Il dialogo con l'infanzia. Utopia del folklore, nonsense e comico in Gianni Rodari.

Nel trentennale dalla morte di Gianni Rodari, la tesi elabora problemi e riflessioni circa la maggiore urgenza corrente tra gli attuali studi rodariani: la necessità, per la cultura nazionale, di conferire a Gianni Rodari e alla letteratura per l’infanzia il ruolo intellettuale determinante da essi rivestito. La tesi sceglie di concentrarsi sui maggiori libri poetici e sul capolavoro teorico, la Grammatica della fantasia, utilizzando come strumenti il confronto con Gramsci, con la tradizione del folklore, con i grandi scrittori per l’infanzia dell’Inghilterra e con le altre esperienze poetiche del Novecento, discutendo Rodari da una specola esclusivamente filologica e letteraria. Parte prima: Rodari utopista. Nella prima parte Gianni Rodari viene inquadrato in un confronto diretto con l’Antonio Gramsci dei Quaderni, che aveva lucidamente individuato la separatezza tutta italiana tra classe intellettuale e mondo popolare, con conseguente inesistenza di una letteratura nazionale-popolare e di una specifica letteratura per l’infanzia. Rodari, primo intellettuale a dedicare tutto se stesso al riempimento di questa lacuna, risponde con intento sociale e politico al problema, adottando un atteggiamento che la tesi definisce utopico. Tramite una disamina del pensiero delle utopie letterarie a confronto con la tradizione popolare del paese di Cuccagna, la tesi procede all’accurato rinvenimento nell’opera di Rodari dei luoghi utopici, tutti orientati a suggerire un utilizzo dell’utopia come chiave per forzare un presente insoddisfacente e accedere a un futuro costruito da ogni individuo in prima persona. Parte seconda: Rodari poeta nonsense? Scritta in Inghilterra presso l’Istitute of Germanic and Romance Studies della University of London, la seconda e corposa parte della tesi si propone come un ampliamento della traccia gettata nel 1983 dall’articolo di Cristina Bertea Gianni Rodari in Gran Bretagna. La tesi analizza dapprima il problema del nonsense, ancora scarsamente trattato in Italia, riflettendo criticamente sulla maggiore bibliografia anglosassone che ha studiato il tema. Successivamente, mette a raffronto il lavoro linguistico che Gianni Rodari ha compiuto lungo l’arco di tutta la vita e le tecniche di composizione poetica elaborate nella Grammatica della fantasia con gli strumenti retorico-formali del nonsense individuati nell’opera di Lewis Carroll, di Edward Lear e delle nursery rhymes inglesi. Parte terza: Traccia per una mappatura della poesia per l’infanzia in Italia, a partire da Gianni Rodari. L’ultima parte della tesi si avventura alla ricerca di un percorso possibile attraverso la poesia per l’infanzia del Novecento e le sue esperienze di comicità. I capitoli si soffermano sul nonsense di Toti Scialoja e di Nico Orengo, sui precedenti di Lina Schwarz e Alfonso Gatto, sul Petel di Zanzotto, sulla poesia di soglia di Vivian Lamarque e sull’eredità della Grammatica della fantasia con particolare riferimento a Calicanto, di Ersilia Zamponi e Roberto Piumini.

Computational analyses on the structure-function relation in ion channels

Ion channels are protein molecules, embedded in the lipid bilayer of the cell membranes. They act as powerful sensing elements switching chemicalphysical stimuli into ion-fluxes. At a glance, ion channels are water-filled pores, which can open and close in response to different stimuli (gating), and one once open select the permeating ion species (selectivity). They play a crucial role in several physiological functions, like nerve transmission, muscular contraction, and secretion. Besides, ion channels can be used in technological applications for different purpose (sensing of organic molecules, DNA sequencing). As a result, there is remarkable interest in understanding the molecular determinants of the channel functioning. Nowadays, both the functional and the structural characteristics of ion channels can be experimentally solved. The purpose of this thesis was to investigate the structure-function relation in ion channels, by computational techniques. Most of the analyses focused on the mechanisms of ion conduction, and the numerical methodologies to compute the channel conductance. The standard techniques for atomistic simulation of complex molecular systems (Molecular Dynamics) cannot be routinely used to calculate ion fluxes in membrane channels, because of the high computational resources needed. The main step forward of the PhD research activity was the development of a computational algorithm for the calculation of ion fluxes in protein channels. The algorithm - based on the electrodiffusion theory - is computational inexpensive, and was used for an extensive analysis on the molecular determinants of the channel conductance. The first record of ion-fluxes through a single protein channel dates back to 1976, and since then measuring the single channel conductance has become a standard experimental procedure. Chapter 1 introduces ion channels, and the experimental techniques used to measure the channel currents. The abundance of functional data (channel currents) does not match with an equal abundance of structural data. The bacterial potassium channel KcsA was the first selective ion channels to be experimentally solved (1998), and after KcsA the structures of four different potassium channels were revealed. These experimental data inspired a new era in ion channel modeling. Once the atomic structures of channels are known, it is possible to define mathematical models based on physical descriptions of the molecular systems. These physically based models can provide an atomic description of ion channel functioning, and predict the effect of structural changes. Chapter 2 introduces the computation methods used throughout the thesis to model ion channels functioning at the atomic level. In Chapter 3 and Chapter 4 the ion conduction through potassium channels is analyzed, by an approach based on the Poisson-Nernst-Planck electrodiffusion theory. In the electrodiffusion theory ion conduction is modeled by the drift-diffusion equations, thus describing the ion distributions by continuum functions. The numerical solver of the Poisson- Nernst-Planck equations was tested in the KcsA potassium channel (Chapter 3), and then used to analyze how the atomic structure of the intracellular vestibule of potassium channels affects the conductance (Chapter 4). As a major result, a correlation between the channel conductance and the potassium concentration in the intracellular vestibule emerged. The atomic structure of the channel modulates the potassium concentration in the vestibule, thus its conductance. This mechanism explains the phenotype of the BK potassium channels, a sub-family of potassium channels with high single channel conductance. The functional role of the intracellular vestibule is also the subject of Chapter 5, where the affinity of the potassium channels hEag1 (involved in tumour-cell proliferation) and hErg (important in the cardiac cycle) for several pharmaceutical drugs was compared. Both experimental measurements and molecular modeling were used in order to identify differences in the blocking mechanism of the two channels, which could be exploited in the synthesis of selective blockers. The experimental data pointed out the different role of residue mutations in the blockage of hEag1 and hErg, and the molecular modeling provided a possible explanation based on different binding sites in the intracellular vestibule. Modeling ion channels at the molecular levels relates the functioning of a channel to its atomic structure (Chapters 3-5), and can also be useful to predict the structure of ion channels (Chapter 6-7). In Chapter 6 the structure of the KcsA potassium channel depleted from potassium ions is analyzed by molecular dynamics simulations. Recently, a surprisingly high osmotic permeability of the KcsA channel was experimentally measured. All the available crystallographic structure of KcsA refers to a channel occupied by potassium ions. To conduct water molecules potassium ions must be expelled from KcsA. The structure of the potassium-depleted KcsA channel and the mechanism of water permeation are still unknown, and have been investigated by numerical simulations. Molecular dynamics of KcsA identified a possible atomic structure of the potassium-depleted KcsA channel, and a mechanism for water permeation. The depletion from potassium ions is an extreme situation for potassium channels, unlikely in physiological conditions. However, the simulation of such an extreme condition could help to identify the structural conformations, so the functional states, accessible to potassium ion channels. The last chapter of the thesis deals with the atomic structure of the !- Hemolysin channel. !-Hemolysin is the major determinant of the Staphylococcus Aureus toxicity, and is also the prototype channel for a possible usage in technological applications. The atomic structure of !- Hemolysin was revealed by X-Ray crystallography, but several experimental evidences suggest the presence of an alternative atomic structure. This alternative structure was predicted, combining experimental measurements of single channel currents and numerical simulations. This thesis is organized in two parts, in the first part an overview on ion channels and on the numerical methods adopted throughout the thesis is provided, while the second part describes the research projects tackled in the course of the PhD programme. The aim of the research activity was to relate the functional characteristics of ion channels to their atomic structure. In presenting the different research projects, the role of numerical simulations to analyze the structure-function relation in ion channels is highlighted.

Studio dei meccanismi molecolari coinvolti nel determinismo sintomatologico di piante infette da virus e virus-satelliti

The aim of our work was to study the molecular mechanisms involved in symptoms appearance of plants inoculated either with a virus or with a virus-satellite complex. In the first case, we tried to set up a reliable method for an early identification of PVYNTN strains present in Italy and causing potato tuber necrosis. This, to prevent their spread in the field and to avoid severe yield losses, especially in seed potato production. We tried to localize the particular genomic region responsible for tuber necrosis. To this purpose, we carried out RT-PCR experiments using various primer combinations, covering PVY genomic regions larger than those previously used by other authors. As the previous researchers, though, we were not able to differentiate all NTN from others PVY strains. This probably because of the frequent virus variability, due to both genomic mutations and possible recombination events among different strains. In the second case, we studied the influence of Y-sat (CaRNA5 satellite) on symptoms of CMV (Cucumber mosaic virus) in Nicotiana benthamiana plants: strong yellowing appearance instead of simple mosaic. Wang et al (2004), inoculating the same infectious complex on tobacco plants transformed with a viral suppressor of plant silencing (HC-PRO), did not experience the occurrence of yellowing anymore and, therefore, hypotesized that changes in symptoms were due to plant post transcriptional gene silencing (PTGS) mechanism. In our case, inoculation of N. benthamiana plants transformed with another PTGS viral suppressor (p19), and other plants defective for RNA polymerase 6 (involved in systemic silencing), still resulted in yellowing appearance. This, to our opinion, suggests that in our system another possible mechanism is involved.

Aldo Rossi, autobiografia scientifica: scrittura come progetto. Indagine critica tra scrittura e progetto di architettura

«In altri termini mi sfuggiva e ancora oggi mi sfugge gran parte del significato dell’evoluzione del tempo; come se il tempo fosse una materia che osservo dall’esterno. Questa mancanza di evoluzione è fonte di alcune mie sventure ma anche mi appartiene con gioia.» Aldo Rossi, Autobiografia scientifica. The temporal dimension underpinning the draft of Autobiografia scientifica by Aldo Rossi may be referred to what Lucien Lévy-Bruhl, the well-known French anthropologist, defines as “primitive mentality” and “prelogical” conscience : the book of life has lost its page numbers, even punctuation. For Lévy-Bruhl, but certainly for Rossi, life or its summing up becomes a continuous account of ellipses, gaps, repetitions that may be read from left to right or viceversa, from head to foot or viceversa without distinction. Rossi’s autobiographical writing seems to accept and support the confusion with which memories have been collected, recording them after the order memory gives them in the mental distillation or simply according to the chronological order in which they have happened. For Rossi, the confusion reflects the melting of memory elements into a composite image which is the result of a fusion. He is aware that the same sap pervades all memories he is going to put in order: each of them has got a common denominator. Differences have diminished, almost faded; the quick glance is prevalent over the distinction of each episode. Rossi’s writing is beyond the categories dependent on time: past and present, before and now. For Rossi, the only repetition – the repetition the text will make possible for an indefinite number of times – gives peculiarity to the event. As Gilles Deleuze knows, “things” may only last as “singleness”: more frequent the repetition is, more singular is the memory phenomenon that recurs, because only what is singular magnifies itself and happens endlessly forever. Rossi understands that “to raise the first time to nth forever”, repetition becomes glorification . It may be an autobiography that, celebrating the originality, enhances the memory event in the repetition; in fact it greatly differs from the biographical reproduction, in which each repetition is but a weaker echo, a duller copy, provided with a smaller an smaller power in comparison with the original. Paradoxically, for Deleuze the repetition asserts the originality and singularity of what is repeated. Rossi seems to share the thought expressed by Kierkegaard in the essay Repetition: «The hope is a graceful maiden slipping through your fingers; the memory of an elderly woman, indeed pretty, but never satisfactory if necessary; the repetition is a loved friend you are never tired of, as it is only the new to make you bored. The old never bores you and its presence makes you happy [...] life is but a repetition [...] here is the beauty of life» . Rossi knows well that repetition hints at the lasting stability of cosmic time. Kierkegaard goes on: «The world exists, and it exists as a repetition» . Rossi devotes himself, on purpose and in all conscience, to collect, to inventory and «to review life», his own life, according to a recovery not from the past but of the past: a search work, the «recherche du temps perdu», as Proust entitled his masterpiece on memory. If you want the past time to be not wasted, you must give it presence. «Memoria e specifico come caratteristiche per riconoscere se stesso e ciò che è estraneo mi sembravano le più chiare condizioni e spiegazioni della realtà. Non esiste uno specifico senza memoria, e una memoria che non provenga da un momento specifico; e solo questa unione permette la conoscenza della propria individualità e del contrario (self e non-self)» . Rossi wants to understand himself, his own character; it is really his own character that requires to be understood, to increase its own introspective ability and intelligence. «Può sembrare strano che Planck e Dante associno la loro ricerca scientifica e autobiografica con la morte; una morte che è in qualche modo continuazione di energia. In realtà, in ogni artista o tecnico, il principio della continuazione dell’energia si mescola con la ricerca della felicità e della morte» . The eschatological incipit of Rossi’s autobiography refers to Freud’s thought in the exact circularity of Dante’s framework and in as much exact circularity of the statement of the principle of the conservation of energy: in fact it was Freud to connect repetition to death. For Freud, the desire of repetition is an instinct rooted in biology. The primary aim of such an instinct would be to restore a previous condition, so that the repeated history represents a part of the past (even if concealed) and, relieving the removal, reduces anguish and tension. So, Freud ask himself, what is the most remote state to which the instinct, through the repetition, wants to go back? It is a pre-vital condition, inorganic of the pure entropy, a not-to-be condition in which doesn’t exist any tension; in other words, Death. Rossi, with the theme of death, introduces the theme of circularity which further on refers to the sense of continuity in transformation or, in the opposite way, the transformation in continuity. «[...] la descrizione e il rilievo delle forme antiche permettevano una continuità altrimenti irripetibile, permettevano anche una trasformazione, una volta che la vita fosse fermata in forme precise» . Rossi’s attitude seems to hint at the reflection on time and – in a broad sense – at the thought on life and things expressed by T.S. Eliot in Four Quartets: «Time present and time past / Are both perhaps present in time future, / And time future is contained in time past. / I all time is eternally present / All time is unredeemable. / What might have been is an abstraction / Remaining perpetual possibility / Only in a word of speculation. / What might have been and what has been / Point to one end, which is always present. [...]» . Aldo Rossi’s autobiographical story coincides with the description of “things” and the description of himself through the things in the exact parallel with craft or art. He seems to get all things made by man to coincide with the personal or artistic story, with the consequent immediate necessity of formulating a new interpretation: the flow of things has never met a total stop; all that exists nowadays is but a repetition or a variant of something existing some time ago and so on, without any interruption until the early dawnings of human life. Nevertheless, Rossi must operate specific subdivisions inside the continuous connection in time – of his time – even if limited by a present beginning and end of his own existence. This artist, as an “historian” of himself and his own life – as an auto-biographer – enjoys the privilege to be able to decide if and how to operate the cutting in a certain point rather than in another one, without being compelled to justify his choice. In this sense, his story is a matter very ductile and flexible: a good story-teller can choose any moment to start a certain sequence of events. Yet, Rossi is aware that, beyond the mere narration, there is the problem to identify in history - his own personal story – those flakings where a clean cut enables the separation of events of different nature. In order to do it, he has to make not only an inventory of his own “things”, but also to appeal to authority of the Divina Commedia started by Dante when he was 30. «A trent’anni si deve compiere o iniziare qualcosa di definitivo e fare i conti con la propria formazione» . For Rossi, the poet performs his authority not only in the text, but also in his will of setting out on a mystical journey and handing it down through an exact descriptive will. Rossi turns not only to the authority of poetry, but also evokes the authority of science with Max Plank and his Scientific Autobiography, published, in Italian translation, by Einaudi, 1956. Concerning Planck, Rossi resumes an element seemingly secondary in hit account where the German physicist «[...] risale alle scoperte della fisica moderna ritrovando l’impressione che gli fece l’enunciazione del principio di conservazione dell’energia; [...]» . It is again the act of describing that links Rossi to Planck, it is the description of a circularity, the one of conservation of energy, which endorses Rossi’s autobiographical speech looking for both happiness and death. Rossi seems to agree perfectly to the thought of Planck at the opening of his own autobiography: «The decision to devote myself to science was a direct consequence of a discovery which was never ceased to arouse my enthusiasm since my early youth: the laws of human thought coincide with the ones governing the sequences of the impressions we receive from the world surrounding us, so that the mere logic can enable us to penetrate into the latter one’s mechanism. It is essential that the outer world is something independent of man, something absolute. The search of the laws dealing with this absolute seems to me the highest scientific aim in life» . For Rossi the survey of his own life represents a way to change the events into experiences, to concentrate the emotion and group them in meaningful plots: «It seems, as one becomes older. / That the past has another pattern, and ceases to be a mere sequence [...]» Eliot wrote in Four Quartet, which are a meditation on time, old age and memory . And he goes on: «We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning [...]» . Rossi restores in his autobiography – but not only in it – the most ancient sense of memory, aware that for at least 15 centuries the Latin word memoria was used to show the activity of bringing back images to mind: the psychology of memory, which starts with Aristotele (De Anima), used to consider such a faculty totally essential to mind. Keith Basso writes: «The thought materializes in the form of “images”» . Rossi knows well – as Aristotele said – that if you do not have a collection of mental images to remember – imagination – there is no thought at all. According to this psychological tradition, what today we conventionally call “memory” is but a way of imagining created by time. Rossi, entering consciously this stream of thought, passing through the Renaissance ars memoriae to reach us gives a great importance to the word and assumes it as a real place, much more than a recollection, even more than a production and an emotional elaboration of images.

La caratterizzazione endofenotipica del rimuginio

Rumination, defined as the tendency to think about the negative affect evoked by stressful events, has been identified as potentially playing a role in the development of cardiovascular diseases. Specifically, recent studies suggest that ruminative thoughts might be mediators of the prolonged physiological effects of stress. The main goal of this research was to study the effect of rumination, evoked in the laboratory, during the subsequent 24 hours. As rumination has been associated with the activity of several physiological systems, including the cardiovascular, endocrine, and immune system, we also aimed at studying the process from a psychoneuroendocrine point of view. Levels of anxiety, depression, anger, hostility, and trait rumination were assessed by the use of validated questionnaires. Impedance cardiography-derived measures, skin conductance, respiration, and beat-to-beat blood pressure (BP) were monitored continuously in 60 subjects during baseline, the Anger Recall Inteview, a reading task and two recovery periods. Half of the sample was randomly assigned to a distracter condition after the Anger Recall Inteview. Cortisol, plasma concentrations of epinephrine, norepinephrine, and inflammatory biomarkers (CRP, sICAM-1) were also obtained at baseline and at the end of the session. Then, all subjects were asked to wear an ambulatory BP monitor for 24 hours. Results show that the distracter was effective in stopping rumination in the laboratory but did not have a long-lasting effect in the subsequent 24 hours. Rumination was associated with prolonged sympathetic activity, vagal withdrawal, cortisol secrection, pro-inflammatory reaction and mood impairment compared to the reading task. After controlling for age and body mass index, rumination also proved to be a strong predictor of daily moods, and ambulatory HR and BP. Personality traits did not have an effect in determining the frequency or duration of daily rumination. Findings suggest that perseverative cognition can prolong stress- related affective and physiological activation and might act directly on somatic disease via the cardiovascular, immune, endocrine, and neurovisceral systems.

Il concetto di sezione nel metodo compositivo di Aldo Rossi.

Purpose of this research is to deepen the study on the section in architecture. The survey aims as important elements in the project Teatro Domestico by Aldo Rossi built for the XVII Triennale di Milano in 1986 and, through the implementation on several topics of architecture, verify the timeliness and fertility in the new compositional exercises. Through the study of certain areas of the Rossi’s theory we tried to find a common thread for the reading of the theater project. The theater is the place of the ephemeral and the artificial, which is why his destiny is the end and the fatal loss. The design and construction of theater setting has always had a double meaning between the value of civil architecture and testing of new technologies available. Rossi's experience in this area are clear examples of the inseparable relationship between the representation of architecture as art and design of architecture as a model of reality. In the Teatro Domestico, the distinction between representation and the real world is constantly canceled and returned through the reversal of the meaning and through the skip of scale. At present, studies conducted on the work of Rossi concern the report that the architectural composition is the theory of form, focusing compositional development of a manufacturing process between the typological analysis and form invention. The research, through the analysis of some projects few designs, will try to analyze this issue through the rules of composition both graphical and concrete construction, hoping to decipher the mechanism underlying the invention. The almost total lack of published material on the project Teatro Domestico and the opportunity to visit the archives that preserve the drawings, has allowed the author of this study to deepen the internal issues in the project, thus placing this search as a first step toward possible further analysis on the works of Rossi linked to performance world. The final aim is therefore to produce material that can best describe the work of Rossi. Through the reading of the material published by the same author and the vision of unpublished material preserved in the archives, it was possible to develop new material and increasing knowledge about the work, otherwise difficult to analyze. The research is divided into two groups. The first, taking into account the close relationship most frequently mentioned by Rossi himself between archeology and architectural composition, stresses the importance of tipo such as urban composition reading system as well as open tool of invention. Resuming Ezio Bonfanti’s essay on the work of the architect we wanted to investigate how the paratactic method is applied to the early work conceived and, subsequently as the process reaches a complexity accentuated, while keeping stable the basic terms. Following a brief introduction related to the concept of the section and the different interpretations that over time the term had, we tried to identify with this facility a methodology for reading Rossi’s projects. The result is a constant typological interpretation of the term, not only related to the composition in plant but also through the elevation plans. The section is therefore intended as the overturning of such elevation is marked on the same plane of the terms used, there is a different approach, but a similarity of characters. The identification of architectural phonemes allows comparison with other arts. The research goes in the direction of language trying to identify the relationship between representation and construction, between the ephemeral and the real world. In this sense it will highlight the similarities between the graphic material produced by Ross and some important examples of contemporary author. The comparison between the composition system with the surrealist world of painting and literature will facilitate the understanding and identification of possible rules applied by Rossi. The second part of the research is characterized by a focus on the intent of the project chosen. Teatro Domestico embodies a number of elements that seem to conclude (assuming an end point but also to start) a curriculum author. With it, the experiments carried out on the theater started with the project for the Teatrino Scientifico (1978) through the project for the Teatro del Mondo (1979), into a Laic Tabernacle representative collective and private memory of the city. Starting from a reading of the draft, through the collection of published material, we’ve made an analysis on the explicit themes of the work, finding the conceptual references. Following the taking view of the original materials not published kept at Aldo Rossi's Archive Collection of the Canadian Center for Architecture in Montréal, will be implemented through the existing techniques for digital representation, a virtual reconstruction of the project, adding little to the material, a new element for future studies. The reconstruction is part of a larger research studies where the current technologies of composition and representation in architecture stand side by side with research on the method of composition of this architect. The results achieved are in addition to experiences in the past dealt with the reconstruction of some of the lost works of Aldo Rossi. A partial objective is to reactivate a discourse around this work is considered non-principal, among others born in the prolific activities. Reassessment of development projects which would bring the level of ephemeral works most frequented by giving them the value earned. In conclusion, the research aims to open a new field of interest on the part not only as a technical instrument of representation of an idea but as an actual mechanism through which composition is formed and the idea is developed.

Bioengineering of exercise: biomechanical and metabolic aspects

The field of research of this dissertation concerns the bioengineering of exercise, in particular the relationship between biomechanical and metabolic knowledge. This relationship can allow to evaluate exercise in many different circumstances: optimizing athlete performance, understanding and helping compensation in prosthetic patients and prescribing exercise with high caloric consumption and minimal joint loading to obese subjects. Furthermore, it can have technical application in fitness and rehabilitation machine design, predicting energy consumption and joint loads for the subjects who will use the machine. The aim of this dissertation was to further understand how mechanical work and metabolic energy cost are related during movement using interpretative models. Musculoskeletal models, when including muscle energy expenditure description, can be useful to address this issue, allowing to evaluate human movement in terms of both mechanical and metabolic energy expenditure. A whole body muscle-skeletal model that could describe both biomechanical and metabolic aspects during movement was identified in literature and then was applied and validated using an EMG-driven approach. The advantage of using EMG driven approach was to avoid the use of arbitrary defined optimization functions to solve the indeterminate problem of muscle activations. A sensitivity analysis was conducted in order to know how much changes in model parameters could affect model outputs: the results showed that changing parameters in between physiological ranges did not influence model outputs largely. In order to evaluate its predicting capacity, the musculoskeletal model was applied to experimental data: first the model was applied in a simple exercise (unilateral leg press exercise) and then in a more complete exercise (elliptical exercise). In these studies, energy consumption predicted by the model resulted to be close to energy consumption estimated by indirect calorimetry for different intensity levels at low frequencies of movement. The use of muscle skeletal models for predicting energy consumption resulted to be promising and the use of EMG driven approach permitted to avoid the introduction of optimization functions. Even though many aspects of this approach have still to be investigated and these results are preliminary, the conclusions of this dissertation suggest that musculoskeletal modelling can be a useful tool for addressing issues about efficiency of movement in healthy and pathologic subjects.

La musa bambina. 1911-2011: un secolo di letteratura mitologica per ragazzi in Italia tra storia, educazione e narrazione

Questa ricerca mostra l’evoluzione della letteratura mitologica per ragazzi in Italia. Il primo libro italiano di mitologia per bambini è stato pubblicato nel 1911 (lo stesso anno di un’importante e violenta guerra coloniale tra l’Italia e la Libia): la scrittrice italiana Laura Orvieto pubblicò allora “Storie della storia del mondo”, in cui riunì antichi racconti greci per giovani lettori. Queste storie erano ispirate al libro mitologico per bambini “Il libro delle meraviglie” di Hawthorne (titolo originale “A Wonder Book for Girls and Boys”). In seguito molti scrittori italiani scrissero libri mitologici per giovani lettori: serie importanti di libri di mitologia per bambini furono pubblicate durante il regime mussoliniano – talvolta per diffondere l’ideologia fascista della superiorità romana. Durante questo periodo, i libri mitologici spesso mostravano uno stile letterario solenne. Dopo la seconda guerra mondiale, la letteratura mitologica per bambini cambiò lentamente prospettiva: gli scrittori italiani cominciarono ad usare il mito per parlare di problemi sociali (p.e. Gianni Rodari descriveva re Mida come un capitalista) e per spiegare le diverse condizioni umane (p.e. Beatrice Masini fa riferimento alle dee e alle eroine greche per descrivere la condizione femminile). La ricerca analizza anche la relazione tra mito e scuola in Italia: i racconti mitologici hanno sempre fatto parte dei programmi scolastici italiani per bambini dagli 8 agli 11 anni. Le riforme scolastiche – deliberate negli anni ’20 e ’40 – fissarono pratiche didattiche sui miti ancora oggi in uso. I racconti mitologici erano soprattutto un supporto per gli studi storici e letterari. Tuttavia, negli ultimi decenni, i miti sono divenuti un importante aiuto per gli insegnamenti scientifici e artistici.

New target tracking and monitoring guidance laws for UAV

A pursuer UAV tracking and loitering around a target is the problem analyzed in this thesis. The UAV is assumed to be a fixed-wing vehicle and constant airspeed together with bounded lateral accelerations are the main constraints of the problem. Three different guidance laws are designed for ensuring a continuos overfly on the target. Different proofs are presented to demonstrate the stability properties of the laws. All the algorithms are tested on a 6DoF Pioneer software simulator. Classic control design methods have been adopted to develop autopilots for implementig the simulation platform used for testing the guidance laws.