The article is an attempt to present the previously unknown manuscript lapidary of Zofia Kossak-Szatkowska against the background of her other texts of autobiographic character. The unpublished works of the writer include her notes,unknown to wider audience, from several spring weeks of 1957. These notes mostly describe a journey across Poland, undertaken by the author of The Blaze immediately after her return to Poland from forcedemigration in Cornwall. What comes to the fore are descriptions of meetings with readers as well as observations of people and places she visited. A sharp observer, she watches the monuments of history with the eye of an expert, registers feelingsof people, and in some places, sketches an indirect description of the Polish literary environment. She enjoys Polish landscapes and lush nature in the spring.

Zofia Kossak was immersedin the past for more than half a century, both in her history-oriented literary works and in her memoirs, particularly in those written in hindsight(The Blaze, From the Abyss, Memoirs from Cornwall). She always cared about documenting a moment, which can be seen in the diaristrecords of her lapidary, well aware that what is happening now will come to past in a moment.

The goal of this article was to analyze the issue of how discourse of polish hip-hop describes cities. Mostly polish artist’s lyrics were discussed, they were investigated in the context of the whole hip-hop culture. Article was divided into three main analytic parts. The first one presents, how rappers “read” the city. Analyzed works treat the city space as structure, which expresses deeply hidden substance. The next chapter discusses the ways of representing city, they are considered to be “textual passages” – poetics of such texts is based on discontinuity, it tries to represent dynamics of ever changing space. The last part of article examines the topic of “district”, which in hip-hop is understood as the central space, building foundations of hip-hop’s ontology. This research shows unique coherence of many different texts, that were created in one subculture. Also, this research can be a point of departure for further examination of the presented topics.

The text presents the genesis, inspirations, basic assumptions, fields of interest and key concepts of the Critical Discourse Analysis (CDA) in the approachof its founder Norman Fairclough. CDA is a developing, in our country as well, method of discourse analysis, operating in a wide borderlinebetween the humanitiesand social sciences. It emphasizes the social context of the language in use and its relations with the social reality. A methodological and interdisciplinary openness of this approach is an answer to multimodal, complex and often unclear phenomena and socio-cultural structures which contain interwoven themes from various areas and are beyond traditional disciplinary classifications. This area includes politics, religion, economy, media, promotional culture or entertainment. Therefore, CDA can be used in various heterogeneous research areas, also by interdisciplinary research teams made up of specialists from various areas of expertise.

On the cultural discourses of Marian Zdziechowski and Stanisław Brzozowski (Review: A. Żywiołek, Mesjański „logos” Europy. Mariana Zdziechowskiego i Stanisława Brzozowskiego dyskursy o kulturze Zachodu, Wydawnictwo im. Stanisława Podobińskiego Akademii im. Jana Długosza w Częstochowie, Częstochowa 2012)