Some Radiometric Responses of the Geological Formations of the Hesperic Massif
Abstract
The purpose of this work is to analyze in a surface of about 80.000 km of the Spanish Hercynian Belt some of the existing correlations between activity and geology.
Approximately a 90% of the studied zone has been covered by radiometric airborne surveys with a grid of Ikm using multichannel spectrometers for the Uranium, Thorium and Potassium discrimination. The total gamma accounts records have been translated to microRoentgen/hour at the soil level, using the air-land correlations obtained by empirical procedures.
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Barlowe, J. (2011). “They Have Rewritten It All”: Film Adaptations of A Farewell to Arms. The Hemingway Review, 31 (1), 24-42.
Belton, J. (1974). The Hollywood Professionals: Howard Hawks, Frank Borzage, Edgar G. Ulmer. London: The Tantivy Press.
Bultrini, N., & Tentori, A. (2008). Il cinema della Grande Guerra. Chiari (Brescia): Nordpress Edizioni.
Cecchin, G. (1980). Con Hemingway e Dos Passos sui campi di battaglia italiani della Grande Guerra. Milano: Mursia.
Cerulo, K. A. (1995). Identity Designs: The Sights and Sounds of a Nation. New Brunswick, NJ: Rutgers University Press.
Cirino, M. (2014). The Nasty Mess: Hemingway, Italian Fascism, and the New Review Controversy of 1932. The Hemingway Review, 33 (2), 30-47.
Corkin, S. (1989). Hemingway, Film, and U.S. Culture: In Our Time and The Birth of a Nation. En C. M. Oliver (Ed.), A Moving Picture Feast: the Filmgoer’s Hemingway (pp. 148-161). New York, NY: Praeger.
De Pablo, A. (2011). El Guernica, Adiós a las armas, Las Meninas y Alcaine. Cameraman. Revista técnica cinematográfica, 52, 52-61.
De Simone, C. (1995). L’Isonzo mormorava. Fanti e generali a Caporetto. Milano: Mursia.
Doherty, T. (2013). Hollywood and Hitler, 1933-1939. New York, NY: Columbia University Press.
Dumont, H. (2006). Frank Borzage: The Life and Films of a Hollywood Romantic. Jefferson, NC; London: McFarland.
Fortunati, V. (2006). Hemingway, the Embodiment of the American Myth, and Italian Leftist Writers. En R. Sanderson (Ed.), Hemingway’s Italy: New Perspectives (pp.225-231). Baton Rouge, LA: Louisiana State University Press.
Gabaccia, D. R. (2000). Italy’s Many Diasporas. Seattle, WA: University of Washington Press.
Ghigi, G. (2014). Le ceneri del passato: Il cinema racconta la Grande Guerra. Soveria Mannelli (Catanzaro): Rubbettino Editore.
Glazer, B., & Garrett, O. H. P. (1932). A Farewell to Arms: Screenplay; from the Novel by Ernest Hemingway. (Manuscrito).
Grindon, L. (1990). Risorgimento History and Screen Spectacle: Visconti’s Senso. En R. Sklar & C. Musser (Eds.), Resisting Images: Essays on Cinema and History (pp. 225-250). Philadelphia, PA: Temple University Press.
Grissom, C. U. (2014). Fitzgerald and Hemingway on Film: A Critical Study of the Adaptations, 1924-2013. Jefferson, NC; London: McFarland.
Hecht, B. (1957). A Farewell to Arms: Screenplay. (Manuscrito).
Hemingway, E. (1985). Dateline: Toronto. The Complete Toronto Star Dispatches, 1920-1924. W. White (Ed.). New York, NY: Scribner.
_________ (1995) A Farewell to Arms. New York, NY: Simon and Schuster.
_________ (2013). The Letters of Ernest Hemingway. Volume 2. 1923–1925. S. Spanier, A. J., De Fazio III, & R. W. Trogdon (Eds.). Cambridge: Cambridge University Press.
Hotchner, A. E. (2005). Papa Hemingway. A Personal Memoir. Cambridge, MA: Da Capo Press.
Huston, J. (1980). An Open Book. New York, NY: Alfred A. Knopf.
Hutcheon, L. (2006). A Theory of Adaptation. London; New York, NY: Routledge.
Keating, P. (2010). Hollywood Lighting: From the Silent Era to Film Noir. New York, NY: Columbia Uni-versity Press.
Kelly, A. (1999). All Quiet on the Western Front. The Story of a Film. London; New York, NY: I. B. Tauris.
Laurence, F. M. (1982). Hemingway and the Movies. New York, NY: Da Capo Press.
Leitch, T. M. (2002).Twice-Told Tales: Disavowal and the Rhetoric of the Remake. En J. Forrest & L. R. Koos (Eds.), Dead Ringers: The Remake in Theory and Practice (pp. 37–62). Albany, NY: State University of New York Press.
Leff, L. J. (1999). Hemingway and his Conspirators. Hollywood, Scribners, and the Making of America Celebrity Culture. Lanham, MD: Rowman & Littlefield.
McElhaney, J. (2003). Frank Borzage: Architect of Ineffable Desires. Senses of Cinema, 25. Recuperado el 17 de marzo de 2017 de http://www.sensesofcinema.com/2003/great-directors/borzage/
Negulesco, J. (1984).Things I Did… and Things I Think I Did. New York, NY: Simon & Schuster.
Ott, M. P. (2005). Nick Adams at a Windy Cross Roads: Echoes of Past and Future Fictions in Ernest Hemingway’s "Che Ti Dice la Patria?”. The Hemingway Review, 24 (2), 18-27.
Phillips, G. D. (1980). Hemingway and Film. New York, NY: Frederic Ungar.
Pozorski, A. L. (2004). Infantry and Infanticide in A Farewell to Arms. The Hemingway Review, 23 (2), 75-98.
Reynolds, M. (1976). Hemingway’s First War: The Making of A Farewell to Arms. Princeton, NJ: Princeton University Press.
Rochat, G. (2006). L’esercito italiano da Vittorio Veneto a Mussolini, 1919-1925. Bari: Laterza.
Rubin, M. (2007). 1933: Movies and the New Deal in Entertainment. En I. R. Hark (Ed.), American Cinema of the 1930s: Themes and Variations (pp. 92- 116). New Brunswick, NJ: Rutgers University Press.
Selznick, D. (2000). Memo from David O. Selznick. Rudy Behlmer (Ed.). New York, NY: Random House.
Thompson, M. (2008).The White War: Life and Death on the Italian Front, 1915-1919. London: Faber and Faber.
Urwand, B. (2013). The Collaboration: Hollywood’s Pact with Hitler. Cambridge, MA: The Belknap Press of Harvard University Press.
Verevis, C. (2006). Film Remakes. Edinburgh: Edinburgh University Press.
Waldhorn, A. (1972). A Reader’s Guide to Ernest Hemingway. Syracuse, NY: Syracuse University Press.
Watts, E. S. (1971). Ernest Hemingway and the Arts. Urbana, IL: University of Illinois Press.
Belton, J. (1974). The Hollywood Professionals: Howard Hawks, Frank Borzage, Edgar G. Ulmer. London: The Tantivy Press.
Bultrini, N., & Tentori, A. (2008). Il cinema della Grande Guerra. Chiari (Brescia): Nordpress Edizioni.
Cecchin, G. (1980). Con Hemingway e Dos Passos sui campi di battaglia italiani della Grande Guerra. Milano: Mursia.
Cerulo, K. A. (1995). Identity Designs: The Sights and Sounds of a Nation. New Brunswick, NJ: Rutgers University Press.
Cirino, M. (2014). The Nasty Mess: Hemingway, Italian Fascism, and the New Review Controversy of 1932. The Hemingway Review, 33 (2), 30-47.
Corkin, S. (1989). Hemingway, Film, and U.S. Culture: In Our Time and The Birth of a Nation. En C. M. Oliver (Ed.), A Moving Picture Feast: the Filmgoer’s Hemingway (pp. 148-161). New York, NY: Praeger.
De Pablo, A. (2011). El Guernica, Adiós a las armas, Las Meninas y Alcaine. Cameraman. Revista técnica cinematográfica, 52, 52-61.
De Simone, C. (1995). L’Isonzo mormorava. Fanti e generali a Caporetto. Milano: Mursia.
Doherty, T. (2013). Hollywood and Hitler, 1933-1939. New York, NY: Columbia University Press.
Dumont, H. (2006). Frank Borzage: The Life and Films of a Hollywood Romantic. Jefferson, NC; London: McFarland.
Fortunati, V. (2006). Hemingway, the Embodiment of the American Myth, and Italian Leftist Writers. En R. Sanderson (Ed.), Hemingway’s Italy: New Perspectives (pp.225-231). Baton Rouge, LA: Louisiana State University Press.
Gabaccia, D. R. (2000). Italy’s Many Diasporas. Seattle, WA: University of Washington Press.
Ghigi, G. (2014). Le ceneri del passato: Il cinema racconta la Grande Guerra. Soveria Mannelli (Catanzaro): Rubbettino Editore.
Glazer, B., & Garrett, O. H. P. (1932). A Farewell to Arms: Screenplay; from the Novel by Ernest Hemingway. (Manuscrito).
Grindon, L. (1990). Risorgimento History and Screen Spectacle: Visconti’s Senso. En R. Sklar & C. Musser (Eds.), Resisting Images: Essays on Cinema and History (pp. 225-250). Philadelphia, PA: Temple University Press.
Grissom, C. U. (2014). Fitzgerald and Hemingway on Film: A Critical Study of the Adaptations, 1924-2013. Jefferson, NC; London: McFarland.
Hecht, B. (1957). A Farewell to Arms: Screenplay. (Manuscrito).
Hemingway, E. (1985). Dateline: Toronto. The Complete Toronto Star Dispatches, 1920-1924. W. White (Ed.). New York, NY: Scribner.
_________ (1995) A Farewell to Arms. New York, NY: Simon and Schuster.
_________ (2013). The Letters of Ernest Hemingway. Volume 2. 1923–1925. S. Spanier, A. J., De Fazio III, & R. W. Trogdon (Eds.). Cambridge: Cambridge University Press.
Hotchner, A. E. (2005). Papa Hemingway. A Personal Memoir. Cambridge, MA: Da Capo Press.
Huston, J. (1980). An Open Book. New York, NY: Alfred A. Knopf.
Hutcheon, L. (2006). A Theory of Adaptation. London; New York, NY: Routledge.
Keating, P. (2010). Hollywood Lighting: From the Silent Era to Film Noir. New York, NY: Columbia Uni-versity Press.
Kelly, A. (1999). All Quiet on the Western Front. The Story of a Film. London; New York, NY: I. B. Tauris.
Laurence, F. M. (1982). Hemingway and the Movies. New York, NY: Da Capo Press.
Leitch, T. M. (2002).Twice-Told Tales: Disavowal and the Rhetoric of the Remake. En J. Forrest & L. R. Koos (Eds.), Dead Ringers: The Remake in Theory and Practice (pp. 37–62). Albany, NY: State University of New York Press.
Leff, L. J. (1999). Hemingway and his Conspirators. Hollywood, Scribners, and the Making of America Celebrity Culture. Lanham, MD: Rowman & Littlefield.
McElhaney, J. (2003). Frank Borzage: Architect of Ineffable Desires. Senses of Cinema, 25. Recuperado el 17 de marzo de 2017 de http://www.sensesofcinema.com/2003/great-directors/borzage/
Negulesco, J. (1984).Things I Did… and Things I Think I Did. New York, NY: Simon & Schuster.
Ott, M. P. (2005). Nick Adams at a Windy Cross Roads: Echoes of Past and Future Fictions in Ernest Hemingway’s "Che Ti Dice la Patria?”. The Hemingway Review, 24 (2), 18-27.
Phillips, G. D. (1980). Hemingway and Film. New York, NY: Frederic Ungar.
Pozorski, A. L. (2004). Infantry and Infanticide in A Farewell to Arms. The Hemingway Review, 23 (2), 75-98.
Reynolds, M. (1976). Hemingway’s First War: The Making of A Farewell to Arms. Princeton, NJ: Princeton University Press.
Rochat, G. (2006). L’esercito italiano da Vittorio Veneto a Mussolini, 1919-1925. Bari: Laterza.
Rubin, M. (2007). 1933: Movies and the New Deal in Entertainment. En I. R. Hark (Ed.), American Cinema of the 1930s: Themes and Variations (pp. 92- 116). New Brunswick, NJ: Rutgers University Press.
Selznick, D. (2000). Memo from David O. Selznick. Rudy Behlmer (Ed.). New York, NY: Random House.
Thompson, M. (2008).The White War: Life and Death on the Italian Front, 1915-1919. London: Faber and Faber.
Urwand, B. (2013). The Collaboration: Hollywood’s Pact with Hitler. Cambridge, MA: The Belknap Press of Harvard University Press.
Verevis, C. (2006). Film Remakes. Edinburgh: Edinburgh University Press.
Waldhorn, A. (1972). A Reader’s Guide to Ernest Hemingway. Syracuse, NY: Syracuse University Press.
Watts, E. S. (1971). Ernest Hemingway and the Arts. Urbana, IL: University of Illinois Press.
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