Vaccination is a common routine for prevention and control of human and animal diseases by inducing antibody responses and cell-mediated immunity in the body. Through vaccinations, smallpox and some other diseases have been eradicated in the past few years. The use of a patho- gen itself or a subunit domain of a protein antigen as immunogens lays the basis for traditional vaccine development. But there are more and more newly emerged pathogens which have expe- rienced antigenic drift or shift under antibody selective pressures, rendering vaccine-induced im- munity ineffective. In addition, vaccine development has been hampered due to problems includ- ing difficulties in isolation and culture of certain pathogens and the antibody-dependent enhancement of viral infection (ADE). How to induce strong antibody responses, especially neu- tralizing antibody responses, and robust cell-mediated immune responses is tricky. Here we re- view the progress in vaccine development from traditional vaccine design to reverse vaccinology and structural vaccinology and present with some helpful perspectives on developing novel vac- cines.
The rules and guidelines for integrated pest management specified in Annex III, sections 2 and 3, state “General principles of integrated pest management”: Harmful organisms must be monitored by adequate methods and tools, where available. Such adequate tools should include observations in the field as well as scientifically sound warnings, forecasting and early diagnostic systems, where feasible, as well as advice from professionally qualified advisors. As part of Multiannual Programs, the Institute of Plant Protection – NRI in Poznań has been carrying out work and research for many years to develop or modify guidelines for monitoring short- and long-term forecasting of pest occurrence on crops. These guidelines are extremely helpful for farmers and advisers in determining the optimum date of chemical control of pests on plants. Regularly revised and improved the guidelines deal with pests which currently pose a threat to crops. They are developed according to the latest scientific findings and are successfully promoted among professional users and agricultural advisors. These guidelines are standardized to include descriptions of species, life cycles, symptoms of damage/infestation of crops, methods of observation targeted at warning of the need for plant protection treatments, and threshold values of harmfulness. All guidelines include extensive photographic material. Guidelines for the monitoring of pests on orchard plants, vegetables and others are prepared at the Institute of Soil Science and Plant Cultivation − NRI in Puławy and the Institute of Pomology in Skierniewice. Guidelines for about 80 pests of crops are available for public use in the on-line Pest Warning System (Platforma Sygnalizacji Agrofagów, www.agrofagi.com.pl).
Ksawery Piwocki, (1901–1974) whose scholarly activities occurred during a particularly diffi cult period in Polish history, 1935–1970, was one of the most interesting Polish art historians and organizers of academic life. In his work, he combined an interest in methodology (for instance, as an expert on the concepts of Alois Riegl, and on all the complexities of the nearly century–old dispute about its proper interpretation), with many years of research on non–professional artists, areas of artistic creativity which remained partly on the margins of traditional art history and partly in the ‘no man’s land’ of such disciplines as art history, ethnography and cultural anthropology. Armed with a thorough knowledge of methodology, and starting from the fairly widespread belief in the 1920s and 1930s that the study of the art of the so–called ‘primitives’ would facilitate exploration of the principles of artistic development in general, uncovering the psychological and anthropological origins of creativity, Piwocki researched ‘primitive’ art, reveali ng a fascinating and often surprising relationship between the proposals of modern artists and the trends of the ‘primitives’. It should be emphasized that these studies, which began even before World War II, were completely devoid of any attempt to support them with the theories of race, which was not so obvious at the time. In some ways Piwocki’s popular book “A strange world of modern primitives” was a summary of his investigations, playing in its time a very important role. We must not forget that Ksawery Piwocki was also a well–known organizer of academic life. He was involved in the practice of conservation, becoming an eminent expert on the theory of conservation and restoration of works of art, and greatly contributing to the increase in awareness of these issues in Poland. It is thanks to his efforts that the National Ethnographic Museum was established in Warsaw, whose role in promoting interest in folk, ‘primitive’ and amateur art cannot be overestimated. Combining in his activities the competence of an art restorer, art historian and methodologist, Piwocki remains in the memory of our discipline as a rare example of a researcher for whom there was no gap between the study of art history for its own sake and its embodiment as a living aesthetic and artistic message.
Julian Pagaczewski (1874–1940) was a pupil of Marian Sokolowski at the Jagiellonian University in Krakow; after graduating in History of Art in 1900, he worked at the National Museum from 1901–1911, and then took a post at the Jagiellonian University. He obtained his doctorate in 1908, his postdoctoral habilitation in 1909, became associate professor in 1917, and in 1921 – a full professor; his chair was liquidated in 1933. During the interwar period, he was the major figure in art history in Krakow. His research interests included Polish art of all periods (apart from contemporary), seen in the vast context of European art, particularly the handic rafts (gold-smithery, tapestry, embroidery) and sculpture. Following in his master’s footsteps, he adopted a philological and historical method of research, and soon enriched it with an in–depth comparative and stylistic analysis; he was strongly influenced by the Viennese scholars (Franz Wickhoff, Alois Riegl), and above all Heinrich Wölfflin. His studies show a great mastery of the methodology of research, and the later ones are exemplary of an art history focused on issues of style. He also had a reputation as an outstanding teacher a nd educator; despite his relatively short period of professorship, he helped form almost all the eminent art historians of the next gen eration, who, after World War II, determined the nature of the discipline in Krakow, largely continuing with his methodological approach and passing it on to the next generation of scholars.
This article introduces the work of the art historian Tadeusz Mańkowski (1878–1956). He trained as a lawyer and took up art history late, as a private scholar. In 1945 he was appointed Director of the State Art Collection at Wawel. Mańkowski was probably the first Polish researcher who established contacts with foreign orientalists studying the arts, especially in the U.S. and the UK, including magazines such as “Ars Islamica” and “Bulletin of Iranian Art and Archaeology”. In this field, his most important article was on Polish trade with Persia in the seventeenth century, in the monumental Survey of Persian Art (ed. A. Upton Pope). In his studies on the relationship between the former Poland and the broadly defined Orient, Mańkowski created an academic groundwork based on extensive archival query. He published a book on Sarmatian Genealogy, in which he uncovered, relying on archival sources, the origins and the development of this formation of Polish culture which was born in the sixteenth century and underwent many transformations up until the eighteenth century. This was an ideological study, setting in motion the on–going debate about Sarmatism which lasts until this day. The framework of Mańkowski’s achievements should be divided into three categories: the Leopolitano (he lived in Lviv until 1945) and Oriental art; the Cracoviana and the Waweliana (Royal Castle in Cracow – Wawel); the Varsaviana and the artistic and collector’s activity of the last Polish king, Stanislaus Augustus.
Szczęsny Dettloff (1878–1961) left impressive research achievements and had noteworthy didactic successes, which resulted from his special involvement in scholarly activity. He was a paragon of a morally and politically uncompromising academic teacher, whose life course was marked out by his Polish patriotism and Catholic clergymen ethics. Priest Dettloff’s resumé, as founder of the art history department and the first Poznan professor of art history, is replete with dramatic events, due to the fact that during World War II he was arrested by the Nazis; it was only the intercession of Karl Heinz Clasen, the German art historian, that saved his life. During the Stalinist period, Dettloff was removed from art history department at Poznan University, where he returned in 1956. During his studies in Vienna, Dettloff became acquainted with the methodology of the older Viennese school; Dettloff was a Ph.D. student of Max Dvořak, under whose supervision he defended his Ph.D. thesis entitled Der Entwurf von 1488 zum Sebaldusgrab in 1914. During the inter–war period, he preferred using the Alois Riegl method in his work, which was expressed by emphasis on the stylistic analysis of an examined work of art and the use of genetic and comparative methods. In most of his mature work, however, in which he attempted to interpret the core art of Veit Stoss, he made clear references to the methodology of Max Dvořak, perceiving art history as history of ideas (Kunstgeschichte als Geistesgeschichte).