Nature in the books of seven metals – Ǧābirian corpus in dialogue with ancient Greek philosophy and Byzantine alchemy –

The Ǧābirian corpus was a receiver of ancient Greek ideas and, at the same time, a source of knowledge for the later Greek-speaking world, in particular for medieval Byzantine alchemy. Both aspects are explored in the dissertation with respect to the notion of nature. After a general introduction to the Corpus and the sciences described in it, particular attention is devoted to a Byzantine anonymous text, The Work of Four Elements, which was probably influenced by the Ǧābirian Books of Seventy. These texts exemplify how, in the theory of the Ǧābirian science, things are constructed from four natures (hot, cold, moist and dry), the balance of which defines what a thing is. By changing the balance of natures, one can transmute any metals into gold that is perfectly proportioned in terms of natures. Ǧābir presents the art of dyeing metals gold in the Books of Seven Metals which, along with chrysopoetic recipes, also include medical recipes and theoretical contents such as the theories of four humours, properties, and talismans. Moreover, Ǧābir postulated a substrate that does not change in itself and continues to exist when natures move in and out of things. Such primary existence is called the fifth nature as an additional principle to the four natures. This key concept for the Ǧābirian theory, which has been underexplored so far, is discussed through the textual and critical analysis of various unedited sources: the Books of Seven Metals and the Book of the Fifth Nature. This study confirms that the fifth nature was probably derived from ancient Greek philosophical concepts such as the Empedoclean particles, the Aristotelian fifth element and the Stoic pneuma. Thus, this research indicates the importance of the Ǧābirian corpus both in the history of alchemy and the history of philosophy.

Environmental influence on the phenotype: Morphological variation in human dentition

This work is about the role that environment plays in the production of evolutionary significant variations. It starts with an historical introduction about the concept of variation and the role of environment in its production. Then, I show how a lack of attention to these topics may lead to serious mistakes in data interpretation. A statistical re-analysis of published data on the effects of malnutrition on dental eruption, shows that what has been interpreted as an increase in the mean value, is actually linked to increase of variability. In Chapter 3 I present the topic of development as a link between variability and environmental influence, giving a review of the possible mechanisms by which development influences evolutionary dynamics. Chapter 4 is the core chapter of the thesis; I investigated the role of environment in the development of dental morphology. I used dental hypoplasia as a marker of stress, characterizing two groups. Comparing the morphology of upper molars in the two groups, three major results came out: (i) there is a significant effect of environmental stressors on the overall morphology of upper molars; (ii) the developmental response increases morphological variability of the stressed population; (iii) increase of variability is directional: stressed individuals have increased cusps dimensions and number. I also hypothesized the molecular mechanisms that could be responsible of the observed effects. In Chapter 5, I present future perspectives for developing this research. The direction of dental development response is the same direction of the trend in mammalian dental evolution. Since malnutrition triggers the developmental response, and this particular kind of stressor must have been very common in our class evolutionary history, I propose the possibility that environmental stress actively influenced mammals evolution. Moreover, I discuss the possibility of reconsidering the role of natural selection in the evolution of dental morphology.

Leonardo Ricci in the United States (1952-1972). A twenty-year American transfer as a turning experience in teaching and design.

The research solved the historiographic lacuna about Leonardo Ricci’s work in the United States focusing on the span 1952-1972 as a fundamental period for the architect's research, which moved from the project for the community space to macrostructures. The considered period is comprised between Ricci’s first travel to the United States and the date of his resignation from the University of Florida, one year before his resignation from the deanship of the faculty of architecture of Florence (1973). The research retraced philologically the stages of Ricci’s activity in the U.S.A. unveiling the premises and results of his American transfer, and to what extent it marked a turning period for his work as educator and designer and for the wider historiographic contest of the Sixties. The American transfer helped him grounding his belief in avoiding a priori morphological results in favor of what he called the “form-act” design method. Ricci’s research in the U.S.A. is described in his books Anonymous (XX century) and City of the Earth (unpublished). In them and in Ricci’s projects one common thread is traceable: the application of the “form-act” as the best tool to conceive urban design, a discipline established in the United States during Ricci’s first stay at M.I.T., in which he encountered the balance point between architecture and urban planning, between the architect’s sign and his being anonymous, between the collective and the individual dimension. With the notions of “anonymous architecture” and “form-act”, Urban Design and “open work” are the key words to understand Ricci’s work in the United States and in Italy. Urban design’s main goal to design the city as a collective work of art was the solution of that dychothomous research that enlivened Ricci’s work and one possible answer to that tension useful for him to seek the truth of architecture.

Il teatro e Derek Walcott. Prospettive postcoloniali e multiculturali

This thesis explores the function of the theatre in Derek Walcott's literary achievements. Focusing on the semiotic theories that characterize the study of drama as a literary text and as a staged text, the initial approach aims at creating a relationship between semiotics and postcolonial theories. In particular Pavis's concept of intercultural semiotics and Peter Brook's innovative visions about the regenerative function of the space of the theatre represent a useful theoretical basis to consider the specificity of postcolonial theatre as an innovative space, where new cultural meanings emerge. Derek Walcott's dramatic production is studied according to this approach, in order to be defined as a new hybrid, syncretic and multicultural space. After considering the development of drama from a postcolonial and Caribbean perspective, this study begins with an insight into Walcott's views on theatre, taking into consideration his linguistic depth, linked to the European tradition, but also his strong concern with the Caribbean public's cultural needs. The double tension characterizing Walcott's cultural identity as well as his art represents an essential element to analyse his dramatic texts. With an ambivalent approach, which takes into consideration language and performance, this thesis offers an insight into Walcott's plays to detect their postcolonial and multicultural elements. The analysis of the different texts are divided into two chapters (third and fourth). The third chapters - mainly focused on postcolonial themes - explores issues such as language, identity and space, whereas the fourth chapter centers on multiculturalism in text and performance. Dealing with interracial interactions, issues like re-writing classical texts and the manipulation of personal and collective memory as a way to re- establish new historical perspectives, the last part of the thesis aims at demonstrating the idea that Walcott has created a new space in the theatre made by the harmonic fusion of different and opposed cultural elements, which are visible in the literary as well as in the staged text. The textual perspective of Walcott's drama fits into Pavis's definition of intercultural semiotics, as the faithful representation of a multicultural creole society: that of the West Indies.

I manoscritti miniati dell'Illustratore nella cultura figurativa del secondo quarto del XIV secolo

La tesi è dedicata alla personalità artistica dell’Illustratore, tra i protagonisti della miniatura bolognese degli anni trenta e quaranta del Trecento, così felicemente soprannominato da Roberto Longhi. Dopo un capitolo dedicato alla vicenda critica dell’artista, la tesi affronta il percorso artistico dell’Illustratore nell’ambito della decorazione libraria bolognese del secondo quarto del XIV secolo. Ho trattato le opere attribuite al’Illustratore insieme agli esempi contemporanei della miniatura bolognese, in modo da far emergere il ruolo di questo maestro nelle relazioni con il contesto cittadino. Nella successione cronologica dei manoscritti, emerge un nuovo sconvolgimento caotico che scardina l’ordine spaziale e compositivo delle opere iniziali debitrici del giottismo del Maestro del 1328. Il capitolo si conclude con alcune osservazioni sui rapporti tra il maestro e i suoi aiuti e sul rapporto con Buffalmacco. In questo capitolo sono inoltre presentate due nuove attribuzioni. Gli ultimi due capitoli sono un approfondimento sull’interazione tra il linguaggio figurativo dell’artista e la funzione dell’immagine quale forma di comunicazione visiva in stretta relazione con i testi scritti che accompagnano e sui caratteri della committenza, là dove è possibile definirli. La prima parte del terzo capitolo è dedicata all’illustrazione dei libri legales, mentre nella seconda parte si tratta di un caso particolare, le iniziali istoriate dell’Inferno e del Purgatorio di Dante Alighieri della Biblioteca Riccardiana di Firenze (ms. 1005), per molti aspetti riconducibili all’illustrazione giuridica. La mia intenzione in questo capitolo è di verificare come il caratteristico linguaggio narrativo espressivo e diretto dell’Illustratore abbia risposto alla funzione delle immagini dipinte nei codici giuridici di offrire una struttura materiale alla memorizzazione visiva per via di luoghi e figure dei contenuti di studio del diritto comune. In appendice alla tesi si trova un catalogo dei manoscritti decorati da miniature dell’Illustratore, comprensivo anche di una sezione per le opere di dubbia o erronea attribuzione.