The goal of this paper is to present musical threads in dreams of selected 20th century leading classical music composers. Musical dreams may come during the period of writing the piece, affecting its shape (Edgar Varèse, Igor Stravinsky), or appear totally unexpectedly, giving an impetus to compose a new work (Karlheinz Stockhausen, Mauricio Kagel). Dreams are a potential answer to the concerns of composer (Threni) or a source of inspiration for a short fragment of musical material (Arcana, Histoire du soldat), instrumentation (Octet), some specific features of the piece (The Rite of Spring, Musik im Bauch, Tierkreis, Helikopter-Streichquartett, Himmels-Tür), or even a course of the whole composition (Trans, Match). It is also interesting to observe the occurrence of musical dreams featuring intensive colours.

The examples are referred to the current state of research on links between music and dreams. The studies of a group of scholars from the University of Florence, working under Valeria Uga, or Irving Massey, American working in neuroaesthetics, present the statements of composers concerning the pieces inspired by the music heard in a dream in new light. These results provide further evidence that making use of this alternative source of work is possible.

The examples are referred to the current state of research on links between music and dreams. The studies of a group of scholars from the University of Florence, working under Valeria Uga, or Irving Massey, American working in neuroaesthetics, present the statements of composers concerning the pieces inspired by the music heard in a dream in new light. These results provide further evidence that making use of this alternative source of work is possible.

The article examines the specific forms of mobilization of the students in the banlieues during occupation of the Universities (specifically University of Paris 8 and University of Paris 13) in 2007-2008 in response to the idea of introducing privatization of the Universities in France. One of reason of emergence radical forms of resistance was an attempt to challenge the increasing discourse of marginalization of the banlieues. A closer look on the underlying premises of the strike enabled to reveal the democratic claims of the strikers in the background of the previous riots in the suburbs and their representations in visual culture. Among the forms of occupation, the most specific one was blocage characterized as the space, where instead of lectures there was a possibility of sharing ideas of democratic values during organized Assemblée Généralle. The result of this radical, long-lasting strike was the temporary establishment of sovereign and autonomic space where the official power had no right to intervene. Ultimately, the strike resulted in the successful abolition of the rent of the University to the private investors.

The main purpose of this essay is to discuss selected photographs of American photographers Diane Arbus and Lisette Model. The artists, who can be also called modern flâneuses, strolled the streets of Paris and New York in order to take pictures of the urban leisured class. An important element of the analysis is to demonstrate the women’s point of view presented in the works of Arbus and Model. Furthermore, particular works of these authors are discussed in the context of the camp theory, created by Susan Sontag. My aim is to prove that camp is reflected not only in the portrayed characters, but also it is included in the gaze of the artist.

Post-Marxist perspective on consumption views consumers as manipulated, exploited, oppressed, alienated individuals, while Cultural Studies argue that it can be means of resistance. The aim of this paper is to examine different, anthropological perspective on consumption, that puts stress on its creative aspects and perceives it rather from the perspective of individuals, than social forces, processes and structures, which are beyond their control. The paper provides analysis of the phenomenon of appropriation of goods, craft consumption and possession rituals. They focus on both symbolic and physical constructing and “domesticating” of the reality through consumption. The author illustrates these concepts with observed examples or cases obtained from desk research.

Tadeusz Słobodzianek’s play Nasza klasa. Historia w XIV lekcjach is an undeniable success of the Polish drama on a global scale when measured by the number of stagings. The aim of this essay was to identify the drivers of this international success. The investigation is conducted in a wide historical and cultural context, taking into account artistic representations of the Holocaust and academic studies in this field. It was based mainly on the analysis of reviews of foreign stagings of the play using which the author attempted to determine how local critics and audiences perceived the text and the events depicted therein. The survey is preceded by a summary of play reception in Poland from a few years’ perspective upon its release in a printed form as well as its premiere on stage.