1,720,993 research outputs found
Petrographic signature of Paleogenic turbiditic sedimentation in north-eastern Italy
No full textThe Palaeogenic turbiditic sedimentation in the Eastern Southern Alps has been considered to represent the sedimentary response to tectonic activity related to the Mesoalpine phase which involved the chain from Late Palaeocene onwards. According to many Authors, these turbiditic deposits were made by sediments eroded from the Dinaric thrust belt, but no compositional and sedimentological data have yet been furnished to support this idea.
Field and petrographic analyses have permitted to define these turbiditic successions (Claut Flysch, Late Palaeocene; Belluno F., Early-Middle Eocene; Clauzetto F., Early Eocene) as multisource deposits, as demonstrated by the common presence of allochemical, mainly bioclastic detritus, interbedded with terrigenous arenites. For all units, field data suggest a more proximal area for allochemical supply and a more distal for terrigenous sources, which have been characterized by the important presence of chert, carbonate rocks and metamorphites. All the investigated successions display transparent heavy mineral associations, not abundant, but significatively marked by the presence of brown spinel, alcaline amphibole, staurolite, epidote, zoisite, pointing to common metamorphic sources.
The location of the source of metamorphic rocks is debatable, but probably linked to the internal Dinaric belt of Vardar area, while the source of the allochemical detritus was localized in the Friuli Platform. This was a "carbonate factory" since Late Jurassic and during Cretaceous and has been re-activated some times in the Tertiary
New Cretaceous paleomagnetic results from the foreland of the Southern Alps and the refined apparent polar wander path for stable Adria
No full textThe central-western and the eastern Southern Alps are separated by the triangular shaped Adige
embayment, which belongs to stable Adria and was the site of pelagic sedimentation from the Tithonian
through Maastrichtian. The first part of this study presents paleomagnetic results from the Tithonian–
Cenomanian Biancone and Turonian–Maastrichtian Scaglia Rossa formations sampled at 33 geographically
distributed and biostratigraphically dated localities.
The new and high quality paleomagnetic results from the Adige embayment are then combined with coeval
paleomagnetic directions from autochthonous Istria (Márton et al., 2008), which also belongs to stable Adria.
The combined data set (which for the Late Albian–Maastrichtian time period is constructed similarly to the
synthetic African curve by Besse and Courtillot, 2002, 2003) reveals an important tectonic event (Late
Aptian–Early Albian) characterized by 20° CCW rotation and sedimentary hiatus.
Comparison between paleomagnetic declinations/inclinations expected in an African framework (i.e. with
the assumption that Adria is still an African promontory) leads to the following conclusions. The timedistributed
Tithonian and Berriasian (150–135 Ma) paleomagnetic directions exhibit the “African hairpin”
with an inclination minimum and a sudden change from CW to CCW rotation at 145 Ma. Concerning the
younger ages, the declinations for Adria continue to follow the African trend of CCW rotation till the end of
Cretaceous. However, the Tithonian–Maastrichtian declination curve for stable Adria is displaced by 10° from
the “African” curve as a result of two rotations. The first, an about 20° CW rotation of Adria with respect to
Africa took place between the Maastrichtian and the mid-Eocene. During this time the orientation of Adria
remained the same, while Africa continued its CCW rotation. The younger rotation (30°CCW) changed the
orientation of Adria relative to Africa as well as to the present North
Note Illustrative della Carta geologica d'Italia alla scala 1:50.000, F. 082 Asiago, Servizio Geologico d'Italia - ISPRA
No full text<p>Note illustrative redatte per il Foglio geologico n. 082 Asiago della Carta Geologica d'Italia alla scala 1:50.000. 136 pp.</p>
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
Applicazioni del "gamma ray log" eseguito in un pozzo a carotaggio continuo nell'area termale euganea (Padova)
No full textIN SEARCH OF EARLY EOCENE HYPERTHERMALS: THE FARRA D’ALPAGO SECTION (SOUTHERN ALPS, ITALY)
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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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