Evolutionary Developmental Biology (Evo-Devo) is becoming to be popular in psychology, and by certain is even seen as a new biology for psychology (Hofer 2014). In particular, it is about the concept of extended inheritance This concept claims to be (neo-) Lamarckian. According to it inherited is everything that contributes to resemblance across generations and that strongly affects the fitness of the offspring—starting by nuclear genes, by genes expression, maternal care, ecological niche, cultural niche, language, etc. In this paper I analyse the potential of the concept of extended inheritance on the example of transgenerational transmission of attachment style and mentalizing capacity. I present the neuroendocrine mechanism of transmission. Then I show that a) DNA methylation is complementary to neuroendocrine mechanism, but it does not revolutionize the latter as it is claimed; b) the concept of extended inheritance confounds the three questions rightly separated by Neo-Darwinism: origin of variation, fate of variation and inheritance, c) although the motivation of Evo-Devo goes against the alleged genetic determinism of neodarwinism, the concept of transgeneration inheritance is determinist (although it is an epigeneetic determinism).

The debate between Ludwik Fleck (microbiologist and philosopher of science) and Tadeusz Bilikiewicz (historian and philosopher of medicine) took place shortly before the outbreak of World War II and remained virtually unnoticed until 1978. A wider recognition of their exchange was possible only after the English and German translations appeared. Basically, the polemics concerned understanding of the concept of style and influence that the environment exerted on scientific activity and its products. The polemic started with the review of Bilikiewicz’s book Die Embryologie im Zeitalter des Barock und des Rokoko (1932) where the historical account of the development of embryology in the early and late Baroque period was interwoven with bold sociological remarks. The commentators of the debate were quick to notice that the claims made by Fleck at that time were crucial for understanding of his position, especially because they let to interpret his views in a non-relativist way. While the importance of the controversy was univocally acknowledged, its assessment so far has been defective for two reasons. First, for decades the views of Bilikiewicz were known only from the short and rather critical presentation given by Fleck and this put their discussion into an inadequate perspective. Second, for over 40 years it remained a complete puzzle what prompted their exchange of views. This paper closes these gaps. Thus, on the one hand, I reconstruct the central issue of the disputation between Fleck and Bilikiewicz and situate it within the context of Bilikiewicz’s views. On the other hand – and this is more important – I try to explain the origin of their debate by quoting some recently discovered and unpublished archival materials. A review of their correspondence gives me an opportunity to advance some hypotheses about the aims and hopes connected with their project but also possible reasons for its failure.

A meadow, a flowery meadow, a clearing, a lawn – smoothly trimmed, flat and recessed, a grassy pathway – these are elements of gardens that have been known for centuries, used in different styles and different types of gardens, including in public spaces. Pratum commune, commons or grassy mounds are the landmarks of the landscape of many a city, both currently and throughout history. Decorative grasses, such as pampas, Miscanthus or Pennisestum started to be used in garden compositions in XIX-century England. Initially more so due to their peculiarity than beauty. However, it was naturalism that gave rise to the wider use of grasses in gardens and parks in various places of the world and gained many propagators, including W. Robinson, J. Jensen K. Foerster and P. Oudolf.Grasses are currently often designed by landscape architects in urbanised spaces. They are employed both in geometric and freeform compositions. Their texture and delicate colour create a background for more expressive plants. They often constitute the key element of naturalist layouts, and the use of domestic species aids in preserving biodiversity and recreating the domestic landscape. Many of these current projects have been discussed in magazines and subject literature and have received awards in competitions. This review article is devoted to this subject.

In France, as well as in other countries of the French language, the relationship between the Bible and literature mirrors the dilemma facing the European culture, a culture founded on the Greek and Roman civilization, when it was becoming Christianized. The Christians in the French speaking Europe confront the problem of 'double-fidelity': either to the Bible as the Truth, or to the Greek and Roman culture representing Art. Two trends can be observed. Some would try to prove the artistic superiority of the Bible over pagan literature. Others would attempt to show that even in that kind of non-Christian literature it is possible to observe the presence of supernatural truth. The dilemma abates and loses its importance starting with the XVIII century when literature as such emancipates and becomes an autonomous reality of esthetic character.

Unsurprisingly, in the Middle Ages, the Bible constitutes the crucial source of inspiration for French literature. Authors compose paraphrases and long poems based on Biblical motifs. There appear mystery plays, with their performance often spread over a number of days. In the XVI century, both Catholics and Protestants produce a number of translations of the Holy Scriptures. There appear poetic pa- raphrases of psalms, and also extensive epic poems adopting various Biblical threads. In the XVII century, the genre of poetic meditation appears in addition to the genres already mentioned. On the other hand, the kind of drama based on Biblical themes is in retreat; it finds refuge in the academic theater, when it becomes superseded by works of the classicist character. In the beginning of the XVIII cen- tury, some scholars try to demonstrate the religious character of the works of Antiquity.

Together with the rationalism of Enlightenment, there appears a new attitude towards the Bible. In Voltaire, the Bible is an object of attacks and of ridicule. In Rousseau, it is a paradigm for the kind of discourse that is supposed to take its place. In Romanticism, we can observe the influence of the Bible over both Christian and non-Christian writers. In the works of the latter, the poet becomes a mystagogue interpreting the old myths. The Bible influences poetry; it serves as a stylistic and esthetic model, as a source of themes and motifs, and also as a point of reference for poems in the philosophy of history with the pantheistic or else progressist and utopic message, and for non-Christian apocrypha. In Symbolism, the Bible becomes completely despoiled of its religious value. It is being used in entirely atheistic and subjectivist ways. By the end of the XIX century, and in the first half of the XX century, we observe in France some kind of Catholic renaissance. The Bible is present in the prophetic works of Le'on Bloy. It becomes the object of the exegetical work of Claudel, of the poetry of Jouve and P. Emmanuel. In non-Christian writers in loses its function of the book of faith and becomes a book of myths.

The stigma of Ornithogalum sigmoideum is of dry and papillate type. The papillae are covered by a cuticle-pellicle layer, as revealed by staining. The activity of nonspecific esterase, acid phosphatase and peroxidase increases in the pellicle during the receptivity period. The style of O. sigmoideum is of the hollow type. Ultrastructural study of the cells lining the canal indicated that they are secretory cells and contain abundant endoplasmic reticulum, dictyosomes, mitochondria, plastids and ribosomes. After anthesis these organelles show degeneration at the end of the secretory phase. In canal cells, cytochemical tests showed the presence of acidic polyanions, insoluble and acidic polysaccharides, proteins and lipids. Before anthesis the canal cells are rich in polysaccharides, proteins and lipids. At maturity the cuticle is ruptured and secretory materials from the canal cells are released into the canal. In the unpollinated style of O. sigmoideum the exudates accumulated in the center of the canal; in pollinated pistils the same secretion materials were dispersed through the canal, which became wider.

Artykuł ma na celu sportretowanie szczególnej grupy nowych mieszkańców wsi: osób, które po 1989 roku kupiły dawny dwór lub pałac ziemiański i traktują go przede wszystkim jako dom prywatny. Bazując na 17 wywiadach z 19 osobami, autorka szuka cech wspólnych łączących rozmówców, analizując ich doświadczenie biograficzne i funkcjonowanie jako właścicieli obiektu zabytkowego. Przedstawia ich motywacje, styl życia, postawy wobec ziemiańskiego dziedzictwa oraz członkostwo w szerszych środowiskach związanych z etosem ich grupy. Teoretyczną podstawę tekstu stanowią badania biograficzne, studia nad stylem życia i etosem.

The aim of the article is to compare the thought collective and the interpretive community, two surprisingly similar notions formulated independently by Ludwik Fleck and Stanley Fish. In contemporary discourse, both concepts are used as synonims, while an accurate analysis of the contexts of the use of interesting terms proves that the equivalent of the interpretive community is rather thought collective, as well as the thought style, both of these concepts in the deliberations of Fish are subject to contamination. The exact repartition of the notion of interpretive community seems to be important due to the frequency of its use in works in the field of literary interpretation and cognition. The article also presents more general remarks on the functioning and possible origin of twin terms and their role in scientific cognition.

The new edition in Italian of the articles by the Polish microbiologist and philosopher Ludwik Fleck (1896–1961) edited by Francesco Coniglione offers the opportunity for some considerations around this significant scholar. Fleck anticipates Kuhn’s ideas as well as those of the sociology of science. For him, any epistemology that does not take psychological and sociological methods into account, or that does not concern itself with economics, technology, art, and even politics, is an epistemology imaginabilis. Here we discuss some key points of the essays collected in the book, some observations taken from the rich introduction of the editor, and an inevitable question: Why has Fleck been neglected for so long?

This article talks about a famous novel by Leopold Tyrmand entitled Zły (The Bad) which was translated into English by David Welsh as The Man with White Eyes (New York: Knopf, 1959). The author claims that the novel which describes a life in destroyed Warsaw of the 1950s gradually became an epic. The author refers to a conception by Polish literary scholar and critic Kazimierz Wyka who claimed that epics are not written, but – under some circumstances, sometimes even against the will of the writers – some texts become epics. According to the author, in Zły (both in the style and in the plot) can be found the elements of brilliant epic stylization. The novel which at first was read as a thriller gradually became an epic because it described with epic accuracy a world that had disappeared, a world where a new life was born in the ruins.

Obłazowa Cave was first excavated in 1985, and is best known for the discoveries of remains of settlement from the time of Middle and Upper Palaeolithic. The traces of most recent settlement in the cave, found in the uppermost part of the stratigraphy can be attributed to Magdalenian settlement. Results of latest excavation brought more precise date this occupation face. In years 2016 and 2017 in layer III of the cave a series of artifacts, and a small sandstone female figurine were found.

One of the key issues in contemporary urban studies is to consider the city from the perspective of culture and consumption, which are treated as new drivers of urban development and economic prosperity, the essence of urban ways of life, and arenas for the implementation of urban policies. In a consumer society, cities become important nodes where collective and individual consumption takes place on a massive scale. The urban system organizes capabilities and provides the resources for consumption, thus facilitating various kinds of lifestyles. As a result, the urban space operates as an arena of competition, where different consumer orientations and social categories strive physically and symbolically to occupy ground, produce meanings, and create belonging in the spaces and places that constitute the city. In applying Pierre Bourdieu’s concept of a “social field,” the aim of the article is to show how the space of social positions corresponds to the space of cultural practices. Drawing on the study of cultural and leisure activities in Wrocław, four general categories of urban residents are revealed and characterized by their distinct positions in different dimensions of the social space. The analysis also points to social capital (social networks) as an efficient new principle of cultural differentiation. The paper closes with the author’s concluding remarks and guidelines for further research.

The article studies such cultural phenomenon as madness in its romantic (Edgar Poe) and expressionistic (Ivan Shmelyov) interpretation. Refl ecting upon the philosophical concept introduced by Michel Foucault the author analyzes how visual-plastic and verbal experience of interpreting madness in terms of literature is realized. Verbal and literary peculiarities of creating an aesthetic image of madness within the romantic canon in Poe’s story is compared to the specific features of verbal and visual images created in the style of expressionism by Shmelyov. Techniques of literary image visualization, revealing the specific nature of interaction between different forms of literature, art, cinema peculiar to the first third of the twentieth century, are studied in the process of transition from the aesthetics of story to the aesthetics of presentation.

In his lecture on Adam Asnyk’s poetry delivered in 1896 Jan Kasprowicz came up with the term endymionism to refer to a relatively small portion of the poet’s work characterized by a tone of extravagant egotism and narcissism. Exemplary for this extravaganza was, according to Kasprowicz, the poem ‘Endymion’. It belongs to a sequence of poems voicing the poet’s trauma after the suppression of the 1863–1864 January Uprising, and is closely connected with the ‘A Dream of the Tombs’, his most opaque and depressive poem. In the Polish literary tradition – from Słowacki’s calling Krasiński the Endymion of poetry, through Norwid and Faleński to a number of Young Poland’s poets (Rydel, Wyspiański, and Lange to mention but a few) – the figure of Endymion marked a situation of the poet being misunderstood or flouted by critics and readers. But with Asnyk’s ‘Endymion’, who, despite the appearance of a lonely dreamer is in fact a guardian of the tombs of heroes who fell in an unequal fight, this mythological figure acquired a new meaning. It became a symbol of loyalty and a noble idealism making no concessions to mundane pragmatism. In the following decades endymionism of that kind would often blend into Parnassianism, a poetic movement committed to the idea of art independent of all practical concerns and obligations.