The vesre is a linguistic phenomenon that until recently had been scarcely explored. This fact is due, among others, that very often the forms created in the framework of the vesre belong to the spoken modality and, for this reason, they are hardly registered in the lexicographical sources. In addition, with a certain frequency, this mechanism of lexical creation is identified only with Argentinean Spanish, leaving aside the other zones where it is a very productive mechanism. Hence, in this work we wish to focus our attention on another region, the Peruvian, in which, apparently, the use of vesreisms shows some vitality. For this purpose, we try to gather the scattered data in multiple dictionaries and fragmentary information found in other sources about the Peruvian vesre. Therefore, all the data we submit to the formal analysis supporting us, on the one hand, in the premises that we have used in the works on the Argentinian vesre, and, on the other, however fragmentary they may be, in the information that dictionaries provide us.

The article presents the analysis of the rules of punctuation concentrated on the use of a comma in Spanish language. Nevertheless, in the introduction the author cite several exemples to show the differences and similarities between the use of a comma in Spanish, Polish, Russian, Czech, French, English and German languages in order to emphasize the conventional nature of the comma. The main part of the work presents the use of a comma in Spanish in five syntactic contexts. The article ends with conclusions that reveal the obligatory, distinctive and optional nature of the comma in the Spanish orthography.

The article corresponds to the 400th death annniversary of two famous European writers – Cervantes and Shakespeare – celebrated all around the world. The author tells about their lifes and takes into consideration the possiblility of their meeting together in Vailladolid. Besides, the author emphasizes on the qualities that are in common for Shakespeare’s and Cervantes’ works – among others the universality (their readers were both educated as well as simple), the ability to create symbolic figures and the application of colloquial language.

This article is in tended to provide a legally sound explanation of why and how the contemporary International Humanitarian Law and International Human Rights Law legal frameworks offer tools to address the uncertain ty, lack of in formation, and the consequences thereof in relation to missin g persons and victims of enforced disappearances in the context of armed conflicts which predated the adoption of such frameworks. To this end, three scenarios will be examin ed: the contemporary claims of the families of those who were killed in the Katyń massacre in 1940; the claims for in formation and justice of the families of thousands who were subjected to enforced disappearances durin g the Spanish Civil War between 1936 and 1939; and the identification efforts concernin g those reported missin g while in volved in military operations in the context of the 1944 Kaprolat/Hasselmann in cident which took place durin g the Second World War. The analysis of these scenarios is conducive to the development of more general reflections that would feed in to the debate over the legal relevance of the distant past in light of today’s in ternational legal framework.

This article is historical and philosophical in nature. Its purpose is to outline the most important trends and problems in the 19th-century Spanish philosophy. This philosophy has not yet been the subject of deeper analyses, especially in Polish literature on the subject. This is a major oversight, because the nineteenth century is the time of the impressive growth of modern social, political, legal, moral and intelectual structures in Spain. An important role in their development was played by Spanish philosophers and their reception of modern European philosophy and science. The reception was accompanied by numerous disputes and discussions about the condition of the Spanish culture and its possible development directions.

This article is a critical reappraisal of Juliusz Słowacki’s translation of Calderón’s El príncipe constant (1843), which acquired a place of its own in Słowacki’s oeuvre and continued to attract a lot of interest throughout the 20th century. Its lasting appeal is due to its extraordinary unity of tone, dramatic construction and stylized language, which in effect, as some critics have said, out-Baroques Calderón’s Baroque original. This article analyzes this contention in detail and tries to answer the question what were the sources and reasons of Słowacki’s fascination with the 17-th century Spanish poet and playwright. The second part of the article deals with two of the 20th-century stage productions of the drama and the adapters’ handling of Słowacki’s text. The summary includes a brief survey of the treatment Calderón’s heirs accorded to his key trope perigrinatio vitae (‘life is pilgrimage’).