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Atti della 4° Riunione scientifica della società italiana di scienze del turismo (SISTUR) (Palermo, 26-27 ottobre 2012)
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The wind-farm developer: a new green expertise connecting métier and profession
No full textThe environmental protection debate is rising, involving both public opinion and the political sphere. Indeed there is widespread awareness of the need for a sustainable reconfiguration of the connections between economy, environment and society.1 Ecological Modernization is one of the main theoretical frameworks hammering out new green scenarios. However, to this day, sustainable reconfiguration looks like a fragmented and diversified process of social innovation. This is due to the fact that innovation emerges in specific and situated contexts, as the result of a continuous process of networking between different actors involved in an unstable negotiating process. Similarly, new sustainable configurations imply a process of co-evolution of complex socio-technical systems allowing the emergence of new functionalities, enhanced by institutions and organizations, as well as social practices. The research here presented shares with other sociological analyses a focus on economic action in eco-sustainable markets (Osti 2008).3 Indeed markets are more and more influenced by environmental regulations, as in the case of green certifications and the related standards. Sometimes companies have made their economic action “sustainable” because it was a source of social prestige and an element of competitiveness. However, the process of embedding environmental issues in the productive system is redefining the economic context, albeit timidly. This article presents a particular dynamics of innovation (related to new dynamics of professionalisation), in a specific sector of the green economy (wind farms). This sector is characterized by an important diffusion of plants and a significant impact on the labour market, in particular with the rising of new expert workers and paths of professionalisation
Transizioni energetiche sostenibili e disuguaglianze sociali nell'accesso all'energia: un confronto relazionale delle capability in tre paesi europei
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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
Variations on the Author
No full text“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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