Human Rights Protection and Terrorism – Reflections in the Context of Strasburg Jurisprudence

The phenomenon of terrorism is one of the most asymmetrical, amorphous and hybrid threats to international security. At the beginning of the 21st century, terrorism grew to a pandemic. Ensuring freedom and security of individuals and nations has become one of the priority postulates. Terrorism steps out of all legal and analytic-descriptive standards. An immanent feature of terrorism, e.g. is constant conversion into malicious forms of violence. One of the most alarming changes is a tendency for debasement of essence of law, a state and human rights Assurance of safety in widely accessible public places and in private life forces creation of various institutions, methods and forms of people control. However, one cannot in an arbitrary way limit civil freedom. Presented article stresses the fact that rational and informed approach to human rights should serve as a reference point for legislative and executive bodies. Selected individual applications to the European Court of Human Rights are presented, focusing on those based on which standards regarding protection of human rights in the face of pathological social phenomena, terrorism in particular, could be reconstructed and refined. Strasbourg standards may prove helpful in selecting and constructing new legal and legislative solutions, unifying and correlating prophylactic and preventive actions.

DOŚWIADCZENIE PRZESTRZENI W PAMIĘCI O HOLOCAUŚCIE

This paper analyzes different experiences of space by which memory of Holocaust could be passed on. The Memorial for the murdered Jews of Europe in Berlin gives visitors the feeling of insecurity and overwhelms them with monumentality. For that reason it is criticized as reflecting the other side of German memory: The Third Reich’s megalomania and dream about power. The Hamburger memorial against fascism designed in 1986 by conceptual artists Jochen and Esther Gerz offers quite an opposite experience of space. A twelve-meter-high pillar has been established for visitors to sign on it. Once the area was covered by signature it was lowered into the ground till it completely disappeared. The intention of the artists was to put memory not into the monument but into people. Pozdrowienia z Alej Jerozolimskich (Greetings from the Jerusalem Avenue, 2002) by Joanna Rajkowska – a fifteen-meter tall artificial palm tree installed in the centre of Warsaw – is an attempt to infuse with Israel's scenery a Warsaw's street whose name and history sends the observer to the history of the Jews in Poland. In another work called Dotleniacz (Oxygenator, 2007) Rajkowska created an artificial lake with oxygen concentrators, gold fish, flowers and banks. Again, the installation was placed in a very meaningful place – Grzybowski Square – which is strongly connected with Jewish life in Poland as well as Polish anti-Semitism. The synagogue in Poznan was transformed during the Nazi occupation into a swimming pool which it has remained until the present day. This fact ( just like the building) seems to be invisible for most citizens. In 2003 Rafał Jakubowicz changed the fact by projecting a Hebrew inscription הייחש-תכירב (swimming pool) on the façade of the former synagogue. In Berek (The Game of Tag, 1999) by Artur Żmijewski a group of naked men and women of various age play tag. The artist filmed them in two rooms: in a symbolically neutral space and in a gas chamber of a former Nazi death camp. The film is an attempt at breaking the spell of this horrifying and paralysing space.

Życie po wybuchu. Refleksy transformacji w czeskiej dramaturgii po 1989 roku

Niniejszy esej poświęcony jest analizie czeskich, teatralnych refleksji na temat rzeczywistości po transformacji politycznej. Przegląd wybranych sztuk, powstałych w latach 1994-2006, zawiera krótkie literaturoznawcze opracowania tekstów M. Bambuška, L. Baláka i J. Topola, dopełnione uwagami na temat dzieł D. Drábka i M. Urbana. Skatalogowano powtarzające się w sztukach wymienionych autorów motywy: czekania na barbarzyńców, poczucia epistemologicznego i społecznego chaosu, neotrybalizmu i spustoszenia w dziedzinie międzyludzkiej komunikacji (kryzys języka). Pomocną kategorią, wywodzącą się z amerykańskiej socjologii, jest backlash: stan po wybuchu. Backlash jest stanem psychologicznym (również w sensie psycho- logii społecznej), który skłania do podejmowania decyzji nieracjonalnych i niebezpiecznych, służących wyłącznie zniesieniu poczucia niepewności i tęsknoty. Ten stan obserwują i komentują wymienieni autorzy sztuk teatralnych.

Polski Hamlet

Chapter is an attempt at reconstruction of the culminating moment of the first stage of the Polish reception of Shakespeare's "Hamlet". It has been entirely devoted to J. Słowacki's "Horsztyński". There is no doubt that "Horsztyński" should be viewed as the fullest and deepest interpretation of Shakespearean elements in the literary output of Juliusz Słowacki. Numerous citations and references to the works of the Elizabethan dramatist reach deeply into the structure of the world and human's life. Thanks to many adductions (citations) to Shakespeare, Słowacki approached the so much important problem for the Romantic period in Polish literature, namely the problem of individual tragedy of existence of the main character of a play and a clash with historical dilemmas of the community. The analysis of the text is aimed at showing all references to Shakespearean masterpiece with a particular emphasis on the hamletism of the charactwe of Szczęsny Kossakowski. The author describes the motif of betrayal, ever-present on different levels of the text structure, which in the most complete way describes the organisation of space between humans and their interaction in "Horsztyński". The author focuses his attention on detailed description and analysis of the recurrent themes frequently repeated in Szczęsny's statements, namely motifs of "man-harp", "man-actor in the theatre of the world", and "man-puppet", harlequin, clown. These motifs prove the sensibility of Szczęsny's to the theatrical aspect of the surrounding reality. The motif of darkness and of a blind man groping his way in the darkness so frequent in Szczęsny's statements can be interpreted as a manifestation of utter lack of hope and the feeling of uselessness of one's existence in the world.