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Although Tibetans and Sherpa present several physiological adjustments evolved to cope with selective pressures imposed by the high-altitude environment, especially hypobaric hypoxia, few selective sweeps at a limited number of hypoxia related genes were confirmed by multiple genomic studies. Nevertheless, variants at these loci were found to be associated only with downregulation of the erythropoietic cascade, which represents an indirect aspect of the considered adaptive phenotype. Accordingly, the genetic basis of Tibetan/Sherpa adaptive traits remains to be fully elucidated, in part due to limitations of selection scans implemented so far and mostly relying on the hard sweep model. In order to overcome this issue, we used whole-genome sequence data and several selection statistics as input for gene network analyses aimed at testing for the occurrence of polygenic adaptation in these high-altitude Himalayan populations. Being able to detect also subtle genomic signatures ascribable to weak positive selection at multiple genes of the same functional subnetwork, this approach allowed us to infer adaptive evolution at loci individually showing small effect sizes, but belonging to highly interconnected biological pathways overall involved in angiogenetic processes. Therefore, these findings pinpointed a series of selective events neglected so far, which likely contributed to the augmented tissue blood perfusion observed in Tibetans and Sherpa, thus uncovering the genetic determinants of a key biological mechanism that underlies their adaptation to high altitude.

While much research attention has focused on demographic processes that enabled human diffusion on the Tibetan plateau, little is known about more recent colonization of Southern Himalayas. In particular, the history of migrations, admixture and/or isolation of populations speaking Tibeto-Burman languages, which is supposed to be quite complex and to have reshaped patterns of genetic variation on both sides of the Himalayan arc, remains only partially elucidated. We thus described the genomic landscape of previously unsurveyed Tibeto-Burman (i.e. Sherpa and Tamang) and Indo-Aryan communities from remote Nepalese valleys. Exploration of their genomic relationships with South/East Asian populations provided evidence for Tibetan admixture with low-altitude East Asians and for Sherpa isolation. We also showed that the other Southern Himalayan Tibeto-Burmans derived East Asian ancestry not from the Tibetan/Sherpa lineage, but from low-altitude ancestors who migrated from China plausibly across Northern India/Myanmar, having experienced extensive admixture that reshuffled the ancestral Tibeto-Burman gene pool. These findings improved the understanding of the impact of gene flow/drift on the evolution of high-altitude Himalayan peoples and shed light on migration events that drove colonization of the southern Himalayan slopes, as well as on the role played by different Tibeto-Burman groups in such a complex demographic scenario.

Il saggio attraversa la letteratura storico-critica sulla produzione dei retabli in Sardegna, utilizzando come snodi i problemi messi in evidenza dagli scritti di Caterina Limentani Virdis. Con particolare riferimento alla metodologia inaugurata da Ferdinando Bologna circa lo studio delle rotte mediterraneee della pittura e poi dalla grande mostra curata da Mauro Natale sul Rinascimento Mediterraneo, il saggio restituisce alla pittura in Sardegna uno scenario di appartenenza e di confronto più ampio, di quanto la storiografia locale abbia fatto. Uno scenario già europeo, indicato da un saggio della stessa Limentani Virdis, "Sardegna, Spagna, Fiandre e dintorni più o meno immediati fra Quattro e Cinquecento", nel quale, nel 1989, avvertiva la necessità di guardare ad un «Mediterraneo allargato» all'Europa del Nord, specie quella interessata da scambi diplomatici, legami dinastici e politici, e legata da gusto e collezionismo, di marca flandro-iberica, alla Corona d'Aragona e a Napoli. Il saggio ponendosi su tale tracciato ripercorre e discute alcune attribuzioni e inquadramenti dati a Paolo da San Leocadio e al Maestro di Castelsardo, indicando in maestranze itineranti lungo il "navigar per le isole" l'origine dello stile composito e del linguaggio eterodosso di mediazione tra universi culturali contigui, riscontrabile in alcuni retabli prodotti tra Sardegna, Baleari, Barcellona, Valencia e Napoli.