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Два цикла Мечислава Вайнберга с одинаковыми названиями «Еврейские песни» (op. 13 и op. 17) были написаны в 1943 и 1944 годах. В обоих сочинениях Вайнберг обратился к поэзии на идише, выбрав стихи Ицхока Лейбуша Переца и Самуила Галкина. Первый цикл дважды был опубликован при жизни композитора, однако в программах концертов и на дисках он звучал в основном на русском языке. О его содержании тоже судили по переводам. Второй цикл до недавнего времени оставался в рукописи. Циклы объединяет также обращение композитора к модусу Adonoy Molokh, в котором звучат молитвы некоторых праздничных дней - Субботы и Новолетия. Вайнберг не цитировал синагогальные песнопения, но создавал новые мелодии по тем же законам, по которым возникали их многочисленные варианты в ашкеназ-ской культуре. Музыка «толкует» текст, в некоторых случаях заставляя его переосмысливать. Одновременно композитор использует арсенал средств из европейского академического словаря и отсылает к музыке классиков. Two cycles of Mieczystaw Weinberg with the same title “Jewish Songs” (op. 13 and op. 17) were written in 1943 and 1944. In both works, Weinberg turned to Yiddish poetry, choosing poems by Itschok Leibush Perets and Samuel Halkin. The first cycle was published twice during the composer's lifetime, but in concert programs and on CD's it sounded, mainly in Russian and was called “Children's Songs.” The second cycle remained in the manuscript until recently. These cycles are also united by the composer's use of the Adonoy Molokh modus, in which the prayers of Saturday and High Holidays are sung. Weinberg did not quote synagogal chants, but created new melodies under the same laws that gave rise to their numerous variants in Ashkenazic culture. His music “interprets” the lyrics, in some cases causing it to rethink. At the same time, the composer used techniques from European academic music and gave references to the music of the classics.

Polish Thomism has developed an original philosophy of education and pedagogy (Stefan Kunowski, Jacek Woroniecki, Feliks Wojciech Bednarski, Mieczysław Gogacz and others), which correspond to particular varieties of this philosophy. In traditional thomism emphasis is placed on education of virtue. In exsistential Thomism philosophers focus on “becoming a man”, to achieve full humanity, and in consistent Thomism philosophers focus on the effect of education and the issues of personal relationships and standards of education. Thomistic Pedagogy is the study of the choices in the principles of education. That’s why M. Gogacz believes that „there is only the philosophical education”. On the basis of recent studies in this field I carried away the impression that classic division designated by Plato's philosophy (idealism) and Aristotle (realism), can also be adopted for the purposes in the classification of education and upbringing theory. Through the analysis on idealistic and realistic anthropology and ethics I have attempted to show that a realistic paideia is still current and should be re-read. Novelty of this work is to "enter" the existing among pedagogues and philosophers standards of education into a specified philosophy of esse and resulting from it philosophy of man and ethics focused on protecting people and the theory of speech of the heart (sermo cordis). In my opinion, this is an innovative approach to the education and philosophy of education, and pedagogical implications arising from the so-understood recognition of man, his cognition and behavior may prove to befruitful on the pedagogical and educational level. All that is required by realism at the level of education are proper arrangements among educational strategies and the determination of who is a man.

The collection of articles “Convention and Creation in Czech Language and Literature” continues the series published by the Polish Bohemians at the Adam Mickiewicz University in Poznań, edited by prof. M. Balowski. The collection is of interest not only for Slavists, but also for a wider range of linguists, literary critics and translation specialists as it offers a new look at the problem of linguistic and literary convention and creation, which go beyond the usual “traditions” and “innovation”. The authors of the articles included in the collection introduce new terminology into scientific use and offer its theoretical and practical justification based on the research of Czech literature, folklore, grammatical system, vocabulary and phraseology, translation studies and socially oriented discourse. The articles consistently suggest that the development of language, literature, and society as a whole is a continuous evolutionary process of interaction between the conventional and creative approaches.

CEL NAUKOWY: Celem artykułu jest ukazanie zależności pomiędzy doświadczeniami teatralnymi i predyspozycjami scenicznymi Karola Wojtyły a zachowaniem Jana Pawła II podczas jego publicznych wystąpień. PROBLEM I METODY BADAWCZE: Poruszany w tekście problem koncentruje się wokół pytań: Czy doświadczenia teatralne i wybrane umiejętności Karola Wojtyły wywarły wpływ na charakter późniejszych publicznych wystąpień Jana Pawła II? Jeśli tak, jaki był ten wpływ? W czym się wyrażał? Metody wykorzystane do zbadania tego problemu to przegląd wybranej literatury oraz analiza nagrań wideo. PROCES WYWODU: W pierwszej części przybliżona zostanie przeszłość teatralna Karola Wojtyły, głównie jego związki z Teatrem Rapsodycznym Mieczysława Kotlarczyka. W drugiej części na kilku przykładach zaprezentowane będą zachowania papieża podczas publicznych wystąpień. W trzeciej części zostanie pokazane, jaki wpływ na te zachowania miały predyspozycje sceniczne i doświadczenie aktorskie Jana Pawła II. WYNIKI ANALIZY NAUKOWEJ: Z przeprowadzonej analizy wynika, że Jan Paweł II wykorzystywał zarówno zdobyte u Kotlarczyka doświadczenie teatralne, jak i wrodzone predyspozycje w swoich publicznych wystąpieniach. Posługiwał się nimi bardzo umiejętnie. Pomagały mu one budować mocniejszą więź ze swoimi odbiorcami, zjednywały sympatię, czyniły bardziej przekonującym. Sprawiały, że nie tylko treść jego homilii czy przemówień, ale także sposób ich wygłaszania przyciągał uwagę odbiorców. WNIOSKI, INNOWACJE, REKOMENDACJE: Papież Polak miał bardzo wysoko rozwinięte kompetencje komunikacyjne, potrafił posługiwać się różnymi środkami wyrazu. Posiadał wrodzone umiejętności sceniczne, wykształcenie aktorskie i korzystał z tego również w swojej posłudze duszpasterskiej i kaznodziejskiej. Artykuł pokazuje wybrane zachowania papieskie podczas publicznych wystąpień, w których widać wpływ doświadczeń teatralnych. Można spróbować pod tym kątem przeanalizować dokładnie tylko jedną pielgrzymką albo – bardzo szczegółowo – jedno konkretne wystąpienie. Można także zwrócić uwagę na aspekt świadomego reżyserowania danego wystąpienia.

This text deals with the depiction of Vilnius in the work of Mieczysław Limanowski, geologist, co-founder of the Reduta Theatre Company, art and theatre critic, and professor at the Stefan Batory University. The author, drawing on the work of specialists from various fields, presents a semiotics of Vilnius in Limanowski’s writing. In his depiction of the city and the larger region, reflections on nature and culture and interwoven, and thus his work is an outstanding early example of modern cultural geography. In his vision of Lithuania and Vilnius we can identify such interdisciplinary traits as the motive of the road and the theme of transcendence, along with spirituality recorded in the cultural code of the city. In Limanowski’s writing on Vilnius his reflections on the Gates of Dawn and on the Church of Saint Nicolas are particularly noteworthy.

This article presents the life and work of Professor Mieczysław Konopacki, a Polish physician, freemason, social and political activist. Mieczysław Konopacki was born in 1880 in Wieluń, a town with almost 800 years of history. After passing his secondary school-leaving examinations in 1899, he began his studies at the University of Warsaw. Thanks to his diligence and commitment to research, in 1903, he received the degree of candidate of all-natural sciences at the Imperial Warsaw University. In the same year, he was arrested by the Russian authorities for his involvement in developing education in the Polish countryside and forced to move to Cracow, where he began his studies at the Faculty of Medicine of the Jagiellonian University. In 1907, he married and moved to Lviv with his wife, who was also an embryologist. There, the couple began working at the Histology Department. Also, there, in 1911, Mieczysław Konopacki obtained his doctor’s degree in medicine. He was an extremely hard-working and broad-minded man. He was a member of many associations and international scholar organizations. He took an active part in many congresses and symposia. In independent Poland, Professor Konopacki was involved in the organization of science. He tried to compensate for the many years of neglect caused by the policy of the partitioners. In 1933 Professor Konopacki was elected Vice President of the Warsaw Branch of the Young Men’s Christian Association. Complementing the social activity of Professor Konopacki was his activity in the Grand National Lodge of Poland. He died in Warsaw on September 25, 1939, fatally struck by shrapnel from a German bullet.

The article discusses the role of members of the Teisseyre family in contribut­ing to Polish culture. The Teisseyre family, originally from France, settled in Poland after the French Revolution and quickly became Polonized. Subse­quent generations made a significant contribution to the cultural development of our country. They marked their presence primarily in the hard sciences (Wawrzyniec, Henryk, Juliusz, Andrzej, Mieczysław, and Roman Teisseyre), but also in the fields of technology (Jerzy and Andrzej Teisseyre) and art (Stanisław Teisseyre). Modern descendants who are active in various fields of culture try to continue the family traditions., Artykuł omawia udział przedstawicieli rodu Teisseyre’ów w budowaniu kul­tury polskiej. Wywodząca się z Francji rodzina Teisseyre’ów osiedliła się w Polsce po wielkiej rewolucji francuskiej. Szybko się spolonizowała i kolejne jej pokolenia wnosiły duży wkład w rozwój kulturalny naszego kraju. Swoją obecność zaznaczyli przede wszystkim w naukach ścisłych (Wawrzyniec, Henryk, Juliusz, Andrzej, Mieczysław i Roman Teisseyre’owie), ale także w technice (Jerzy i Andrzej Teisseyre’owie) oraz sztuce (Stanisław Teisseyre). Tradycje rodu starają się kontynuować współcześni potomkowie, aktywni na różnych polach kultury.

The aim of the article is to analyse values connected with a particular space, presented in the reportage All Lara’s wars by Wojciech Jagielski. Jagielski is one of the most well-known Polish reporters, author of eight reportage books and a large number of news reportages. He worked as a war correspondent for twenty-one years and travelled to many countries in Europe, Asia and Africa.In the introduction part, there has been referred chosen literature on space and values (works of such experts as Janusz Sławiński, Mieczysław Porębski and Jadwiga Puzynina). There are two basic types of space in general human experience – physical and symbolic. Humans have no influence over the first one, but they are able to create their symbolic spaces, using values which are important to them. In European culture value means something perceived as good by a particular subject. Values determine the way of human lives, their decisions and actions.The Pankisi Valley is both a physical and symbolic space. It lies within Georgia, right beside the border with Chechnya (today Russia). Inhabitants of this valley are called Kists and the main character of the book – Lara – is one of them. The Valley is presented as isolated from the rest of the country, because it is surrounded by Caucasus mountains. Thus it is perceived as microcosmos, completely sufficient for people living there, without a need of change. The most important value in Kists’ life is tradition, which meaning has been referred in works of Jerzy Szacki and Kazimierz Dobrowolski. Tradition inherited after ancestors includes such elements as: values, laws, customs and it has determined the rules of coexistence in the valley. Tradition has been accepted by Kists unconditionally, treated almost as something sacred, so it has become a deciding power in their lives. One of its elements is social hierarchy, which puts the elders on the top – everyone else has to respect their decisions.Another important value is stability of reality and events – Kists choose to be subordinated to fate, so they never have to make a single change on their own. Being passive and accepting what comes forward is a way of keeping peace and order in life and guaranteeing security. It also takes off the responsibility of making individual choices as well as their consequences. Thanks to that, every person lives the same life, follows the identical ways in which everything happens. It is worth to emphasize that Kists always perceive such way of life as something positive.Everlasting tradition shapes the constant pace of Kists’ lives and so their axiological space. The Pankisi Valley is perceived mainly as home and community, not only in the meaning of family, but everyone living in the valley. Pankisi is also described as destiny – a place where particular things are destined to happen and cannot be changed.

Mieczysław Gogacz dąży do uprawiania filozofii maksymalnie realistycznej. Wartości uważa za wytwory umysłu, a nie realne byty. Stąd nie zajmuje się nimi w swojej filozofii. Twierdzi, że budowanie etyki i pedagogiki w oparciu o wartości prowadzi do koncepcji idealistycznych, stawiania wymagań niemożliwych do spełnienia. W artykule argumentuje się, że wartości odgrywają ważną rolę w życiu człowieka. Wewnętrzny świat człowieka jest światem zorientowanym na wartości. Również miłość jest zjawiskiem ściśle związanym z wartościami. Jest ona odpowiedzią na wartości. Hierarchia wartości, którą kierują się osoby, jest wspólnym horyzontem, w którym rodzi się ich miłość.

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.

Biografowie Mieczysława Karłowicza (Adolf Chybiński, Henryk Paweł Anders) nie opisali jego najważniejszych kontaktów z orkiestrą Hansa Windersteina (Winderstein-Orchester, znana także jako Leipziger Philharmonisches Orchester). Od 1896 r. zespół ten prowadził intensywną działalność koncertową w Lipsku. Był aktywny także poza granicami Niemiec – odbywał podróże koncertowe po wielu krajach lub pełnił w nich funkcję orkiestry sezonowej. Czterokrotnie (w l. 1899–1901 i 1904) występował w sezonie wiosenno-letnim w Dolinie Szwajcarskiej w Warszawie. W czerwcu 1901 r., wykorzystując obecność orkiestry Windersteina w Warszawie, Karłowicz odbył z nią próbę, podczas której wykonał fragmenty swojej Symfonii e-moll „Odrodzenie”. Kompozytor uczęszczał także na koncerty Windersteina podczas swojej wizyty w Lipsku w marcu 1906 r. i w trakcie pobytu w tym mieście od października 1906 do czerwca 1907 roku. Choć nisko oceniał kwalifikacje lipskich filharmoników, zdecydował się wynająć ich na kolejną próbę orkiestrową. Drugie przesłuchanie Karłowicza z kapelą Windersteina odbyło się prawdopodobnie w kwietniu 1907 r. (potwierdza je o rok późniejsza pocztówka kompozytora do Bolesława Domaniewskiego). Podczas tego przesłuchania Karłowicz wykonał kilka swoich poematów symfonicznych, w tym Rapsodię litewską. Był jednak niezadowolony z interpretacji tej kompozycji przez zespół Windersteina i dlatego później blokował próby wykonania jej przez inne niekompetentne orkiestry.

During World War II Polish theatre people took an active part in the fight with both Germany and the Soviet Union. Several of them fought with a weapon inhand as officers and soldiers of Polish armies in the September 1939 campaign, later as combatants of the Home Army (AK), and also within Polish armed forces fighting abroad. Many more fought with a weapon of the word. While boycotting German sponsored stages in the General Government, they created the whole network of small underground theatre groups. Two major centers of this activity were Warsaw, where the Clandestine Theatre Council (Bohdan Korzeniewski, Leon Schiller, Edmund Wiercinski and others) organized and sponsored underground theatre productions and acting studios, and Krakow with The Rhapsodic Theatre (led by Mieczyslaw Kotlarczyk), The Independent Theatre (led by Tadeusz Kantor), and a circle of artists and apprentices gathered around Juliusz Osterwa, who frequently gave one-man shows. Productions were also prepared in German oflags and concentration camps. The great actor Stefan Jaracz performed for fellow inmates in Auschwitz, Zofia Rysiowna in Ravensbruck, and Roman Niewiarowicz in Dachau. Such productions were recorded also in Soviet camps (gulag system). Soldier theatres were organized at the Gen. Anders Second Corp, then also at the Polish forces underSoviet command. Losses of Polish theatre due to the war were staggering. In terms of material losses, The National Theatre in Warsaw was bombed by the Lufwaffe on September 19, 1939, and eventually Poland lost about 70% of theatre buildings standing in August 1939, plus their libraries, sets and costumes magazines, etc. In terms of human losses, about 300 theatre professionals died (out of about 2000 in 1939). Some were killed in military actions, some murdered in either German or Soviet camps. The losses in the spiritual domain were uncountable. Theatre artistswere deprived of the possibility to perform, thus executing their profession and vocation. Theatre spectators were left without their artistic nourishment. The struggles, sacrifices, and deeds of the war-time Polish theatre had a profound influence on the history of Polish theatre of the second half of the 20th century. They were not only an important element of the nation’s war-effort, but—indirectly— contributed to the restoration of Poland’s freedom at the end of the 20th century.

The article of Wojciech Maryjka presents the development of Polish translations of the works of the German poet, writer and philosopher, Friedrich Holderlin, whose 250th birthday anniversary falls on 20 March 2020. The author of the text provides the reasons why Holderlin evoked interest in the Polish literature rather late. He indicates a significant role of translations of Stefan Napierski dated 1937 and 1938, but he noted that also Leo Belmont had translated several of Holderlin’s poems earlier, in 1900. Further in the article, the researcher highlights the significance of the Selected Poems by Holderlin published in 1964 that had been translated into Polish by Mieczyslaw Jastrun. Maryjka also indicates the significance of the pioneer monograph of the life of Holderlin written by Zdzislaw Żygulski. Further in the study, volumes of Holderlin’s poetry are discussed, as translated by Bernard Antochewicz, Andrzej Panta, Antoni Libera and Andrzej Lam, who had been the first who translated all poems of the German poet. The author of the article did not skip other works that contributed to exploration of the works and life of Holderlin in Poland including, inter alia, the fictionalized biography entitled Holderlin by Peter Hartling, translated by Slawa Lisiecka, or the volume containing Holderlin’s letters and his Hyperion prepared by Anna Milska and Wanda Markowska.

Polish musicologist and author Danuta Gwizdalanka titled her publication Mieczysław Wajnberg: kompozytor z trzech światów [Mieczysław Weinberg: Composer from Three Worlds] (Poznań, 2013). Weinberg (1919–1996) was a Polish composer with Jewish roots who spent most of his life in the USSR. Without any doubt, he can be called ‘a composer from the borderland’ due to his ‘hybrid identity’, which was one of the most important reasons that affected the appreciation of Weinberg’s output both during his lifetime and after death. The main ideas of this paper centre on the category of ‘borderland’ and its representations in Weinberg’s biography and oeuvre. According to the typology proposed by Krzysztof Zajas, Weinberg’s life and works can be considered in terms of the following types of borderland: interdisciplinary, spatial, psychological, existential, sociological, and mythological. Through the prism of the category of ‘borderland’, Weinberg’s creative work manifests itself as a highly individual and invaluable testimony of his times, Far from eclectic and epigonic in relation to the music of Dmitri Shostakovich, his oeuvre is unique in the world’s music literature.

In this article, the author tries to present the issue of blank spots in the history of Polishmusic since 1794 (the world premiere of Cud mniemany, czyli Krakowiacy i Górale [The supposedmirtacle, or Cracovians and highlanders] composed by Jan Stefani to the libretto of Wojciech Bogusławski is regarded as a symbolic beginning of national style in Polish music) up to the end of the SecondWorld War. It was a great period in history when Poland twice did not exist as a state (between1795 and 1918 and between 1939 and 1945).At the beginning the attention is drawn to the Polish music in the nineteenth century. Author describes new discoveries such as the Second Piano Quintet in E flat Major (with double bassinstead of second cello) by Józef Nowakowski (Chopin’s friend), and String Quartets op. 1 and monumentaloratorio Passio Domini Nostri Jesu Christi by Józef Elsner who was Chopin’s teacher in the Conservatory of Music in Warsaw (Elsner’s Passio discovered at the end of the twentieth century isregarded now as the most outstanding religious piece in the history of Polish music in the nineteenth century). Among other works author also mentions romantic opera Monbar (1838) by Ignacy Feliks Dobrzyński and first opera of Stanisław Moniuszko Die Schweitzerhütte (about 1839) written to the German libretto during composer’s studies at Singakademie Berlin. Addressing the issue of Polish music of the first half of the twentieth century author draws attention to the composer Eugeniusz Morawski regarded as the leading Polish author of programme music next to Mieczysław Karłowicz (unfortunately Morawski is still forgotten figure in the Polish musical life). Among others the importance of symphonic heritage of Feliks Nowowiejski, an author ofextremely popular in Europe during the second decade of twentieth century oratorio Quo vadis, is mentioned. At the end of article, the author takes up the problem of the enigmatic figure of Adolf Gużewski.The whole musical output of Gużewski, whose opera Dziewica lodowców [The Ice Maiden] was applauded in Warsaw and Russian opera houses in the second decade of the twentieth century, is now considered lost.

In the panorama of Polish music of the 2nd half of the 20th century the works of Silesian composers stand out. They were born in 1951 and thus they are referred to as the ‘Generation 51’ or the ‘Stalowa Wola Generation’ (from the place of their debut at the Festival ‘Young Musician for the Young City’ in Stalowa Wola in 1976): Eugeniusz Knapik, Aleksander Lasoń and Andrzej Krzanowski. They constituted the first generational phenomenon of such significance in Polish music since the debut of ‘Generation 33’ (Krzysztof Penderecki, Henryk Mikołaj Górecki and others). The musical style of these young authors was in tune with the Polish popular phenomenon of the 1970s of ‘New Romanticism’, consisting in a return to certain artistic and aesthetic values lost in modernism and avant-garde. One of the distinguishing features of Knapik’s, Lasoń’s and Krzanowski’s work is the application of various ‘intertextual strategies’ – quotations, allusions, and clear references to more or less specific musical traditions. In the works of ‘Generation 51’ composers, these strategies have a certain superior ‘axiological sense’ (Władysław Stróżewski), which is far from a purely ludic, postmodernist play on conventions and texts. The aim of the text is a review and an attempt to interpret those strategies. A methodological reference point will be the semantic analyses of possible intertextual references performed by Mieczysław Tomaszewski and Stanisław Balbus.

Mieczysław Kotlarczyk played an important role in the life of Pope John Paul II. The spiritual bond between friends born in the same city exerted a significant impact on both their lives and work. And yet it remains unknown to the public, just as Kotlarczyk himself. Raised in a theatre-related family, Kotlarczyk remained affiliated with the theatre throughout his life. This paper presents his life path and the fate of the Rhapsodic Theatre, which Kotlarczyk was managing from 1941, and which operated under the auspices of the “Unia” (“Union”) underground organization. After World War II, despite reprisals from the communist authorities and the subordination to thesecret service, Kotlarczyk tried to continue his activity. In 1953, the Rhapsodic Theatre was liquidated by the authorities. Even though in 1957, as part of the so-called thaw, there was a consent to reactivate the theatre, ten years later however, it was definitely shut down. Among those protesting against the decision, was Karol Wojtyła, the then Archbishop of Kraków.

In May 1919, the Military Attachat was established at the Polish Legation in Rome, obliging him to observe the Italian armed forces, economy, foreign policy, coordinate purchases of military equipment and organize repatriation to the country of Poles – former soldiers of the Austro-Hungarian army, staying in POW camps in Italy. The first military attaché was Gen. Eugeniusz Kątkowski, who, however, did not speak Italian. In October 1920 he was replaced by Maj. Mieczysław, hr. Poniński, who knew Italian language and Italian culture. In 1921, however, it turned out that by joining the Polish Army in 1919, he concealed the fact that he was removed from the Italian army in 1893 and demoted from the rank of lieutenant to the sergeant. Because, he received the rank of captain (captain) in the Polish Army. In addition, his assistant Maj. Jan Pogorski developed 12 military reports claiming that he obtained them from a secret informer for a total of 2,500 lire, while he rewrote them from the Italian military press. Lt.-Col. Mieczysław Poniński was dismissed from Rome and placed before the Officer’s Honorary Court, and then before the Criminal Court. Thanks to his connections he avoided the punishment. He was the only one of nearly 100 Polish military attachés in the years 1919–1939, who committed such an offense. W maju 1919 r. powołano Attachat Wojskowy przy Poselstwie RP w Rzymie, zobowiązując go do obserwowania włoskich sił zbrojnych, gospodarki, polityki zagranicznej, koordynowania zakupów sprzętu wojskowego oraz organizowania procesu repatriacji do kraju Polaków – byłych żołnierzy armii austro-węgierskiej, przebywających w obozach jenieckich na terenie Włoch. Pierwszym attaché wojskowym został gen. Eugeniusz Kątkowski, który nie mówił po włosku. W październiku 1920 r. zastąpił go mjr Mieczysław hr. Poniński, który znał język włoski i włoską kulturę. W 1921 r. okazało się jednak, że wstępując w 1919 r. do Wojska Polskiego, zataił fakt, że z armii włoskiej został w 1893 r. usunięty i zdegradowany ze stopnia porucznika do sierżanta. Dzięki temu w Wojsku Polskim otrzymał stopień rotmistrza (kapitana). Ponadto jego pomocnik, mjr Jan Pogorski opracował 12 raportów wojskowych, twierdząc, że pozyskał je od tajnego informatora za ogółem 2500 lirów, podczas gdy przepisał je z włoskiej prasy wojskowej. Podpułkownik Mieczysław Poniński został odwołany z Rzymu i postawiony przed Oficerskim Sądem Honorowym, a następnie przed sądem karnym. Dzięki swym koneksjom uniknął jednak kary. Był jedynym spośród prawie 100 polskich attachés wojskowych w latach 1919–1939, który dopuścił się takiego przewinienia.

This article analyses the aspects of the lexical, stylistic and structural levels of Eight Nocturns from Władysław Sebała’s volume Egotic Concerto, which make up the musical idiom of the cycle. The analysis of its relationship with the eponimous musical genre, and especially with its realizations in Fryderyk Chopin’s work, is based on the categories developed within the poetics of the literary text, and by researchers dealing with the musical nocturn genre (Barbara Chmara) and, in particular, Chopin’s nocturns. (Mieczysław Tomaszewski, Charles Rosen). Artykuł stanowi propozycję analizy tych aspektów poziomu leksykalno-stylistycznego i strukturalnego Ośmiu nokturnów Władysława Sebyły z tomu Koncert egotyczny, które składają się na idiom muzyczny cyklu. Analiza ich związku z tytułowym gatunkiem muzycznym, a zwłaszcza z jego realizacjami w twórczości Fryderyka Chopina, opiera się zarówno na kategoriach wypracowanych w obrębie poetyki tekstu literackiego, jak i przez badaczy zajmujących się problematyką nokturnu muzycznego (Barbara Chmara) oraz, w szczególności, nokturnów Chopina (Mieczysław Tomaszewski, Charles Rosen).

Understanding the concept of man has led to explosive debates among scholars of various disciplines for centuries. The discussion becomes particularly acute when it comes to such problems as “what is man?”, “what constitutes his nature?”, and “where lies his essential feature?” Over the last decade, new studies in philosophical anthropology on the platform of metaphysics began to gain waves among some scholars. One strong pillar to this conviction is Mieczyslaw Albert Krapiec. The paper aims to discuss and analyze Krapiec’s doctrine of the cognitive “I” within the context of his philosophical anthropology. The analysis of Krapiec’s doctrine is to show the uniqueness of his anthropological study of man using metaphysical principles as the background of studies and the relevance of this new study in the contemporary discussion.

In the Second Republic of Poland, the education for the protection of nature was a part of an implicit didactic and educational process realized in primary and secondary schools – first of all as part of the education in natural science and geography (tourism). The kind of educational climate was created, connected with the establishment of protective care and sensibility for the natural environment, especially the indigenous nature. The article presents the analysis and interpretation of the printed sources, among others the publications by Maximilian Heilpern, Konrad Chmielewski, Hipolita Selmowiczówna-Gnoińska and Maria Lipska-Librachowa as well as Bronisław Gustawicz, Mieczysław Brzeziński, which were used in the didactic and educational practice in the period of the Second Republic of Poland in the process of shaping ecological attitudes. Many of them originated still in the years of Poland’s enslavement. They form valuable historical sources for studying, explaining and understanding the ecological education in the interwar period (1918–1939) – as an antecedence of the newest development trends in the educational theory and practice on ecology.

This text is devoted to selected visual records produced in the face of the Holocaust by the following artists: Felicjan Szczesny Kowarski, Krzysztof Henisz, Aleksander Świdwinski, and Mieczyslaw Wejman. Vast majority of these works of art comes from the war period (1940– 1944), with a few produced immediately after the war (1946–1948). The author analyzes predominantly their referential layer as well as the modes of representation they employ, the dating of speciϐic objects, and the references to their accompanying historical framework. She also reflects on identity, motivations, and the degree of existential, ethical, and artistic engagement of the artists in the face of the Holocaust, which was happening right before their eyes, in their immediate vicinity. The central question Nader directs not only at the artists and their works, but also at the field of art history is one that Jan Tomasz Gross has asked: “What did you do/What was done to help the Jews?” bearing in mind that doing nothing was also an action with consequences. The most important conception developed in this text is the category of the artist – a close observer of the Shoah. Moreover, this question about Polish bystanders also makes her inquire about the foundations of the field of art history as such. The author postulates changing the episteme in the space of the contemporary and modern history of art in Poland as there still has been no response to the challenge posed by works produced in the face of the Holocaust and from the Holocaust.

This article presents a remarkable case study of artistic influences between two avant-garde artists who still gain insufficient recognition in international accounts of European modern art, namely...

Celem niniejszego artykułu jest przybliżenie polskiemu czytelnikowi Poets and Poetry of Poland - pierwszej obszernej antologii polskiej literatury wydanej w języku angielskim w Stanach Zjednoczonych przez Pawła Sobolewskiego (1881). Szczególną uwagę poświęcono charakterystyce tego dzieła, odtworzeniu śladów jego recepcji i wykazaniu najważniejszych źródeł, na jakich opierał się redaktor Poets and Poetry of Poland. Praca ukazuje także znaczenie działalności literackiej i kulturalnej Sobolewskiego, który zainicjował wieloaspektowe, nierzadko pionierskie przedsięwzięcia, stając się jednym z czołowych polonijnych działaczy w XIX-wiecznych Stanach Zjednoczonych, udzielającym się także w środowisku amerykańskim. Artykuł został częściowo oparty na materiałach źródłowych zgromadzonych przez Mieczysława Haimana w Muzeum Polskim w Ameryce (Chicago), do których dostęp był możliwy dzięki badaniom autorki, prowadzonym w ramach stypendium Fundacji Kościuszkowskiej. Za podstawowe narzę-dzie przyjęto analizę historyczną źródeł, opierającą się na paradygmacie opisowo-historycznym. Wydanie antologii było zwieńczeniem wieloletniej misji Sobolewskiego, związanej z pragnieniem zaznajomienia i zainteresowania Amerykanów polską kulturą, ukazania jej w reprezentatywnych przejawach. Poets and Poetry of Poland, obejmujące tłumaczenia utworów 60 autorów z okresu od XVI do XIX wieku, pozwalało na wieloaspektowe poznanie biografii i twórczości wybitnych polskich poetów, w większości przynależących do czasów romantyzmu i oświecenia. Pomimo silnej inspiracji podręcznikiem Lucjana Tomasza Rycharskiego i innymi źródłami na ostateczny kształt tomu miały wpływ osobiste doświadczenia redaktora, jego preferencje lekturowe i kontakt z autorami. The aim of this article is to familiarize the Polish reader with Poets and the Poetry of Poland, the first extensive anthology of the Polish literature published in English in the United States by Paweł Sobolewski (1881). Particular emphasis was placed on the characteristics of this work, recreating the traces of reception of this work and showing the most important sources on which the author relied. The presented article also points out the importance of Sobolewski’s literary and cultural activity, as he initiated multifaceted, often pioneering projects, becoming one of the leading Polish diaspora activists in the 19th century’s United States, also active in the American community. This paper was partially based on the source materials collected by Mieczysław Haiman at the Polish Museum in America (Chicago), to which the access was possible thanks to a Kościuszko Foundation scholarship. The historical analysis of the sources based on the descriptive-historical paradigm was adopted as the basic tool. Noteworthy, the Poets and Poetry of Poland was the crown work of Sobolewski’s many-year mission, related to the desire to make Americans familiar with the Polish culture and to present it in representative forms. The anthology, including the translations of the works of 60 authors from the sixteenth to the nineteenth century, gave an insight into the multi-faceted recognition of the biographies and literary works of eminent Polish poets, mostly belonging to the times of Romanticism and the Enlightenment. Despite the strong inspiration from Rycharski’s textbook and other sources, the final shape of the volume was influenced by the editor’s personal experiences, his reading preferences and contact with the authors. The selection of works and the structure of the conducted argument reflect the spirit of affirmation for the great tradition created by the first generation of romantics and the significance of the November Uprising, in which Sobolewski took part.

The article presents Mieczysław Szczuka, a visual artist, graphic designer and architect from Warsaw. His activities at the turn of the 20th century greatly contributed to the emergence of New Arts: he was a pioneer of constructivism in Poland, he created the first Polish photomontages, he argued in favour of giving the arts back to the proletariat. His radical, extremely leftist views made him a loner in his hard struggle for a revolution in the arts (and, in the long run, also in the society).

On the turn of the 19th and 20th centuries in Łodź the interest in the book significantly increased. Printing houses and bookshops were established. However, there were not enough libraries which would satisfy the need of belles lettres, popular and scientific book. Thus the Łodź intelligentsia and among them a group of physicians engaged in civic work, started to collect books and journals, at first in hospitals. There were hospital libraries, consisting not only books on medicine but also books intended for the ill, in the hospital for nervously and mentally ill “Kochanowka“ (1902), the Anna Maria’;s Hospital for Children (1905), the Ignacy Mościcki’s Hospital for Social Medical Care (1930). A rich medical library belonged to Łodź Medical Society established in 1885. The physicians worked in societies for education and culture established after 1885 and comprising library sections, such as the society for Dissemination of Education (1905), The Society of Polish Culture (1909). The first one initiated the establishment of the Society for Public Libraries (1916) which succeeded in establishing the city’s Public Library. The physicians-socialists working in the Department of Education and Culture in the City Council added to the development of the network of public libraries for children and adults. The physicians who were of merit for the development of Łodź librarianship are: Antoni Tomaszewski, Jozef Brudzinski, Mieczyslaw Kaufman, Jan Mazurkiewicz, Przeclaw Smolik and Seweryn Sterling.

Dom Miłosierdzia im. św. Zygmunta Gorazdowskiego w Brzuchowicach na Ukrainie w służbie osobom chorym i starszym. Dom Miłosierdzia im. św. Zygmunta Gorazdowskiego powstał na terenie Lwowskiego Wyższego Seminarium Duchownego w Brzuchowicach koło Lwowa, jako wotum wdzięczności Bogu za 25 lat odnowienia struktur tutejszego Kościoła. W domu tym opiekę znajdują osoby starsze, samotne i chore oraz w przyszłości kapłani emeryci. Na prośbę ks. abpa Mieczysława Mokrzyckiego posługę w domu podejmują siostry ze Zgromadzenia Sióstr Świętego Józefa. Polska Grupa Zbrojeniowa ofiarowała 100 tys. zł dla Domu Miłosierdzia im. św. Zygmunta Gorazdowskiego. Dofinansowanie przekazane przez Polską Grupę Zbrojeniową pozwoliło zakupić meble, sprzęt medyczno-rehabilitacyjny i gospodarczy oraz inne wyposażenie. Z pomocą dla Domu Miłosierdzia im. św. Zygmunta Gorazdowskiego spieszą mieszkańcy Przeworska. Zbiórkę pieniędzy i darów wymyślili i prowadzą uczniowie i nauczyciele z Gimnazjum nr 1. Jak się okazało, zainspirowały ich felietony w Aktualnościach TVP Rzeszów o powstaniu domu dla najstarszych, samotnych i chorych Polaków ze Lwowa, którym można zapewnić godną opiekę, głównie dzięki pomocy z Polski. Zbiórka rozpoczęła się po emisji materiału pokazującego pierwsze podopieczne Domu Miłosierdzia im. św. Zygmunta Gorazdowskiego. Dla nich prowadzona przez siostry józefitki placówka stała się szansą na fachową pomoc medyczną, całodobową opiekę i godne warunki, jakie nie zawsze miały do tej pory. To był impuls, aby pomóc. W pomoc zaangażowali się nie tylko gimnazjaliści i ich rodziny, ale także mieszkańcy Przeworska. Problem osób starszych, samotnych i chorych jest poważny, bo takich osób, które pozostają bez pomocy – także w zakupie leków, a często nawet żywności – jest we Lwowie coraz więcej. Jak szacuje lwowska Caritas, osób praktycznie bez środków do życia, a do tego wymagających fachowej opieki ze względu na stan zdrowia, tylko we Lwowie jest prawie 300, w okolicznych miejscowościach drugie tyle.

In the present article the author discusses seven religious songs by the little-known Polish composer, Otton Mieczysław Żukowski (1867˗1942). The songs are: Ojcze nasz (Our Father) op. 47, Panie do Ciebie wołam (Lord, unto Thee I cry), Twych Panie łask (Your mercies, o Lord), Gdy boleść wstrząsa (When sorrow strikes), Panie miłosierny (Merciful Lord), Do Boga (To God) and Wierzymy Panie (Lord, we believe). The songs’ semantic meaning conveys the basic and most essential truths of the Catholic faith. Thereby, they formed the awareness of the listeners and became a catechesis to be sung. The discussed songs have also a strong patriotic and national emphasis as they were created in the time of Poland’s partition and non-existence in Europe. The songs are evidence that God may be involved in the history of a nation and change its difficult position. In terms of musical layer the songs are characterized by a cantilena melodic line and tonal harmony.

Father Mieczyslaw Weglewicz was an outstanding teacher and youth minister. He is a model catechist for modern catechesis. As a teacher and a didactic, Father Weglewicz helps the students in the catechism class by finding the appropriate rules of conduct and way of life. His didactics allows the catechist to get to know the students better, thus providing a more effective catechesis.

This contribution presents two feature articles from “Nowa Reforma” which are unknown in the literature of the subject and which contain references to Norwid and quotes from conversations with him. Both texts are most likely authored by Mieczyslaw Pawlikowski. The author drew attention to the convergence of certain ideas proposed by the author(s) with the views of Norwid himself. The article ends with a postulate to examine the ideological and aesthetic relationships of the group centred around Krakow-based periodicals “Kraj” and “Nowa Reforma” with Norwid’sthought.

The music of Polish-Russian composer and pianist Mieczyslaw Weinberg has received international acclaim since his death in 1996, especially during recent years. Although many of his solo piano works were published, performed and recorded during his lifetime, including his 6 solo piano sonatas and 17 Easy Pieces, there were several solo piano compositions in his archives which have remained unpublished, unperformed and unrecorded for many years. Peermusic Classical in Hamburg, Germany obtained pdf copies of these compositions, which were subsequently included as part of the recordings of “Mieczyslaw Weinberg – Complete Piano Works Volumes I–IV” on Grand Piano/Naxos Records. Sonatina Op. 49 (1951) and its subsequent revised version as Sonata Op. 49b (1978) are two such works. There are interesting comparisons to be made between the compositional techniques Weinberg employedin each version, i. e. how he used the original material from the Sonatina in the Sonata revision, what changes he made and how he made them, including quotations from previous solo piano works inserted into the latter versions. It is also a notable fact that Weinberg, himself a virtuoso pianist, had ceased to compose for solo piano after 1960. The Sonata Op. 49b, “Can-Can” in Honor of Rastorguyev (1965), and Two Fugues (1983) present the sole exceptions, of these Sonata Op. 49b being the most compositionally substantial work. Keywords: Mieczyslaw Weinberg, Moisei Vaynberg, Dmitry Shostakovich, Jewish composers in the Soviet Union, Polish/Soviet composers in the 1950’s, Piano music in the Soviet Union during the 1950’s, folk music influences, Children’s Notebook.

In this article, the author presents an overview of the 20th century Polish humanist Mieczysław Wallis who searches for answers to the question of the essence of humanity. The philosopher saw it in human axiological activities building a world of specifically human creations thus giving Man a meaningful existence. An axiological perspective of human subjectivity – the search for the purpose and meaning of human existence in the implementation of aesthetical and ethical values can be seen as a methodological proposal worthy of deeper consideration which could facilitate solving modern ethical and bio-ethical problems.

‘Known’ and unknown pre-war Polish film productions: Konstanty Meglicki’s Halka and Mieczyslaw Krawicz’s Sportowiec mimo woli There are many Polish films from the pre-war period that are not known to the public today. Most oft en they simply did not make it to modern times or only fragments are preserved, their condition too poor to allow utilization. One of such films is Halka, directed by Konstanty Meglicki in 1929, which due to digital restoration has returned to the screen in November 2016, after decades long break. In recent years, however, it’s been discovered that even some seemingly well-known films should in fact be considered unknown. Due to the research conducted at the National Film Archives, new facts came to light, revealing lost film fragments or alternative versions. One such example is a film from 1939 called Sportowiec mimo woli, until now only known for its post-war American adaptation, turns out to be very diff erent from the unknown original version. Polish pre-war cinema, which was oft en treated with some disdain, is now perceived in a very different light. And recent discoveries allow us to re-examine the achievements of the early period of Polish cinematography.

In an interview with the Polish weekly "Niedziela" (21/2017), the Lviv Archbishop-Metropolitan of the Roman Catholic Church, Mieczyslaw Mokszycki, noticed that the sin of "genocide of the Poles" lies with the Ukrainian people and until he (the people) is cleansed of this sin - he does not admit his guilt before the Polish people, he will not have a blessing and peace will not come.77 Bishop, linking together the "sin of genocide" and the war on the Donbass, thus seeks to prove that this war is a consequence of the unacknowledged Ukrainians blame for the Poles for the Volyn tragedy 1943 ( or, as it is called in Poland, the Volyn distinction), and therefore its (the war in the East) should be considered primarily metaphysically - as God's knowledge, as a punishment of the entire Ukrainian people for this blame, besides the clergyman, and stipulates that "God is not God , which punishes its people ".

In the present article they concentrated on the issue of the meaning of the life. A definition of the meaning of the life was analysed suggested through many outstanding Polish and of foreign researchers, next factors shaping feeling the meaning of the life were exchanged. In the more distant part of the article comprehending the parental attitude, as well as two models of these conducts were discussed: the model of Terrestrial Maria and the model of Mieczyslaw Plopa. Findings showed that the constructed hypothesis in examinations had only partly proven correct. It is possible so to conclude that a connection exists between feeling the meaning of the life, but the retrospective evaluation of parental postures at examined women with disabilities. The attitude of mothers towards adult daughters with disabilities is positive and stable, and negative and unstable attitude of the father.

The 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 Mieczyslaw Wallis’s studies constitute theoretical background of the paper.

As a border city between three civilizations (i.e. Roman, German and Slavic), Trieste became a destination for the Migration of Slavs, especially Southern Slavs. The city was already home to the largest urban Slovene agglomeration in the 19th century and more than half of its citizens were of Slavic origin. In the socio-political situation of those times, the Croatians began to play a significant role. The World War I and post-war reality diametrically changed the power structures to the benefit of the Italian Kingdom and Fascism between the wars and during World War II severely threatened the existence of this part of the city’s inhabitants. Post-war political changes (the revolution of the Italian Republic and the Socialist Federal Republic of Yugoslavia) did not facilitate good contacts with the home country. Only the establishment of the independent Republic of Croatia brought about change in the relations between both countries and the diaspora itself. REFERENCES Cilas Ankica, Drpic Irena, Loncaric Mijo, 2007, A lingua dei Croati di Trieste, w: J.C. Damir Murkovic, red., I Croati a Trieste, Edizioni Comunita Croata di Trieste, Trieste. Dabinovic Antun, 1938, Glagoljski natpis u Trstu, „Jadranski Dnevnik”, nr 31. Dziekonski Mieczyslaw, 2016, Chorwacka diaspora w Trieście, rozprawa doktorska, Uniwersytet Śląski, Katowice. Feruga Krzysztof, 2009, Jezyk diaspory molizanskich Chorwatow, Wydawnictwo Akademii Techniczno-Humanistycznej, Bielsko-Biala. Jeri Jernej, 1975, Vprasanje nase zahodne meje 1945–1954, w: J. Janko, red., Slovenci v Italiji po drugi svetovni vojni, Cankarjeva založba, Primorski tisk, Založnistvo tržaskega tiska, Ljubljana–Koper–Trst, s. 89–90. Kacin-Wohinz Milica, Pirjevec Jože, 2000, Zgodovina Slovencev v Italiji 1866–2000, Nova revija, Ljubljana. Kersevan Alessandra, 2003, Un campo di concentramento fascista, Gonars 1942–1943, Kappa Vu, Udine. Kovacic Ivan, 1998, Kampor 1942–1943. Hrvati, Slovenci i Židovi u koncentracijskem logoru Kampor na otoku Rabu, praca dyplomowa, Uniwersytet w Rijece, Rijeka. Pahor Milan, 1980, 40-letnica nastanka OF na Tržaskem, w: Jadranski koledar za leto 1981, Založnistvo tržaskega tiska, Trst, s. 46–52. Pahor Milan, 1984, Rižarna – 40 let potem, w: Jadranski koledar za leto 1984, Založnistvo tržaskega tiska, Trst, s. 123–127. Pahor Milan, 2004, Slavjanska sloga. Slovenci in Hrvati v Trstu. Od avstroogrske monarhije do italijanske republike, Založnistvo tržaskega tiska, Trst. Pajewski Janusz, 2005, Pierwsza wojna światowa 1914–18, Wydawnictwo Naukowe PWN, Warszawa. Petelin Stojan, 1965, Osloboditev Slovenskega Primorja, Goriska mohorjeva družba, Nova Gorica. Pirjevec Jože, 1998, Pariska mirovna konferenca, w: Acta Historiae VI, Zgodovinsko družba, Societa storica del Litorale, Koper, s. 7–14. Wereszycki Henryk, 1972, Historia Austrii, Zaklad Narodowy im. Ossolinskich, Wroclaw.

The text discusses a monograph by Piotr Rypson about Mieczyslaw Berman. When we consider Czerwony monter [The Red Assembler], however, we need to refer to a concept that is closely akin, namely, Andrzej Leder’s take on revolution. What is underscored here is Berman’s composite photographs since, as the author of this discussion believes and expands upon in her text – they depict most accurately the times of the photo designer’s life. He is considered the creator of the communist propaganda’s graphical language. And that is probably why a considerable period has had to elapse before he became again considered “worthy” of the scholarly interest. It seems, in this day and age, important to reconsider the works of this world-renown “assembler” of red propaganda, merely in order to trace the remnants of his style in the graphic-design culture of today.

1. XLVII National Conference on Applications of Mathematics, September 4-11, 2018, Zakopane-Kościelisko (Ł. Stettner) The 47th National Conference on Mathematics Applications was held on September 4-11, 2018 in Zakopane Kościelisko. Together with the conference, the XXIV National Conference on Mathematics Applications in Biology and Medicine (4-7 September 2018) was held simultaneously with two common first days of the meeting. The plenary lecture was delivered by Urszula Ledzewicz (Southern Illinois University Edwardsville, USA and Łodź University of Technology) and Heinz Schattler (Washington University, St. Louis, USA) with optimal control in biomedical problems. 2. GAMENET Conference Krakow 2018, 17 -- 21 września 2018, Krakow(F.Falniowski) On September 17-21, 2018 an international conference GAMENET Conference Krakow 2018 summarizing the first year of activity of the European network for game theoretic research GAMENET was held at the Cracow University of Economics. The main event of the first two days was a training school on the recent applications of Game Theory. The training school was build around three courses delivered by Olivier Baude (Electricite de France), Luiz DaSilva (Trinity College Dublin) and Vianney Perchet (CMLA, ENS Paris-Saclay & Criteo AI Lab). 3. Conference "Social sciences - mathematical or mathematizable?", 27 -- 28 września 2018, Krakow(Agnieszka Lipieta) The conference was held at Cracow University of Economics on September 27-28, 2018. It was devoted to the memory of outstanding mathematician, philosopher, and economist Professor Andrzej Malawski, who passed away in 2016. 4. VII Hurwicz Workshop on Mechanism Design Theory, 7--8 grudnia 2018 (Łukasz Woźny) IM PAN WarszawaThe 2018 Hurwicz Workshop on Mechanism Design Theory is a continuation of the initiative started in 2009 of holding an annual confernce to honour the 2007 Nobel Prize Laureate in Economics, professor Leonid Hurwicz. Leonid Hurwicz lived in Warsaw until 1938 and studied at the University of Warsaw. He frequently visited Poland in 1990's. In 1994 he obtained the Doctor Honoris Causa of Warsaw School of Economics. A special plaque commemorates his contacts with Warsaw School of Economics. Hurwicz is often credited with introducing rigorous mathematical approach to economic analysis. He received the Nobel Prize in Economic Sciences in 2007 for his fundamental contributions to the theory of the design of economic mechanisms. Theory of mechanism design relies heavily on mathematical methods of functional analysis, differential equations, differential topology, dynamical systems, etc. Hurwicz has made important contributions to mathematics as well as economics, in particular, to non-linear programming. 5. Conference “Mathematical Statistics”. Bedlewo, December 2--7, 2018 (Przemyslaw Grzegorzewski). On December 2--7, 2018, in Bedlewo, the XLIV Conference "Mathematical Statistics" was held, organized by the Banach Center of Institute of Mathematics Polish Accademy of Science, the Committee on Statistics of the Committee of Mathematics of the Polish Academy of Sciences, and the Faculty of Mathematics and Computer Science of the Nicolaus Copernicus University in Torun. During the 19 sessions, a total of 46 lectures and a series of lectures on "Bayesian Inference in Intractable Likelihood Models", i.e. on Bayesian modeling with a difficult likelihood function, were given. The lecture was delivered by Krzysztof Łatuszynski from the University of Warwick in Great Britain. 6. XLVIII Seminar on Applied Mathematics-XLVIII Seminarium Zastosowan Matematyki, 9-11.09.2018 Boguszow-Gorce (Mieczyslaw Chalfen)