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The influence of source complexity on the polarization and azimuthal radiation od S-waves and a simplified synthesis of the macroseismic field
No full textA review of the seismotectonics and some considerations on the seismic hazard of the Krško NPP area (SE Slovenia)
No full textThis paper gives short comments on the seismotectonic, seismological, and seismic hazard characteristics of the area of the nuclear power plant (NPP) of Krško (Slovenia). The plant was designed in the second half of the 1970s with no related probabilistic seismic hazard studies. The design was based on Regulatory Guides of 1973 with response spectra anchored to the peak ground acceleration of 0.30 g on the free field. The construction of a new NPP in the area is being taken into consideration by international investors. The Krško NPP is located inside a seismically active area, in which low-to-medium magnitude earthquakes have occurred in the last centuries. The greatest intensity felt near the NPP site was VIII for a local MW 5.7 - 6.2 earthquake in 1917, and the strongest event in the region was the M ≈ 6.3 Zagreb, 1880 event, whose epicentre was about 65 km from the NPP. The plant is close to some faults with unresolved neotectonic activity in the post-glacial epoch (18,000 years). Some stress test results from the 1990s would have suggested that 0.3 g were adopted at -20 m depth, corresponding to an effective value of 0.6 g at zero depth; this aspect is also commented. Finally, the difficult problem of estimating the maximum credible magnitude, Mmax, for very long return periods is addressed, based on the geological evidence provided by Geomatrix Consultants Inc. in 2004. From an apparent rupture length of 40 km of the Orlica fault, an Mmax of at least 7.2 could be hypothesized (1 st. dev. included). This hypothesis has anyway a low reliability, because the extent of the spatial continuity of the Orlica fault is still debated
Parametri di sorgente dei terremoti di Ljubljana (Slovenia) del 1895 e del 1897 dalla inversione di dati macrosismici
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The influence of source complexity on the polarization and azimuthal radiation od S-waves and a simplified synthesis of the macroseismic field
No full textJCR Journalope
State of the art in seismic microzonation, advances in Italy from 1980 to the present
No full textJCR Journalope
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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