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Optimal Starting Conditions for the Rendezvous Maneuver, Part 1: Optimal Control Approach
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Optimal Starting Conditions for the Rendezvous Maneuver, Part 2: Mathematical Programming Approach
No full textTécnicas de análise sensorial de vinhos e espumantes.
Full text linkGeralmente há uma tendência em considerar análise sensorial e degustação como sinônimos. Entretanto, há diferenças entres estes dois termos. A ISO define análise sensorial como "o exame das propriedades organolépticas de um produto através dos órgãos dos sentidos". Ou seja, nesta definição estão considerados todos os órgãos dos sentidos. Já a degustação "consiste na avaliação de um produto alimentar pela boca".Artigo de mídia disponibilizado no site da Embrapa Uva e Vinho (http://www.cnpuv.embrapa.br/publica/artigos)
MIELE, A. Técnicas de análise sensorial de vinhos e espumantes. Toda Fruta. Disponível em: . Acesso em: 18 dez. 2006
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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