1,721,479 research outputs found

    On the existence of bright IR galaxies at z > 2: Tension between Herschel and SCUBA-2 results?

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    Recent derivations of the galaxy star formation rate density (SFRD) obtained from submillimetre (sub-mm) surveys (e.g. SCUBA-2) show a tension with previous works based on Herschel and multi-wavelength data. Some of these works claim that the SFRD derived by pushing the Herschel surveys beyond z ≃ 2 are incorrect. However, the current sub-mm surveys obtained from SCUBA-2 data and the methods used to construct the total infrared (IR) luminosity function (LF) and the SFRD could be affected by some limitations. Here, we show how these limitations (i.e. selection bias and incompleteness effects) might affect the total IR LF, making the resulting dusty galaxy evolution of difficult interpretation. In particular, we find that the assumed spectral energy distribution (SED) plays a crucial role in the total IR LF derivation; moreover, we confirm that the long-wavelength (e.g. 850-μm) surveys can be incomplete against 'warm' SED galaxies, and that the use of a wide spectral coverage of IR wavelengths is crucial to limit the uncertainties and biases

    A snapshot of precariousness: voices, perspectives, dialogues

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    Thisissue oneofthefirstefforttso to an represents present international audiencethepoliticaland cultural relatedto that haveunfoldedin practices 'precariousness' contemporarItyaly. Inorderto explainthepoliticalexperiencetshathavedevelopedoverthe issueof inalternative and cultural inthis Special Issue is addressedvia the and precarity followinkgeytopics:gender precarietd political publicspheres, sexuality;work; narration,migration,transculturationf;eminismand lifeand while and diaspora.Here,everyday politicsmeet, biography history cross to constitute for paths, animportanlatboratory contemporarpyolitics, whichreferences and anti-racist of genderedf,eminista,nti-capitalist points view.As a groupof individualisnvolvedin bothpoliticalpracticesand academic our in militantand collective are work, participation practices reflectedhere.InthecreationofthisSpecialIssueofFeminisRteviewfrom wedecidedto followa akinto 'focus Italy, methodology groupsg'atherings inorderto allowa ofvoicest

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The 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

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    “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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