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Figure 1 in The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia
No full textFigure 1. Estimated flight path of the fireball which resulted in the Dunbogan meteorite.Published as part of <i>Flood, P. G., Ashley, P. M. & Pogson, R. E., 2002, The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia, pp. 249-254 in Records of the Australian Museum 54 (2)</i> on page 250, DOI: 10.3853/j.0067-1975.54.2002.1364, <a href="http://zenodo.org/record/10092472">http://zenodo.org/record/10092472</a>
Figure 2 in The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia
No full textFigure 2. Photomicrograph showing chondrule texture (dark silicates, white sulphide and metal phases) and interstitialPublished as part of <i>Flood, P. G., Ashley, P. M. & Pogson, R. E., 2002, The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia, pp. 249-254 in Records of the Australian Museum 54 (2)</i> on page 251, DOI: 10.3853/j.0067-1975.54.2002.1364, <a href="http://zenodo.org/record/10092472">http://zenodo.org/record/10092472</a>
Figure 3. Photomicrograph showing enlarged detail from Fig. 2 in The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia
No full textFigure 3. Photomicrograph showing enlarged detail from Fig. 2. Matrix interstitial to possible chondrule fragmentsPublished as part of <i>Flood, P. G., Ashley, P. M. & Pogson, R. E., 2002, The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia, pp. 249-254 in Records of the Australian Museum 54 (2)</i> on page 251, DOI: 10.3853/j.0067-1975.54.2002.1364, <a href="http://zenodo.org/record/10092472">http://zenodo.org/record/10092472</a>
Figure 7 in The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia
No full textFigure 7. Detail of composite sulphide-metal grain showing eutectoid textures (indicative of crystallisation from a melt) between metal phase (white) and troilite (grey). Scale bar 0.1 mm. Plane polarised reflected light, oil immersion.Published as part of <i>Flood, P. G., Ashley, P. M. & Pogson, R. E., 2002, The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia, pp. 249-254 in Records of the Australian Museum 54 (2)</i> on page 253, DOI: 10.3853/j.0067-1975.54.2002.1364, <a href="http://zenodo.org/record/10092472">http://zenodo.org/record/10092472</a>
The Dunbogan L6 Chondrite: a new meteorite fall from New South Wales, Australia
No full textFlood, P. G., Ashley, P. M., Pogson, R. E. (2002): The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia. Records of the Australian Museum 54 (2): 249-254, DOI: 10.3853/j.0067-1975.54.2002.1364, URL: https://journals.australian.museum/flood-et-al-2002-rec-aust-mus-542-249254
Figure 4 in The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia
No full textFigure 4. Secondary electron image of fusion crust of meteorite (lower right-hand area of Fig. 5) showing crystalline silicate material at top, bordered by a zone of crystallised glass (now containing bladed crystallites) plus one grain of metal phase (white), and with a thin rim of homogeneous glass at bottom of image. Scale bar 20 µm.Published as part of <i>Flood, P. G., Ashley, P. M. & Pogson, R. E., 2002, The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia, pp. 249-254 in Records of the Australian Museum 54 (2)</i> on page 252, DOI: 10.3853/j.0067-1975.54.2002.1364, <a href="http://zenodo.org/record/10092472">http://zenodo.org/record/10092472</a>
Figure 5 in The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia
No full textFigure 5. Back-scattered electron image of portion of the meteorite showing a granular crystalline aggregate of olivine (medium grey), pyroxene (slightly darker grey), plagioclase (black) and metal phase (white). There is a compound rim (fusion crust) of crystallised glass, partly bordered by a thin zone of homogeneous glass towards the bottom of the image. Note how the metal phase has invaded along silicate grain boundaries. Scale bar 100 µm.Published as part of <i>Flood, P. G., Ashley, P. M. & Pogson, R. E., 2002, The Dunbogan L6 Chondrite: A New Meteorite Fall from New South Wales, Australia, pp. 249-254 in Records of the Australian Museum 54 (2)</i> on page 252, DOI: 10.3853/j.0067-1975.54.2002.1364, <a href="http://zenodo.org/record/10092472">http://zenodo.org/record/10092472</a>
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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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