1,721,140 research outputs found
Anticoccidal action of some drugs against Isospora spp of serin (Serinus serinus-Passeriformis).
No full textIsospora normanlevinei n.sp. and Isospora coluzzii n.sp. (Apicomplexa: Eimeriidae) in Emberiza cirlus (Cirl bunting) (Passeriformes- Emberizidae)
No full textIsospora normanlevinei n.sp. and Isospora coluzzii n.sp. (Apicomplexa: Eimeriidae) in Emberiza cirlus (Cirl bunting) (Passeriformes- Emberizidae)
No full textAnticoccidal action of some drugs against Isospora spp of serin (Serinus serinus-Passeriformis).
No full textFast-Projection Methods for the Incompressible Navier–Stokes Equations
No full textAn analysis of existing and newly derived fast-projection methods for the numerical integration of incompressible Navier–Stokes equations is proposed. Fast-projection methods are based on the explicit time integration of the semi-discretized Navier–Stokes equations with a Runge–Kutta (RK) method, in which only one Pressure Poisson Equation is solved at each time step. The methods are based on a class of interpolation formulas for the pseudo-pressure computed inside the stages of the RK procedure to enforce the divergence-free constraint on the velocity field. The procedure is independent of the particular multi-stage method, and numerical tests are performed on some of the most commonly employed RK schemes. The proposed methodology includes, as special cases, some fast-projection schemes already presented in the literature. An order-of-accuracy analysis of the family of interpolations here presented reveals that the method generally has second-order accuracy, though it is able to attain third-order accuracy only for specific interpolation schemes. Applications to wall-bounded 2D (driven cavity) and 3D (turbulent channel flow) cases are presented to assess the performances of the schemes in more realistic configurations
Memoria_Memory
No full textThe modern perception of the Ancient Appian Way was substantially formed by 1960s films: when the debate on the disorderly and unauthorized occupation of the spaces around the road arose, that road became the most famous Roman road in the world....The diverse values of the Appian Way have become stratified in the collective memory, forming the contemporary image, bust just as these values have sparked the enthusiasm of scholars and intellectuals alike, they were not always considered a priority by the community
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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