1,721,152 research outputs found
Craniodental Morphology And Phylogeny Of Marsupials
No full textBeck, Robin M.D., Voss, Robert S., Jansa, Sharon A. (2022): Craniodental Morphology And Phylogeny Of Marsupials. Bulletin of the American Museum of Natural History 2022 (457): 1-353, DOI: 10.1206/0003-0090.457.1.1, URL: https://bioone.org/journals/bulletin-of-the-american-museum-of-natural-history/volume-457/issue-1/0003-0090.457.1.1/Craniodental-Morphology-and-Phylogeny-of-Marsupials/10.1206/0003-0090.457.1.1.ful
FIG. 48 in Craniodental Morphology And Phylogeny Of Marsupials
No full textFIG. 48. Distoechurus pennatus (Diprotodontia, Acrobatidae; based on AMNH 221721, an adult of unknown sex from Irian Jaya).Published as part of Beck, Robin M.D., Voss, Robert S. & Jansa, Sharon A., 2022, Craniodental Morphology And Phylogeny Of Marsupials, pp. 1-353 in Bulletin of the American Museum of Natural History 2022 (457) on page 241, DOI: 10.1206/0003-0090.457.1.1, http://zenodo.org/record/697135
FIG. 22 in Craniodental Morphology And Phylogeny Of Marsupials
No full textFIG. 22. Occlusal views of right deciduous third lower premolars (dp3) of Sminthopsis crassicaudata (A, AMNH 196686) and Isoodon macrourus (B, AMNH 160085). Alternative states of character 157 (see main text for description of this character and character states) are illustrated as follows: Sminthopsis 157(0); Isoodon 157(1). Teeth are not shown to the same scale.Published as part of Beck, Robin M.D., Voss, Robert S. & Jansa, Sharon A., 2022, Craniodental Morphology And Phylogeny Of Marsupials, pp. 1-353 in Bulletin of the American Museum of Natural History 2022 (457) on page 154, DOI: 10.1206/0003-0090.457.1.1, http://zenodo.org/record/697135
FIG. 47 in Craniodental Morphology And Phylogeny Of Marsupials
No full textFIG. 47. Phalanger intercastellanus (Diprotodontia, Phalangeridae; based on AMNH 157208, an adult male from Milne Bay Province, Papua New Guinea).Published as part of Beck, Robin M.D., Voss, Robert S. & Jansa, Sharon A., 2022, Craniodental Morphology And Phylogeny Of Marsupials, pp. 1-353 in Bulletin of the American Museum of Natural History 2022 (457) on page 238, DOI: 10.1206/0003-0090.457.1.1, http://zenodo.org/record/697135
FRONTISPIECE. The honey opossum (Tarsipes rostratus, illustrated by Gould, 1863) has aptly been described as "a paragon of autapomorphic specialization" (Aplin and Archer, 1987). in Craniodental Morphology And Phylogeny Of Marsupials
No full textFRONTISPIECE. The honey opossum (Tarsipes rostratus, illustrated by Gould, 1863) has aptly been described as "a paragon of autapomorphic specialization" (Aplin and Archer, 1987).Published as part of Beck, Robin M.D., Voss, Robert S. & Jansa, Sharon A., 2022, Craniodental Morphology And Phylogeny Of Marsupials, pp. 1-353 in Bulletin of the American Museum of Natural History 2022 (457) on page 2, DOI: 10.1206/0003-0090.457.1.1, http://zenodo.org/record/697135
FIG. 32 in Craniodental Morphology And Phylogeny Of Marsupials
No full textFIG. 32. Fifty-percent majority rule consensus of post-burn-in trees that results from undated Bayesian analysis of our total evidence dataset. Black dots at nodes indicate ≥0.95 Bayesian posterior probability ("strong support"); dark gray dots indicate 0.75–0.94 Bayesian posterior probability ("moderate support"); light gray dots indicate 0.50–0.74 Bayesian posterior probability ("weak support").Published as part of Beck, Robin M.D., Voss, Robert S. & Jansa, Sharon A., 2022, Craniodental Morphology And Phylogeny Of Marsupials, pp. 1-353 in Bulletin of the American Museum of Natural History 2022 (457) on page 179, DOI: 10.1206/0003-0090.457.1.1, http://zenodo.org/record/697135
FIG. 11 in Craniodental Morphology And Phylogeny Of Marsupials
No full textFIG. 11. Occiput of Echymipera kalubu (AMNH 192168) illustrating the mature peramelemorphian morphology (a conspecific juvenile is shown in fig. 6C). States for characters 25 and 89 (see main text for descriptions of these characters and character states) are illustrated as follows: 25(1), 89(1). Abbreviations: exo, exoccipital; ju, jugal; ls, lambdoid sesamoid; mas, mastoid; par, parietal; so, supraocciptal; sq, squamosal.Published as part of Beck, Robin M.D., Voss, Robert S. & Jansa, Sharon A., 2022, Craniodental Morphology And Phylogeny Of Marsupials, pp. 1-353 in Bulletin of the American Museum of Natural History 2022 (457) on page 98, DOI: 10.1206/0003-0090.457.1.1, http://zenodo.org/record/697135
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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