The Taiwanese Dimension of the Cross–Strait Equation after the Sunflower Movement

The monograph provides knowledge on the complex nature of both external and internal determinants influencing foreign policies of East Asian countries. Through a range of case studies on Japan, China, Taiwan and North Korea, the authors analyze international relations in East Asia as a mosaic of intertwining processes of globalization and regionalization, interests of global and regional powers, local social and economic conditions, national institutional arrangements, and even personal factors. They argue that sometimes a sudden change of one small element in this mosaic suffices to influence the whole system. Instead of providing a simplified interpretation of the analyzed processes, the monograph tries to illustrate them in their entire complexity.For over five decades Taiwan was predominantly perceived by the international community as a function of regional balance of power network in East Asia and of the United States and People’s Republic of China relations. However, after almost 30 years of democratic change, Taiwanese internal politics is slowly growing out of the diplomatic cross–strait framework and Beijing–Taipei economic rapprochement scenarios. The Sunflower Movement protests and November 29th, 2014 defeat of ruling Kuomintang in local elections indicate an introduction of a new variable – Taiwanese society – in cross–strait formula

Jerzy Wójcik - light aesthetics

The article shows the creative way of Jerzy Wójcik, from his first artistic trials to the beginning of his career as a cameraman with Andrzej Munk, Andrzej Wajda and Jerzy Kawalerowicz, to his late films made together with Stanisław Różewicz. Particularly significant are the “changes of light”, the key to understanding the art of Wójcik’s films. They are examined one by one in reference to such issues as the depth system, the aesthetics of black-and-white and grey, the art of the icon and the blue hour. The article shows the creative way of Jerzy Wójcik, from his first artistic trials to the beginning of his career as a cameraman with Andrzej Munk, Andrzej Wajda and Jerzy Kawalerowicz, to his late films made together with Stanisław Różewicz. Particularly significant are the “changes of light”, the key to understanding the art of Wójcik’s films. They are examined one by one in reference to such issues as the depth system, the aesthetics of black-and-white and grey, the art of the icon and the blue hour.

Feature Film as a Literary Work

The relationships between feature film and literature are typically conceptualized from the perspective of film adaptations. Although numerous shared points between them are noticeable, typically feature films are not treated as literary works tout court.The paper focuses on the difference between the medium and literature, which allows us to look at any feature film as literature in the film medium. “Empirical media studies” (U. Saxer, W. Faulstich) provides the methodological foundation for the paper, and three representative examples are discussed. The first two are extremely different from each other: a feature film preceding a novel (Alien by R. Scott and Alien by A.D. Foster), and the opposite variant, i.e. a feature film based on a novel in the book medium (Barry Lyndon by S. Kubrick and The Memoirs of Barry Lyndon by W.M. Thackeray). The third example (Love Story by A. Hiller and Love Story by E. Segal) is intermediate: the feature film and the novel were released at the same time (Segal wrote the novel based on his ownscenario during the production of the film). The examples analyzed, together with theoretical considerations, show that it is not the so-called “language of film” that makes a film a work of art, but its “literary-logical continuum” (Faulstich), which supports the thesis that all literature is mediated, and that traditional considerations regarding film adaptation should include the issue of literary media to a greater extent.The relationships between feature film and literature are typically conceptualized from the perspective of film adaptations. Although numerous shared points between them are noticeable, typically feature films are not treated as literary works tout court.The paper focuses on the difference between the medium and literature, which allows us to look at any feature film as literature in the film medium. “Empirical media studies” (U. Saxer, W. Faulstich) provides the methodological foundation for the paper, and three representative examples are discussed. The first two are extremely different from each other: a feature film preceding a novel (Alien by R. Scott and Alien by A.D. Foster), and the opposite variant, i.e. a feature film based on a novel in the book medium (Barry Lyndon by S. Kubrick and The Memoirs of Barry Lyndon by W.M. Thackeray). The third example (Love Story by A. Hiller and Love Story by E. Segal) is intermediate: the feature film and the novel were released at the same time (Segal wrote the novel based on his ownscenario during the production of the film). The examples analyzed, together with theoretical considerations, show that it is not the so-called “language of film” that makes a film a work of art, but its “literary-logical continuum” (Faulstich), which supports the thesis that all literature is mediated, and that traditional considerations regarding film adaptation should include the issue of literary media to a greater extent

The New Great Game Revised – Regional Security in Post-Soviet Central Asia

Rozdział z: The Quandaries and Foreign Development, ed. D. Mierzejewski, “Contemporary Asian Studies Series

The law of inheritance in the light of the provisions of the Constitution of the Republic of Poland : an outline of the institution

The right of inheritance and its protection are institutions guaranteed in the binding Constitution of the Republic of Poland, hence it must be recognized that they remain one of the foundations of the system and legal order of the Polish state. In the provisions of the Constitution, one can find clear indication that the Polish state is obliged to protect not only the right to property but also the right of inheritance. This article examines the various aspects of these rights. It points to the guarantee of “equal rights for all” provisioned by further regulation, and to the convincing way in which the Constitution stresses the importance of the right to inheritance and presents a clear direction of interpretation of the provisions related to it. It then goes on to discuss the challenges involved in interpreting what is meant by the “law of inheritance”, the difficulties that arise in determining the scope of protection it affords and the setting of limits on the legislator’s interference in the freedom of individuals to dispose of their [email protected] Kozłowski – doktor nauk prawnych, pracownik Katedry Prawa Konstytucyjnego Uniwersytetu Jagiellońskiego.Krzysztof Kozłowski – PhD in law, Department of Constitutional Law, Jagiellonian University, Crakow.Uniwersytet JagiellońskiBanaszak B., Prawo konstytucyjne, Warszawa 2015.Banaszkiewicz B., Konstytucyjne prawo do własności, (w:) M. Wyrzykowski (red.), Konstytucyjne podstawy systemu prawa, Warszawa 2001.Garlicki L., Jarosz-Żukowska S., Komentarz do art. 65, (w:) L. Garlicki, M. Zubik (red.), Konstytucja Rzeczypospolitej Polskiej. Komentarz, Warszawa 2016.Garlicki L., Zubik M., Komentarz do art. 21, (w:) L. Garlicki, M. Zubik (red.), Konstytucja Rzeczypospolitej Polskiej. Komentarz, Warszawa 2016.Jarosz-Żukowska S., Prawo do własności – własność jako prawo podmiotowe, (w:) B. Banaszak, A. Preisner (red.), Prawa i wolności obywatelskie w Konstytucji RP, Warszawa 2002.Kaliński M., Krzywoń A., „Własność” jako przedmiot ochrony na podstawie art. 21 ust. 1 Konstytucji RP, „Przegląd Sądowy” 2015, nr 1.Mączyński A., Konstytucyjne prawo dziedziczenia, (w:) W. Popiołek, L. Ogiegła, M. Szpunar (red.), Rozprawy prawnicze. Księga pamiątkowa Profesora Maksymiliana Pazdana, Zakamycze 2005.Nakielska I., Prawo do własności w świetle Europejskiej Konwencji Praw Człowieka, Gdańsk 2002.Piątkowski J., Kawałko A., Witczak H., Konstytucyjne założenia polskiego systemu spadkowego, (w:) B. Kordasiewicz (red.), System prawa prywatnego. Prawo spadkowe, Warszawa 2015.Szpunar A., Uwagi o pojęciu prawa dziedziczenia, „Rejent” 2002, nr 5.Zaradkiewicz K., Instytucjonalizacja wolności majątkowej. Koncepcja prawa podstawowego własności i jej urzeczywistnianie w prawie prywatnym, Warszawa 2013.Zaradkiewicz K., Komentarz do art. 21, (w:) M. Safjan, L. Bosek (red.), Konstytucja RP. Komentarz, Warszawa 2016.Zawadzka B., Problematyka ekonomiczna i społeczna w projektach konstytucji, (w:) M. Kruk (red.), Jaka konstytucja?, Warszawa 1994.224597

Wiersz o jesieni. O Frantzu François Ozona

Kozłowski Krzysztof, Wiersz o jesieni. O Frantzu François Ozona [A Poem on Autumn. Frantz by François Ozon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 77–92. ISSN 1644-6763. DOI 10.14746/pt.2019.32.3. The film Broken Lullaby ([1932] Ernst Lubitsch) and the novel L’Homme que j’ai tué ([1921, 1925, 1930] Maurice Rostand) are seen to be the main inspirations for Frantz (2016) by François Ozon. On the basis of methodology broadly understood as the concept of bringing into relief (Domański, 1992, 2002), this article aims to demonstrate the means by which the French director expanded upon the literary-film material, imbuing it with a totally singular meaning. Ozon’s inventiveness did notlimit itself to transformations typical for adaptations, but ventured towards feature film understood as a synthetic work of art that by exploiting the audiovisual properties of the medium itself, acts as a unifying force of poetry (Verlaine, Banville), music (Chopin, Debussy) and painting (Manet). The famous poem recited by the heroine, Ann, Chanson d’automne (Paul Verlaine), serves as the analytical starting point for the above. It is thus used as a pivot for the entire film, a veritable lodestarfor guiding motifs, allowing important aspects of the film to be highlighted and consequently, bring its main theme to the fore.Kozłowski Krzysztof, Wiersz o jesieni. O Frantzu François Ozona [A Poem on Autumn. Frantz by François Ozon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 77–92. ISSN 1644-6763. DOI 10.14746/pt.2019.32.3. The film Broken Lullaby ([1932] Ernst Lubitsch) and the novel L’Homme que j’ai tué ([1921, 1925, 1930] Maurice Rostand) are seen to be the main inspirations for Frantz (2016) by François Ozon. On the basis of methodology broadly understood as the concept of bringing into relief (Domański, 1992, 2002), this article aims to demonstrate the means by which the French director expanded upon the literary-film material, imbuing it with a totally singular meaning. Ozon’s inventiveness did notlimit itself to transformations typical for adaptations, but ventured towards feature film understood as a synthetic work of art that by exploiting the audiovisual properties of the medium itself, acts as a unifying force of poetry (Verlaine, Banville), music (Chopin, Debussy) and painting (Manet). The famous poem recited by the heroine, Ann, Chanson d’automne (Paul Verlaine), serves as the analytical starting point for the above. It is thus used as a pivot for the entire film, a veritable lodestarfor guiding motifs, allowing important aspects of the film to be highlighted and consequently, bring its main theme to the fore

Constitutional right of a Polish citizen for diplomatic and consular protection : a few remarks in the light of art. 36 of the Polish Constitution

Konstytucja RP przewiduje dla polskich obywateli prawo do opieki dyplomatycznej i kon-sularnej, które może być realizowane podczas ich pobytu za granicą. Artykuł zwraca uwagę na potrzebę interpretacji przepisu Konstytucji RP przy uwzględnieniu regulacji prawa międzynarodowego. Formułuje również tezę, że na sposób stosowania omawia-nego uprawnienia istotny wpływ mają bieżące stosunki międzynarodowe, w tym relacje o charakterze politycznym lub gospodarczym. Dalsza część artykułu zawiera omówie-nie kwestii zakresu podmiotowego art. 36 Konstytucji RP i wiąże prawo do opieki poza granicami kraju z instytucją obywatelstwa. Poruszane są również kwestie tzw. porzuce-nia obywatela oraz możliwości objęcia opieką osób, które nie posiadają polskiego obywa-telstwa. Ostatnia część opracowania poświęcona jest zagadnieniu treści prawa do opieki. Zwrócono uwagę na niedefiniowalność pojęć „opieki dyplomatycznej” oraz „opieki kon-sularnej”. Istotny jest tu również aspekt praktyczny, polegający na właściwie nieograni-czonym prawie państwa do reprezentacji swojego obywatela za granicą.The Constitution of the Republic of Poland provides for Polish citizens the right to dip-lomatic and consular protection, which may be implemented during their stay abroad. The article draws attention to the need to interpret the provision of the Constitution of the Republic of Poland, taking into account the regulations of international law. It also formulates the thesis that the current international relations of a political or econom-ic nature have a significant influence on the manner of applying the discussed law. The rest of the article discusses the subject matter of art. 36 of the Constitution of the Re-public of Poland and associates the right to care abroad with the institution of citizen-ship. The issues of the so-called abandonment of the citizen and the possibility of taking care of people who do not have Polish citizenship. The last part of the study is devoted to the issue of the content of the right to care. Attention was drawn to the indefinability of the concepts of diplomatic care and consular protection. What is also important there is the practical aspect, consisting in the virtually unlimited right of the state to repre-sent its citizen abroad

Między sceną a dziełem. O reformującej roli dramatów muzycznych Richarda Wagnera

In Between stage and work of literature. In the reforming role of Richard Wagner's musical dramas the author tries to show that musical dramas of the German composer were actually important artistic events which could contribute to the understanding of the complex relations between the stage and the musical drama as preserved in the score. The lack of the unequivocally outlined conception of the work - incomplete at different levels and unspecified in its many aspects - gave an impulse to numerous stage experiments which appeared to be of significance just from the point of view of the history of the theatre. And so the history of staging Wagner's dramas became a part of its history; Adolphe Appia, a Swiss reformer of the theatre was one of the first to find this regularity and tried to present it on stage using all the historical changeability of the latter.In Between stage and work of literature. In the reforming role of Richard Wagner's musical dramas the author tries to show that musical dramas of the German composer were actually important artistic events which could contribute to the understanding of the complex relations between the stage and the musical drama as preserved in the score. The lack of the unequivocally outlined conception of the work - incomplete at different levels and unspecified in its many aspects - gave an impulse to numerous stage experiments which appeared to be of significance just from the point of view of the history of the theatre. And so the history of staging Wagner's dramas became a part of its history; Adolphe Appia, a Swiss reformer of the theatre was one of the first to find this regularity and tried to present it on stage using all the historical changeability of the latter