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This essay is devoted to Letter on Drained Paper [Listy na wyczerpanym papierze] by Agnieszka Osiecka and Jeremi Przybora covering the years 1964-1966. Its aim is to show the epistolographic strategies adopted by the correspondents. First, by analysing the structure of the letters, I characterise the authors' writing style, juxtaposing its similarities and differences. This makes it possible to show the features characteristic of a love letter, to which Osiecka and Przybora's collection belongs. I also look at what influences the uniqueness of the love story and the development of their feelings in the epistolographic space. This allows one to see how the authors' writing workshops differ and how the correspondents express their emotions. I also highlight the performative role of correspondence and how writers can create each other. An analysis of the unspoken words in the letters is also important. I show what effect such a procedure had on the reader's perception of the correspondence. Then I focus on the structure of the correspondence of Agnieszka Osiecka and Jeremi Przybora, showing the style of the artists, the differences in their writing and the common features of their letters. I characterise Osiecka's and Przybora's writing separately. I outline the evolution of the writers' feelings in love throughout their correspondence. I also draw attention to the role of the space the artists were in at any given time and how the songs of the lovers complemented their correspondence. [ABSTRACT FROM AUTHOR]

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Copyright of Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Przeglad Socjologiczny is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Przeglad Socjologiczny is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

This paper presents a correlation between second-person narration and the more-than-human perspectivity in animal narratives. The analysis focuses on representations of "you" narration in Andrzej Zaniewski's novel Rat, published for the first time in 1995. "Rat-centric" fiction, as Marco Caracciolo describes it, talks about various experiences of the title animal. Although the dominant diegetic form in the novel is the first-person narrative, the appearing parts of the text told from a second-person point of view turn out to be a significant element of a non-anthropocentric perspective. Considering the influence of form on the posthuman message, the paper is based on research in the field of animal studies and contemporary narratology, including, among others, Irene Kacandes's "literary performative", David Herman's "double deixis" or Dominique Lestel's "thinking with fur". In this article, I propose to distinguish three functions of the second-person narrative in Rat: immersive, empathetic and identity roles. The immersive function participates in adapting a sensorimotor repertoire to the intersubjective perception of the non-human world. The second of them, the empathetic function, by bonding the human narratee with the animal character, opens a possibility of embodied co-experience and verification of anthropocentric norms. The third, identity function, participates in (de)constructing the rat selfhood. Findings of the proposed perspective of second-person zoonarration sheds new light on its formal opportunities for creating posthuman agency, thinking, and storytelling. [ABSTRACT FROM AUTHOR]

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The paper focuses on various examples of Polish literary reportage which draw upon parable, that is, a didactic story aimed at conveying moral, religious, philosophical, or existential principles by means of allegory, symbolism, and metaphor. The main purpose of the research is to examine the way in which contemporary reporters make use of contrast and analogy as tools for transferring documented facts to a universal level. In the article, the mechanism of parabolization shaped by both these devices is considered first in terms of content of reportage publication, and then with reference to the structure of journalistic narrative. The initial study includes parabolic parallels and antithesis in non-fiction books by Wojciech Jagielski and Katarzyna Surmiak-Domańska. The latter part discusses selected works by Mariusz Szczygieł and Witold Szabłowski regarding transcending literal meanings through the specific segmentation of body text. This dual analysis conducted in the paper is preceded by an introduction, in which the authoress argues the symbiotic relation between the notion of parable, the poetics of contrast, and the principle of analogy. She also presents the origins and development of parabolic reportage in twentieth-century Poland. A special emphasis is placed here on the so-called Aesopian language, which enabled reporters to pass the Communist censorship thanks to hidden political allusions and other features typical of parable. In the conclusion, the parabolic tendency is recognized as still valid in today's Polish reportage, though different in significance and strictly associated with literary techniques of contrast and analogy. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

This paper is an analysis of four of Wiktor Woroszylski's biographical books in terms of the narrative strategies adopted in each of these biographies. The books taken into consideration are: Sny pod śniegiem (about the life of Michaił Sałtykow-Szczedrin), Życie Majakowskiego, Życie Sergiusza Jesienina (co-written with Elwira Watała) and Kto zabił Puszkina. Narration is recognized as the main category of biography, which responds with the text construction, author's perspective, presentation of the hero, and the introducion of minor narratives (statements, dialogues, quotes). Additionally, narration is also the figure of understanding. On the one hand, it is connected with seeking the truth about another person, on the other hand, it could be also an attempt at the biographer's self-understanding. Woroszylski uses such narrative strategies as incarnation, lighting, explanation and researcher-interpreter strategy. They present four ways of telling about the fate of the hero. They also show a different understanding of biography as a genre and the role of the biographer's self. However, the analysis undertaken in this article is not intended to validate these strategies in terms of adherence to the principles that are crucial to a biography. Demonstrating differences and similarities between strategies reveals constant tendencies that are evident in Woroszylski's biographical attempts. Moreover, it shows the author's understanding of the genre. This paper tries to answer the question why the author repeatedly (not only in the mentioned books) returned to the issue of a Russian writer's fate. What is also important is that each biography must be treated as an "unfulfilled project". It emerges from the considerations that biography itself is a piece of work that cannot be separated from its author. It is included in the biography of the biographer, too. It means that the biography is a subject of reformulations affecting its construction, depending on the historical or political situation. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Przeglad Socjologiczny is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

In contemporary Italian poetry, the strong presence of things intertwines with the recognition of emptiness. Poets, freed from the excess of history, rebuild their relationship with reality. They discover the depth of things and their real duration. At the same time, they try to find their own identity. A strong interdependence between the subject and the space takes a particular form in the works of poets associated with Milan, such as Vittorio Sereni or Milo De Angelis. They construct poetic imagery through liminal spaces and overlapping visions. Their poetic chronotope does not belong to the linear development of history. Starting from these observations, we aim to understand Milan's character revealed by contemporary poetry. The dominance of non-places, indicated by Marc Augé, is contrasted in the paper with traditional spatial practices, such as wandering around the streets, where, as in Barthes: "the city speaks to its inhabitants, we speak our city, simply by inhabiting it, by traversing it, by looking at it." This approach finally leads us to see the poetic space from the microhistory perspective and through the aura phenomenon. [ABSTRACT FROM AUTHOR]

Starting with Warsaw themes in the works of Pablopavo (Paweł Sołtys) - which have dominated previous research papers - the article signalizes their role in describing not only the rapidly changing city itself, but also its inhabitant's sense of inadequacy. Most of all, the analysis of the songs from different albums, from Telehon (2009) to Mozaika (2022), and from different musical projects (Pablopavo solo, the band Pablopavo i Ludziki, Pablopavo recording with Naprawdę Duży Zespół, with Praczas or with Praczas and Anna Iwanek) deals with motifs not discussed before, e.g. the vision of home, that can be a shield against the evil world, but can have the dark side or be used as a way to show the duality of the human mind. The metaphors created by Pablopavo are also interpreted in the article: the conceptual metaphors, as the versions of the structural metaphor LIFE IS A JOURNEY (a turn, an elevator, a railway station, a map), the orientational metaphors (mixing the dimensions) and the metaphors that blend space and time. The reflections profiled this way reveal the potential of these topics and figures in straightening out the mind and the memories, as well as in identifying the human position in space - the space understood more in terms of existence as space. [ABSTRACT FROM AUTHOR]

The paper concerns posthuman and emancipatory contexts of Radek Rak's novel The Tale of the Serpent's Heart or Another Word about Jakób Szela. The story re-tells a fabled biography of Jakób Szela, the leader of the Peasant Uprising of 1846. The world created by the novel is subjected to non-human laws and relations, as well as to the feudal system. This fantastical-political juxtaposition exposes and deconstructs various inequalities sanctioning the exploitation of the peasant class. The paper points out three interpretative areas of the book, analyzed in the posthuman context. Firstly, describing the fantastical, non-anthropocentric imagination creating the novel's world as a space of multiple relations and influences, usually non-existent in the historical works. Secondly, the paper focuses on the de-subjectification / virtualization of the subject. This particular point is discussed with references to other analyses of Rak's novel, as the paper argues with some of the critical stances. Finally, it considers the genre's distortion between mythical and historical which creates a space for alternative representations of the Peasant Uprising, escaping the dialectics of the "bad" and "good" legend. The paper's closest methodological points of reference are texts of Rosi Braidotti (one of the most prominent posthuman philosophy scholars), Gilles Deleuze, and Felix Guattari. Using these tools, as well as author's original propositions, the paper argues that the posthuman dimension of Rak's novel expresses its critical effect, and postulates to change conservative relations in human and non-human relations. [ABSTRACT FROM AUTHOR]

Copyright of Przeglad Socjologiczny is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

The aim of this article is to analyze the collection of letters between Wiktor Woroszylski and the writers: Jerzy Stempowski, Jerzy Giedroyc and Zbigniew Żakiewicz. It is based on two volumes of Woroszylski's letters, published in 2020. The paper reveals a letter as genre, which can be read as an evidence of a writer's life, a historical document, as well as a commentary on a legacy. The first three parts of the text include an analysis of the collection of letters. It traces the characteristics of the relationships between the correspondents and the main subjects of the conversations along with the crucial writing strategies. The last part covers a wider reflection on the epistolographic work of Woroszylski. Firstly, the key features of the letter as a genre are considered, i.e. its performativity, dialogicality (connected with the relation between "you" and "I") and at the same time conversion between the personal and textual self. Secondly, the main issue of the paper reveals Woroszylski as an author, a man, a correspondent and an activist but also shows how he manifests himself in the letters. The main purpose is to present Woroszylski as a subject of epistolary writing. It means that he has to be considered as a real person at a specific point in life as well as in the instance related to the situation of the text. It is related to the author's self-creation in two meanings of this word: self-presentation and self-conceptualization. Nevertheless, the image of Woroszylski remains internally consistent and, furthermore, it is compatible with his biographical and creative portrait. To conclude it must be admitted that his epistolography should be examined among the writer's other works, because, as a genre, letters refer to the real world and require both textual and non-textual references. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Przeglad Socjologiczny is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Acta Geographica Lodziensia is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Acta Geographica Lodziensia is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

The essay is dedicated to the work of the Mexican writer and film director Juan Manuel Torres (1938-1980), who had lived in Łódź in the 1960s for many years and studied directing at the film school there. His prose is strongly influenced by Polish literature and culture. Torres' work is currently experiencing a rediscovery: the historical-critical edition of his Obras completas [Collected Works] was recently published (2020 and 2021) by the Mexican publishing press Nieve de Chamoy (two volumes so far, the last third is announced for the end of 2023). The aim of this paper is to present and interpret Torres' literary work and to outline its biographical, historical, and theoretical contexts. What concept of literature and art can be found in his autofiction? In Torres' work, the reality of the Cold War meets the atmosphere of the sexual revolution of the 1960s. The author registers changes in the sexual morality and deconstructs gender stereotypes. In his prose, one can find some (for his times) provocative motifs, such as abortion, homosexuality or ménage à trois. Torres combines them with a complex poetological reflection on the crisis of representation and the role of art in the light of the beginning of postmodernism and the idea of the "literature of exhaustion." The essay consists of five parts. After discussing the latest edition and introducing the life and work of Torres, I present the literary contexts in which his writing can be placed. The fourth part is devoted to the collection of his short stories El viaje [The Journey], which contains the most interesting texts for the Polish audience in the discussed edition. The last part is a sketch of Torres understanding of literature and art. The focus is on the intertextual allusions to Central European modernism, especially to works by Bruno Schulz and Hermann Broch. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Przeglad Socjologiczny is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

This paper is an analysis of four of Wiktor Woroszylski's biographical books in terms of the narrative strategies adopted in each of these biographies. The books taken into consideration are: Sny pod śniegiem (about the life of Michaił Sałtykow-Szczedrin), Życie Majakowskiego, Życie Sergiusza Jesienina (co-written with Elwira Watała) and Kto zabił Puszkina. Narration is recognized as the main category of biography, which responds with the text construction, author's perspective, presentation of the hero, and the introducion of minor narratives (statements, dialogues, quotes). Additionally, narration is also the figure of understanding. On the one hand, it is connected with seeking the truth about another person, on the other hand, it could be also an attempt at the biographer's self-understanding. Woroszylski uses such narrative strategies as incarnation, lighting, explanation and researcher-interpreter strategy. They present four ways of telling about the fate of the hero. They also show a different understanding of biography as a genre and the role of the biographer's self. However, the analysis undertaken in this article is not intended to validate these strategies in terms of adherence to the principles that are crucial to a biography. Demonstrating differences and similarities between strategies reveals constant tendencies that are evident in Woroszylski's biographical attempts. Moreover, it shows the author's understanding of the genre. This paper tries to answer the question why the author repeatedly (not only in the mentioned books) returned to the issue of a Russian writer's fate. What is also important is that each biography must be treated as an "unfulfilled project". It emerges from the considerations that biography itself is a piece of work that cannot be separated from its author. It is included in the biography of the biographer, too. It means that the biography is a subject of reformulations affecting its construction, depending on the historical or political situation. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

The aim of the article is to present the phenomenon of using the second-person narrative in tabletop role-playing games. Despite its ambiguous status in literary projects, the dyadic narrative is the basic component of the phenomenon of pen-and-paper RPGs. In the introduction, the author briefly introduces the specificity of text-based narrative games and the history of their creation. Then the most popular systems, such as Dungeons & Dragons or Vampire: The Masquerade, were characterized, as well as examples of games created in Poland. To illustrate the phenomenon, official manuals, and recordings of sessions of the most popular Polish artists published on YouTube were used. When discussing examples of second-person narration, the author draws attention to its occurrence in guides and in the statements of the player functioning as the Game Master. The Game Master is a specific narrator of heroes' adventures, who in his action smoothly moves between different types of narratives (first, second and third person): he describes the scenery and actions of NPCs and creatures, constructs statements of characters not guided by other participants of the session, but also comments on the actions and commands of player-created heroes. It is precisely in this last type of activity that the dyadic narrative is extremely important. In the statements of the Game Master, it manifests itself primarily as a commentary on the actions of the characters, the continuation of the plot after the actions and statements of the players, and when consulting the heroes' further actions, but also serves technical communication related primarily to the mechanics of throwing polyhedral dice. The use of a second-person narrative in RPGs primarily contributes to increasing the immersion, the involvement, and the sense of interactivity between players. [ABSTRACT FROM AUTHOR]

This paper focuses on the problem of silence regarded as an acoustic framework in which uncanny sonic phenomena appear. Some of these haunting noises take the form of sound abject -- an unwanted sound of the human body, „neither [sound] subject nor [sound] object". Borrowing terms from two eminent authors of twentieth-century aesthetics -- Julia Kristeva, who proposed the concept of abject, and Pierre Schaeffer, who announced the existence of acousmatic sound objects, I hereby take the liberty of introducing the idea of „sound abject" -- an unwanted, uncanny corporeal sound (the sound of the body itself), uncontrolled by the self and constituting neither a subject nor an object but a sound phantasm that separates from the body and resounds worrisomely. I analyse the cases of sound installation created by Jan Simon as well as the Jamaican dub music production strategies. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

In his text titled Comedy, included in the collection of essays named The End of the Poem, Giorgio Agamben - the famous contemporary Italian philosopher - took up the problem of the ambiguity of Dante Alighieri's Divine Comedy title. This issue has always been present in Dante studies since the Comedy itself was written. However, Agamben's essay concerning this topic has not yet been met with interest among researchers of medieval or Italian literature, which seems to be quite significant. In this paper the author critically examines Agamben's suggestions for interpretation of the title to see if they can broaden the horizon of Dante research. The confrontation of Agamben's theses with previous concepts - the historical (Giovanni Boccaccio, Benvenuto da Imola) and the contemporary (Erich Auerbach, Amilcare A. Ianucci, Teodolina Barolini) - reveals the originality, but also the controversy of his ideas. The Italian philosopher entangles himself in the philological tradition, pointedly disputing with personages from the exegetical history, but at the same time he expounds his own interpretation. Nevertheless, as the author proves, there is no doubt that Agamben makes a significant contribution to the state of research on the title of the Divine Comedy revealing - among other things - deeply hidden cultural motivations of this academic phenomenon. [ABSTRACT FROM AUTHOR]

Copyright of Studia Wyborcze is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studia Wyborcze is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studia Wyborcze is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

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Copyright of Studies in Law & Economics / Studia Prawno-Ekonomiczne is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Acta Geographica Lodziensia is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Acta Geographica Lodziensia is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Acta Geographica Lodziensia is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 Acta Archaeologica Lodziensia is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)