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Opcje 4 (101) 2015 - Historia wersji
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Mskierska o 20:39, 28 lut 2018
2018-02-28T20:39:40Z
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<td colspan='2' style="background-color: white; color:black;">Wersja z 20:39, 28 lut 2018</td>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''AWANGARDY W KRAJACH EUROPY ŚRODKOWEJ''' <br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''AWANGARDY W KRAJACH EUROPY ŚRODKOWEJ''' <br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Jakub Kornhauser | Stumetrowy banan i człowiek-trumna. Obiekty</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Jakub Kornhauser | Stumetrowy banan i człowiek-trumna. Obiekty</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''LITERATURA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''LITERATURA'''<br /></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="background: #ffa; color:black; font-size: smaller;"><div><del style="color: red; font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Dariusz Nowacki | Uśmiech Kasandry (Michel Houellebecq „Uległość“)<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Dariusz Nowacki | Uśmiech Kasandry (Michel Houellebecq „Uległość“)<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Piotr Fast | Antysowiecki apokryf (Irina Ratuszyńska, „Szary, kolor</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Piotr Fast | Antysowiecki apokryf (Irina Ratuszyńska, „Szary, kolor</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>nadziei”)<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>nadziei”)<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''FILM'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''FILM'''<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Wojciech Sitek | Biotechnologiczny park („Jurassic World”, reż. Colin</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Wojciech Sitek | Biotechnologiczny park („Jurassic World”, reż. Colin</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''TEATR'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''TEATR'''<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Magdalena Figzał | To be or to be better? („Hamlet”, reż. Krzysztof</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Magdalena Figzał | To be or to be better? („Hamlet”, reż. Krzysztof</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''JAZZ'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''JAZZ'''<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Grzegorz Olszański | Nie wszystko zło to, co się święci (Marcin Świetlicki,</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Grzegorz Olszański | Nie wszystko zło to, co się święci (Marcin Świetlicki,</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''MUZYKA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''MUZYKA'''<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Magdalena Dziadek | Pool North według Adama Gołębiewskiego (Adam Gołębiewski</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Magdalena Dziadek | Pool North według Adama Gołębiewskiego (Adam Gołębiewski</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Joanna Schiller | Nowe Fale w Gdańsku (I Festiwal Muzyki Współczesnej „Nowe</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Joanna Schiller | Nowe Fale w Gdańsku (I Festiwal Muzyki Współczesnej „Nowe</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Fale”)<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Fale”)<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''SZTUKA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''SZTUKA'''<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Marta Lisok | Monstrum („Kobieta jest jak Sosnowiec”, kurator Marek</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Marta Lisok | Monstrum („Kobieta jest jak Sosnowiec”, kurator Marek</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''SOCJOLOGIA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''SOCJOLOGIA'''<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Marcin Gacek | Od uwikłania do autentyczności. Od iluzji do wizji</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Marcin Gacek | Od uwikłania do autentyczności. Od iluzji do wizji</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''POEZJA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''POEZJA'''<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Zuzana Husarova | wiersze | przeł. Zofia Bałdyga<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Zuzana Husarova | wiersze | przeł. Zofia Bałdyga<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''FELIETON'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''FELIETON'''<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>M.K.N. Baczewski | Morderstwo doskonałe<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>M.K.N. Baczewski | Morderstwo doskonałe<br /></div></td></tr>
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Mskierska
http://katalog.czasopism.pl/index.php?title=Opcje_4_(101)_2015&diff=59898&oldid=prev
Mskierska o 20:38, 28 lut 2018
2018-02-28T20:38:10Z
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<td colspan='2' style="background-color: white; color:black;">← poprzednia wersja</td>
<td colspan='2' style="background-color: white; color:black;">Wersja z 20:38, 28 lut 2018</td>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''AWANGARDY W KRAJACH EUROPY ŚRODKOWEJ''' <br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''AWANGARDY W KRAJACH EUROPY ŚRODKOWEJ''' <br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Jakub Kornhauser | Stumetrowy banan i człowiek-trumna. Obiekty</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Jakub Kornhauser | Stumetrowy banan i człowiek-trumna. Obiekty</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''LITERATURA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''LITERATURA'''<br /></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="background: #cfc; color:black; font-size: smaller;"><div><ins style="color: red; font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Dariusz Nowacki | Uśmiech Kasandry (Michel Houellebecq „Uległość“)<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Dariusz Nowacki | Uśmiech Kasandry (Michel Houellebecq „Uległość“)<br /></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''FILM'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''FILM'''<br /></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="background: #cfc; color:black; font-size: smaller;"><div><ins style="color: red; font-weight: bold; text-decoration: none;"></ins></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Wojciech Sitek | Biotechnologiczny park („Jurassic World”, reż. Colin</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Wojciech Sitek | Biotechnologiczny park („Jurassic World”, reż. Colin</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''TEATR'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''TEATR'''<br /></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="background: #cfc; color:black; font-size: smaller;"><div><ins style="color: red; font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Magdalena Figzał | To be or to be better? („Hamlet”, reż. Krzysztof</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Magdalena Figzał | To be or to be better? („Hamlet”, reż. Krzysztof</div></td></tr>
<tr><td colspan="2" class="diff-lineno">Linia 78:</td>
<td colspan="2" class="diff-lineno">Linia 82:</td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''JAZZ'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''JAZZ'''<br /></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="background: #cfc; color:black; font-size: smaller;"><div><ins style="color: red; font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Grzegorz Olszański | Nie wszystko zło to, co się święci (Marcin Świetlicki,</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Grzegorz Olszański | Nie wszystko zło to, co się święci (Marcin Świetlicki,</div></td></tr>
<tr><td colspan="2" class="diff-lineno">Linia 90:</td>
<td colspan="2" class="diff-lineno">Linia 95:</td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''MUZYKA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''MUZYKA'''<br /></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="background: #cfc; color:black; font-size: smaller;"><div><ins style="color: red; font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Magdalena Dziadek | Pool North według Adama Gołębiewskiego (Adam Gołębiewski</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Magdalena Dziadek | Pool North według Adama Gołębiewskiego (Adam Gołębiewski</div></td></tr>
<tr><td colspan="2" class="diff-lineno">Linia 105:</td>
<td colspan="2" class="diff-lineno">Linia 111:</td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''SZTUKA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''SZTUKA'''<br /></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="background: #cfc; color:black; font-size: smaller;"><div><ins style="color: red; font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Marta Lisok | Monstrum („Kobieta jest jak Sosnowiec”, kurator Marek</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Marta Lisok | Monstrum („Kobieta jest jak Sosnowiec”, kurator Marek</div></td></tr>
<tr><td colspan="2" class="diff-lineno">Linia 110:</td>
<td colspan="2" class="diff-lineno">Linia 117:</td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''SOCJOLOGIA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''SOCJOLOGIA'''<br /></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="background: #cfc; color:black; font-size: smaller;"><div><ins style="color: red; font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Marcin Gacek | Od uwikłania do autentyczności. Od iluzji do wizji</div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Marcin Gacek | Od uwikłania do autentyczności. Od iluzji do wizji</div></td></tr>
<tr><td colspan="2" class="diff-lineno">Linia 116:</td>
<td colspan="2" class="diff-lineno">Linia 124:</td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''POEZJA'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''POEZJA'''<br /></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="background: #cfc; color:black; font-size: smaller;"><div><ins style="color: red; font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Zuzana Husarova | wiersze | przeł. Zofia Bałdyga<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>Zuzana Husarova | wiersze | przeł. Zofia Bałdyga<br /></div></td></tr>
<tr><td colspan="2" class="diff-lineno">Linia 138:</td>
<td colspan="2" class="diff-lineno">Linia 147:</td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''FELIETON'''<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>'''FELIETON'''<br /></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="background: #cfc; color:black; font-size: smaller;"><div><ins style="color: red; font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>M.K.N. Baczewski | Morderstwo doskonałe<br /></div></td><td class='diff-marker'> </td><td style="background: #eee; color:black; font-size: smaller;"><div>M.K.N. Baczewski | Morderstwo doskonałe<br /></div></td></tr>
</table>
Mskierska
http://katalog.czasopism.pl/index.php?title=Opcje_4_(101)_2015&diff=59897&oldid=prev
Mskierska: Utworzył nową stronę „Przejdź do Opcje lub Spisy treści 2015<br /> ---- okładka numeru 4 (101) 2015<b...”
2018-02-28T20:36:47Z
<p>Utworzył nową stronę „Przejdź do <a href="/index.php/Opcje" title="Opcje">Opcje</a> lub <a href="/index.php/Kategoria:Spisy_tre%C5%9Bci_2015" title="Kategoria:Spisy treści 2015">Spisy treści 2015</a><br /> ---- <a href="/index.php/Plik:Opcje_4_(101)_2015.jpg" title="Plik:Opcje 4 (101) 2015.jpg">okładka numeru 4 (101) 2015</a><b...”</p>
<p><b>Nowa strona</b></p><div>Przejdź do [[Opcje]] lub [[:Kategoria:Spisy treści 2015|Spisy treści 2015]]<br /><br />
----<br />
[[Image:Opcje_4 (101)_2015.jpg|thumb|160px|okładka numeru 4 (101) 2015]]<br /><br />
<br />
<br />
'''AWANGARDY W KRAJACH EUROPY ŚRODKOWEJ''' <br /><br />
<br />
Jakub Kornhauser | Stumetrowy banan i człowiek-trumna. Obiekty<br />
środkowoeuropejskich awangard<br /><br />
<br />
Alina Świeściak | (Poezja) po awangardzie<br /><br />
<br />
Maja Staśko | 25 października 2015: cyberpoeci gardzą awangardą<br /><br />
<br />
Weronika Parfianowicz-Vertun | Porażka kultury porażki? Czeski underground<br />
na rozdrożu<br /><br />
<br />
Jan Klamm | Pseudoundergound. Społeczność ludzi, którym jest razem dobrze<br /><br />
<br />
Valer Mikula | Czeski poetyzm a poezja słowacka<br /><br />
<br />
Attila Szabó | Domowy teatr na Węgrzech: neoawangarda, postmodernizm,<br />
hiperrealizm<br /><br />
<br />
Ewa Wójtowicz | Awangarda jako przedmiot (jugo)nostalgii. Wokół twórczości<br />
Aleksandry Domanović<br /><br />
<br />
Jan Blüml | Wpływ estetyki powojennej awangardy na angloamerykański rock lat<br />
60. z odniesieniami do czechosłowackiej sceny muzycznej<br /><br />
<br />
Michał Koziołek | Tydzień z życia kompozytora awangardowego<br /><br />
<br />
„Finnegans Meet” | O możliwościach translacji literatury na obraz. Z<br />
Krzysztofem Bartnickim i Marcinem Szmandrą rozmawia Grzegorz Olszański<br />
<br />
'''LITERATURA'''<br /><br />
<br />
Dariusz Nowacki | Uśmiech Kasandry (Michel Houellebecq „Uległość“)<br /><br />
<br />
Piotr Zaczkowski | Wąż jako gad pociągowy (Piotr Siemion „Dziennik roku<br />
Węża”)<br /><br />
<br />
Piotr Sobolczyk | Daj jej tam, gdzie go (geja) nie ma (Paulina Klepacz „Daj<br />
mi więcej”)<br /><br />
<br />
Dawid Kujawa | „Giżycko jest dla everyone” (Piotr Przybyła, „Apokalipsa.<br />
After party”)<br /><br />
<br />
Kinga Opołczyńska | Wykorzeniony? (Marcin Świetlicki, „Delta Dietla”)<br /><br />
<br />
Piotr Fast | Antysowiecki apokryf (Irina Ratuszyńska, „Szary, kolor<br />
nadziei”)<br /><br />
<br />
<br />
'''FILM'''<br /><br />
<br />
Wojciech Sitek | Biotechnologiczny park („Jurassic World”, reż. Colin<br />
Trevorrow)<br /><br />
<br />
Przemysław Pieniążek | Wściekły By(cze)k („Do utraty sił”, reż. Antoine<br />
Fuqua)<br /><br />
<br />
Joanna Birek | Biały kauczuk niczym krew („W objęciach węża”, reż. Ciro<br />
Guerra)<br /><br />
<br />
Adam Andrysek | W obronie magii (i) wyobraźni (Justyna Budzik, „Filmowe cuda<br />
i sztuczki magiczne. Szkice z archeologii kina”)<br /><br />
<br />
'''TEATR'''<br /><br />
<br />
Magdalena Figzał | To be or to be better? („Hamlet”, reż. Krzysztof<br />
Garbaczewski)<br /><br />
<br />
Maciej Omylak | Wykluczeni („Francuzi”, reż. Krzysztof Warlikowski)<br /><br />
<br />
Aneta Głowacka | Sztuka wobec kryzysu (XVII Ogolnopolski Festiwal Sztuki<br />
Reżyserskiej „Interpretacje”<br /><br />
<br />
'''JAZZ'''<br /><br />
<br />
Grzegorz Olszański | Nie wszystko zło to, co się święci (Marcin Świetlicki,<br />
„Zło, te przeboje”)<br /><br />
<br />
Marcin Urbański | Album który wraca jak bumerang (Kortez, „Bumerang”)<br /><br />
<br />
Wojciech Wiśniewski | Powrót do domu (Leon Bridges, „Coming Home”)<br /><br />
<br />
Ilona Chylińska | Złe idzie i zimne… (Pablopavo / Iwanek / Praczas, „Wir”<br /><br />
)<br />
<br />
'''MUZYKA'''<br /><br />
<br />
Magdalena Dziadek | Pool North według Adama Gołębiewskiego (Adam Gołębiewski<br />
„Pool North”)<br /><br />
<br />
Michał Bruliński | Refleksje pokonkursowe (17. Międzynarodowy Konkurs<br />
Pianistyczny im. F. Chopina)<br /><br />
<br />
Michał Bruliński | Weinberg dobrze utemperowany (Maria Sławek: skrzypce,<br />
Piotr Rożański: fortepian)<br /><br />
<br />
Joanna Schiller | Nowe Fale w Gdańsku (I Festiwal Muzyki Współczesnej „Nowe<br />
Fale”)<br /><br />
<br />
<br />
'''SZTUKA'''<br /><br />
<br />
Marta Lisok | Monstrum („Kobieta jest jak Sosnowiec”, kurator Marek<br />
Zieliński)<br /><br />
<br />
'''SOCJOLOGIA'''<br /><br />
<br />
Marcin Gacek | Od uwikłania do autentyczności. Od iluzji do wizji<br />
politycznej (Roman Graczyk, „Od uwikłania do autentyczności. Biografia<br />
polityczna Tadeusza Mazowieckiego”)<br /><br />
<br />
'''POEZJA'''<br /><br />
<br />
Zuzana Husarova | wiersze | przeł. Zofia Bałdyga<br /><br />
<br />
Olga Pek | wiersze | przeł. Zofia Bałdyga<br /><br />
<br />
Michal Rehuš | wiersze | przeł. Zofia Bałdyga<br /><br />
<br />
Ondřej Buddeus | wiersze | przeł. Zofia Bałdyga<br /><br />
<br />
Ondřej Zajac | wiersze | przeł. Zofia Bałdyga<br /><br />
<br />
Árpád Kollár | wiersze | przeł. Anna Butrym<br /><br />
<br />
Lóránt Kabai | wiersze | przeł. Anna Butrym<br /><br />
<br />
Zalán Serestély | wiersze | przeł. Anna Butrym<br /><br />
<br />
Kacper Bartczak | wiersze<br /><br />
<br />
„Wierzę w wiersz” | Z Kacprem Bartczakiem rozmawia Alina Świeściak<br /><br />
<br />
'''FELIETON'''<br /><br />
<br />
M.K.N. Baczewski | Morderstwo doskonałe<br /><br />
<br />
Karolina Lewestam | Straż przednia<br /><br />
<br />
Krzysztof Łęcki | Jacyś „inni”<br /><br />
<br />
Andrzej Gwóźdź | Instalowanie filmu<br /><br />
<br />
Piotr Zaczkowski | Selekcja to stan ducha<br /><br />
<br />
[[Kategoria:Spisy treści 2015]]</div>
Mskierska