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The Geology of Switzerland
No full textThe general picture of the physiographic map of Switzerland reflects the tectonic structure rather directly. Local relief in the Jura Mountains is a direct consequence of folding of the detached Mesozoic strata. The Swiss Plateau mimics the Molasse Basin with flat lying sediments while thrusting and tilting of these strata in the Subalpine Molasse amalgamated these units with the Alps. The Alps exhibit nappe stacks of very different origin. Most of them evolved from pre-Triassic crystalline basement rocks and their sedimentary cover. In many cases the cover was detached from its basement and now forms a nappe stack of its own. The Helvetic nappe system derived from the European continental margin contains nappes of cover rocks displaced over 30–50 km; crystalline basement rocks form large-scale domes. The Penninic nappe system is derived from basins that formed in Mesozoic times between the European and Adriatic continents. They contain far travelled nappes of cover rocks, as well as nappes of basement rocks that were transported over considerable distances, too. In addition, nappes of oceanic rocks outcrop as thin slivers at the top. Post-nappe folding within the Penninic nappe stack is reminiscent of their complex formation history. The Austroalpine nappe system was derived from the Adriatic margin and now forms a horizontal layer as the highest unit in eastern and central Switzerland. This nappe system contains crystalline basement as well as Mesozoic cover rocks and was emplaced early in the Alpine history in a ENE direction. The Southalpine nappe system was derived from the Adriatic margin as well. Here thrusting of crystalline basement with its Mesozoic cover was south-directed. The various Alpine nappe piles led to the amalgamation of very different rock types: continental and oceanic basement rocks, shallow marine carbonates, deep marine clastics and radiolarian chert to name the most important. Landforms and landscapes reflect these differences, in addition to the landforms created by fluvial and glacial erosion
Geodynamic models of crustal-scale episodic tectonic accretion and underplating in subduction zones
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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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