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    The Rio Magno Unit (Alpine Corsica): a review of its structural, stratigraphical and geochemical features and their geodynamic implications

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    The Rio Magno Unit (eastern Corsica) represents an Apenninic-type ophiolitic unit, quite similar to the Internal Ligurides; its ophiolitic sequence includes N-MORB basalts, Early Cretaceous Palombini-bearing limestones, and mid-Cretaceous flysch, and it is not affected by HP-LT alpine metamorphism. These features further support the hypothesis of close geodynamic relationships between the Corsican and Northern Apenninic ophiolites. We suggest that, in the Jurassic Piedmont-Ligurian oceanic basin, the Rio Magno and Internal Ligurides ophiolitic sequences represent a continuous, internal, oceanic paleo-domain. Subsequently, during the Late Cretaceous-Late Eocene, they underwent a similar orogenic evolution, escaping deep involvement during the subduction beneath the European continental margin

    Structural and geochemical data on the Rio Magno Unit: Evidences for a new "Apenninic" ophiolitic Unit in Alpine Corsica and its geodynamic implications

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    The Rio Magno Unit (RMU) tectonically overlies the Schistes Lustrés units in south-eastern Alpine Corsica. It is represented by an ophiolitic sequence, showing remarkable differences with respect to the commonly recognized Corsican ophiolites. This unit can be distinguished from the Schistes Lustrés by the lack of HP-LT metamorphism, reflecting different geodynamic setting, although both were involved early in the same tectonic events. Similarly, the RMU can be distinguished from the Balagne Unit by the presence of normal-MORB basalts and the scarcity of continent-derived sedimentary input, testifying a different oceanic paleo-geographic setting. Moreover, the petrochemical, and stratigraphic features of the RMU ophiolitic sequence show close analogies with the Internal Ligurides of Northern Apennine. The RMU represents the first record of a non-metamorphic “Apenninic”-type ophiolitic unit in Alpine Corsica, supporting the hypothesis that the Alpine Corsica - Northern Apennines system represent a double-vergent accretionary wedge

    Baudelot S., Doubinger J., Durand Delga M. et Vellutini P. (1976) — Caractéristiques et âges des cinq cycles paléozoiques du Nord-Ouest de la Corse. Bull. Soc. géol. France, (7), XVIII, 5, p. 1221 -1228

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    Aunis Danièle. Baudelot S., Doubinger J., Durand Delga M. et Vellutini P. (1976) — Caractéristiques et âges des cinq cycles paléozoiques du Nord-Ouest de la Corse. Bull. Soc. géol. France, (7), XVIII, 5, p. 1221 -1228. In: Sciences Géologiques. Bulletin, tome 30, n°4, 1977. Géochimie de la surface et formes du relief. p. 303

    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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