摘要：Mountain regions are sensitive to climate changes, which make them good indicators of climate change. The aim of this study is to investigate the spatial and temporal variability of air temperature and precipitation in the Polish Carpathians. This study consists of climatological analyses for the historical period 1851-2010 and future projections for 2021-2100. The results confirm that there has been significant warming of the area and that this warming has been particularly pronounced over the last few decades and will continue in the oncoming *** change is most evident in the foothills;however, these are the highest summits which have experienced the most intensive increases in temperature during the recent period. Precipitation does not demonstrate any substantial trend and has high year-to-year variability. The distribution of the annual temperature contour lines modelled for selected periods provides evidence of the upward shift of vertical climate zones in the Polish Carpathians,which reach approximately 350 meters, on average,what indicates further ecological consequences as ecosystems expand or become extinct and when there are changes in the hydrological cycle.

摘要：The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film scholar whose interests focus on women directors and problems of cultural and gender identity in the contemporary cinema. Nevertheless, she decided to expand her research area to include works of Polish female artists who utilise the media and these means of expression that can be analysed in regard to modern film studies. She adopted the theoretical, feminist, and gender perspective, also applying the methodology of cultural studies in their broadest definition. This enables the author to situate the movies under discussion in diverse contexts and theoretical concepts. The purpose of the paper is thus not to offer a comprehensive or historical discussion of women＇s input into audiovisual arts of Central and East European Countries, but to emphasise complexity and demonstrate dynamics of their artistic creativity in Poland particularly. In her analysis, Radkiewicz considers four different research approaches： historical, theoretical （which refers to film and media studies）, artistic, and identity related ones. From this perspective, she investigates filmmakers＇ and artists＇ strategies of using the cinematic field, film conventions, and means of representations, which are the foundation of their narrative expression.

摘要：In the context of Italian literature of 15th century investigate the conception of beauty present in treatises considering the concept of family means not limited value of women＇s beauty. Examination of the course of the development of this idea leads to the conclusion that the conception of beauty doesn＇t exhaust itself in the traditional Aristotelian vision but implies a connection with virtu and with human values on which is based the society. In my analysis 1 will proceed comparing the visions of three authors which apparently belong to different environments but have the same cultural roots. In my investigation of the concept of beauty present in Francesco Barbaro＇s ＂De re uxoria＂, Leon Battista Alberti＇s ＂I libri della famiglia＂ and Benedetto Cotrugli＇s ＂II libro dell＇arte di mercatura＂, I will trace the definition of beauty which is far from simple physical gracefulness but is based on Aristotelian system of virtues. In that light it plays a major role in the formation of perfect citizen and in the utopian vision of the state

摘要：The aim of this essay is to provide an analysis of the Euripides＇ ＂Phoenician Women＂ in terms of mourning. The author intends to set a parallel between the ancient tragedy and its modern adaptation staged by one of the most prominent Polish directors Krzysztof Warlikowski. In the essay, the author will discuss how suffering is depicted in the ancient drama and what changes of mourning motif are introduced into its modern performance. The author will examine the literary as well as the （modern） theatrical topos of grief by analyzing the poetics of tragedy （dramatic structure, metaphors of death, dramatis personae, funeral vocabularium, function of laments） and the poetics of performance （stage design, costumes and props, funerary symbolism, acting, directing solutions）. The purpose of the paper is to argue against the insignificance of Euripides＇ drama and the marginalization of Warlikowski＇s ＂Phoenician Women.＂ Finally, the author will attempt to indicate the mourning motif as one of the essential and attractive for the ancient tragic plot and the modern performance as well

摘要：Dana Gioia in her publication Disappearing Ink： Poetry at the End of Print Culture, draws attention to the increasing popularity of oral forms of poetry--rap, cowboy poetry, poetry slams and performance poetry According to Gioia, transformation of author ＂from an invisible creator of typographic language to a physical presence performing aloud＂, leads to formulation of a strong antithesis for Barthes＇ ＂death of the author＂, namely ＂death of the text＂. In her paper, Gioia assumes that the appearance of the author in his physical presence on stage performing text is equivalent to rebirth of an author and his restoration of power over the meaning of text. This assumption results from a strong division between the process of production and the process of reception of text, which maintains a strong opposition among author, text, and reader. This paper presents slam poetry as an event, during which prepared, written text merges with spoken word susceptible to voices from the audience. This fusion leads to rejection of strong division between production and reception of text and thus between author and reader making all of them participants. Print medium is replaced with living body, which responds to the audience and their reception of text. Text is no longer perceived as an artifact, but as a performative process focused on interaction between participants, which cannot exist outside the event