Academic literature on the topic 'Casa di riposo'

Maglioni, Mariella. Storie di troppo: Donne in casa di riposo. Rubbettino, 2005.

Fedriga, Albino. Schilpario: La sua Casa di riposo e luci della sua storia. Ferrari, 1993.

Schmid, Daniel. Il Bacio di Tosca. EMI Classics, 2004.

Bianchi, Evelina. Scienza e carità: Accompagnare il morente in ambito geriatrico. Poligrafo, 2002.

Mussi, Margherita. "Palaeolithic Art in Isolation: The Case of Sicily and Sardinia." In Palaeolithic Cave Art at Creswell Crags in European Context. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199299171.003.0015.

"Context Types of site Figurines have been found in four broad categories of sites: village sites in the open (30 figurines, 18 sites); occupied caves (11 figurines, 3 sites); caves and rock-shelters used for burial and other cult purposes (8 figurines, 5 sites); other funerary sites (11 figurines, 4 sites). There seems to be a clear chronological distinction in the types of context. In the earlier period the vast majority of figurines come from settlement contexts — either open villages or occupied caves — while a few come from cult caves. By contrast, all but one of the 12 figurines of the later period (Late Neolithic and Copper Age) come from burials, mostly individual, either from the tombs themselves or from votive pits closely associated with graves. As we shall see, there are also typological distinctions between the types of figurines found in different contexts. Some of these may represent chronological rather than (or as well as) contextual differences, but a possible difference may also be detected between the figurines from settlement sites and those from cult caves within the earlier Neolithic time range. There are also regional differences in the proportions of different types of context occurring. In northern Italy, 13 sites have produced figurines; of these 8 are village sites, 2 are occupied caves, 1 is a tomb and the other 2 are either certainly or possibly cult cave/ rockshelter sites. In central Italy only 4 sites, all settlements, have produced figurines, while in southern Italy, 9 sites have produced figurines; of these 6 sites are settlements, 1 is a tomb and 2 are cult caves. The situation in Sicily stands out as markedly different in many ways: here 5 sites have produced figurines, of which only 2, both Neolithic, are occupation sites (one cave, one village), 2 are cemetery sites of Copper Age date, and 1 is a cult cave, used in both the Neolithic and the Copper Age (but yielding 2 figurines one definitely, the other presumptively, from Neolithic levels). Specific contexts Unfortunately we have specific evidence of location for very few of the figurines. For those coming from settlement sites, none seem to have been associated with buildings of any kind, domestic or other. Some are unstratified surface finds, while others were found in residual layers, redeposited from earlier levels. The only clear contexts in which figurines have been found is in pits (Rivoli, Vhò), a hollow (Alba) and a compound ditch (Passo di Corvo) and in all cases these may represent secondary depositions, as rubbish. In the occupied caves the figurines, when stratified at all, are found either in original occupation layers or in later layers with other redeposited material. The situation is a little better with the cult caves/rock-shelters. While two figurines, one from Grotta di Ponte di Vara (no. 17) and one from Grotta di San Calogero (no. 51), are unstratified, those from Riparo Gaban (nos 8-10) and Grotta di San Calogero (no. 50) come from stratified Neolithic deposits. Moreover, we have two examples from primary and significant depositions: these are the two distinctive clay heads from the central Apulian cult caves of Grotta di Cala Scizzo (no. 39) and Grotta Pacelli (no. 40). The first was found placed in the corner of an artificial stone enclosure at the back of a small cave used for cult purposes, in a layer with late Serra d'Alto and Diana wares and a C date of c.4340 - 3710 cal.BC (lc). The second was placed face downwards on a hearth inside a limestone slab-built monument; the pottery from this level was of Serra d'Alto type, typologically slightly earlier than that from Grotta di Cala Scizzo. On the basis of their contexts, it seems reasonable to interpret these two figurines as performing some function in the rituals carried out in these caves. This is discussed further below. For some of the 11 figurines from cemeteries or individual tombs we have more detailed evidence of context. Of the two stone figurines attributed to the Late-Final Neolithic, the one from Arnesano (no. 46) in southeast Italy apparently came from a rock-cut tomb of." In Gender & Italian Archaeology. Routledge, 2016. http://dx.doi.org/10.4324/9781315428178-20.

"those from Rendina (no. 38) and Fonti di San Callisto (no. 36) (fig. 7, 1 and 2) to the almost abstract, as on the three figurines from Riparo Gaban (nos 8, 9 and 10) (fig. 5, 3 and fig. 7, 3 and 4). In these last cases, the depiction of the sexual organs is so stylised that they could perhaps be included in our third category, of sexual symbols. However, we have included them here because, however stylised, the sexual organs are shown on these figurines in approximately correct anatomical relation (i.e. breasts are shown below heads and vulvas below breasts), so as to suggest that whole female figures are being represented; as will be seen this is not the case with the other examples of sexual symbolism. If, for the purposes of this discussion, we ignore the great typological diversity of the figurines and consider them all together, we find an overwhelming preponderance of female figures over male ones. In fact there are only two specifically male figures, both probably from Copper Age contexts: the surface find from the Copper Age settlement site of Ortucchio in central Italy (no. 35) (fig. 8) and the large figure from a votive pit in the Sicilian Copper Age cemetery of Piano Vento (no. 58) (fig. 9). The significance of the dating of these figurines will be discussed below. In contrast, the number of female figurines is at least 30, and possibly 35, if the 'probably female' examples are included. Moreover, if we are right in attributing some of the north Italian heads (particularly nos 16, 20 and 21) to figurines of specifically female type, the number would go up still further. It is worth making the point here that among the Italian figurines we do not find a specific category of sexless figures, as occurs elsewhere, e.g. at Knossos, where in Ucko's analysis (1962: 40), there were more sexless figures than sexed ones. In our list, the figurines with 'no indication of sex' are almost all fragmentary and represent body parts, especially heads, which are not sexually specific. The only complete figurines which have no sexual features shown are the two stone figurines from Cerno and Arnesano (nos 1 and 46) (fig. 6) and these in fact represent heads on largely unworked cylindrical shafts. There are also four cases of heads which do not seem to be broken off, but complete in themselves (nos 39 (fig. 10), 40, 50 and 51); this category represents a special case and will be discussed below. It is likely that most of the figurines were originally specifically sexed and that the majority was female. Female figurines occur in both the earlier and later chronological periods, in all areas of Italy and on all the types of sites where figurines are represented. Although the female sex of the figurines is not in doubt, there seems to be little emphasis on fertility. None of the Italian figurines is shown as pregnant and, although V Tinè has claimed that the example from Favella (no. 47) might have been in the birthing position, this is far from clear. None of the figures is shown doing anything; they are mostly depicted as standing, with a few shown seated (nos 4, 25, 38 and possibly 47). In as far as there is emphasis on the sexual organs, it is possible that sexuality is being emphasised rather than fertility. In any case, while there seems to be little emphasis on the limbs and other 'non-sexual' body parts, heads and faces are given at least as much attention as bodies — in contrast to the the Upper Palaeolithic 'Venuses' — and we should be careful about placing too much emphasis on the sexual organs depicted. Cultural indicators of gender Most of the figurines appear without indications of dress or any associated artefacts. The only exceptions are the clay head from Grot ta Pacelli (no. 40), which has an apparent elaborate headdress and four, or possibly five, figurines which have V-shaped features, incised, impressed or in relief, on the neck, which are sometimes interpreted as necklaces. One example is the bone figurine from Riparo Gaban (no. 8) which has a 'necklace' and a possible 'belt', both incised, on a female figurine with both breasts and vulva marked (fig. 7, 3). The other two definite incised Vs occur on figurines from Vhò (no. 14), which is a clear female figure with breasts shown in relief (fig. 2, 2)and from Arnesano (no. 46), where it occurs on a stone figurine without indications of sex (fig. 6, 1). One of the clearly female figurines with breasts from Passo di Corvo (no. 44) has a series of impressed dots in a V-." In Gender & Italian Archaeology. Routledge, 2016. http://dx.doi.org/10.4324/9781315428178-22.