1,721,478 research outputs found

    Biologi pertanian/ Adianto

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    xxiv, 120 hal.: bibl.; ill.; 21 cm

    Biologi pertanian/ Adianto

    No full text
    xxiv, 120 hal.: bibl.; ill.; 21 cm

    Biologi pertanian/ Adianto

    No full text
    xxiv, 120 hal.: bibl.; ill.; 21 cm

    Biologi pertanian/ Adianto

    No full text
    xxiv, 120 hal.: bibl.; ill.; 21 cm

    Biologi pertanian/ Adianto

    No full text
    xxiv, 120 hal.: bibl.; ill.; 21 cm

    Lectotipificación de la asociación Adianto-Pinguiculetum longifoliae Fern. Casas 1970

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    Proponernos la lectotipificación de la asociación Adianto-Pinguiculetum longifoliae Fem. Casas 1970, y sinonimizamos a ésta el sintaxon Pinguiculo long¡foliae-Adiantetum capilli-veneris Rivas Mart. & al. 1991l, nombre inválido al haber sido descrito sin designación de tipo nomenclatural.Peer reviewe

    Adianto-Pinguiculetum saetabensis (Pinguiculion longifoliae), una nueva asociación rupícola setabense

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    A new plant association, Adianto capilli-veneris-Pinguiculetum saetabensis (All. Pinguiculion longifoliae), is described from the thermomediterranean areas of Sierra de Enguera (C-S province of Valencia, E of Spain), which is dominated by Pinguicula saetabensis, Adiantum capillus-veneris and Erica terminalis. This is a rare and fragile endemic plant community, occurring in rock crevices of limestone cliffs and “balmas” where tufa deposits are formed, which remain sodden and dripping during part of the year due to water emergence. Data on the floristic composition, ecology, distribution and conservation status of this habitat are also reportedSe describe una nueva asociación vegetal, Adianto capilli-veneris-Pinguiculetum saetabensis (All.Pinguiculion longifoliae), dominada por Pinguicula saetabensis, Adiantum capillus-veneris y Erica terminalis, que resulta endémica de las áreas termomediterráneas de la Sierra de Enguera (C-S de la provincia de Valencia). Es una comunidad rara y muy frágil, propia de grietas y oquedades de balmas y roquedos calizos donde se depositan tobas calcáreas, que permanecen húmedas y rezumantes durante buena parte del año. Se aportan asimismo datos sobre la composición florística, comportamiento ecológico, distribución y estado de conservación de este hábita

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The 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

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    “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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