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		<title>Kultura Popularna 1 (43) 2015 - Historia wersji</title>
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		<updated>2026-05-06T21:56:49Z</updated>
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		<id>http://katalog.czasopism.pl/index.php?title=Kultura_Popularna_1_(43)_2015&amp;diff=60057&amp;oldid=prev</id>
		<title>Mskierska o 21:27, 12 mar 2018</title>
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				<updated>2018-03-12T21:27:24Z</updated>
		
		<summary type="html">&lt;p&gt;&lt;/p&gt;
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			&lt;td colspan='2' style=&quot;background-color: white; color:black;&quot;&gt;← poprzednia wersja&lt;/td&gt;
			&lt;td colspan='2' style=&quot;background-color: white; color:black;&quot;&gt;Wersja z 21:27, 12 mar 2018&lt;/td&gt;
			&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Linia 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Linia 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;#160;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;color: red; font-weight: bold; text-decoration: none;&quot;&gt;Przejdź do [[Kultura Popularna]] lub [[:Kategoria:Spisy treści 2015|Spisy treści 2015]]&amp;lt;br /&amp;gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Sprawozdanie&lt;/ins&gt;'' &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Barbara Giza &lt;/ins&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;“REMEMBER, REFLECT, REIMAGINE”: Jews and Irish nationalism through the lens of the 1916 centenary commemoration&lt;/del&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;s, Natalie Wynn &lt;/del&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Seekers of happiness: Jews and jazz in the Soviet Union&lt;/del&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;, Victoria Khiterer &lt;/del&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Polskie internetowe serwisy filmowe dla dorosłych. Kilka uwag o sposobach odbioru tekstów pornograficznych w nowych mediach&lt;/ins&gt;'' &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Adam Regiewicz &lt;/ins&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Casting a shadow backwards and forwards: the para-Holocaust fiction of Charles Reznikoff, Isaac Bashevis Singer and Bernrd Malamud&lt;/del&gt;'', &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Jacek Partyka &lt;/del&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Profesjonalni amatorzy. Uwagi o profesjonalizmie e‑recenzji filmu (na przykładzie internetowych recenzji Znaków Manoja Nighta Shyamalana)&lt;/ins&gt;'', &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Leszek Będkowski &lt;/ins&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;&amp;#160; &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Fighting for Rosenbergs&lt;/del&gt;. &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;The Polish staging of Leon Kruczkowski’s play “Julius and Ethel”&lt;/del&gt;'', &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Barry Keane &lt;/del&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Z ekranu do sieci&lt;/ins&gt;. &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;O sieciowych fanach sztuki filmowej&lt;/ins&gt;'', &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Marek Jeziński &lt;/ins&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Narrating Jewish history in free walking tours – Warsaw as &lt;/del&gt;a &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;case study&lt;/del&gt;,'' &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Sabine Stach &lt;/del&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Kiedy świat staje się błękitem. Blue Dereka Jarmana jako artystyczny i osobisty manifest twórcy'', Aleksandra Drzał-Sierocka&amp;#160;  &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;#160;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;&amp;#160; &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;#160;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;''Film jako remedium na rzeczywistość. O motywie Piotrusia Pana w wybranych niezrealizowanych scenariuszach filmowych Stanisława Dygat'', Barbara Giza&amp;#160;  &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;#160;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;&amp;#160; &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;#160;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;''Czwarta władza &lt;/ins&gt;a &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;styl życia – społeczna historia. Od tradycyjnych mediów lifestylowych do blogerskiej klasy kreatywnej''&lt;/ins&gt;, &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Małgorzata Kowalewska&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;#160;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;&amp;#160;  &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;#160;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Gdzie i jak długo „żyje” blogowy post? Blogi w kulturze remiksu'', Agata Ludzis­ ‑Todorov &lt;/ins&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Entangled heritage. Wrocławs’s German-Jewish and Polish-Jewish history exhibitions, 1920-2010&lt;/del&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;, Vasco Kretschmann &lt;/del&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;„Czciciele torrentów” Rozważania o współczesnym modelu kinofilii&lt;/ins&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Grzegorz Zyzik &lt;/ins&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Remebering Southern Germany’s Jewish past – initiatives and developments since the 1980’s,&lt;/del&gt;'' &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Martin Renghart &lt;/del&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;O złudnym poczuciu sprawstwa wśród fanów na przykładzie serialu Sherlock Holmes&lt;/ins&gt;'' &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Katarzyna Rabiej &lt;/ins&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;del class=&quot;diffchange diffchange-inline&quot;&gt; &lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;&amp;#160; &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Aftereffects: The representation of the Holocaust&lt;/del&gt;, &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;its universal moral implication and the transgenerational transformation of the trauma based on the Israeli documentary fim OY MAMA&lt;/del&gt;'', &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Liat Steir-Livny &lt;/del&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Machinima jako przejaw kina niezależnego w Sieci''&lt;/ins&gt;, &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Miłosz Markocki&amp;#160;  &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;#160;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt;&amp;#160;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Beyond: Two Souls jako medialna hybryda filmu i gry wideo&lt;/ins&gt;,&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;'' Katarzyna Marak &lt;/ins&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Performing the Holocaust on social networks: digitality, transcultural memory and new forms of narrating&lt;/del&gt;'', &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Eva Pfanzelter &lt;/del&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;''&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Zasiedlenie polskiej blogosfery przez digital imigrants. O cyfrowych aktywnościach popkulturowych&lt;/ins&gt;'', &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Małgorzata Bulaszewska &lt;/ins&gt;&amp;#160; &amp;#160;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;&amp;#160;&lt;/td&gt;&lt;td style=&quot;background: #eee; color:black; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;background: #ffa; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Abstracts&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; color:black; font-size: smaller;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;''Użycie odesłań w internecie a naruszenie praw własności intelektualnej w świetle orzecznictwa TSUE'', Marek Porzeżyński&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Mskierska</name></author>	</entry>

	<entry>
		<id>http://katalog.czasopism.pl/index.php?title=Kultura_Popularna_1_(43)_2015&amp;diff=60056&amp;oldid=prev</id>
		<title>Mskierska: Utworzył nową stronę „  ''“REMEMBER, REFLECT, REIMAGINE”: Jews and Irish nationalism through the lens of the 1916 centenary commemoration''s, Natalie Wynn      ''Seekers of happiness:...”</title>
		<link rel="alternate" type="text/html" href="http://katalog.czasopism.pl/index.php?title=Kultura_Popularna_1_(43)_2015&amp;diff=60056&amp;oldid=prev"/>
				<updated>2018-03-12T21:16:27Z</updated>
		
		<summary type="html">&lt;p&gt;Utworzył nową stronę „  &amp;#039;&amp;#039;“REMEMBER, REFLECT, REIMAGINE”: Jews and Irish nationalism through the lens of the 1916 centenary commemoration&amp;#039;&amp;#039;s, Natalie Wynn      &amp;#039;&amp;#039;Seekers of happiness:...”&lt;/p&gt;
&lt;p&gt;&lt;b&gt;Nowa strona&lt;/b&gt;&lt;/p&gt;&lt;div&gt;&lt;br /&gt;
&lt;br /&gt;
''“REMEMBER, REFLECT, REIMAGINE”: Jews and Irish nationalism through the lens of the 1916 centenary commemoration''s, Natalie Wynn   &lt;br /&gt;
 &lt;br /&gt;
''Seekers of happiness: Jews and jazz in the Soviet Union'', Victoria Khiterer   &lt;br /&gt;
 &lt;br /&gt;
''Casting a shadow backwards and forwards: the para-Holocaust fiction of Charles Reznikoff, Isaac Bashevis Singer and Bernrd Malamud'', Jacek Partyka   &lt;br /&gt;
&lt;br /&gt;
''Fighting for Rosenbergs. The Polish staging of Leon Kruczkowski’s play “Julius and Ethel”'', Barry Keane   &lt;br /&gt;
 &lt;br /&gt;
''Narrating Jewish history in free walking tours – Warsaw as a case study,'' Sabine Stach   &lt;br /&gt;
 &lt;br /&gt;
''Entangled heritage. Wrocławs’s German-Jewish and Polish-Jewish history exhibitions, 1920-2010'', Vasco Kretschmann   &lt;br /&gt;
 &lt;br /&gt;
''Remebering Southern Germany’s Jewish past – initiatives and developments since the 1980’s,'' Martin Renghart   &lt;br /&gt;
 &lt;br /&gt;
''Aftereffects: The representation of the Holocaust, its universal moral implication and the transgenerational transformation of the trauma based on the Israeli documentary fim OY MAMA'', Liat Steir-Livny   &lt;br /&gt;
 &lt;br /&gt;
''Performing the Holocaust on social networks: digitality, transcultural memory and new forms of narrating'', Eva Pfanzelter   &lt;br /&gt;
&lt;br /&gt;
Abstracts&lt;/div&gt;</summary>
		<author><name>Mskierska</name></author>	</entry>

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