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Analisi funzionale degli strumenti litici di corredo alle sepolture II e III di Grotta Paglicci (Rignano Garganico-Foggia)
No full textWe present the results of the functional study undertaken on the lithic tools coming from the burials II and III of Paglicci Cave with the aim of widen our acquaintances on prehistoric funerary rituals. Functional analysis of the tools associated to the corpses was meant at verifying the presence, the position and the nature of use-wear, in order to establish if these tools were used or not
Civitella Paganico (GR). Fosso delle Caldanelle
No full textSi espongono i risultati della prima campagna di scavo effettuata a Fosso delle Caldanelle (Civitella Paganico, GR)
I ciottoli decorati di Paglicci: raffigurazioni e utilizzo
No full textThis paper analyzes nine pebbles coming from the mobiliary art assemblage of Paglicci cave (Foggia - Italy).
The principals aims of the study are: 1) to understand the production process of artistic incisions on the pebbles, through the study of the engravings, as the starting point
for deciphering their symbolic and cognitive value. The importance of re-enacting the sequence of actions which led to the creation of the artistic object is given not only by the possibility to understand in depth the technique employed during such events, but, more importantly, by the possibility to test their cultural significance.
2) To assess the cultural value of the artistic production, also through functional analysis. The identification of use-wear
traces on such objects, or at least on those which possess the necessary characteristics to suggest their likely utilization, is undertaken in an attempt to find out whether such objects were used before and/or after they were engraved.
Use-wear analysis has highlighted that the majority of pebbles has been used as retouchers or hammer stones (active percussion).
All pebbles have been used before being engraved. This observation may suggest that pebbles, at a certain moment, lost a functional value for a different one
Burins des Vachons en Italie: typologie, morphotecnique et tracéologie
No full textThe research was prompted by the discovery of two open air sites characterized by a high frequency of
artifacts noted in literature as “Burins of the Vachons” (Perpère 1972): the sites mentioned are S. Cassiano
(Arezzo) e Caruso (Foggia) [figure 1].
Both are unfortunately on the surface, although the collection comes from a limited area and the Aurignacian context is easily identifiable; besides this, the sites assume special importance because of the presence of numerous Vachons Burins, whereas they are found sporadically in other Aurignacian locations
(stratified and non-stratified) on our peninsula. The study concentrates on the series of S. Cassiano, which we studied directly, and which is richer than the Caruso one studied by Palma di Cesnola (Palma di Cesnola 1989, 1999, 2001), whom we wish to thank for access to the materials. The lithic industry of S. Cassiano (139 pieces) (Moroni Lanfredini and Ronchitelli 2000, 2001), studied according to the Laplace 1964 analytic typology, is characterized by [figures 2-3]:
• large index of Burins (42 %), characterized by the component traceable back to the Burins des Vachons;
• average index (10 %) of Endscrapers, among which nosed, carinated and core-like tools;
• small index (5,5 %) of differentiated Abrupts tools, constituted by truncations overall; we highlight the presence of only one non-Dufour bladelet with marginal retouch; 22 bladelets unretouched are present however, 17 of which with the characteristic of cintrage and twisting to the right (Lucas 1999);
• large index (41 %) of the Substrata, where scrapers, denticulated and abrupts tools are equivalent; deep
notches are present on the blade (but not étranglées blades) and even large blades, with profound nonstepped
retouch. Presence (1,5 %) of scar Tools. Caruso presents analogous characters; among unretouched pieces are several bladelets, 7 of which are curved and twisted. We emphasize again the presence, at both sites, of artifacts traceable back to the Burins du Raysse (Basseler).The association between the Burins des Vachons and the Burins du Raysse has already been highlighted at Abri 1 of the Vachons (str. 2) (Perpère 1977) and in other surface lithic industries in Moravia (Urcice, Slatinice,
Kohoutovice) (Oliva 1996). The Burins des Vachons at S. Cassiano and at Caruso present notably homogeneous characters [figure 5]. We have deliberately chosen to maintain in the description the terminology traditionally linked to the
typological classification of these artifacts, such as “burins”, while still taking into consideration, as we will see as we go along, their probable first use as cores: moreover, the traceological study has shed light on the complexity of the problem, highlighting the multi-functional character of these artifacts. A prime common characteristic resides in the quantitative factor that in both the sites is represented by a remarkable prevalence of this variety inside the group of burins [figure 6a].From a techno-typo-metric point of view, the burins of S. Cassiano are normally made on carinated flakes, of dimensions between 30 and 40 mm, often corticated and with a flat butt. This fact agrees with the sparse elaboration of the supports observed by Perpère at the Abri of the Vachons (Perpère 1972). One of the most surprising characteristics is that these instruments are all oriented to the left, if we hold them with the burin bit on the top and flat removals in view. This uniformity seems to indicate that the
maker worked with the right hand, proceeding in a clockwise execution of the removals (cf. right twisting morphology of the bladelets.
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
Dental erosion treatment: Immediate provisionalization with aesthetic and functional rehabilitation. A case report
No full textOBJECTIVES. Dental erosion and wear are more and more diagnosed, especially in young patients. Occlusal Vertical Dimension (OVD) reduction is the extreme consequence of these conditions. The aesthetic and functional rehabilitation is of utter importance, with the use of minimally invasive and easy-to-do protocols ensuring stable results over time. MATERIALS AND METHODS. A case of OVD loss with anterior open bite treated with a removable provisional prosthesis and adhesive final prosthesis is reported. RESULTS. One year from the prosthetic fixed rehabilitation, the patient's aesthetics and function appear to be stable. CONCLUSIONS. The removable device used in this case allowed to better plan chair-side times and to maintain aesthetics and function during the provisional phase
Immediate versus delayed restoration for implants placed in fresh extraction sockets: a 1-year comparative cohort study
No full textVariations 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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