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This article provides an overview of some of the most prevalent topics in post-Yugoslav memory politics as well as on some of the scholars working on these issues, focusing on the commemorative practices of the Second World War and the wars of the 1990s. Thirty years after the Socialist Federal Republic of Yugoslavia's disintegration, the discourse of post-war memory politics continues to dominate nearly all of the successor states, even though two of them have seemingly left the past behind to join the European Union. While the wars of the 1990s created an entirely new memoryscape in the region, they also radically transformed the way in which each country commemorated the Second World War. Although the article examines in-depth the collective remembrance of sites of memory, such as Jasenovac, Bleiburg, and Knin, trends across the broader region are also addressed. The work of young scholars, as well as experienced researchers, who have introduced innovative approaches in memory studies in the former Yugoslavia, is highlighted to show how new studies focus on the cultural reproduction of dominant narratives in addition to top-down political discourse.

The term anti-politics refers to a whole catalog of phenomena such as the decline in citizens' interest in politics and participation in formal political institutions the process of depoliticization and technocratization of democracy and the rise inpopularity of right-wing populist parties and nationalism. The purpose of this article isto explore what anti-politics really is. This requires not only going beyond an analysis of current politicsbut also a pure descriptivism that simply registers changes in the attitudes of participants in public life. It is necessary to look at this complex phenomenon not only in the long termbut in different interpretive contexts

The purpose of the article is to analyse the role of the public prosecutor's office as an institution that is specifically embedded in between certain elements of the political system, particularly between the executive and judiciary powers. For this reason, the public prosecutor's office can be regarded, together with courts, as an institution that aims to be actively involved in administering justice and an instrument of the executive power to guarantee internal security and to execute internal functions of the state. The public prosecutor's office, given its specific operation area, is expected to prosecute crimes effectively as well as safeguard the rule of law, which may be threatened by the infringing actions of not only individuals and criminal groups but also of officials and state institutions. Hence, with respect to the accountability of the public prosecutor's office, it should be more independent of the executive power which is subject to political rules. It appears, however, that separating it officially from the executive power does not have to lead automatically to the public prosecutor's office independence of political influence when other direct (the Prime Minister's and the Minister of Justice's authority over the Attorney General) and indirect mechanisms of prosecutors' political dependency (clientelism, politicisation and political bonds of prosecutors with politicians) exist.

Stanisław Szukalski był z jednym z z najgłośniejszych i najbardziej kontrowersyjnych polskich artystów. Znany w Polsce międzywojennej, został zupełnie zapomniany po II wojnie światowej, kontynuował swoją pracę artystyczną w Stanach Zjednoczonych Ameryki, gdzie zmarł w latach 90. Szukalski zafascynowany był słowiańszczyzną, pradawną przeszłością i tradycją Słowian, szczególnie na ziemiach polskich. W tych wątkach historii znajdował inspiracje dla swojej twórczości i koncepcji politycznych. Wzbudzając tradycje inne niż katolickie i łącząc je z myślą polityczną współczesnych sobie Polaków, stał się niezwykłym nie tylko artystą ale i politykiem. Niniejszy artykuł to próba odnalezienia prawdziwych źródeł inspiracji doktryny politycznej i sztuki Stanisława Szukalskiego w oparciu o kontekst historyczny, społeczny i kulturowy epoki.

The year 1989 was both in Poland and in many other European countries, which were in the sphere of the Soviet influences, the beginning of revolutionary changes: political, economie, social and cultural ones. They also influenced the Polish language of politics which has changed radically for the last 20 years. An important reason for a variety of styles and registers is the instability of the Polish political scene, the abundance of political parties, constantly forming new parliamentary groups and government coalitions, and the disappearance of the others. In the language of the contemporary politics the lexis is particularly extensive and includes thousands of words referring to the public life of the Poles. The major point of the article is the claim that the language of contemporary politics is getting poorer, loses its elegance and becomes more and more primitive. The author sees the reasons for this pauperization in the trends of contemporary culture. He shows the main features of the phenomenon: a turn towards commonness and informality, an emotionality of expressions, a hermetic vision of the world, an impossibility of a dialogue and an increase in populist attitudes.