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The article discusses artistic relations and “common places” in the works of Zofia Nałkowska and Henrik Ibsen. The basic concept for the analysis of their plays is the gaze that synthesizes events and allows us to capture changes. Nałkowska started writing plays in the third phase of her creative work (Ludwik Fryde) and considered them “little laboratories”. Like Ibsen, the Polish writer was interested in the “naked truth” about man; she wanted to understand his life choices and introduce him to the world of meanings.

Assunta jest poematem dygresyjnym, ujawniającym poglądy Norwida na sztukę, filozofię i religię. Zgodnie z założeniami estetycznymi romantyzmu sztuka ma swoje źródła w doświadczeniu wewnętrznym, przeżyciu religijnym, ma charakter metafizyczny. Modernistyczne interpretacje twórczości Norwida, którym został poświęcony artykuł, odsłaniają jej metafizyczne aspekty. Ustalenie kierunku i znaczenia wpływów staje się niezwykle ważnym zadaniem. Autor Assunty był postrzegany u schyłku wieku dziewiętnastego jako patron modernizmu, jego imię wymieniano wraz z imieniem Baudelaire’a, uwagi o nim pojawiały się w kontekście dyskusji na temat nowoczesnej literatury, teatru, sztuki aktorskiej. Twórczość Norwida wpisywała się w „paradygmat wzrokocentryzmu”, poeta nie stronił od optycznych metafor, stosował poetykę światłocienia, kadrowania przestrzeni, która w poemacie Assunta zyskała wertykalny charakter. Motywy doskonalenia, wzrastania pełniły w utworze istotną rolę. Refleksja nad ich znaczeniem pozwoliła ustalić rangę metapoetyckich uwag zawartych w Assuncie. Przypomniana w epoce modernizmu twórczość Norwida doczekała się wielu interpretacji, także krytycznych, opierających się na „kłopotliwych” przemilczeniach. Zenon Przesmycki sądził, że twórczość ta nie została w pełni zrozumiana, choć podjęto próby wpisania jej w estetykę modernizmu. Uznano jednak, że stanowi ona brakujące ogniwo w rozwoju polskiej poezji symbolistycznej (warto także podkreślić jej związki z „kolorystami” – jak nazywano impresjonistów). W Assuncie nawiązującej do Boskiej Komedii Dantego i Hamleta Szekspira zostaje ukazana kontemplacyjna ścieżka poznania. „Spojrzenie w niebo” jest więc aktem poznawczym, w którym rozum współistnieje z wiarą. Assunta is a digressive poem showing Norwid’s views on art, philosophy and religion. According to the aesthetic assumptions of Romanticism, art has its source in internal experience, religious experience, and is of a metaphysical nature. Modernist interpretations of Norwid’s works, to which the article was devoted, reveal its metaphysical aspects. Determining the direction and significance of influences becomes an extremely important task. The author of Assunta was perceived at the end of the nineteenth century as a patron of modernism, his name was mentioned together with that of Baudelaire, comments about him appeared in the context of discussions on modern literature, theater and the art of acting. Norwid’s work was in line with the „paradigm of sight-centricism”, the poet did not avoid optical metaphors, he used the poetics of chiaroscuro and space framing, which in Assunt’s poem gained a vertical character. The motives of improvement and growth played an important role in the piece. Reflecting on their meaning allowed to establish the rank of the metapoetic remarks contained in Assunta. The works of Norwid, recalled in the era of modernism, have received many interpretations, including critical ones, based on „troublesome” concealments. Zenon Przesmycki believed that this work was not fully understood, although attempts were made to include it in the aesthetics of modernism. However, it was recognized that it was the missing link in the development of Polish symbolist poetry (it is also worth emphasizing its links with „colorists” – as the Impressionists were called). In Assunta, referring to the Divine Comedy by Dante and Shakespeare’s Hamlet, the contemplative path of knowledge is shown. „Looking to heaven” is therefore a cognitive act in which reason coexists with faith.

The article presents the circumstances of the creation of Stanisław Przybyszewski's drama and its reception. An important category in the process of interpretation is memory, while the point of reference is the recent staging of the drama by Anna Gryszkówna at the National Theatre in Warsaw in 2021. Przybyszewski's drama, written in 1903, remains up-to-date; the author presents timeless heroes and reflects on the topic of destiny. The modernist drama is given a new interpretation. The themes of love, death, and the space of femininity are analysed in the context of contemporary culture and its condition, also in the age of the pandemic.

Artykuł prezentuje różnorodność bajek Józefa Jankowskiego, który nadaje temu gatunkowi nowoczesne znaczenie. Bajki są bowiem opowieściami o marzeniu, nieskończoności, porządkują chaos świata, interpretują trudną rzeczywistość. Analiza i interpretacja utworów pozwala zadać pytanie o definicję nowoczesności. Jankowski pojmował ją jako istotny element dyskursu estetycznego. Nowoczesność była dla modernistów ważnym wyzwaniem. Postrzegali ją oni jako podstawę światopoglądu, którego etapy rozwoju wyznaczała zaś sztuka.

The presented considerations are an attempt to analyse such concepts as memory and dream, in which the image of the “country of childhood” plays an important role. Oskar Miłosz returns in his work, including the poem entitled In the Country of His Childhood Years (from the volume Les Sept Solitudes from 1906), to the past from where he extracts memories of Lithuania. The past is a place for him, time – marked by sensuality – is both locus amoenus and locus horridus. By “imagination creating” the poet suggests various images of symbolic character; the lyrical subject of his poems exists “among the ruins”. Like Baudelaire in the poem Swan, or Nerval – he wanders around Paris, looking for traces of his homeland in a new space. He is like Orpheus who gains wisdom and mystery in loss. The analysis of selected works by Oskar and Czesław Miłosz, the memory of their family relations, allow to understand their artistic choices and the longing for Lithuania, the “country of childhood”, which is inscribed in their works.

Background Many aspects are currently being investigated, with the aim of improving the application of PDT in the clinic by rendering it more effective. One of the current trends focuses on the use of nanocarriers. The aim of this study is to describe novel photosensitizers among polyol amide chlorin e6 derivatives for photodynamic therapy (PDT) using liposomes. Methods In addition to their intracellular localization and antiproliferative activity against HCT116 cells, appropriate photophysical features have been determined (especially high 1O2 quantum yield production). Results and conclusions Fluorescent microscopy demonstrated that the compounds entered the endoplasmic reticulum (ER), lysosomes, mitochondria and partially the cytoplasm. All of the chlorins showed no dark cytotoxicity; however, high phototoxicity was observed. Using optical and electron microscopy, we investigated the impact of chlorin-based PDT upon cell damage leading to cell death. Chl ara 3 was identified as the most promising compound among polyol amide chlorin e6 derivatives and improved phototoxicity was observed as compared with a clinically approved temoporfin. Our results indicate that newly-synthesized chlorins seem to be promising candidates for PDT application, and two of them (chl ara 3 and chl mme 2) may create promising new drugs, both in the form of a free compound and as a liposomal formulation.

The structural properties of (Ba1-xSrx)PbO3 (x = 0, 0.2 and 0.6) ceramics were examined in a wide range of temperatures, from 14 K to 1223 K, using the X-ray powder diffraction method. The type of distortion of the pseudo-cubic perovskite cell was determined from the splitting of the main diffraction lines and from the analysis of the superlattice peaks. Temperature-induced structural phase transitions at high temperatures were observed. On the other hand at temperatures starting as low as 14 K, the examined ceramics did not show any phase transitions. The effect of Sr doping was evaluated and showed that with an increase in the amount of Sr2+ ions in the crystal lattice the number of SPT's decreases. Additionally, the temperatures at which these SPT's occur are shifted towards higher values. The following sequences of structural phase transitions, written using Glazer's notation, were proposed: I2/m (a-b0c-) → Ibmm (a-b0a-)→ I4/mcm (a0a0c-)→ P m 3 ¯ m (a0a0a0) for BaPbO3 I2/m (a-b0c-) → I4/mcm (a0a0c-) → P m 3 ¯ m (a0a0a0) for (Ba0.8Sr0.2)PbO3 and I2/m (a-b0c-)→ I4/mcm (a0a0c-)→ P m 3 ¯ m (a0a0a0) for (Ba0.4Sr0.6)PbO3. These SPT's were used as trial models in refinement procedures based on the Rietveld method.

In order to accommodate an increasing demand for glassy carbon products with tailored characteristics, one has to understand the origin of their structure-related properties. In this work, through the use of high-resolution transmission electron microscopy, Raman spectroscopy, and electron energy loss spectroscopy it has been demonstrated that the structure of glassy carbon at different stages of the carbonization process resembles the curvature observed in fragments of nanotubes, fullerenes, or nanoonions. The measured nanoindentation hardness and reduced Young’s modulus change as a function of the pyrolysis temperature from the range of 600–2500 °C and reach maximum values for carbon pyrolyzed at around 1000 °C. Essentially, the highest values of the mechanical parameters for glassy carbon manufactured at that temperature can be related to the greatest amount of non-planar sp 2 -hybridized carbon atoms involved in the formation of curved graphene-like layers. Such complex labyrinth-like structure with sp 2 -type bonding would be rigid and hard to break that explains the glassy carbon high strength and hardness.