1,721,144 research outputs found
Fig. 5 in Étude comparative de la production de chaleur chez quelques Araceae
No full textFig. 5. — Cercestis stigmaticus: Cycle thermogénétique. Variation de la température de l'inflorescence en fonction de l'heure. A, température de l'inflorescence et de l'air ambiant; B, différence de température entre le spadice et l'air ambiant.Published as part of Barabé, Denis & Gibernau, Marc, 2000, Étude comparative de la production de chaleur chez quelques Araceae, pp. 253-263 in Adansonia (3) 22 (2) on page 260, DOI: 10.5281/zenodo.460593
Fig. 7 in Étude comparative de la production de chaleur chez quelques Araceae
No full textFig. 7. — Homalomena rubescens: Cycle thermogénétique. Variation de la température de l'inflorescence en fonction de l'heure. A, température de l'inflorescence et de l'air ambiant; B, différence de température entre le spadice et l'air ambiant.Published as part of Barabé, Denis & Gibernau, Marc, 2000, Étude comparative de la production de chaleur chez quelques Araceae, pp. 253-263 in Adansonia (3) 22 (2) on page 262, DOI: 10.5281/zenodo.460593
Fig. 1 in Étude comparative de la production de chaleur chez quelques Araceae
No full textFig. 1. — Philodendron squamiferum: Cycle thermogénétique. Variation de la température de l'inflorescence en fonction de l'heure. A, température de l'inflorescence et de l'air ambiant; B, différence de température entre le spadice et l'air ambiant.Published as part of Barabé, Denis & Gibernau, Marc, 2000, Étude comparative de la production de chaleur chez quelques Araceae, pp. 253-263 in Adansonia (3) 22 (2) on page 256, DOI: 10.5281/zenodo.460593
(Araceae: Spathicarpeae)
No full textMaia, Artur Campos Dália, Gibernau, Marc, Carvalho, Airton Torres, Gonçalves, Eduardo Gomes, Schlindwein, Clemens (2013): The cowl does not make the monk: scarab beetle pollination of the Neotropical aroid Taccarum ulei (Araceae: Spathicarpeae). Biological Journal of the Linnean Society 108: 22-34, DOI: 10.1111/j.1095-8312.2012.01985.
Development of the flower and inflorescence of Arum italicum (Araceae)
No full textThe spadix of Arum italicum Miller consists of two main parts: a clavate sterile portion (appendix) and a cylindroid fertile portion. In the fertile portion with both male and female zones, there are two zones of sterile flowers (bristles). The basal portion of bristles is surrounded by a verrucose structure consisting of a mass of tissular excrescences. During early stages of development, there is no free space between the different zones of the inflorescence. The elongation of the inflorescence axis is what eventually separates the different zones from each other. There are no atypical flowers that are morphologically intermediate between male and female flowers as is the case in other genera of Aroideae (e.g., Cercestis, Philodendron, Schismatoglottis). The structure of the bristles in the inflorescences of Arum does not correspond to any type of atypical flower (unisexual or bisexual) that has been analysed previously in the Araceae. From a developmental point of view, it is not possible to determine if the bristles correspond to aborted or modified female or male flowers. In the early stages of development, the stamens, staminodes, and appendix are covered by globular masses of extracellular calcium oxalate crystals. [PUBLICATION ABSTRACT] Key words: development, unisexual flowers, gradient, calcium oxalate crystals.Source type: Electronic(1
Figure 1 in The cowl does not make the monk: scarab beetle pollination of the Neotropical aroid Taccarum ulei (Araceae: Spathicarpeae)
No full textFigure 1. Simplified phylogeny of the Zantedeschia clade, redrawn from Cusimano et al. (2011) and Gonçalves et al. (2007). Geographical information is taken from Mayo, Bogner & Boyce (1997), and pollinator records are from Gibernau (2011). Within the Spathicarpeae, the boxes outlined by dotted lines indicate taxa with biogeographical distribution essentially restricted to lowland forests. Taxa restricted to the Andean highlands are indicated by the grey box.Published as part of Maia, Artur Campos Dália, Gibernau, Marc, Carvalho, Airton Torres, Gonçalves, Eduardo Gomes & Schlindwein, Clemens, 2013, The cowl does not make the monk: scarab beetle pollination of the Neotropical aroid Taccarum ulei (Araceae: Spathicarpeae), pp. 22-34 in Biological Journal of the Linnean Society 108 on page 24, DOI: 10.1111/j.1095-8312.2012.01985.x, http://zenodo.org/record/784839
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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