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The article concerns some reflections upon the evaluation aimed at the organizational development of the school (Lower-Secondary School in Wola) and at improving the quality of its work. The author analyses the school staff’s experience associated with the work on a better quality of teaching, and describes the way of choosing the school’s profile as the method of inner evaluation. A report on the inner evaluation conducted through the method of school’s profile is presented, as well as some conclusions which provide guidelines for the further work of this school within the investigated field.
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The internal evaluation was carried out in Jan III Sobieski Lower Junior Secondary School (Gimnazjum) in Zolkiewka in 2015/2016. This evaluation was focused on assessing the level of pupils’ readership, school activities– in developing reading competences and popularizing readership among children and teenagers. The main goal of the evaluation was getting to know students’, teachers’ and parents’ opinions about the readership and working of the school library, and planning its activities so that this place is made more friendly for pupils and teachers. The evaluation team surveyed 60,6% of the pupils in– I–III classes, 68% of the teachers and 35,1% the parents of the pupils in I–III classes. What was the basic way of collecting information were the surveys, a report from the school library and an interview with the class tutors. After gathering the information, the evaluation team prepared a report, which included the answers for main (key) questions, conclusions and recommendations for further activities. From the elaborated document it follows that the school library is equipped in the materials needed to educate pupils in that kind of school. The school librarian systematically expands collections with new publications, moreover she promotes readership among the pupils, which helps in developing pupils’ interests, she also encourages pupils to create poems, stories etc. Our library is a small place, so it canno’t be a multimedia centre, but it fulfills the basic functions. The library is a place, where our pupils meet, spend their free time, borrow books and use the internet.
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Ophelia in the discourse of humanities is mostly presented as an object and mentally inferior to the protagonist of the drama — Hamlet. The feminist critics noticed that the heroine could be regarded as a symbol of femininity and actually a symbol of the inability to fully express its subjectivity due to the domination of male logos. In my article, I would like to briefly introduce the form of Ophelia’s reception and to analyze the language of the heroine by using methodological tools of linguistics (Jakobson — poetic function of language, aphasia as a language disorder). To introduce a broader perspective of my research I will also refer to cultural figure of an outsider.
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The article presents the conception of the Materials to the history of the Russian women writers by Mikhail Makarov (published in the periodical “Damskij zhurnal” 1830, 1833), including the structure (main part and annex), contents of the entries (time frames, sources of the information, mistakes etc.) and the reception in the 19th century (criticism for the mistakes). The interpretive context are the Bibliographical catalogue of the Russian women writers (1826) by Stepan Russov, Biographical dictionary of the Russian women writers (1889) by Nikolai Golitsyn and other texts on the women writers (among others Catherine II) published in the periodical “Damskij zhurnal”.
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The research methodology involves an experimental combination of two different discourses within one interpretation: a philological method and second-wave feminism. Exa¬mined in the context of logic of tosamość and écriture féminine, Strach w Zameczku is a women’s writing. I have analysed Mostowska’s novel as a subversive act. The author reviews the myth of male rationality. The paradigm of a character as a depositary and subject of mind is confronted in the article with a paradigm of an irrational female protagonist with the characteristics of Otto Weininger’s absolute woman. The isomorphism of knowledge and masculinity and the isomorphism of absence and femininity are undermined.
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In the text Modernist artists as a minority G. Matuszek tries to apply the category of minorities to artistic groups, focusing primarily on the situation of artists of early modernism captured in broader contexts. The author shows that artistic environments are often in a “minority situation”, although this minority fulfills only some elements of the ‘hard’ definitions. Psychological dimension plays a significant role here — the subjective feeling of ‘being a minority’ and the expression of distinctiveness, and the linking factors include recognizing the world in the state of crisis, alienation and (self)exclusion, anthropological similarity (theories of higher evolutionary development) etc
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This article presents two cabaret artists, admittedly living in a different historical times, presenting different cabaret styles, whose fate, however, puts them to the similar test. Both Maria Krysińska (Polish Jewess, who successfully joins the life of Parisian bohemian of the late 19th century, the poet of the Club of Hydropathes and the femme chansonnier in the cabaret Chat Noir) and Fryderyk Járosy (arrived from Austria, the legendary conférencier in the cabaret Qui Pro Quo, and in other Warsaw cabarets of the interwar period) experienced the effects of deterritorialization: on the one hand can no longer identify themselves with the cultural order of their old homeland, on the other hand — they cannot fully participate in the artistic life of their new homeland. They both were trapped in the gap of time, between the two different models of life, which did not allow their full assimilation nor full exclusion..
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Biographical interviews conducted among Polish émigré artists revealed several key categories. One of them is the strangeness, which turned out to be a complex and multifaceted category. In “mythologies” of artists the feeling of strangeness, otherness, and even hostility of the outside world reveals itself very often and becomes part of biography and ethos of an artist. Emigration generally exacerbates this condition. However, the emigrant experiences strangeness not only in a new place of residence, the prolonged absence from the home country also has its own consequences. As a result, very often they experience double strangeness: in their left home country and in the new place of residence. However, that does not mean, that feeling of strangeness connects only with suffering. Many artists are able to take advantage of this inconvenience, finding in this state their matter, subject, stimulation for creative work. These artists continually derive inspiration from being a stranger. In the article by referring to the collected biographical data I would like to show different trajectories of foreignness and various creative strategies used by artists emigrants. Strangeness will be shown as a key category in the description of their biographical experience but also as not entirely unambiguous category.
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In 1919, France and Poland signed a Convention on emigration/immigration in order to expedite the sending of Polish workers to France. No clause in this document provided for the schooling of Polish children. French employers and Polish workers then set up a Polish-speaking education programme. With a view to possible and soon returning to their homeland, maintaining Polish identity was necessary for people and entailed learning not only their native language, but also all about Poland’s history and geography. Faced with the creation of these “Polish classes”, several government circulars were published in the 1920s to regulate these teachings and authorise foreign instructors, thus infringing the principle of non-differentiation of children educated under the French Republican school system. When studying this issue of Polish lessons taught in France between 1919 and 1939, it is interesting to see how the Polish minority held a vital (and enduring) role in the establishment of the Native Languages and Cultures education programme in France (the ELCO, still currently at the heart of a debate).
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The starting point is the title of the essay by Breton author Xavier Grall, entitled “French culture is our stepmother”. It serves as a basis for analysis concerning France’s language policy in relation to the Breton minority. The Author answers the questions of why the Bretons consider themselves as a distinct culture, as well as of why they feel harmed. In relation to the former problem, she points to the Celtic roots of contemporary Bretons, whereas in relation to the latter one, she looks for reasons in the policy of the French republic and little influence of the international law on the language policy of France. An optimistic element, on the other hand, is young Bretons’ growing interest in their own culture and language.
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This article is devoted to the question of Russian Cossacks’ identity in the 20th and 21st centuries. The 20th century was crucial in Russian history because of some historical events. For Cossacks it was a time of pivotal decisions. Cossacks were fighting against Bolsheviks, but many of them didn’t support the idea of having one and indivisible Russia. Some of them had aspirations to create independent Cossacks’ state — Cossackia. The main question was: ‘Who are we?’ Russian history provides various theories of the Cossacks’ origin: Slavic theory (“Cossacks come from Russian fugitives”), Mongol and Tatars Cossacks genealogy, Caucasian genealogy, Scythians, Sarmatians or other ancient Cossacks genealogy, Theory of Cossack’s independent Nation.
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Islands have always played a special role in migration processes. A long memory and historical experience of the 19th and 20th centuries emigration to the United States has created a cultural paradigm of island as a phenomenon of uncertain. The island was a place Sylwia Szarejko of welcome and hope, but at the same time the constituting elements of an island — isolation at sea and division from the continent — were terrifying to migrants. Migrations between continents, despite the passage of time, reproduce the patterns known from the past. Analysis of the phenomenon of the island is inseparably linked with the analysis of contemporary African migration to Lampedusa. Over the last 25 years, Lampedusa, which constitutes the aim of migrants’ journeys, surely extends the paradigm of Ellis Island and is at the same time shaping a new model of immigrant / the African / the European.
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This article has two goals. The first goal is to present a historical process which forced the Canadians to become a minority towards the British and to show the complicated relationships in which these two nationalities had to live after the numerous wars waged in North America between the British Crown and the Kingdom of France. The second goal is to show the evolution of the aesthetics of the francophone Canadian theater being the result of the Acadian’s deportation. In this context, three theatrical plays, which are dramatic texts representative of various stages of the difficult Acadian-Canadian history, will be used as examples: Le Théâtre de Neptune (1609) as a representative of the theater of the period of the French dominance in the New France; Le Drame du peuple acadien (1930) as a stage in the poetics of the Acadian martyrology; and La martyrdom Saguine (1971), depicting the aesthetics influenced by the Quiet Revolution, where Acadia becomes a nostalgic place, in a way an open-air museum, where thoughts are returned without a tormenting sense of injustice.
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The article explores the problem of hate speech targeted at various minority groups in Poland, along with the motivations behind it and the implications it has for the social perception of the Other. Adopting a sociological perspective on intercultural relations in the globalized world and mediatized public sphere, and examining Poland’s national and ethnic composition over the centuries, the authors identify the causes of hostility towards culturally different groups. They also discuss the role of the Internet in facilitating the spread of hateful and radical messages, in particular those exploiting religious, ethnic and cultural differences, as well as definitions and legal provisions concerning hate speech and its particular instances in the Polish context. Some of the findings presented here are based on the analyses conducted within the European project C.O.N.T.A.C.T. exploring various aspects of hate speech and hate crime in ten EU countries.
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The intention of the research was to demonstrate the similarities and differences in the formulation of the priorities of the third sector. I have analysed NGOs in Poland and in the world. In addition to the notion of sexual minorities, I also used the acronym LGBT (lesbian, gay, bisexual, transgender). I used the abbreviation NGOs (the non-governmental organizations) to describe the third sector.
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Along with the creation of the Imperial Vilnius University in 1803, an extensive action of recruiting foreigners to professorial positions started on the initiative of the Prince Curator — Adam Jerzy Czartoryski. The professors-Poles, gathered around Jan Śniadecki, who opposed to this idea from the very beginning. This division into the Poles and foreigners began to speak for itself within the scientific community of the college from then on. Not only ethnic, but political and economic differences were the reason of a mutual animosity. This obviously had a negative influence on the efficiency of scientific activity of Vilnius University, for example, on publishing magazines whose editors were predominantly recruited exactly from the intellectual circle of Vilnius Alma Mater. These fights between both clans lasted till about 1825 when their chief participants (G.E. Groddeck, J. Frank, J. Śniadecki or S.B. Jundziłł) left the stage.
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The article is an attempt to look at the problem of colonialism of Galicia as a topic that has been masked by the myth of the region, which is too specific to describe it in terms of colonial dependency. This point of view is widespread also in postcolonial studies. The author of this article believes that the basis of this opinion is not literature, which is responsible for its strengthening, but the narratives of the former imperial Habsburg monarchy.
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Kazimierz Wyka called Leszek Dunin Borkowski is the “enfant terrible” of the Galician society. His entire life (both as an artist and a politician), being an idealistic romantic, he discoursed on constructing the new social reality understood as accomplishment of a romantic image of the world and such a need of directing human actions. Borkowski was in ‘the minority’ of his own sphere (Parochialism, 1843), venal writers (Cymbalada, 1845), religious institutions (Lech’s Prophecies, 1848) and political correctness (The Rakuski Legislative Seym with Special Attention to the Polish Mission, 1849; The First Slavic Seym in Lvov 1865–1866 by an Eyewitness, 1884). He was also in ‘the minority’ as a pertinacious critic of acknowledged authorities (A Little Bit About Stanisław Tarnowski’s Experience and Contemplations, 1892; Because of the Florian Ziemiałkowski’s Open Letter to Józef Szujski, 1867).
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The aim of this article is to discuss minorities in a broader context of community. Through a cross-reading of Jacques Derrida and Jean-Luc Nancy, I endeavour to show in what way ontology or, to be more precise, the ontology of being-with, may bring a new perspective on the purely cultural concept of minority. Thus, instead of pondering on what being a minority or being in a minority means today, I rather try to say what if we all were meant to be with minorities, since being as such is always being with all different others (Nancy) and being with something/someone else which/who is (t)here.
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