W muzeach przyrodniczych możemy zobaczyć repliki wymarłych przed wiekami zwierząt. Na czym polega sztuka ich „ożywiania”? Jak się je rekonstruowało kiedyś i jak to się robi dzisiaj?

Tożsamość, reputacja, system wartości, doświadczenie, relacje z instytucjami to tylko niektóre elementy budujące markę Polskiej Akademii Nauk.

Wizerunek/postrzeganie partii politycznej (PPP) należy do konstruktów, których zawartość oczekuje na taksonomię naukową. Brak konsensu wśród badaczy co do uniwersalnych kulturowo wymiarów PPP i narzędzi do ich pomiaru uniemożliwia systematyczną kumulację wiedzy na temat determinantów PPP i jego wpływu na decyzje wyborcze. Celem prezentowanych badań leksykalnych jest weryfikacja pięcioczynnikowej struktury PPP i walidacja skal do jego pomiaru. Artykuł przedstawia wyniki sześciu badań przeprowadzonych na polskich wyborcach w latach 2011–2019. Wyniki wskazują na wysoką stabilność pięcioczynnikowej struktury PPP na poziomie różnic indywidualnych (wyborcy) w wymiarach osobowościowych i pozaosobowościowych. Opracowane narzędzie pomiaru PPP cechują satysfakcjonujące wskaźniki psychometryczne oraz wysoka moc wyjaśniająca preferencji politycznych wyborców. Omówiono ograniczenia wynikające z różnych możliwych poziomów analizy struktury wizerunku partii na poziomie wyborcy versus partie.

This article examines the editorial work of Ignacy Szydłowski, who was in charge of Wizerunki i Roztrząsania Naukowe [ Scholarly Profiles and Research], a highbrow literary and historical magazine published between 1834 and 1843 by Zawadzki Brothers, Wilno's leading publisher and bookseller company. The periodical holds an important place in the history of Polish Lithuanian learned journals in the 19th century and provides the focus of the final phase of Ignacy Szydłowski's intellectual biography. The article detects a notable parallel between the evolution of Szydłowski's aesthetic views and changes in the character of the magazine he edited.

This article describes the role of street art in the context of the city’s competitiveness and creativity. In addition, the study examines the perception of street art by residents of various cities in terms of its acceptance, associations, and impact on the image and competitiveness of cities. Based on selected examples from Poland, manifestations of street art were indicated as a determinant of the direction of changes in the image of the city’s architecture and urban layout. The entire discussion was set in the framework of a literature review, case study, and survey research. The article deals with the issues of urban artistic articulations and their impact on the increase in the level of social participation, growing creativity in public space and increasing the attractiveness and competitiveness of the city. By presenting numerous examples, the importance of street art was indicated as an element influencing the city’s popularity and attractiveness. Moreover, the manner of perception of street art among residents was presented, taking into account their place of residence in terms of population. The interdisciplinary approach implemented made it possible to confirm the purposefulness of using the activities of street artists in the space of our existence, in giving a unique identity of urban spaces, thus influencing the competitiveness of cities. Acceptance and positive perception of street art should make city authorities aware of how important this artistic current can become from the perspective of managing the city’s image.

This article is divided into two parts. Part I presents the origins and the research objectives of the authorial project Don Kichot Open Gallery/Don Quijote – galeria abierta. Its first product is a book titled identically to the project and published in collaboration with the POSET Foundation. It contains Miguel de Unamuno’s essay ‘El caballero de la triste figura’ (1896), translated into Polish by Carlos Marrodán Casas, and quality repro-ductions of nearly fifty artworks on the theme of Don Quixote (some of them shown for the first time) produced over a period of over 250 years. The album features the work of thirty Polish artists. Part II presents an interpretation of Marian Nowiński's painting ‘Don K[ichot] trwa dalej. W cieniu 2’ (Don K[Quixote] is still going on: In the shadow 2). A closer examination of this picture reveals a wealth of creative references to the Euro-pean and Polish tradition (Andrea Mantegna, Annibale Carracci, Orazio Borgianni and Jacek Malczewski respectively) and an artistic affinity for the cinema of Grigori Kozints-cev, Orson Welles and Terry Gilliam. The fusion of two aesthetics (painting and film) and diverse styles of painting (Renaissance, Baroque, twentieth-century symbolism) is testi-mony to both Nowiński's erudition and the boldness of his artistic ambition.