1,720,981 research outputs found
Distribuzione di Sargassum muticum e Undaria pinnatifida (Phaeophyta) nella Laguna di Venezia.
No full textDefinizione dello stato ecologico delle acque di transizione mediante indici macroalgali di valutazione ambientale
No full textTo follow requirements of Water Frame Directive 2000/60, which asks definition of ecological status of landwater
transition zones, a number of indexes of environmental assessment, all based on evalutation of benthic communities
and recently proposed have been tested and applied to data of macroalgae and seagrass coverage, distribution
and biomass in 90 stations located on soft bottoms of Venice lagoon
Pilot transplanting project of Cymodocea nodosa and Zostera marina in the Lagoon of Venice: results and perspectives
No full text
Variations of the macrobenthic community in a seagrass transplanted area of the Venice lagoon
No full textGoing 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
Macroalgal biomass and species variations in the lagoon of Venice (Northern Adriatic Sea, Italy): 1981-1998
Full text linkOver the past hundred years, the composition of the submerged aquatic vegetation of the Lagoon of Venice has changed considerably, due to increased anthropic activities and large-scale industrialisation. Seagrasses have gradually been reduced, whereas macroalgae (Ulva rigida, Enteromorpha spp., Cladophora spp., Chaetomorpha spp.) have increased. Macroalgal overgrowths peaked between 1970 and 1990 to the extent that, in order to estimate macroalgal biomass and coverage, the Venice Magistrato alle Acque (the Lagoon water management authority) started a series of investigations including monthly in situ measurements and aerial photo surveys. In the present paper these data are compared with available information on the Lagoon of Venice, and the widespread phenomenon of macroalgal proliferation is described. At the end of the 1980s, in our study area (78 km2 in the central part of the Lagoon) biomass values ranged from 10 to 25 kg wet weight (w.w.) m-2 (sub-areas of Lido and Sacca Sessola), with a total mean biomass of 392,000 t w.w. A slight reduction took place in 1992 and at the end of the 1990s the highest biomass values were relatively low, 5 kg w.w. m-2, with a total mean biomass of 1,600 t w.w. Our qualitative research carried out in 1991 on 130 sampling stations in the study area showed that soft substrates had a greatly reduced floristic composition in the five sub-areas in comparison with the control area (from 18 to 6 taxa), with Chlorophyta (50-80%) prevailing over both Rhodophyta (14-38%) and Phaeophyta (0-14%), and a slight or reduced distribution of seagrasses. The trend in macroalgal reduction during the 1990s corresponded to seagrass recolonisation, mainly of Zostera marina, taking advantage of new, compacted, oxidised and stabilised sediments that were no longer covered by extensive Ulva beds
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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