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Copyright of Praehistorische Zeitschrift is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bibliotheksdienst is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tadeusz Kantor was one of the most prominent artists of the 20th century Polish art. His authorial theatre was recognized all over the world. Kantor derived inspiration for his works from the reminiscences, the so called 'memory mechanisms'(pol. Klisze pamięci), paying attention to the fact that these memories are intertwined and overlap with historic events, which is referred to as collective memory. One may therefore find in Kantor's works numerous elements and characters excerpted from German culture. This paper aims at investigating Polish-German interconnections. Furthermore, by adopting the perspective of the modern audience this study attempts to examine whether the values of Kantor's Oeuvre are still vital and relevant in modern times and how they are perceived by the contemporary German audience. [ABSTRACT FROM AUTHOR]

The paper discusses transformations which took place in Polish theatre after the turning point of 1989 in the context of the so called 'Romantic Paradigm' characteristic for Polish culture. Pointing out to the collapse of that paradigm and to the emergence of a new generation of playwrights, the analysis focuses upon the influence of German theatre upon Polish theatre and on the accompanying controversies. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Soziologie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Praehistorische Zeitschrift is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To this day, the so-called "Bloody Sunday at Bromberg" (3./4.9. 1939) and its consequences are among the most contentious subjects in the history of the Second World War. Despite extensive efforts by German and Polish researchers it has not been possible to clear up the events at the time. In view of the lack of central sources on the German side this is probably no longer possible. In contrast the investigation of the number and names of the Polish victims has advanced noticeably during the last few years. The present article adds to existing Polish material published in 2008/2009 on the basis of unpublished German sources of the Historisch-Landeskundliche Kommission für die Deutschen in Polen [Historical Commission on the Germans in Poland], among them the papers of the former teacher August Müller, kept at the Herder Institute in Marburg. The comparative analysis of the names of the dead exhibits surprising differences, while the estimate of the overall number of casualties (over 400) is astonishingly similar both on the German and Polish side. In any case, final clarification seems impossible on the basis of the sources known to date. [ABSTRACT FROM AUTHOR]

The research work on the imposition of martial law in Poland is aimed at pointing out the recurring and regulating measures preferred by certain players to (re)construct the past in order to influence the historical discourse. This shall be achieved by means of selected German and Polish press articles, interviews on radio and television, statements given by Jaruzelski and reports issued by the IPN (Instytut Pamięci Narodowej), which make an assessment of December 13 1981. The work shall also unveil the narrative structures typically followed in the telling of the events as well as find out what ideological meaning they imply, what type of explanation they lead to and, finally, how far they support their argument with regard to the question of whether this was a morally right or excusable decision. The methodology used throughout this work shall involve concepts of cultural semiotics, discourse analysis and such literary aproaches, which understand history and the telling of it as a fiction-creating process. [ABSTRACT FROM AUTHOR]

The article presents abstracts on social welfare politics. Mentioned themes include for example the global financial crisis of 2008 and its effects on pension policies, pensions during the crisis in Lithuania, the effects of the crisis on the pensions in Poland and more.