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Storia e Archeologia. I Quaderni dell'Area Marina Protetta Penisola del Sinis-Isola di Mal di Ventre
No full textVolumetto divulgativo sulla storia e l'archeologia del Sinis di Cabras, con immagini e ampia bibliografia
Il Neolitico medio di Cuccuru is Arrius (Cabras, OR) nella struttura abitativa 422
No full textThe Cuccuru is Arrius site at Cabras (central-western Sardinia) was excavated extensively during 1978-1980. This site is well-known due to the presence of a relatively well-preserved Middle Neolithic hypogean necropolis. To this chronological period are assigned as well some structures belonging to an open-air village which spread some hundred meters eastwards, on the top of a sand dune (cuccuru) that gives its name to the entire site. Among these structures only the one numbered 422 was almost entirely excavated at the end of the 1979-1980 fieldwork. This is a wide open-air hollow structure designed to serve as a common place shared by more families in order to perform specialized activities. This interpretation is suggested by the presence of a wide partly structured fireplace and by the results of the whole analysis of the plentiful faunal remains found inside it. Typo-technological analysis of lithics and pottery finds led us both to identify several functional categories of artifacts in the site and to place them in their specific position inside the Bonu Ighinu Culture evolution, in agreement with the results of radiocarbon dating
Il Museo Civico “Giovanni Marongiu” di Cabras
No full textLa guida illustra i materiali esposti nel Museo ́Giovanni Marongiu ́ di Cabras, un vero e proprio Museo del territorio, destinato a divenire un punto di riferimento per la valorizzazione del patrimonio archeologico locale e per la ricerca scientifica. Il testo ripercorre l ́esposizione permanente improntata ad un criterio topografico e cronologico e suddivisa in diverse sezioni dedicate ai principali siti del territorio comunale ed in particolare agli insediamenti di Cuccuru is Arrius e di Sa Osa, alla città di Tharros e al relitto di Mal di Ventre
Forme vascolari dell’età del Bronzo in Sardegna
No full textVengono prese in considerazione le diverse classi vascolari note nell'ambito dell'età del bronzo della Sardegna e, in seguito alla disamina degli aspetti tipologici, viene valutata la terminologia corrente e si procede con l'eventuale proposta di un adeguamento secondo criteri condivisibili da un'ampia parte della comunità scientifica
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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