1,721,048 research outputs found
Stress response in bank vole selected for predatory behaviour (NMPsh)
No full textThe dataset includes: -Excel file NMPsh_data_20250313 with raw data obtained as a result of completing one of the tasks of the NCN-financed project (2020/39/B/NZ8/02996): “Mechanisms determining predatory behavior: insights from an experimental evolution on bank vole”; a NMPsh_README_20250313.txt file with general metadata information about this file.; The text files with R or SAS code have extensive comments, with information about the data source, type of analyses
Eksperymentalna ewolucja oszczędnych i rozrzutnych genotypów oraz jej konsekwencje dla podatności na negatywne skutki "zachodniej diety" : wnioski z eksperymentu selekcyjnego na nornicach rudych
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Czy teoria ograniczeń rozpraszania ciepła (HDL) może wyjaśnić spadek rozrodczości wraz z wiekiem? Na podstawie eksyperymentu selekcyjnego na nornicach rudych
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The Family – house speaker in poetry and children’s and youth’s war memoirs at the routes of exile (1939–1945)
Full text linkOpracowanie, w zarysie, przybliża kwestię tułactwa dzieci polskich, ofiar deportacji, na terytorium ZSRS, będącej następstwem agresji sowieckiej Rosji na Polskę 17 września 1939 roku. Autorka snuje rozważania na temat dalszych losów deportowanych na Bliskim i Środkowym Wschodzie, dla których dom ojczysty, rodzina stały się „rajem utraconym”. Rodzina – dom ojczysty obecny w poezji i wojennych wspomnieniach dzieci i młodzieży na tułaczych szlakach, publikowane na łamach prasy polskiej wychodzącej na obczyźnie staje się wiernym odbiciem ich przeżyć, małych radości oraz bolesnych wspomnień.The study, in outline, describes the issue of the wanderings of Polish deportee’s children in the Soviet territory, which followed the Soviet invasion of Poland on September 17, 1939. The author ponders the fate of the deportees in the Near and the Middle East, for whom the home and the family became a “paradise lost”. The idea “fatherland” is present in poetry and war memories of children and young people in exile. These memories, published in the Polish press in exile, are true reflection of experience, joy and painful reminiscences
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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