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”È una questione di qualità”. Il progetto della mostra “Felicitazioni! CCCP Fedeli alla linea 1984-2024”. Intervista a Stefania Vasques
No full textThe exhibition "Felicitazioni! CCCP – Fedeli alla linea 1984 - 2024" was held at the Chiostri di San Pietro in Reggio Emilia from 12 October 2023 to 10 March 2024, curated by CCCP - Fedeli alla linea themselves, with the architect Stefania Vasques as co-curator. We present an interview with the latter
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
Primary complex total knee arthroplasty with severe varus deformity and large bone defects: mid-term results of a consecutive series treated with primary implants
No full textIntroduction: In recent years, the use of constrained implants in complex primary TKA has gained popularity since these implants may better and more easily address severe instability present in complex primary cases (CPC). However, the need for a constrained TKA in CPC is controversial. We hypothesized that a standard TKA may be successful in most of CPC and that an intraoperative switching to a constrained device is rarely need even in the presence of severe instability and bone loss. Materials and methods: A consecutive series of 24 CPC (28 knees) were analysed retrospectively. Inclusion criteria were a femoro-tibial angle > 12° and bone defect of grade 2-3 (group 1). Forty-eight patients (52 knees) were analysed as controls (group 2). Patients were followed up clinically and radiographically up to a minimum of 5 years. Results: In group 1, a PS was used in 24 knees and a CR in 4. In no patient, a CCK or RHK was implanted. Bone defect was treated with bone cement plus cortical screws in 15 knees (53.5%), a medial wedge in 8 (28.5%), a medial wedge plus bone grafting with cancellous screws in 5 (17.8%). Metaphyseal sleeve or cone was not used. At the last follow-up, no significant difference was found in the clinical scores between the 2 groups. Conclusion: In CPC with marked varus deformity, instability and bone loss, the use of primary TKA is associated with a clinical outcome comparable to standard cases. Ligamentous balancing may be addressed using primary implants and simple cost-effective techniques may be used to manage an extensive bone loss. In most CPC, an intraoperative switching to a constrained device is not necessary
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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