1,722,919 research outputs found
Replication Data for: Strategic Authoritarianism: The Political Cycles and Selectivity of China’s Tax-Break Policy
No full textA rich literature has noted political business cycles in democracies. We argue that in an autocracy with strong bureaucratic institutions, the pressure of evaluation and promotion has also generated political cycles of tax break policies. Furthermore, the timing and content of the evaluation have driven leaders to use tax breaks strategically to build economic performance, producing distributional consequences. Combining panel data of 1,510,153 firm-year observations with city leader data from 1995 to 2007, we find that the tax break rates dropped for most firms during mayors’ turnover years. In the first year of office, i.e., the “busy year,” mayors needed to prioritize large firms and especially large foreign firms. Small domestic private firms bore the cost of tenure cycles. In the last year of the mayor’s tenure, i.e., the “dust-settled” year, there was little incentive to seek promotion, and even important firms could not gain the mayor’s attention
FIGURES 20–23 in Taxonomic corrections for Asian Fingulus (Hemiptera: Heteroptera: Miridae)
No full textFIGURES 20–23. Holotype of Fingulus umbonatus Stonedahl & Cassis, 1991. 20, dorsal view; 21, lateral view (arrow shows strongly prominent tubercle of prosternal xiphus); 22, frontal view; 23, labels. Scale in mm; labels not to scale. © BPBM, courtesy of D.A. Polhemus.Published as part of Wang, Yang, Chen, Ling & Rédei, Dávid, 2021, Taxonomic corrections for Asian Fingulus (Hemiptera: Heteroptera: Miridae), pp. 196-204 in Zootaxa 4938 (2) on page 202, DOI: 10.11646/zootaxa.4938.2.2, http://zenodo.org/record/456379
FIGURES 7–14. Henricohahnia wangi Ren, 2001 in Taxonomic corrections for East and Southeast Asian Reduviidae (Hemiptera Heteroptera)
No full textFIGURES 7–14. Henricohahnia wangi Ren, 2001, holotype (female). 7, dorsal view; 8, lateral view; 9, ventral view; 10, head, left lateral view; 11, same, right lateral view; 12, left scape, dorsolateral view; 13, terminalia, posteroventral view; 14, labels. Scales in mm. © NKUM.Published as part of Chen, Ling, Wang, Yang & Rédei, Dávid, 2021, Taxonomic corrections for East and Southeast Asian Reduviidae (Hemiptera Heteroptera), pp. 586-598 in Zootaxa 4948 (4) on page 591, DOI: 10.11646/zootaxa.4948.4.7, http://zenodo.org/record/462951
FIGURES 15–19. Pahabengkakia piliceps Miller, 1941. 15 in Taxonomic corrections for East and Southeast Asian Reduviidae (Hemiptera Heteroptera)
No full textFIGURES 15–19. Pahabengkakia piliceps Miller, 1941. 15, holotype, dorsal view; 16, same, lateral view; 17, same, labels; 18, a non-type female, dorsal view; 19, same, ventral view. Scales in mm. © BMNH (Figs. 15–17).Published as part of Chen, Ling, Wang, Yang & Rédei, Dávid, 2021, Taxonomic corrections for East and Southeast Asian Reduviidae (Hemiptera Heteroptera), pp. 586-598 in Zootaxa 4948 (4) on page 592, DOI: 10.11646/zootaxa.4948.4.7, http://zenodo.org/record/462951
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
FIGURES 1–6 in Taxonomic corrections for East and Southeast Asian Reduviidae (Hemiptera Heteroptera)
No full textFIGURES 1–6. Type specimens of Harpactorinae species and their labels. 1, Paracydnocoris distinctus (Miller, 1954), holotype, dorsal view; 2, same, lateral view; 3, same, labels; 4, Cydnocoris ventralis Hsiao, 1979, a female paratype, dorsal view; 5, same, lateral view; 6, same, labels. Scales in mm. © MZHF (Figs. 1–3), NKUM (Figs. 4–6).Published as part of Chen, Ling, Wang, Yang & Rédei, Dávid, 2021, Taxonomic corrections for East and Southeast Asian Reduviidae (Hemiptera Heteroptera), pp. 586-598 in Zootaxa 4948 (4) on page 588, DOI: 10.11646/zootaxa.4948.4.7, http://zenodo.org/record/462951
FIGURES 15–19 in Taxonomic corrections for Asian Fingulus (Hemiptera: Heteroptera: Miridae)
No full textFIGURES 15–19. External male genitalia of Fingulus ruficeps Hsiao & Ren, 1983. 15, posterior portion of genital capsule, dorsal view; 16–17, left paramere in two different aspects; 18, phallus, left lateral view (ejaculatory duct detached immediately proximad of secondary gonopore and remained inside of phallotheca in repose); 19, distal portion of phallus, ventral view. Scales in mm.Published as part of Wang, Yang, Chen, Ling & Rédei, Dávid, 2021, Taxonomic corrections for Asian Fingulus (Hemiptera: Heteroptera: Miridae), pp. 196-204 in Zootaxa 4938 (2) on page 201, DOI: 10.11646/zootaxa.4938.2.2, http://zenodo.org/record/456379
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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