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Nasheeds outpace the era of Internet and Youtube. Jihadist poetry in the Islamist hymns can be seen as an extension of the 19th-century anticolonial style of poetry called qaseeda. Presented article shows that nasheeds were not always a significant element in the jihadi culture. The increase of their role was observed quite recently, after the outbreak of the "Arab Spring". This article is a case study. It attempts to fill a gap in research on the IS's propaganda materials. The major objective of this article is to investigate the phenomenon of jihadist naseeds, including their role in the 'jihadi culture'. The author seeks to answer to the question whether the presented facts may indicate the increase in their role occurred with the transfer of IS' activities to cyberspace and whether it will be intensified in the future. The article takes into account historical conditions, briefly describing the genesis of the naseeds and their proliferation after the events of the "Arab Spring". Then, using systemic analysis, the author presents their role in the activities of the Islamic State. In addition, theoretical and empirical research methods, such as: scientific literature analysis, case analysis, content analysis, classification, generalization were taken to solve the research problem.

Andrzej Leder's monograph Prześniona rewolucja. Ćwiczenia z logiki historycznej [Sleepwalking the Revolution. An Exercise in Historical Logic] allows us to look at Julian Przyboś in a new perspective, which at least in part removes the communist label from the co-author of the anthology of revolutionary poetry Wzięli diabli pana [The devils have taken the lord] (1955) and thus forces us perhaps even to abandon the "white and red" perception of the 20th-century life stories of Poles. Aware of the historical significance, the poet would not say about the post-war social revolution, "It just happened".

The poet who failed his best play? Speaking subject in the tracks of Nightwish in the face of the romantic paradigm

The article gives an insight into the problem of lyrical subject in songs recorded by Nightwish, along with the myth of the damned poet led by the group's leader, Tuomas Holopainen, and romantic concepts of poetry, love and nature. It raises issues of autobiography and authenticity of artists, as well as the multidisciplinary narrative in rock music led on literary, iconic and musical levels. This text focuses primarily on the early Nightwish songs, the Century Child concept album and the End of an Era concert as the last live performance of Nightwish with Tarja Turunen as the lead singer.