1,721,021 research outputs found
Ar-40-Ar-39 thermo chronological constraints on the exhumation of ultrahigh-pressure metamorphic rocks in the Sulu terrane of eastern China
No full textAn ultraviolet laser microprobe for the in situ analysis of multisulfur isotopes and its use in measuring Archean sulfur isotope mass-independent anomalies
No full textThe intention and willingness to pay moving violation citations among Taiwan motorcyclists
No full text[[abstract]]This study uses three-level scenario design and Spike model constructs to investigate the risk premium Taiwan motorcycle operators are willing to pay for moving violations. The primary focus of the investigation is on four types of moving violations including speeding, running red lights, right turn on red violations, and drunk driving. In the model, these four types of violations influence the willingness to pay a risk premium. The results show that, in addition to increasing enforcement, raising the level of fines is one of the most effective methods to influence levels of compliance. Estimated results through the Spike model show that speeders will accept a risk premium of NT1 =NT1100, motorcycle operators who turn right on red will accept a risk premium of NT18,540. This indicates that current fines in Taiwan could be raised. (C) 2011 Elsevier Ltd. All rights reserved.[[note]]SSC
Automobile drivers willingness to pay for moving violation behaviour-Compared to motorcyclists
No full text[[abstract]]A triple-bounded dichotomous choice (TBDC) structure and Spike models are applied to investigate the amount of money Taiwan automobile drivers are willing to pay for five types of moving violations, including local street speeding, expressway and freeway speeding, red light running, right turn on red, and drink-driving. Face-to-face survey was conducted at freeway rest areas by targeting passenger car drivers. The Spike model, superior to other tradition models by capturing excessive zero responses, is applied and the estimated results show that speeders would accept willingness to pay (WTP) of US48,(1) respectively, for local roads and expressways and highways, while red-light runners would accept a WTP of US9, and drunk drivers will accept a WTP as high as US$597. Interestingly, the difference in WTP for drunk driving between drivers and motorcyclists is significant, while others are not. (C) 2013 Elsevier Ltd. All rights reserved.[[note]]SSC
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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