263,076 research outputs found
Hymenomonas uralensis Ignatenko & Yatsenko-Stepanova 2023, sp. nov.
No full text<i>Hymenomonas uralensis</i> Ignatenko & Yatsenko-Stepanova <i>sp. nov.</i> (Fig. 15) <p>Coccoliths are elliptical muroliths. Each coccoliths composed of an organic base plate and calcified elements. The base of the coccolith (0.93–1.2 × 0.8–0.96 µm, n=15) has a jagged edge, followed by a tubular part with more or less straight sides and the expanding part (1.3–1.6 × 0.97–1.3 µm) is formed by overlapping elements. The height of the coccolith is 0.36–0.51 µm, the width of the rim is 0.22–0.3 µm. In most coccoliths a single rim element at each end of the coccolith is extended distally as a rectangular block protruding above the rim (width 0.18–0.33 µm, height 0.25–0.43 µm).</p> <p> <b>Type:</b> —The specimen with <i>Hymenomonas uralensis</i> coccoliths on SEM stub number 49_I_3 deposited at the Herbarium of the Steppe Institute of the Ural Branch of the Russian Academy of Sciences, Orenburg (ORIS). Material from the Ural River (51°25ʼ55”N, 56°28ʼ58”E), Orenburg Region, Russia. Sample collected 27th of July, 2021, by M. Ignatenko.</p> <p> <b>Type Locality:</b> —RUSSIA: Orenburg region, Ural River. 51°25ʼ55”N, 56°28ʼ58”E. 27 July 2021.</p> <p> <b>Etymology:</b> — <i>Hymenomonas uralensis</i> is named after the Ural River, where this species was discovered.</p> <p> <b>Distribution:</b> —Besides the type locality this species was found from the backwater of the Ural River in the vicinity of the Nikolskoye village (see Table 2).</p>Published as part of <i>Ignatenko, Marina & Yatsenko-Stepanova, Tatyana, 2023, Coccolithophores in the algal flora from South Urals (Russia) with the description of a new Hymenomonas species, pp. 55-64 in Phytotaxa 609 (1)</i> on pages 60-61, DOI: 10.11646/phytotaxa.609.1.5, <a href="http://zenodo.org/record/8254620">http://zenodo.org/record/8254620</a>
Chrysotila roscoffensis R. A. Andersen, J. I. Kim, Tittley & H. S. Yoon 2015
No full text<i>Chrysotila roscoffensis</i> (P.A. Dangeard) R.A. Andersen, J.I. Kim, Tittley & H.S. Yoon (Figs. 10–14) <p> ≡ <i>Pleurochrysis roscoffensis</i> (P.A. Dangeard) Fresnel & Billard (1991: 77)</p> <p>A disc-shaped coccolith (placolith), that consists of a central vertical tube bounded on each side by shield, there are small nodes on the distal shield of the placolith and within the tube, extending into the central area; 2.46–2.85 × 1.74–1.98 µm in size.</p> <p>This species was recorded from Zhetykol Lake and Aschisaysky Рond (see Table 2).</p> <p> In this study, we found coccoliths in freshwater (Fig. 15), which we could not correlate with any of the described species. We described their as <i>Hymenomonas uralensis sp. nov.</i></p>Published as part of <i>Ignatenko, Marina & Yatsenko-Stepanova, Tatyana, 2023, Coccolithophores in the algal flora from South Urals (Russia) with the description of a new Hymenomonas species, pp. 55-64 in Phytotaxa 609 (1)</i> on page 60, DOI: 10.11646/phytotaxa.609.1.5, <a href="http://zenodo.org/record/8254620">http://zenodo.org/record/8254620</a>
Chrysotila carterae R. A. Andersen, J. I. Kim, Tittley & H. S. Yoon 2014
No full text<i>Chrysotila carterae</i> (Braarud & Fagerland) R.A. Andersen, J.I. Kim, Tittley & H.S. Yoon (Figs. 8, 9) <p> ≡ <i>Pleurochrysis carterae</i> (Braarud & Fagerland) T. Christensen (1978: 68)</p> <p>A disc-shaped coccolith (placolith), composed of two interlocking cycles of crystal units, V and R units, which represent the calcite crystals with subvertical (V units) and subradial (R units) orientations of the c-axis relative to the base plate; 2.2–6 × 1.4–1.7 µm in size.</p> <p>This species was recorded from Zhetykol Lake and Aschisaysky Рond (see Table 2).</p>Published as part of <i>Ignatenko, Marina & Yatsenko-Stepanova, Tatyana, 2023, Coccolithophores in the algal flora from South Urals (Russia) with the description of a new Hymenomonas species, pp. 55-64 in Phytotaxa 609 (1)</i> on pages 59-60, DOI: 10.11646/phytotaxa.609.1.5, <a href="http://zenodo.org/record/8254620">http://zenodo.org/record/8254620</a>
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Protecting Animals 36: Author Witi Ihimaera
No full textIn this very special episode of Knowing Animals I am joined by beloved New Zealand author Witi Ihimaera. Witi has written many books featuring nonhuman animals. He offers us a non-colonial lens through which to think about the human/nonhuman relationship
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Jomonlithus littoralis Inouye & Chihara 1983
No full text<i>Jomonlithus littoralis</i> Inouye & Chihara (Figs. 5–7) <p> The diameter of the coccolith-bearing cell is 10.5–12.0 µm. The surface of the cell is covered by small oval-shaped coccoliths (muroliths), 1.07–1.39 × 0.77–0.92 µm; rim width 0.11–0.17 µm, rim height 0.2–0.29 µm. The coccolith structure corresponds to the description of Probert <i>et al.</i> (2014) to that which is composed of an organic base plate scale with a lightly calcified rim made up of small rectangular inner and outer sub-elements.</p> <p>This species was observed from a backwater of the Ural River and Zhetykol Lake (see Table 2).</p>Published as part of <i>Ignatenko, Marina & Yatsenko-Stepanova, Tatyana, 2023, Coccolithophores in the algal flora from South Urals (Russia) with the description of a new Hymenomonas species, pp. 55-64 in Phytotaxa 609 (1)</i> on page 58, DOI: 10.11646/phytotaxa.609.1.5, <a href="http://zenodo.org/record/8254620">http://zenodo.org/record/8254620</a>
Author in Essay by I. A. Goncharov “Pepiniere”
No full textFeatures of the embodiment of the author’s position in the essay by I. A. Goncharov “Pepiniere” are considered. The relevance of the study is due to the poorly studied poetics of this work. A review of the scientific literature on relevant topics is performed. Methodological and theoretical definitions are given. The scientific novelty of the article is in the fact that for the first time attention is paid to artistic techniques that allow to identify the author's position in the specified literary text. The author of the article grounds her opinion from the fact that, despite the dominance of the subjective point of view, other characters’ views stand out in the work. It is concluded in the study that the text of the work represents a biographical author and author-creator. It was established that the position of the author-creator is expressed through the title, epigraphs, which are quotes, as well as through different points of view, including the author-character, the author-narrator, the characters of the work. The author of the article dwells in detail on different ways of expressing the points of view of the author-character and the author-narrator. It is proved that the point of view of the author-character and the author-narrator can intersect, they are interchanged. The author's development of the term comic “point of view” is presented in the article
Espai i identitat en l'obra de Jordi Pere Cerdà. Una geografia literària cerdaniana
No full textL'obra de l'autor nord-català Jordi Pere Cerdà (1920-2011) teixeix una cartografia literària que abasta tota dimensió espacial -real, imaginada i ficcional. Les prospeccions que assagen els seus texts es fonen en el medi natural i rural, canten a l'amor, als veïns i als éssers fantàstics del folklore català, es comprometen amb els refugiats encarant-se a tota frontera i, també, a tot abisme interior i exterior que oprimesca l'ésser. El mapatge cognitiu i literari que crea Cerdà sobrepassa qualsevol obstacle per construir espais oberts i possibles, en comunió amb l'altre. Partint d'una aproximació teòrica geocrítica, aquest treball d'investigació aprofundeix en diverses nocions sobre l'espacialitat lligades a un context convuls, ple de transformacions a nivell socioeconòmic, polític, cultural i lingüístic, el qual determinarà la vida d'un autor i d'un territori transfronterer com el de la Cerdanya i la Catalunya del Nord. En definitiva, la rica experiència vital de Jordi Pere Cerdà ens permet reflexionar sobre les relacions que vulguem establir entre els individus i amb el nostre hàbitat natural i cultural, a fi d'esdevenir membres actius que participen de la transformació dels espais que configuren les nostres identitats.The work of the North Catalan author Jordi Pere Cerdà (1920-2011) weaves a literary cartography which reaches all spatial dimensions -real, imagined and fictional. The prospections proved by their texts merge with the natural and rural environment, sing to love, neighbours and the fantastic beings of the Catalan folklore. Such prospections also commit themselves with the refugees facing every frontier and, also, facing all interior and exterior abyss that oppresses the being. The cognitive and literary mapping created by Cerdà overcomes any obstacle to construct opened and possible spaces, in communion with the other. Based on the theoretical approach called geocriticism, this research study delves into various notions about spatiality linked to a convulsive context, full of transformations at a socioeconomic, political, cultural and linguistic level; these transformations will determine the life of an author and a cross-border territory such as Cerdagne and Northern Catalonia. In short, the rich experience of Jordi Pere Cerdà allows us to reflect on the relationships we want to establish between individuals, as well as between human groups and our natural and cultural habitat, in order to become active members that participate in the transformation of the spaces that make up our identities.Programa de Doctorat en Llengües Aplicades, Literatura i Traducci
Els llibres d'il·lustració infantil i juvenil en l'Educació Artística. Un cas concret a partir de l’autora Olga de Dios
No full textTreball Final de Grau en Mestre o Mestra d'Educació Primària (Pla de 2018). Codi: MP1840. Curs acadèmic: 2021/2022El treball de fi de grau que aneu a veure a continuació, és un projecte que consisteix en com es poden
treballar a les aules de primària els llibres de l’autora i il·lustradora Olga de Dios. Tractant de treballar
el llibre com a objecte artístic a nivell elemental. A més, de presentar a l’autora i il·lustradora, donarla a conèixer i veure els valors que transmet, també llegiríem quatre de les seues obres a l’aula com
són: “Leotolda”, “En familia”, “Rana de Tres Ojos”, i “Pájaro Amarillo”. Tot açò sumat a la
realització d’un quadern de classe on es colorejaria alguns dels seus personatges de les obres seguint
pautes a nivell curricular. Realitzaríem també una eixida a la biblioteca municipal, on a banda de
rebre una educació no formal, ens facilitaria una mica el fet d’endinsar-nos al món de la il·lustració
infantil, on allí dins, el professional encarregat ens guiarà pels llibres que hi haurà a la biblioteca. I,
per a concloure, elaboraríem un llibre creat per l’alumnat on seguint unes pautes establertes per Olga
de Dios al seu llibre “Leotolda” buscaríem fer una retroalimentació intentant contactar amb ella.
D’aquesta manera tancaríem el cicle que vam començar donant-la a conèixer com a escriptora i
il·lustradora, i exploraríem on està el límit de la creativitat del propi alumnat.The final degree project you are going to see below is a project that looks at how books by author and
illustrator Olga de Dios can be worked on in primary school classrooms. Considering the book as an
artistic object at an elementary level. Besides presenting the author and illustrator, introducing her,
and seeing the values she transmits, we would also read four of her works in the classroom, such as:
"Leotolda”, "In the family", "Three-Eyed Frog", and "Yellow Bird.". All this, in addition to the
creation of a class notebook in which some of his characters from her work would be colored
following guidelines at the curricular level. We would also go out to the local library, where in
addition to receiving a non-formal education, it would make it a little easier for us to enter the world
of children's illustration, where inside, the professional in charge will guide us through the books
which will be in the library. And, to conclude, we would make a book created by the students, where
following some guidelines established by Olga de Dios in her book "Leotolda" we would look for
feedback by trying to contact her. In this way, we would close the cycle that we started by presenting
her as an author and illustrator, and we would explore where the limit of creativity of the students
themselves is
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