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    Effect of suckling type and PUFA use on productive performances, quanti-qualitative characteristics of meat and fatty acid profile in lamb

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    In March, 24 male lambs were divided into three groups and ted as follows: maternal milk (MM); acidified milk replacer (MR); acidified milk replacer with 5% of the tat total amount replaced by a linseed and fish oil mixture (MR+PUFA). Milk consumption and live weight were recorded weekly. At slaughter we recorded the carcass composition, pH, tenderness, colorimetric characteristics, chemical and fatty acid composition of the meat. Natural suckling resulted in a better slaughter yield (P < 0.01), tatter carcasses, and meat which was more tender (P < 0.01), less bright (P < 0.01) and redder (P < 0.05) than the two experimental groups. Meat from naturally suckled lambs contained higher (P < 0.01) concentrations of saturated fatty acids (SFA) than the other groups. Samples from the MR+PUFA group showed higher (P < 0.01) levels of PUFA and a better PUFA/SFA ratio. The groups reared artificially showed atherogenicity and the thrombogenicity index lower (P < 0.01) than the group naturally feeding

    PRODUZIONE ANIMALE NEL RISPETTO DELL’AMBIENTE E DELLA SALUTE UMANA

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    Summary In recent years, the consumer expects from the food specific characteristics such as nutritional value, health, genuineness. Therefore, livestock production must be made taking into account environmental protection, animal welfare and human health. In farming techniques should be used to reduce air pollution, water and soil, while, on the strategies adopted, particularly foodstuffs, are aimed at tracing, security and quality of products of animal origin. Between those products, the meat is a major animal husbandry production and it plays an important role as food. The consumption of red meat, however, fell because of its high content in saturated fatty acids that are considered harmful to human health. In light of the recent development of the market for so-called "functional food" or functional foods, rich or "enriched" by biologically active components that are able to optimize the physical and mental well-being and to reduce the risk of contracting diseases, were conducted several studies in order to change the composition of acid intramuscular fat meat and then make that product a food "functional"

    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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