This text focuses on non-military aspects of Polish-Soviet relations in cinema before 1989. It offers an analysis of two melodramas, the Polish “Interrupted Flight (L. Buczkowski, 1964),” and the Soviet-Polish “Remember Your Name” (S. Kolosov, 1974). From a narrow ideological perspective, both fi lms show Polish-Soviet relations in a positive light. Yet, the author points to omissions and understatements that refl ect the ambiguities present in Polish-Soviet relations of the time. As a genre. melodrama complicates superfi cial statements of Polish-Soviet friendship.

The paper is based on the assumption that the balance of positive and negative, aggression and nurturing, or plus and minus results in the ultimate annihilation of the existence of both. The duality balance results in opposite reaction. The plus becomes minus and the minus becomes a plus. This is presented by the feminine becoming masculine, understood through Hofstede’s (2001) division into masculine and feminine cultures, by taking on the traditional male role, ultimately killing the feminine, being no-one and thus becoming death impersonated contrasted with assigning attributes to concepts fully understood through themselves. This will be based on the female character Arya Stark in J.R.R. Martin’s popular series “A Song of Ice and Fire” and its adaptation in “Game of Thrones.”

This article is about selected issues in women’s sports, and above all the modest participation of women in so-called leisure sports. Statistical data concerning Poland and other countries (particularlyWestern Europe) is presented. The fashion for jogging, which is currently being seen in Poland as well, is analyzed. The author’s own research, done in 2013 and involving 865 participants in the Łódź ‘I Care About My Health’ Marathon, documents the smallness of women’s interest in participating in marathon struggles.On the basis of the information collected in the study’s survey questionnaires, it was possible for the author to create a socio-demographic portrait of the female Polish long-distance runner. It was also possible to note the sociologically interesting and elucidating difference between men and women in the sphere of training and in their running careers/biographies.

The article illustrates the destructive influence of language policy in the era of totalitarianism on the grammatical system of the Ukrainian literary language on the example of the endings of the genitive case of singular nouns in the 3rd declension. According to the “Ukrainian orthography” of various years of publication, we can trace the norm of using the endings of the genitive case of singular nouns of the 3rd declension over the past 100 years. The elimination of the ending ‐u from the grammatical system of word change of nouns of the 3rd declension in 1933 was recorded. This gives reasons to qualify this ending as repression. Founding on the historically determined regularities of the development of the grammatical system of the Ukrainian language, the need to return the ending ‐u to the edition of “Ukrainian orthography” in 2019 was justified. It was established that despite the democratization of society, the tendency towards the revival of national identity, the desire of Ukrainian‐oriented speakers to establish and return the specific foundations of Ukrainian literary languages, the re‐codification of the ending ‐и in the 21st century could not restore its active use in language practice. Based on the results of a questionnaire, we found out the main reasons for the non‐observance of the returned morphological norm by modern speakers. We concluded as to the disastrous consequences of the grammatical heritage formed in the Soviet period on the language practice of the third millennium. Ways to improve this situation are proposed.

This is an analysis of some selected poems by Halina Poświatowska using the ap-proach and conceptual tools of somapoetics. The discussion focuses in turn on the manifestations of the (sick) body in Poświatowska’s poems and poetic prose (especially when its connected with special sound effects), the verbalization of sensory experience (primarily with regard to the sense of touch) and the role of the sick woman’s body in her poetic world (including direct references to the sick body in the act of writing). The critical strategy employed in this article is intended to complement the legacy readings of Poświatowska’s work with a functional, somapoetic interpretation that would give full scope to her narrative of the ailing body.

This article deals with recent Polish herstory narrations, i.e. works of fiction that, while relying on distinctly literary techniques and devices, foreground the feminine experience of history, and moreover, may be associated with the so-called Herstory Turn in Polish humanities and cultural studies. This category of fictions includes also novels in which the herstory narration belongs to a female subject created by a male author, notably Jacek Dehnel’s Abbess Macryna (Matka Makryna), Ignacy Karpowicz’s Little Sonya (Sońka) and Jarosław Kamiński’s Just Lola (Tylko Lola). These three novels are analyzed with the aim of showing how their narrative strategy foregrounds the women narrators/main characters (acting as history’s true subjects), identifying the marks of authorial imitation of the feminine discourse, and, finally, asking the question about man’s status in an ostensibly feminine text. It seems that one way of answering it would be to point to the male author’s validating the feminine experience of history and ensuring that it can be heard.