Hibiskus rhodanthus (Malvaceae) : an interesting plant species in Southeastern Africa

Hibiscus rhodanthus Gürke ex Schinz (Malvaceae) is a small plant with bright red flowers, herbaceous in the above-ground parts and permanently woody in the underground rootstock. It belongs to the ‘geoxylic suffrutices’, a group of pyrophytes. The author had an opportunity to observe H. rhodanthus in Zambia, Southeastern Africa. This paper contains information on the genus Hibiscus L., the morphology of the studied species, and the vegetation and climate of Zambia. Newly ascertained localities of H. rhodanthus are listed, and data on its occurrence on two permanent plots in tall-grass savanna near Lusaka are given. The above-ground parts of H. rhodanthus usually develop soon after burning of vegetation, mainly in the second part of the dry season. Flowers may occur first, then stems and leaves, in full development during the rainy season. The geographic distribution and theories of the origin of ‘geoxylic suffrutices’ are discussed

Ice phenomena in the Warta River in Poznań in 1961–2010

The article presents variability of ice phenomena in the Warta River in Poznań based on data recorded in the water gauge station in Poznań – Roch Bridge in 1961–2010. The work aims to characterize and analyze ice phenomena and related hazards. First dates (freeze date), last dates (thaw date) and duration of ice phenomena and particular forms of ice, i.e. frazil ice, border ice, ice cover, ice floes and ice jam, were determined. In case of ice cover, its thickness was also analyzed. In the analyzed period, ice phenomena in the Warta River in Poznań had the maximum duration of 118 days, the earliest date appearance was on November 7 and the last on March 28. The first ice form to appear was frazil ice, the last ice floes and the longest lasting – ice floes. In the entire analyzed period, 15 winter seasons featured ice cover. The longest duration of ice cover was 29 days and its maximum thickness was 8 cm

Ecological problems of plant conservation in nature reserves

Conservation of the plant cover in reserves is a part of a wide range of problems connected of the biosphere resources against destruction. An important role in this area should be played by botanists and ecologists. The present article provides information about initiatives — mainly international conferences — devoted to protection of plant species against extinction, and it gives a review of floristic and phytosociological studies that might contribute to better description of reserves and determination of recommendations concerning active protection of plants and plant communities.Zadanie pt. Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki nr 885/P-DUN/2014 zostało dofinansowane ze środków MNiSW w ramach działalności upowszechniającej naukę

Prawa kobiet muzułmańskich w europejskim systemie ochrony praw człowieka

The idea of protecting the rights of women is considered today as a dichotomous conglomeration of values, which consists of women’s rights regime and the modern world as a framework for governments. Discrimination against women frequently have their source in the text of the law and then is prohibited. Many acts of laundry contains rules to protect Muslim women. These include Constitution, the Convention on the Elimination of All Forms of Discrimination against Women, the Treaty on European Union, the European Convention on Human Rights. The issue of Islamic family functioning is often considered in the context of inequality and violence against women. These are complicated issues primarily in legal terms. These include domestic violence- murder or rape made by a husband or partner. In addition, there are also Islamic culture honor killings or death for dowry. An example of a country where for centuries, there is the problem of the rights of Muslim women is Turkey, where over the centuries shaped the position of Muslim women.Artykuł nie zawiera streszczenia w języku polskim

The genezja fraternity : prayer and word-fullness

Juliusz Osterwa podczas drugiej wojny światowej, którą postrzegał jako czas oczyszczenia i pokuty, planował powołanie dwóch bractw aktorskich - Genezji i Dali. Dal miała być bractwem świeckim, Genezja - religijnym, a dokładniej katolickim. W wojen-nych dziennikach i zeszytach tematycznych przygotowywał projekty działania tych sto-warzyszeń mających służyć całkowitemu przeobrażeniu teatru. W artykule podjęto próbę przedstawienia praktycznych rozwiązań przygotowywanych dla Genezji. Na podstawie niepublikowanych manuskryptów z lat 1941-1944 - dziennika, modlitewnika Genezji oraz kilku zeszytów analizujących strukturę mszy świętej - autor stawia tezę, że praca w Genezji miała być zwieńczeniem drogi prowadzącej do teatru rozumianego jako miste-rium, a praktyczne ćwiczenia oparte na tekstach liturgicznych i modlitewnych miały stać się wehikułem wynoszącym teatr na poziom duchowy. W dokumentach można również znaleźć konkretne rozwiązania dotyczące przestrzeni scenicznej i przestrzeni warsztato-wej: "świętnią" (świątynią) Genezji miał się stać kościół Świętego Krzyża w Krakowie, a miejscem warsztatowej pracy (Genezjanum) - zamek w Pieskowej Skale. Jednak po wojnie, po zmianie ustroju, bractwa się nie ukonstytuowały, a Osterwa kontynuował pracę w teatrach repertuarowych.During the Second World War, which he saw as a time of cleansing and pe-nance, Juliusz Osterwa planned to establish two acting fraternities: Genezja (Genesia) and Dal (Distance). Dal was envisaged as a secular brotherhood, Genezja as a religious one, specifically Catholic. In his wartime diaries and notebooks, Osterwa elaborated plans for how these associations should operate, envisaging them as a vehicle for a complete transformation of theatre. The article presents the practical solutions Osterwa had in mind for Genezja. Based on unpublished manuscripts from 1941-1944 - a diary, a prayer book for Genezja, and several notebooks analysing the structure of the holy mass - the author argues that Genezja was to be the culmination of Osterwa’s path towards theatre under-stood as a religious mystery, and practical exercises based on liturgical texts and prayers were to serve as a means of transporting theatre to the spiritual level. The documents also feature concrete solutions concerning stage and workshop space: Genezja’s "temple" was to be the Church of Holy Cross in Kraków, and the site of the laboratory work was to be the "Genezjanum" at the Pieskowa Skała castle, north of the city. However, after the war, with the change of the political system, the fraternities were ultimately not established, and Osterwa continued his work in repertory theatres.(Transl. Z. Ziemann

Teatr, taniec, liturgia

Theatre, dance and liturgyvThe “Węgajty” Theatre School /Schola/ which operates in Warmia under the management and supervision of Wolfgang Niklaus, tries to reconstruct the medieval liturgical plays. After a few centuries of absence from the public scene in the Middle Ages (or else of concealed presence in the form of folk and ritual spectacles), the medieval theatre became reborn precisely within the Church. – In all likelihood, before the 10th century, short dramatized forms, known as liturgical plays, were presented as part of the liturgy. Like all ceremonial liturgy, they were meant to be sung, nearly in their entirety. Gradually, they were extended to form fully-fledged liturgical plays. When reforming the liturgy and tidying up liturgical books the Council of Trent (1545–1563) at the same time banished liturgical plays from Church interiors. No doubt, it was a legitimate decision on behalf of the Church as more and more lay and even satirical elements began to appear in the church liturgy. Yet, records of liturgical plays, in many cases accompanied by a musical notation and precise “stage” directions, have also been preserved until the present day. Towards the end of the 20th century, many singers, particularly those specializing in old music, tried to reconstruct this form, yet they did so exclusively by adopting the concert form (sometimes even the form of plays, but not those of liturgical spectacles). The international team grouped in the Theatre School /Schola/ has embarked on an extremely risky task – for after a few centuries of its absence from the public scene, it tried once again to incorporate the liturgical play into its natural environment – by performing it in the course of the liturgy. In order to fully comprehend this phenomenon, it is worth taking a closer look at Christianity’s attitude towards the theatre. In the present article, I focus chiefly on the liturgical context associated with the activity of the “Węgajta” Theatre School. I write about the theatre in the Bible and I try to describe how the attitude towards it evolved throughout centuries; I also write about dance in the Church and finally about the most important Christian “spectacle” – the Holy Mass