The author presents Miłosz as a poet and essayist, but above all as a writer who feels responsible for the sphere of Polish culture; engaged in promoting Polish writers abroad (through translating them into English) and creating a history of Polish literature for foreigners, which exerted an undoubted impact on the reception of Polish literature abroad. She also presents Miłosz as someone who was securing grants for Polish artists and scholars as well as translators of books addressed to the Polish reader. But also as an organiser of cultural projects, such as poetry evenings, his own meetings with readers and international projects, for example, the “Meetings of Poets” in Krakow, which he hosted. Miłosz as portrayed in this article is not only a writer involved in the promotion of literature, but also a chronicler of cultural events.
The youthful period (1931–1939) was particularly rich in journalistic writings. The author focused on one event – the World Congress of Writers in Defence of Culture (Paris 1935), in which the poet took part and wrote an account of it (Na zjeździe antyfaszystów [At an anti-Fascist Convention ]). The poet’s opinion on the anti-Fascist congress becomes a pretext for asking the question about the role and meaning of cultural congresses.

Gentlemen’s Club is an institution associating people of approximately the same social status, political preference, professional position, or interests, to which only previously accepted members can be admitted. London’s Garrick Club and New York’s Players Club are unique actors’ clubs in the world, which have specified precisely their professional activity profiles and which own collections of theatre memorabilia and conduct wide-scale charitable activity. Both organizations have similar management systems, a similar model of artistic activity, organization and promotion, as well as member recruitment system. Garrick and Players are one of the last places, where you can naturally come into direct contact with the XIX century culture, where beauty and uniqueness lies in constancy and preservation of the morality of the old days.

The “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.

The article undertakes the problems of theatrical audience research. It describes the spectator’s role in the process of creating a performance, but most of all it stresses the spectator’s value as an institution’s customer, thus justifying the necessity of undertaking such research. The article describes the theoretical foundations of quantity audience research based on social and marketing research and shows it’s utilization on the example of three theatres in Kraków: Bagatela Theatre, Ludowy Theatre and KTO Theatre.

The article begins with an attempt to define the concept of Arabic and Islamic culture. Therefore its main purpose is to present the beginnings of Islam, Islamic community (umma) and the basic elements of Islamic faith and their nature. The most significant feature of the Arab-Islamic culture is its strong connection with the Islamic law – sharia, based on the Koran and Sunna. For this reason the presentation of its principles takes an important place in this text. The Islamic law determines all sides of this civilisation in macro and micro scale. It plays a crucial role in the development of the state, but also in the behavior of the ordinary man. The other point of interest in this article is the development of sciences in the Islamic world in the classical period. The classical or Medieval Arabo-Islamic culture developed subsequently in a specific way. The reevaluation of this development is currently an important axis of analyses in Arabic and Islamic studies..

Although the Roma have been living on the territory of Poland for nearly five centuries and today their number is between 20–30 thousand they are still perceived as strangers. Their stigma of strangeness and otherness has a double dimension because, on the one hand, they have not become fully integrated with the Polish society of gadzie. On the other, they appear as strangers to their own compatriots from other clans because two big groups inhabit Poland – the more numerous the Poland Roma or the Plain Roma and Bergitka Roma or the Mountain Roma who are a group of only three thousand people. Both external and internal divisions, which create all kinds of familiarity/strangeness borders and contribute to a special cultural semantics of the term Roma do not facilitate a dialogue between the Roma and the gadzie and the Roma and Roma.
Why is it so difficult to understand a Roma, why is it hardly possible to break the stigma, stereotypes and prejudice despite the long years of co-existence on the same territory? Why can one observe but a slow, hardly visible change in the Polish-Roma relationships which are still defined as lacking tolerance, mutual understanding, trust and respect? There are many reasons which account for such a state of affairs. Firstly, it is history, both shared and working as a factor of social exclusion, then the Roma culture and its different and conservative system of values underlying their ethos and life style. Finally, economic and educational factors are also to be considered as the Roma belong to the least educated members in the Polish society and consequently the least economically privileged occupying the lowest position in it. The fact that they have always functioned in family-clan structures results in their not having developed
a strong concept of identity other than family-oriented and local. Most of them are also unable to take part in the public identity discourse following its rules established by gadzie. All the above factors account for the Roma either participating in it in the role assigned to them by the non-Roma or being absent from it