phalanx of the third finger (1PHIII) of Equus major (Br-40) from Chagny, stored in the Museum Guimet d'Histoire Naturelle (Lyon, France), in proximal (a), anterior (b), and posterior (c) view.Published as part of Palombo, Maria Rita & Alberdi, Maria Teresa, 2017, Light And Shadows In The Evolution Of South European Stenonoid Horses, pp. 115-140 in Fossil Imprint 73 (1-2) on page 123, DOI: 10.2478/if-2017-0006, http://zenodo.org/record/477314
Text-fig. 4. Skull of Equus senezensis stehlini (Type IGF-563) from Upper Valdarno, stored in the Natural History Museum, Geology and Palaeontology section (University of Florence, Italy), in ventral view. in Light And Shadows In The Evolution Of South European Stenonoid Horses
No full textText-fig. 4. Skull of Equus senezensis stehlini (Type IGF-563) from Upper Valdarno, stored in the Natural History Museum, Geology and Palaeontology section (University of Florence, Italy), in ventral view.Published as part of Palombo, Maria Rita & Alberdi, Maria Teresa, 2017, Light And Shadows In The Evolution Of South European Stenonoid Horses, pp. 115-140 in Fossil Imprint 73 (1-2) on page 122, DOI: 10.2478/if-2017-0006, http://zenodo.org/record/477314
Text-fig. 5. Equus cf. E. major from Fonelas 1 (Guadix Baza basin, Spain). a) skull in right rostro-lateral view; b) right tooth upper row in occlusal view (modified from Garrido 2008). in Light And Shadows In The Evolution Of South European Stenonoid Horses
No full textText-fig. 5. Equus cf. E. major from Fonelas 1 (Guadix Baza basin, Spain). a) skull in right rostro-lateral view; b) right tooth upper row in occlusal view (modified from Garrido 2008).Published as part of Palombo, Maria Rita & Alberdi, Maria Teresa, 2017, Light And Shadows In The Evolution Of South European Stenonoid Horses, pp. 115-140 in Fossil Imprint 73 (1-2) on page 123, DOI: 10.2478/if-2017-0006, http://zenodo.org/record/477314
Text-fig. 9. Equus altidens and Equus suessenbornensis from Pirro Nord (Italy). E. altidens: a) left P2 – M3 (without number) in occlusal view; b–c) left p2 – m3 (P771) in occlusal (b) and lateral (c) view; d) left MTIII (10 PA) in anterior view; e) proximal phalanges (PP-48 and PP-49) in anterior view, f) right (DE 12.1) (on the right) and left (PP-43) (on the left) astragalus in anteriorlateral view; E. suessenborrnensis: g) third right metatarsal (n. 32) in anterior view; h) second phalanx (PU-106721) in posterior and anterior view. Stored in the Geological and Palaeontological Museum of Florence (Italy). Scale bar = 2 cm. Modified from Alberdi and Palombo (2013a). in Light And Shadows In The Evolution Of South European Stenonoid Horses
No full textText-fig. 9. Equus altidens and Equus suessenbornensis from Pirro Nord (Italy). E. altidens: a) left P2 – M3 (without number) in occlusal view; b–c) left p2 – m3 (P771) in occlusal (b) and lateral (c) view; d) left MTIII (10 PA) in anterior view; e) proximal phalanges (PP-48 and PP-49) in anterior view, f) right (DE 12.1) (on the right) and left (PP-43) (on the left) astragalus in anteriorlateral view; E. suessenborrnensis: g) third right metatarsal (n. 32) in anterior view; h) second phalanx (PU-106721) in posterior and anterior view. Stored in the Geological and Palaeontological Museum of Florence (Italy). Scale bar = 2 cm. Modified from Alberdi and Palombo (2013a).Published as part of Palombo, Maria Rita & Alberdi, Maria Teresa, 2017, Light And Shadows In The Evolution Of South European Stenonoid Horses, pp. 115-140 in Fossil Imprint 73 (1-2) on page 127, DOI: 10.2478/if-2017-0006, http://zenodo.org/record/477314
Text-fig. 8. Equus altidens and Equus suessenbornensis from Selvella (Italy). E. altidens: a–b) Mandible (IGF-14312) in lateral view (a) and occlusal (b) view; c) Mandibles (IGF-14312) in lateral view; d) right P3 – P4 (IGF-14338) in occlusal view; e) right M1 – M2 (IGF-14340) in occlusal view; f) left p4 – m3 (IGF-14314) in occlusal view; g) third left metatarsal (IGF-14184) in anterior view; h) right astragalus (IGF-14191) in anterior view; i) left posterior (IGF-14324) and right anterior (IGF-14323) proximal palanx in anterior view. E. suessenbornensis: j) third left metatarsal (IGF-14185); k) right astragalus (IGF-14190) in anterior view. Scale bar = 2 cm. Modified from Alberdi and Palombo (2013a). (IGF = Geological and Paleontological Museum, University of Florence). in Light And Shadows In The Evolution Of South European Stenonoid Horses
No full textText-fig. 8. Equus altidens and Equus suessenbornensis from Selvella (Italy). E. altidens: a–b) Mandible (IGF-14312) in lateral view (a) and occlusal (b) view; c) Mandibles (IGF-14312) in lateral view; d) right P3 – P4 (IGF-14338) in occlusal view; e) right M1 – M2 (IGF-14340) in occlusal view; f) left p4 – m3 (IGF-14314) in occlusal view; g) third left metatarsal (IGF-14184) in anterior view; h) right astragalus (IGF-14191) in anterior view; i) left posterior (IGF-14324) and right anterior (IGF-14323) proximal palanx in anterior view. E. suessenbornensis: j) third left metatarsal (IGF-14185); k) right astragalus (IGF-14190) in anterior view. Scale bar = 2 cm. Modified from Alberdi and Palombo (2013a). (IGF = Geological and Paleontological Museum, University of Florence).Published as part of Palombo, Maria Rita & Alberdi, Maria Teresa, 2017, Light And Shadows In The Evolution Of South European Stenonoid Horses, pp. 115-140 in Fossil Imprint 73 (1-2) on page 126, DOI: 10.2478/if-2017-0006, http://zenodo.org/record/477314
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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