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Borgese e Manzoni
No full textParisi, Luciano. Borgese e Manzoni. Modern Language Notes. 112:1 (1997), pp. 38-56. © The Johns Hopkins University Press. Reprinted with permission of The Johns Hopkins University Press
Ciclo riproduttivo di Nassarius reticulatus (L.) (Gastropoda, Prosobranchia) in tre stazioni del Golfo di Trieste.
No full textAvvertenza: al momento della redazione Nassarius reticulatus era considerato sinonimo di Nassarius nitidus. Essendo lo studio condotto su animali prelevati nel Golfo di Trieste il ciclo riproduttivo si riferisce a Nassarius nitidus
Giuseppe Antonio Borgese e la letteratura tedesca
No full textTraiettoria di Giuseppe Antonio Borgese e delle sue attività nel campo della letteratura tedesca
Osservazioni sulla riproduzione e la biometria in Cerastoderma glaucum (POIRET, 1789) (Bivalvia, Cardiidae) della Laguna di Grado.
No full textAbstract - Observations on the reproduction and the biometry of Cerastoderma glaucum (POIRET, 1789)
(Bivalvia, Cardiidae) in the Lagoon of Grado (High Adriatic Sea). The reproduction and biometry of a population
of Cerastoderma glaucum (Poiret, 1789) from Morgo Island, in the Lagoon of Grado have been studied. The sexes
are separate and the first gametogenesis of reproductive cycle starts from December to February (in concomitance
with the lowest temperatures of water), while the maturity and the spawn take place from March to November.
Anyway, samples in spent stage can be found during all periods of the year. The average shell-lenght of population
has shown tendency to increase from October to June. In July on, this feature shows a remarkable decreasing, due to
incoming juvenile samples, in relation with the progressive loss of the oldest ones.
Key words: Cerastoderma glaucum, Bivalvia, reproduction, biometry, Lagoon of Grado
Aspetti della biometria di Nassarius reticulatus (L.) (Gastropoda, Prosobranchia) in tre stazioni del Golfo di Trieste.
No full textAvvertenza: al momento della redazione del lavoro Nassarius reticulatus e Nassarius nitidus erano considerati sinonimi.Poiché studio è stato condotto su animali prelevati nel Golfo di Trieste l'analisi biometrica fa riferimento a Nassarius nitidus
VALUTAZIONE DELL’APERTURA BUCCALE IN SEGUITO ALL’UTILIZZO DEL COLLARE CERVICALE
No full textMovimenti mandibolari, elettrognatografia, collare cervical
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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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