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The aim of the paper is to present a by now underestimated fact in the history of Polish codicology: the nineteenth-century studies in the manuscripts of Annals by Jan Dlugosz (1415-80). A large number of codices as well as eminent position of Dlugosz in Polish medieval literature has for long drawn attention of both general and professional opinion to this textual heritage. In the paper four periods of intensive inquiry into copies of Annals were identified. The first one, of the second half of 18th century, was marked by biographical and bibliographical studies of Jan D. Janocki. He came across the manuscripts of Annals in Zaluscian Library in Warsaw, where he was prefect (librarian). He described them, along with other copies from outside of this library. In the second period, when literary history was also a basis of research, the number of known copies was expanded by Michal Wiszniewski, who scrupulously collected information about manuscripts discovered during the first four decades of the 19th century, as well as those which had been known earlier. A new research trend was launched during the years 1840-1850 by Aleksander Batowski and Jozef Muczkowski. Their work belongs to the third period of Annals studies. Batowski described codices form the libraries of Galicia (Lemberg, Cracow, and Sieniawa); Muczkowski also collected information about them, and in addition about copies deposited at other Polish territories and abroad. Due to the professional background of both scholars profound codicological findings are the feature of this period. It was inspiring the last, fourth one, marked by the labour of publishing Dlugosz's Opera omnia, including Annals. A 1858 announcement of the intended publication aroused unprecedented commitment, which led to collecting information on nearly 100 manuscript versions. This was used by Aleksander Przeździecki, who took up an initiative to publish Dlugosz's works, and who discovered the autograph of Annals, and a little later by Henryk Zeissberg in his textbook on Polish medieval historiography. At the early seventies of the nineteenth century explres the period of intensive research and study of Annals. Later some separate discoveries were made, but they were not linked to the systematic study of Dlugosz's work. Author attempted also to reveal methods of an eighteenth and nineteenth century manuscript student in Poland, their origin and early stage of development.

Artykuł analizuje filmową powieść Jana Brzękowskiego Bankructwo profesora Muellera w perspektywie awangardowych eksperymentów z konwencjami powieściowymi. Przedstawia, w jaki sposób naśladowanie form zaczerpniętych z kina niemego przełożyło się na „kod bibliologiczny” (G. Bornstein), owocując nowatorskim układem typograficznym, za którego sprawą jednym z kluczowych elementów utworu stała się materialność tekstu (kompozycja typograficzna, dobór kroju, stopnia oraz odmian pisma). Ponadto zwraca uwagę na projekt graficzny, na który złożyły się elementy przygotowane przez innych artystów (Witkacy, S. Taeuber-Arp, H. Stażewski).

Marchołt occupies an individual position in the literary output of Jan Kasprowicz. This drama was created in stages during a couple of years’ time, being entirely published only in the year 1920; wholly absorbing the artist until the end of his life. The multidimensional issue layer of the work was subordinated to a dramatic convention of mystery and is formed in the style of a morality play, with typical for the end of the 19th and the beginning of the 20th centuries, syncretic treatment of medieval religious theatres. An intrinsic key to deciphering Marchołt is to treat it as a synthesis of outlook changes and of the poet’s dilemmas, as an attempt of holistic presentation of the antinomies prescribed to the human condition. Kasprowicz constantly wrestled with the mystery of human existence, with characters’ vocation and with their life tracks since birth until death, pinpointing human inborn creation towards good and people’s plunging into sin, the spiritual and corporeal nature, the desire for freedom and entangling in illusions of happiness. He did not manage, however, to fully realize his drama inspirations and theatrical ambitions, in a „tragico-comic mystery” about Marchołt stopping halfway, signaling the direction of trespassing pessimistic and decadent anthropology. The true reconciliation will take place only in the poetic Book of the Poor (Księga ubogich), finding its completion in My world (Mój świat). Since the creation of Marchołt model, he tightly clings to rationalism of the contemporary civilization, being unable to accept its finiteness, the poet evolves affirmation of life synchronizing with nature, reconciling with himself and God, finding the long-awaited harmony of the universe.

Background: Unsafe abortion is one of the health issue of the reproductive age women. In spite of abortion legalization, woman’s access to safe abortion is based on the knowledge related to safe abortion. Knowledge is essential part which equip women to get services and prevent from complications of unsafe abortion. Materials and methods: A descriptive cross sectional study was conducted with the objective to identify the knowledge and attitude on safe abortion among bachelor level student. Non probability total enumerative sampling technique was used to select the sample. Total of 310 respondents were included in the study. The structured pretested questionnaire was used to collect data. Pearson chi-square was used to find out the association between demographic variables and knowledge on safe abortion. Result: The result of the study showed that among the respondents majority 247(79.7%) were ≥20 years of age with mean age 21.4 years with SD 1.9. More than half 173(55.8) of respondents were female. Majority 193(62.3%) of the respondents had fair knowledge and nearly half of the respondents 154(49.7%) had positive attitude regarding safe abortion. Respondents’ knowledge on safe abortion were not significantly associated with their age, gender, marital status, ethnicity, type of family, area of residence and living arrangement. Conclusion: Despite having fair level of knowledge among majority of respondents, it is seen that half of the respondents had negative attitude towards safe abortion. This shows that there is a need for educational intervention among undergraduate students in order to change their attitude. Key words: Attitude, Knowledge, Safe Abortion, Undergraduate Students.

A manuscript collection, literary Miscellanea, from the 18th century, which is in the possession of the Ossolineum Library, contains works written by Jan Ludwik Plater (ca. 1670–1736), a Livonian voivode. Three poems about little domestic animals, and more specifically – their dying, are worth the attention. The author, who was an educated man, wrote elegies for the death of the ‘turkey court’ favourites, following the model of ancient (Catullus, Ovid) and old‑Polish (Kochanowski, Szymonowic) writers. He wrote light and graceful poems, which contain the features of an elegy but are also decorative in the Rococo style; on the one hand they ‘commemorate’ ephemeral beings, on the other hand they provoke thought on the universality of death.

Jan Lechoń was a poet who actively used memory motifs in his works. These threads were very often correlated with musical and sound themes. First, this article is an attempt to show how Lechoń constructed specific models of cultural memory, in which musical reminiscences played an important role. Secondly, the text shows a lot of evidence that the main method of building musical and literary dependencies that Lechoń used was the Musicality II specified by Andrzej Hejmej, consisting in treating music as an element of a larger topic. Music in Lechoń’s poetry is not always treated as a value in itself. The poet often treats music, e.g. the theme of a concert or playing an instrument, as a pretext to show other content, especially those that are important to Polish cultural memory.

After the transfer of Instytut Literacki from Rome to Paris, the break of the nineteen-forties and the nineteen-fi fties turned out to be formation time for the editorial strategy of Jerzy Giedroyc. During these days, the monthly Kultura acquired the leading part in the activities of the Instytut, and in this role it published, fervent at times, polemics, concerning the political line of the periodical. The printing of the fi rst part of the documentary by Aleksander Janta-Polczynski “Wracam z Polski 1948” (Upon my return from Poland, 1948) was received with indignation by the majority of the Polish emigre milieu. It also revealed the differences in the attitude of the “Polish” London and the Parisian Kultura towards post-war Poland. Kultura, upon the instructions of General Anders, was withdrawn from sale in Great Britain. Under such pressure, Giedroyc refused to publish the second part of the documentary in Kultura, but, fi nanced the edition of the complete book in early 1949. Giedroyc, and the Kultura team, refused to support the June 1947 resolution of the Union of Polish Writers, which in reality prohibited the publishing of “older and current works” in Poland. Giedroyc was also sceptical of the stance assumed by the London based journal Wiadomości, directed by Mieczyslaw Grydzewski, which cut itself completely off from what was happening in Poland, and criticised the persons who decided to return home, in particular the writers. The publishing of Janta’s article resulted in an exchange of letters between Jozef Czapski, General Wladyslaw Anders, and Jerzy Giedroyc, in October and November 1948. Each of them presented his own views, but no compromise was reached. Nevertheless, the most vehement turned out to be the so called “Pastoral” letter by Jan Lechon to Jerzy Giedroyc, written by the poet, after having read the book in May 1949. At the time, Lechon belonged to the closest collaborators of Mieczyslaw Grydzewski and the London Wiadomości. In his highly emotional dispatch, Lechon accused Janta of conscious, or unconscious, writing for the Bolshevik cause, and the defence of Janta’s attitude by the Kultura milieu, in Lechon’s eyes, was “most scandalising and extremely damaging with respect to the already disoriented and demoralised Polish emigre opinion”. However, Giedroyc refused to respond to the letter. In his opinion, the publishing of Janta’s book closed the issue. Lechon’s letter is one of the most representative texts for the “indomitable” and “uncompromising” wing of the Polish emigration after World War II.

John Paul II saw the mass media as a real cultural revolution – the first modern Areopagus, where a constant exchange of information, ideas and values takes place. From the perspective of time it is worthwhile to ask whether the Pope realized the postulate of using the modern communication technology as an integral part of the Church’s activity. The author focuses on two characteristic events – the Pope’s prayer at the Western Wall in Jerusalem and his appeal for peace on the eve of the Second Gulf War. The paper shows that John Paul II’s communication potential issued from his personality characterized by the history of his own personal experiences.

The article is the result of research into non-fiction, memoir writing from the period of the 1920 war. On the basis of Uhlan Memoirs from 1920, an autobio­graphical book by Jan Fudakowski, the author considers the problem of speci­ficity and individuality of the war autobiography style. The studied example is an autobiography of a soldier and an educated man. Fudakowski consist­ently assumes a double role of a soldier and an intelligentsia member, both important for his perception and manne of describing the war reality. In the light of his narration, the writer reveals himself as a lover of the prose by Hen­ryk Sienkiewicz, a careful observer and a participant of key battles in the war campaign, and also as a citizen involved in the affairs of the independent Pol­ish Commonwealth. While presenting the autobiographic style of Fudakowski as realized in his memoirs, the author discusses the following thematic orders (systems): (1) the style of intelligentsia identity; (2) the style of presenting bat­tlefields; and (3) the style of thinking about a post-war future. As far as literary theory is concerned, the considerations were based on the works by Philippe Lejeune and Jean Starobinski.

One is used to regarding Jan Parandowski (1895–1978) as a great connoisseur of the ancient world and a kind of “Olympic” writer with a distance to his own time and space. A thorough exam-ination of his literary essays, short stories and novels hardly proves this opinion. Treating Polish his-tory and culture, especially of the Renaissance epoch, as originating from and inspired by the ancient Roman/Greek tradition (“Poland is situated in the Mediterranean”), he conceals at the same time an evidently emotional approach to national legacy. There are several modes in which he evokes unique Polish history in the 19th century, with the great but problematic heritage of Romanticism as well as the controversial destiny of modern Polish artists obliged to fulfil national duties; he describes in classically discreet style Polish war experiences; he creates in different ways a sentimental image of his lost home country in Lwów. One of the clearest manifestos of the writer’s involvement in Polish identity can be also found in his defence of national sentiments and their qualities against the attitude presented in the famous work La Trahison des clercs (The treason of the intellectuals) by Julien Benda. According to Parandowski’s own declaration, his patriotism was responsive to aesthetic-al and sensory epiphany (geographical, landscape, etc. impressions) rather than to some abstract national symbols and declarations. There is also a close, mutual correspondence between ancient impulses in his work and his biography (Polish history); the writer has been frequently seeking for any consolation in Mediterranean utopian dimensions. Last but not least, the “postmortal” testimony of Polish identity in Parandowski’s biography and work seems to be related to the experience — for a long time unknown and only recently revealed — during his exile in revolutionary Soviet Russia; his pioneering study about “Bolshevism” documents the history of 20th-century totalitarianism and definitely denies the allegedly apolitical mind-set of the “Olympian.”

This article examines Forum Theatre as a form of participatory communication for social change. Based on an ethnographic study of Jana Sanskriti ( JS), a Forum Theatre group working for over three decades in the eastern Indian state of West Bengal, this article seeks to show how this form of theatre, developed by the Brazilian activist Augusto Boal, subverts the passivity inherent in the communicator–receiver model of the dominant paradigm by activating the critical consciousness of the spectator and triggering a process of social change through dialogue and discussion. JS has been using Forum Theatre to address some of the deeply entrenched social norms in rural West Bengal, including those related to patriarchy, child marriage, domestic violence, and maternal and child health related issues, by extending Boal’s notion of the ‘spect-actor’ to encourage the spectators to become ‘spect-activists’, who then are engaged in community-level work on social change. We suggest that this form of communication is clearly bottom-up, radically participatory, community-based and led by the oppressed, as has been advocated by several scholars working on communication for social change.

On genre-crossing in Jan Švankmajer’s feature filmsJan Švankmajer, a Czech film director and artist is known mostly for his short animated films. In 1994, however, a change in his filmmaking career took place — he devoted himself to working only on feature films. This change of medium is connected both to the length of these films, and using language, narration and genre features typical of feature films. What is important, Švankmajer does not adjust his artistic visions to all the directives of a certain genre. Rather, the director chooses some elements of these genres, and creates new, hybrid qualities. Genres that have the biggest impact on his feature films are: horror, comedy, and speculative fiction.

Tematem tekstu są odniesienia astronomiczne w Psałterzu Dawidowym Jana Kochanowskiego, zaliczającym się do dzieł poety najbogatszych w tego typu nawiązania. Koncentrują się one wokół budowy wszechświata, najważniejszych ciał niebieskich: Słońca i Księżyca (w dalszej kolejności też gwiazd) oraz ich ruchu po niebie, wyznaczanego przez nie kosmicznego ładu i pochwały harmonijnego dzieła Stworzenia oraz jego Autora. W tekście omówiono kilka wybranych motywów związanych z tematyką astronomiczną w Psałterzu. Zaliczają się do nich wschody i zachody słońca powiązane z porami dnia i porządkiem czasu, obraz kręgu ziemskiego, przeciwstawienie Bóg na wysokościach–ziemia na dole, zestawienia głównych obiektów astronomicznych: Słońca i Księżyca. Wybrane motywy astronomiczne w Psałterzu Kochanowskiego odniesiono do dwóch szesnastowiecznych tłumaczeń Księgi Psalmów, które można uznać za najważniejsze dla dwóch głównych stronnictw uczestniczących w sporach o teksty święte: protestancką Biblię brzeską i katolicką Biblię Jakuba Wujka. Nie ma to na celu szukania bezpośrednich zależności (w przypadku przekładu katolickiego, późniejszego niż zbiór Kochanowskiego, niemożliwych), ale skonfrontowanie dzieła poetyckiego z koncepcjami czytania i przekładania Biblii wykreowanymi przez twórców przekładów konfesyjnych.

Jana Zemenová talks to Sankeetha Nadarajah, Commissioning Editor: Jana is a PhD student of analytical chemistry in her final year at the University of Chemistry and Technology, Prague. She also works at the Institute of Organic Chemistry and Biochemistry of Czech Academy of Sciences, in the group led by Lenka Maletínská. She has obtained her MSc in Analysis of Drugs and continues working at University of Chemistry and Technology Prague under the supervision of David Sýkora.

The entertainments of „tender hearts” in Ann Radcliffe’s The Mysteries of Udolpho in the light of Jean Jacques Rousseau’s worksIn the second half of the 18th century, English literature was influenced by sentimentality. One of the most talented writers of this time was Ann Radcliffe. She created the novel by combining the Gothic romance with the novel of sensibility. Radcliffe in her works formed two contrasting groups of heroes: honest and virtuous, and hypocritical and cruel people. With the diversity of character stemmed variety of preferred pastimes. In this article I discuss excerpts from novel The Mysteries of Udolpho, which describe ways of spending free time by the main characters and I show their relationship with the works of the philosopher Jean Jacques Rousseau.

The policy of the European Union provides a wide access to education, in accordance with priorities. From the first Union financial perspective higher education has been widely discussed and highly funded. In this way, particularly children and young people have the opportunity to align educational differences and strengthen your professional path and a smooth entry into the labour market. Between 2007-2013 in the EU a special accent was put on the development of vocational education and training medium level, and higher. Now this trend is continued, in addition to the possibility. the mobility of students, that is, education on employers. This article presents three proprietary projects, implemented in the Salesian Comprehensive and Vocational School in Suwałki in the framework of European funding over the years 2010-2017. Polityka Unii Europejskiej zapewnia szeroki dostęp do edukacji, zgodnie z określonymi priorytetami. Już od pierwszej perspektywy finansowej Unii szkolnictwo było szeroko omawiane i wysoko finansowane. Dzięki temu, szczególnie dzieci i młodzież mają możliwość wyrównywania różnic edukacyjnych oraz wzmocnienie swojej ścieżki zawodowej i płynnego wejścia na rynek pracy. W latach 2007–2013 w UE szczególny akcent kładziono na rozwój szkolnictwa zawodowego i to zarówno na poziomie średniego kształcenia, jak i wyższego. Obecnie nurt ten jest kontynuowany, dodatkowo z możliwością tzw. mobilności uczniów, czyli kształcenia u praco-dawców. W artykule przedstawiono trzy autorskie projekty, realizowane w Zespole Szkół Sióstr Salezjanek im. Jana Pawła II w Suwałkach w ramach funduszy europejskich w latach 2010–2017.

The text refers to the ancient topos of the debate on drinking water and wine, which is present in Jan Kochanowski’s poetry. The ancient idea of bacchanalian drink and water from the holy spring were seen as the root of the act of creation. Ever since this motif took its final shape in the works of the Anthology poets, it has been used by artists as a pretext for self-referential reflections, as well as for technical musings on sources of inspiration. The classical thread takes on special significance in Kochanowski’s work, because the poet uses it to articulate his own concept of poetic inspiration (enthusiasm), and also because he formulates aesthetic judgment (iudicium) on the criteria for evaluating literature.

The previous attempts to present Tadeusz Miciński’s The Polish Thermopylae on the stage ended in either a complete failure or at least unfulfilled expectations. The multi-dimensional text-charade, full of numerous historical and philosophical references, constitutes a true challenge for an audience and a director. The ideological potential of the text encourages risky updates and simplifications. The plot of Miciński’s play is set in the years 1787–1813, starting with the meeting of King Stanisław August with Empress Catherine II and ending with the death of Prince Józef Poniatowski in the Elster River; yet, it takes place in the head of the dying prince. The Polish Thermopylae condenses time in a mysterious way and provokes the spectator to interpret historical events from the perspective of a mystery play. Jan Klata, the director, abandons allusions to a mystery play, uses many cliches from the sphere of pop-culture, and exposes the presence of the grotesque in Miciński’s play. In his impressive post-modern show, reality is arranged like a video clip: a juxtaposition of war and sports and erotic conquest, a conventional presentation of Empress Catherine II as the insatiable Messallina, a gymnastic amploi of Patiomkin as an allusion to Putin’s muscle flexing are not an intellectual challenge for the contemporary audience. And the ideal of Miciński’s theatre is the theatre being the judgement of conscience, the theatre being the mirror, the “mouse-trap” that never becomes out of date.

The purpose of this paper is the analysis of the shortest songs from Jan Kochanowski’s collection Pieśni. These include a petrarchist Pieśń II 21, and above all, four horatian‑origin works Pieśń: I 11 (Stronisz przede mną, Neto nietykana), II 7 (Słońce pali, a ziemia idzie w popiół prawie), II 16 (Nic po tych zbytnich potrawach…) and II 23 (Nie zawżdy, piękna Zofija…). Following a short review of previous attempts at classifying Kochanowski’s Pieśni, which were made by Polish scholars, as well as considering other options of categorising lyrical songs, the author indicated the contexts of particular works, described their rhetorics and emphasised the mastery of the poet, which is manifested through the construction of such sophisticated forms. A song, under Kochanowski’s pen, became a brief but comprehensive genre. It comprised solemnity and joy, elegiac mood and frivolous joke.

Jan Kochanowski’s Congress for Historical and Literary Studies, held in Krakow on 28–30 May 1884, was of great importance for the development of Polish scholarly edition. The papers presented at that time and the accompanying discussions presented important publishing initiatives and proposed models of editing, which exceeded the standards of most editions of literary works at that time. Roman Pilat’s convention speech is regarded as the founding speech for Polish scholarly editing; voices of classical philologists, literary critics and historians were also important, stressing the importance of editions adequate to the needs of science at that time. The debates at the congress revealed great divergences in positions on the basic issues of textual criticism: the information equipment of a critical edition and the modernization of a text. These divergences resulted from different philological traditions (classical, French, Germanic) and were determined by the political situation of scientific research: difficult cooperation between university centers and scientific societies. The Congress was an attempt to overcome these difficulties.

Niniejszy tekst stanowi próbę omówienia zagadnienia, jakim jest recepcja młodzieży na podstawie filmów Krzysztofa Zanussiego i Jana Komasy. Dobór reżyserów miał na celu przywołanie obrazu młodego człowieka z różnych perspektyw czasowych i generacyjnych, co z kolei pozwoliło wyodrębnić najważniejsze tendencje związane z młodzieńczym etapem ludzkiego życia na przestrzeni lat. W pierwszej kolejności niniejszy tekst odwołuje się do twórczości jednego z czołowych przedstawicieli kina moralnego niepokoju – Krzysztofa Zanussiego. Treści ukazane przez niego, chociażby w filmie Iluminacja, przywołują wizerunek młodzieży inteligenckiej, z którą utożsamiało się ówczesne młode pokolenie, poszukujące prawdy i sensu życia w zakłamanej rzeczywistości Polskiej Rzeczypospolitej Ludowej. Aktualność spostrzeżeń Zanussiego potwierdza w Sali samobójców przedstawiciel młodej generacji filmowców – Jan Komasa, który z nowatorskim rozmachem zaprezentował tam obraz współczesnych nastolatków. Film pokazuje, że forma młodzieńczych poszukiwań uległa znacznej modyfikacji, a wraz ze zmieniającym się światem, pojawiły się nowe zagrożenia. W bezideowej kulturze bylejakości wolność okazuje się zniewalająca, a wszelkie braki: poczucia tożsamości, wartości i autorytetów wprowadzają postawę bierności oraz sieją zniechęcenie. Dzięki Komasie współczesne pokolenie młodych Polaków mogło zobaczyć, jak destrukcyjny potrafi być ich drugi świat – wirtualna rzeczywistość, do której uciekają oni przed problemami i najbliższym otoczeniem. Dramat młodego człowieka, który staje się „cyfrowym tubylcem”, rozgrywa się tu i teraz, na oczach jego rówieśników.

The article consists of two parts. In the first one, it surveys usage of the word παρρησία and its verbal derivatives from the beginning in the late 5th century BC to the New Testament times. It deals with the political function of the expression in the Athenian democracy, with its subsequent shift to the private sphere and its value in the Hellenistic philosophy, and finally, with its satiric dimension. Then, it indicates some modification of its usage in the Septuagint and other works of Hellenistic Judaism and examines the meanings of the word in individual works of the New Testament. In the second part, the article illustrates how John Chrysostom used the expression in his 55 homilies on the Acts of the Apostles. It concentrates on the instances where the commentator exploited the classical meaning of the word, which refers to the frankness of public speech as well as to the use of frank speech in admonishing ethical discourse. These occurrences exemplify the in u- ence of Chrysostom’s secular rhetorical education to his exegetical perspective.

Jan Kasprowicz, lived in 1860–1926, whose fame and glory is nowadays in the shadow, in his time was considered one of the greatest and most important Polish poets and authors. He was a diligent translator, who made Polish public accustomed with a great number of pieces of worldwide literature. He made about eighty translations of different works which is a huge and rare number, especially when taking into account only one person who was at the same time an author of his genuine works, an academic scholar and a journalist. He was fascinated and inspired by Aeschylus from the time he was a schoolboy. And thus we may find many reminiscences of Aeschylus’ poetry in his genuine works. His fascination which lasted many years culminated with the translation of Aeschylus’ tragedies into Polish. As for Kasprowicz Aeschylus was ‘the king of the tragic playwrights and the most powerful worldwide author of the tragedies’.

W 1985 roku w związku z XIX Światowym Dniem Środków Społecznego Przekazu papież Jan Paweł II ogłosił orędzie Środki społecznego przekazu na rzecz chrześcijańskiej promocji ludzi młodych. Nawiązuje ono do ogłoszenia przez ONZ roku 1985 Międzynarodowym Rokiem Młodzieży. Jednak, co być może jest ważniejsze, nie tylko chronologicznie dokument ten jest zbieżny z takimi papieskimi inicjatywami na rzecz ludzi młodych jak np. początki Światowych Dni Młodzieży. W kwestii rozwoju technologicznego i wzrostu znaczenia mediów od 1985 roku dokonało się bardzo dużo. Mamy tym samym do czynienia z perspektywą stwarzającą interesujące przesłanki dla wczytania się w przemyślenia, jakimi Jan Paweł II dzieli się w wyżej wymienionym orędziu, gdy chodzi o media jako element nowoczesnej cywilizacji w powiązaniu z potencjałem właściwym chrześcijaństwu i zadaniem wspierania ludzi młodych.

Literature remains somehow suspended between fiction and the truth, between pretending and authenticity. Each type of narration is, at the same time, a story and a creation, constructing the world portrayed on the experience of the speaker, taking into account the addressee, requirements of the genre selected and a set of ready-made schemas. The article analyses selected autobiographical works by J.J. Rousseau as a form of literary creation, as texts of culture that are rich in meaning, as the meeting place for the speaker, the text and the reader. It presents the attitude of the author/narrator towards the presented reality and the interesting process of its subjectivization, interpretation and evaluation.

The present paper is an attempt at discursive exercises involving the application of modern psychiatric knowledge, treated as a variant of truth-discourse about human sexuality, for the diagnosis of the mental condition of Jean-Jacques Rousseau. An analysis of his “Confessions” shows that in his case one can speak of a strong masochistic tendency. Masochism is analyzed not only in the context of sexual paraphilia. Equally important is proximity of masochistic tendencies and gestures to record his own confessions.

In the period of the Polish People’s Republic, the pilgrimages of Pope John Paul II to his homeland exerted a great influence on the contemporary socio-political situation in the country, especially in the activation of opposition groups. The Pope’s second visit to Poland on 16th-23rd June, 1983 took place amid the martial law introduced by the government on 13th December, 1981. It was expected with high hopes by the Polish society, enslaved and humiliated by the communist rule. This study portrays the reactions of the Pila Voivodeship community to the pilgrimage of the Holy Father to his homeland as they were presented in the contemporary analyzes of the Provincial Committee of the Polish United Workers' Party. Those analyses were sent during the Pope's visit to the Central Committee of the Communist Party in Warsaw. The study constitutes a regional contribution to the historical synthetic reflection on this extremely important event in the last decade of the Polish People’s Republic period.

On the day of 4th July 2015 in Castel Gandolfo, His Holiness Benedict XVI, Pope-Emeritus, received the Degree honoris causa from the Pontifical John Paul II University in Cracow and the Cracow Academy of Music. On 20th April 2015 the Senate of the Pontifical John Paul II University in Cracow, upon hearing the reviews, conferred on Pope-Emeritus Benedict XVI the Degree of Doctor honoris causa. In the justification we can read that the honorary doctorate has been awarded for: proving great respect to the musical tradition of the Church and remarkable sensitivity to the dialogue between music and faith; long-years demonstrating, from all his clerical posts, a special concern for the noble beauty of sacred music and its proper place in the celebration of the sacred liturgical rites of the Church; emphasising in his teaching the meaning of via pulchritudinis – the way of beauty which may become the way to get to know and worship God by the modern man; brave testifying, with his life, service, teaching and scientific work, the Truth which gives strength to the Christian faith in the times of spiritual turmoil caused by liberalism, post-modernism and relativism, as well as tireless endeavor to restore the spiritual dimension in Europe; giving wholehearted support for the actions aiming at transforming the Pontifical John Paul II Academy of Theology in Cracow into the Pontifical John Paul II University . On 22 April 2015 the Senate of the Cracow Academy of Music passed the resolution to have been submitted by the Faculty Council for Artistic Creativity, Interpretation and Music Education, and on hearing the excerpts from the reviews, granted the Pope-Emeritus Benedict XVI the honoris causa degree. The appointed lauadator was Professor Stanislaw Krawczynski. In the justification of the Senate resolution it is written that the honorary doctorate has been granted in recognition of the following merits: exhibiting by his example the model of moral and civil demeanour in the deeply religious and humanistic dimension; referring in his teaching to the highest values invariably present in human life and artistic activity; cherishing music and indicating its special role as an integral part of the solemn liturgy of Catholic Church accompanying man in the act of professing faith . The retired Pontiff Benedict XVI thanked once again for the recognition granted by conferring upon him honoris causa doctorate. He said: I am especially happy that this recognition has deepened my relationship with Poland, with Cracow, with the mother country of our great Saint John Paul II without whom I could not imagine my spiritual and theological way. Through his living example he showed to us, as well, how to combine the joy of exquisite sacred music with the duty of common participation in liturgy, how to combine exalted delight with humble simplicity of celebrating faith . Then, when reminding the history of the revival of sacred music he accented his peculiar love for the music of Mozart. My memory still bears this indelible recollection of the first chords of Mozart’s Coronation Mass which sounded as if heaven opened and when one might feel very deeply the presence of the Lord . It seems also worth mentioning how he described certain tension between participatio actuosa and the position of sacred music in the modern liturgy, particularly this solemn accompanied with a choir and orchestra. The Pope’s questions raised in this context were masterly: What is music really? Whence does it come and toward what does it tend? I think there should be posited three ‘loci’ from which music arises . And the questions were followed by a truly prophetic vision of the place of music in today’s liturgy. Thus amongst the specified three “loci” from which music originates, the first is the experience of love, the second is the experience of sadness, death, pain and the abyss of existence, and the third one is the encounter with the divine, which from the beginning is part of what defines man. About the first origin of music the Pope-Emeritus said: When men were seized by love, another dimension of being burst within them, another greatness and another breadth of reality. And it also led them to express themselves in new ways. Poetry, song and music in general were all born from this being affected, from this unfolding of a new dimension of life . When analysing the second origin of music the honoris causa laureate stated that it also opens up, in the opposite way, new dimensions of reality which can no longer find an answer in mere speeches . The most extended interpretation presented by the Pope-Emeritus concerned the third reality in which the totally-other and totally-great arouses in man new ways of expressing himself. Perhaps we can say that actually in the other two areas – love and death – the mystery of the divine touches us and, in this sense, it is being touched by God which together constitutes the origin of music. It is touching when we discern that, for instance as regards Psalms, people do not confine to mere singing, but refer to all instruments: and the hidden music of creation is aroused with its mysterious language. Along with the Psalter in which we can find the two motifs of love and death, we can reach the very source of the music of the God’s Church. We can say that the quality of music depends on the purity and greatness of one’s encounter with the divine, with their experience of love and of pain. The more pure and true that experience is, the more pure and great will be the music from which it was born and developed . What the Pope-Emeritus said in the ensuing part of his doctorate speech – I am truly convinced – was the manifestation of profound wisdom and experience of sanctity of the Pope who does not only knows what liturgy and music in are but who is also a true apostle in this field. The magnificent and pure Western music has developed as an answer to the encounter with God who embodies Himself in liturgy in the person of Jesus Christ. This music is for me the expression of Christian truth. Wherever such an answer is developed we encounter the truth, with the true Creator of the world. Because of this the great sacred music is a reality of theological rank and of permanent significance for the faith of all Christianity, even if it is not at all necessary that it be done always and everywhere. On the other hand, such music cannot disappear from the liturgy and its presence can be a special way of participation in the sacred celebration, in the mystery of faith . In the final part of his lecture the Pope-Emeritus referred once more to Saint John Paul II, finishing with the rhetorical question: We do not know what will be the future of sacred music, but one thing is clear: wherever the encounter with the Living God, who in Christ comes close to us really occurs, there is born anew and there again grows the answer, the beauty of which arises out of truth itself. Showing again the great respect for both universities he emphasised and indicated their future prospects: The activities of both Universities which confer on me the honoris causa doctorates have greatly contributed to sacred music so that this tremendous gift of the music derived from the Christian tradition would still be living and so that the creative power of faith would not falter in the future. For all this I wish to thank you profusely, not only for the honour which you bestow upon me, but also for the entire work you do in the service of the beauty of faith . For the Intercollegiate Institute of Sacred Music in Cracow, for the faculty members and students of this institute which initiated the entire event and which integrates both universities by running the mutual sacred music studies, these were the encouraging words to make us work even harder so as to serve the beauty of music. The closing sentence expressed by the Pope in Polish was especially touching: May the Lord bless you all!

This paper summarizes the future prospects of health informatics as seen by the authors of the Special Issue ‘Women in Health Informatics’. The prospects are focused on health informatics important themes like patientcentered care and patient empowerment, data, secondary use of data, big data, security of data, Internet and emerging technologies, electronic health records, health informatics education, evaluation, social aspects of health information systems and legal and standardization issues.

The aim of this article is to represent an overview of the most important linguistic and stylistic measures used in Jan Jakub Kolski’s “Johnnie Waterman” . The measures that appear both in the short story (which is the predecessor of the movie) and the motion picture are analysed in three categories: folk poeticity, affinity to magic and naivety . The author recalls folk traditions through use of various repetitions, parallelisms and ballads. An atmosphere of magic is achieved by alluding to word rituals (such as curses or namegiving rites), while a feeling of naivety is created by applying common speech to dialogues. It is through the analysis of the aforementioned linguistic means one can prove that the linguistic layer of Jan Jakub Kolski’s works can be included as one of the elements that the director’s auteur style is composed of.

The apostolic constitution Sapietnia christiana stipulates coherency and compatibility of the rules for ecclesiastical universities and other universities of the different ecclesiastical regions. The rules are fully implemented in the Pontifical University of John Paul II in Krakow. The status of the university and its program have their sources both in the canonical rules and civil laws, and also in the rich scientific tradition of Krakow. The system of career advancement of the academic teachers embodies polish law. As a result, Polish authorities recognize the scientific titles and the scientific degrees granted by the university.

The Erasmus exchange programme is one of the greatest culture and education programs, which helps students, teachers and administrative staff to explore and to grow their potential. Programme offers a chance to gain professional development through studying, teaching or training in a partner Higher Education Institution in Europe. Nine students and ten academic teachers from the Faculty of Theology, Section in Tarnow of the Pontifical University of John Paul II in Krakow have participated in programme since 2007. The author of this article presents contribution of the Faculty of Theology, Section in Tarnow to the international cooperation and development of the Pontifical University of John Paul II in Krakow.

Through music people can fully express their feelings and emotions, even the ones of religious nature. Therefore, music is an inseparable part of the liturgy in the Christian Church. The music used during religious ceremonies is aimed at praising God and blessing the faithful. This goal will be accomplished only when the rules referring to sacred music are followed. These rules are found in the documents formed by the Church legislation. The Letter to Artists by St. John Paul II plays the vital role among the regulations. It can be treated as a kind of invitation sent to all people of art, so music as well, to join in the dialogue with the Church. The following article presents the tasks given authors and performers of worship music by the Church, in the context of the message conveyed in the Letter to Artists. Pope writes about their responsibility. At the same time he expresses a wish as far as the beauty they create is concerned. Namely, he wants that beauty to evoke admiration among the next generations.

The aim of this paper is to show the interpolation in the Epiclesis of Anaphora prayers in the Liturgies of St. John Chrysostom and St. Basil the Great. The analysis will cover the changes made in the second millennium, in particular the emergence of the troparion of the third hour service, and interpolation of the words “changing it by your Holy Spirit”. The text shows the genesis of adding additional words and explains what their effect was on the structure of the Anaphora prayers. As a result, proposals to solve the problems arising from historical changes in the structure of the Epiclesis and in the whole prayer of the Anaphora will be presented.

One of the fundamental anthropological subjects in John Paul II's teaching is the truth about a dynamic structure of the human existence that opens a man to the possibility of a personal development. A diligent consideration of man allows one to notice that as an individual of the species he is unchangeable, no matter what dispositions, skills or moral features characterize him at the moment. However, as a personal subject he can ever more fully realize or lose his humanity. This is so because creative activity of man is not limited to the outer world. On the strength of the structure of self-determination typical of him, by anything he does he first and first of all forms himself. As a subject and at the same time an object of his actions he becomes its creator and at the same time its first material. This dynamism, that is characteristic of him, not only influences his accidental sphere, but it concerns the very essence of his personal being, giving him the ability to transcend himself. The triad of values that is important for the development of a person: truth – good – freedom, leads to the attitude of love that both in the earthly and in the eternal order proves to be the fulfillment of human existence. John Paul II gives the person of Jesus Christ as an example of a fully realized humanity.

Summary The article contains the original text and the Polish translation of two Latin elegies from the Bellum Prutenum (The Prussian War) by Jan of Wiślica (Joannis Vislicensis), published in Cracow in 1516. The first is a plea addressed to the author by Paweł of Krosno (Paulus Crosnensis Ruthenus) to start his book with an appropriate epigram; the latter is a reply to that request. This description, however, does not exhaust the meaning of the two poems. Their full, more complex significance can be unlocked with help of the conventions and codes of the Humanist discourse. Interpreted in the light of the 16th-century thinking about poetry and the process of learning, this versified dialogue appears to be a record of a master-pupil relationship, which, after Jan of Wiślica’s apprenticeship ceremony, is transformed into a bond of friendship. The poems also contain a string of timely reflections on the nature of the poetic craft.

W komunikacie opisano odnalezione w Archiwum Archidiecezjalnym w Gnieźnie fragmenty dwóch nieznanych druków z oficyny Jana Hallera. Są to pozostałości dwóch egzemplarzy Ars Minor Aeliusa Donata (wydane 24 grudnia 1506) oraz drukowany formularz mandatu arcybiskupa Andrzeja Boryszewskiego (wydany ok. 12 marca 1509–przed 8 kwietnia 1509). The communique describes the fragments of two unknown prints from the printing office of Jan Haller that have been found in the Archdiocese Archives in Gniezno. These are the remnants of two copies of the Ars Minor by Aelius Donat (published Dec. 24, 1506) and a printed form of the mandate for Archbishop Andrzej Boryszewski (issued approximately on March 12, 1509, but before Apr. 08, 1509). 20 41 54 3 Biblioteka

Streszczenie Jan Witalis Bączkiewicz (1862–1932) byl znanym warszawskim pediatrą. Szkolil sie w wielu medycznych ośrodkach europejskich (Paryz, Berlin) oraz w Krakowie. Przedstawiono jego dokonania w leczeniu blonicy. Blonice leczyl miejscowo, surowicami oraz intubacją. Podal wskazania i przeciwwskazania do stosowania intubacji.

Jana Hensel's stated intention in her best-selling Zonenkinder (2002) was ‘Erinnerung ideologisch zu entschlacken’, to present the former GDR not as a political system but as the ‘Herkunftsraum’ of her childhood experience. The text is rich in historical and cultural allusions, but these are often presented from the perspective of the experiencing child who either does not fully understand them or takes them for granted. This presents a serious challenge to the translator of Zonenkinder, who must negotiate between the culture of the source text and that of the target audience. This paper argues that the American translation of Zonenkinder, After the Wall (2004), frequently distorts the tone of the source text by using a much more explicit political language than the original, thus imposing another ideological framework on an ostensibly non-ideological text in order to make it comprehensible (and perhaps acceptable) to the new target audience. At the same time, however, Hensel's references to the ‘Aufklarung’ discourse prevalent at the time of the ‘Wende’ and other cultural allusions which suggest a less obvious political message prove more difficult to capture in translation.

We present JANA, a multi-genre corpus of Arabic dialogues labeled for Arabic Dialogues Language Understanding (ADLU) at the utterance level. This paper describes progress in a development of the human-human dialogue corpus of Arabic spontaneous Spoken Dialogues (SD) and Instant Massages (IM). We collected dialogues from different genre call centers such as Banks, nights, and Mobile Network providers; these dialogues consist of transcribed phone calls and instant messages for inquiries regarding providing service from call centers. In addition, the annotation schema and manually turns segmentation are described. The collected data consist of approximately 3001 turns with average 6.7 words per turn, contains 4725 utterances with average 4.3 words per utterance, and 20311 words; and it will be made freely available to academic and nonprofit research.

Attraction of ugliness. A grotesque body in the poetry of Jan Andrzej MorsztynThe aim of this article is to explicate relationships between the concepts of beauty, ugliness and grotesque as well as the category of a grotesque body in the poetry of Jan Andrzej Morsztyn. The author indicates the sources of grotesque performances, ways of their poetic implementation, and attempts to contextualize Morsztyn’s grotesque images in the literary tradition. Wolfgang Kayser’, Michail Bachtin’s and Mieczysław Wallis’s studies constitute theoretical background of the paper.

Sformułowanie ἡ φωνὴ αὐτοῦ ὡς φωνὴ ὑδάτων πολλῶν nie występuje zbyt często na kartach Biblii, mimo że głos Boga jest znaczącym motywem, i to nie tylko w Starym Testamencie. Analizowane w niniejszym artykule wyrażenie pojawia się dwukrotnie w Księdze Ezechiela i trzy razy w Apokalipsie św. Jana. Oba źródła łączą ten motyw z Bogiem, opisując w ten sposób Jego tożsamość i czyny. „Wiele wód” oznacza w Biblii nie tylko siłę, niebezpieczeństwo czy budzącą postrach władzę. To także metafora obfitości, warunków sprzyjających rozwojowi, ponieważ woda daje życie. Stąd „głos jak szum wielu wód” niesie przesłanie mocy, życia, piękna i opieki (troski). Stanowi on zarazem tak intensywny dźwięk, że nikt ani nic nie jest w stanie go zagłuszyć. Każdy może go usłyszeć, jeśli tylko pragnie. Głos ten wyłania się (obejmuje) człowieka niejako ze wszystkich stron. Apokalipsa św. Jana w takiej konwencji opisuje głos Jezusa (Ap 1, 15) i głos z nieba (Ap 14, 2). Lokuje tu również misterium wewnętrznego doświadczenia autora natchnionego (Ap 19, 6) wymykające się jakiejkolwiek kategoryzacji. Jest to jednak w apokaliptyce preferowana przez Boga droga komunikacji z człowiekiem.

Summary Introduction The development of medicine, in this the new techniques and antibiotic therapy enlarged the survivability of patients in hospital. Applying antibiotics caused breakthrough in treatment stepping out in ill's group infections treated in hospital, however enlarging resistance is natural this effect, resulting from: the selection of resistant strains, the formation of new mechanisms of resistance, and/or the spreading of gene of resistance. Multidrug-resistant strains were included to emergence-pathogens group: MRSA, penicillin-resistant Streptococcus pneumoniae, VRE, Gram-negative producing beta-lactamase of type the ESBL and/or resistant to carbapenems. Emergence-pathogens occurrence leads to: therapeutic failures, the use extorts in therapy of dear medicines or with possibility of workings undesirable. The multidrug-resistant strains spread in hospital environment easily, especially on departments about high waste of medicines with the patients’ simultaneously large susceptibility on infection, resulting mainly with state of reduced resistance of organism. The control of hospital infections recognize by present hospitality for the most important criterion of quality of work. Aim Analysis of the emergence-pathogens isolated during treatment in hospital in 2005–2008, from special regard the ENT Department. Material and methods 50586 children treated in this period in hospital in which was executed 39386 bacteriological investigations, in this 6528 (12.9%) children in ENT Department in which was executed 1566 bacteriological investigations (3.98%). The diagnostics were executed according to routine microbiological procedures with qualification of resistance to antibiotics. Results Emergence-pathogens infection was confirmed at 2369 children's (4.68%) treated in Hospital, in this in ENT Department at 84 children (1.29%). The most frequent emergence-pathogens in ENT Department were Streptococcus pyogenes, Streptococcus pneumoniae penicillin-resistant and average sensitive on penicillin, Staphylococcus aureus methicillin-resistant and Rotavirus. Conclusions Streptococcus pneumoniae penicillin-resistant and average sensitive to penicillin and Rotavirus infections are the most frequent hospital infections. The systematic microbiological supervision is indispensable in prevention the spreading of infections of the emergence-pathogens in hospital.

Summary The professional and scientific activities of Jan Kwaśnicki (1838–1883), a Varsovian surgeon, his medical education in various medical institutions is shortly outlined. He was the head of surgical ward at the Evangelical Hospital in Warsaw. He was an author of two-volume book “The operating surgery” (along with Wladyslaw Stankiewicz and Jozef Wszebor) (Warsaw 1868, 1874). Kwaśnicki's successful surgical treatment of rhinolaryngological diseases (such as perforation of hard palate, carcinomas of tongue and lower lip) are described in some more detail.