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Vibrational communication and mating behavior of the greenhouse whitefly Trialeurodes vaporariorum (Westwood) (Hemiptera: Aleyrodidae)
Full text linkThe greenhouse whitefly (GW), Trialeurodes vaporariorum is considered one of the most harmful insect pests in greenhouses worldwide. The GW mating behavior has been partially investigated and its vibrational communication is only in part known. A deeper knowledge of its intraspecific communication is required to evaluate the applicability of control methods based on techniques of behavioral manipulation. In this study, for the first time, we provided a detailed ethogram of the GW mating behavior and we characterized the vibrational signals emitted during the process of pair formation. We characterized two types of male vibrational emissions (“chirp” and “pulses”), differently arranged according to the behavioral stage to form stage-specific signals, and a previously undescribed Male Rivalry Signal. We recorded and characterized two new female signals: The Female Responding Signal and the Female Rejective Signal. The mating behavior of GW can be divided into six different stages that we named “call”, “alternated duet”, “courtship”, “overlapped duet”, “mating”, “failed mating attempt”. The analysis performed with the Markovian behavioral transition matrix showed that the “courtship” is the key stage in which male exhibits its quality and can lead to the “overlapped duet” stage. The latter is strictly associated to the female acceptance and therefore it plays a crucial role to achieve mating success. Based on our findings, we consider the use of vibrational playbacks interfering with GW mating communication a promising option for pest control in greenhouses. We discuss the possibility to start a research program of behavioral manipulation to control the populations of GW
Vibrational communication of the greenhouse whitefly Trialeurodes vaporariorum (Westwood) (Homoptera: Aleyrodidae)
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Vibrational communication of the greenhouse whitefly Trialeurodes vaporariorum (Westwood) (Homoptera: Aleyrodidae)
No full textVibrational communication of the greenhouse whitefly Trialeurodes vaporiarorum (Westwood) (Homoptera: Aleyrodidae)
No full textInnovazione nella Biotremologia applicata al controllo degli insetti dannosi: vibrotrappole e piatti vibranti
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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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