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Popularized explanations of the color of the sea often prove to be incomplete or oversimplified, and hence inadequate to become acquainted with the phenomenon in its whole. In this paper, after a historical review of the investigations on the subject in recent centuries and a brief account of the current state of knowledge, the topic is addressed in a more rigorous way adopting a comprehensive and multidisciplinary viewpoint. A phenomenological model providing operational results in educational context is proposed. --- Le spiegazioni del colore del mare proposte a scopo didattico o divulgativo si rivelano spesso incomplete o eccessivamente semplificate, e dunque inadeguate alla comprensione della totalit\`a del fenomeno. In questo articolo, dopo una rassegna storica delle indagini sull'argomento negli ultimi due secoli e un accenno allo stato attuale delle conoscenze, il problema viene affrontato in modo pi\`u rigoroso adottando un punto di vista comprensivo e pluridisciplinare. Viene proposto un modello fenomenologico in grado di fornire risultati operativi in contesto didattico., Comment: 42 pages, 9 figures, in italian, submitted to "Chimica nella Scuola"

Plutarchus, circa 100 AD, in his early book on "astrophysics" --in which he exposed, in a sense, a general theory of gravitation-- wrote the noticeable passage: <>. While Posidonius (circa 135-51 BC) had written: <>. These two examples show how "modern" was part of the ancient Greek physics, frequently overlooked since it is sometimes known through the praiseworthy translations of scholars often competent in humanities, more than in science. [A more extended English summary appears at the beginning of this article, which is in Italian.], Comment: 18 pages, in Italian: but with a more extended summary in English. A preliminary version of this paper did already appear in the journal specified below

I fumetti, come i film, spesso utilizzano idee scientifiche "fantasiose". Non ci riferiamo qui alla violazione implicita delle leggi della fisica, cosa permessa in un mondo di fantasia, quanto piuttosto all'uso di spiegazioni fisiche errate che vengono usate in buona fede perch\'e a riflettono convinzioni molto diffuse, ma sbagliate, sull'interpretazione di fenomeni a partire dai principi fisici. D'altra parte questi errori possono servire a illustrare la corretta applicazione della fisica in una maniera molto pi\`u accattivante rispetto alla modalit\'a tradizionale di presentazione. Analizziamo qui l'avventura Paperone ed il deposito sotterraneo di Pezzin e Cavezzano. ----- Comics and cartoon movies sometimes exploit fictitious scientific ideas. It is often the case that these ideas, althought wrong, actually reflect the popular vision of some natural phenomenon. We do not refer here to the implicit violation of physical laws in fictions, a practice allowed by the underlining "poetic licence" of comics. However, sometimes wrong scientific "explanations" are proposed, and those may be accepted by the public without further inspection. On the other hand, these errors may be a good starting point for a didactic illustration of physical principles. We analyse here the comics Paperone ed il deposito sotterraneo (Uncle Scrooge and the underground money bin) by Perrin e Cavezzano., Comment: in Italian

In 1927, just after he obtained a full professorship, Enrico Fermi delivered his first course on Theoretical Physics at the Institute of Physics in Rome. The following year Edoardo Amaldi, Emilio Segre' and Ettore Majorana became students of that course. The lectures given in 1927-28, whose content may be easily reconstructed, probably had a deep impact in forming such young students, who participated actively in the Physics researches carried on in Rome soon after. In this perspective, the case of Ettore Majorana is certainly the most important one: as a lecturer, in 1933-36 he planned to give three advanced Physics courses in Rome, before obtaining his full professorship in Theoretical Physics "for high and well-deserved repute" in 1937. From the analysis of the lectures he delivered in Naples in 1938, we can conclude that, in part, Majorana referred to the Fermi lectures he followed as a student, but he also introduced some advanced (for that time) topics, rendering his course a very modern one. Much of these frontier topics were already cited in the programmes of the mentioned three courses he presented few years earlier., Comment: pdf, 13 pages, in italian; to be published in Sapere