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RESEARCH OBJECTIVE: The scientific goal of the article is to analyze traffic safety policy, in a problem-chronological perspective, as part of the Swedish "welfare state" model, with particular emphasis on internal political and social factors.THE RESEARCH PROBLEM AND METHODS: In exploring the issues of road safety in Sweden, the author used a functionalist approach to examine the relationship of political forces affecting their shape. The genetic method has allowed to mention qualitative factors that are the foundations of Swedish policy. Institutional and normative approach with regard to the characteristics of decision-making processes, law-making processes resulted in a system analysis in line with the theoretical model proposed by David Easton. Each stage of the legislative process has been followed – from the change initiative to the entry intoforce of the "Vision Zero". The method of content analysis and the institutional and legal method served to illustrate the role that it has for Sweden for 20 years.THE PROCESS OF ARGUMENTATION: Ensuring broadly understood, multi-tasked road traffic safety is today a prerequisite for harmonious economic and social development of the country (for example, due to the cost of treatment of accident victims, but also the legitimacy of authority, whose task is to ensure safety).RESEARCH RESULTS: The necessity of introducing a nationwide road safety strategy was convinced by all the groups that sat in the Swedish parliament in 1997 (as evidenced by its voting through acclamation). The consolidation attitude of many social groups, institutions and individual road users, promoted by the Vision Zero, resulted in considerable successes. First of all, the number of fatalities in road accidents in 1997-2012 dropped by 48%. At the same time, the number of people who suffered minor injuries in the same period as a result of road accidents has increased. This testifies to the correct decisions of Swedish strategists who were already well aware in 1997 that it is impossible to eliminate accidents as such (which is why they focused on reducing the most tragic effects).CONCLUSIONS, INNOVATIONS, AND RECOMMENDATIONS: The Vision of Zero, which is now a general philosophy of approach to road safety issues in Sweden, thanks to its efficiency and effectiveness has become not only a source of pride on the part of the Swedes themselves. Few (Sweden's population for the first time reached a ceiling of 10 million inhabitants in January 2017), although the very innovative Swedish society developed an innovative model of cooperation between private and public sector entities as well as every single user of transport infrastructure that contributed to the radical decline the number of accidents resulting in death or serious injury. Thus, once again, the descendants of the Vikings became a role model for other nations – both among European Union countries and on a global scale.

Abstrakt

L'analisi dei cambiamenti avvenuti all'interno del repertorio verbale italiano sulla base dei mutamenti del trasmesso filmico di tre produzioni di epoche diverse permette di dare uno sguardo d'insieme allo sviluppo del repertorio linguistico influenzato dalle vicende storiche e sociali. Inoltre, ricorrendo agli strumenti della sociolinguistica, è stato possibile valutare se le scelte linguistiche presenti all'interno del parlato filmico veicolato dai tre film analizzati siano state determinate dalla necessità di caratterizzare i personaggi e le situazioni o se siano piuttosto da ascrivere a un riflesso degli usi e dei comportamenti linguistici reali dei parlanti.

Ewolucja języka włoskiego na podstawie analizy socjolingwistycznej języka mówionego używanego w trzech wybranych filmach

Zmiany, które nastąpiły w języku włoskim zostały poddane analizie na podstawie języka stosowanego w trzech produkcjach filmowych pochodzących z różnych okresów czasowych. Pozwoliło to na szersze spojrzenie na rozwój języka wynikający z uwarunkowań historyczno-społecznych. Analiza socjolingwistyczna pozwoliła ustalić, czy język i styl wypowiedzi używany w wybranych filmach wynikał z potrzeby wiernego oddania charakteru postaci, sytuacji, czy był raczej odzwierciedleniem zwyczajów i zachowań społeczno-językowych mówiących.

Meanders and paradoxes of interwar film censorship in PolandThe article concerns film censorship in Poland in the interwar period. The first detailed rules on censorship appeared in February 1919. Due to the small level of film production, these provisions related primarily to distribution and screenings. The detailed instructions for censors from 1920 cited in the text contain a long list of prohibitions concerning the presentation of scenes and images "contrary to law and public morality." In practice, film was subject to political, moral, military, religious, and also artistic censorship. The article presents the ways to circumvent censorship guidelines used by distributors and cinema owners, as well as a critical evaluation of the activities of this institution in the eyes of film publicists. ; Meanders and paradoxes of interwar fi lm censorship in PolandThe article concerns film censorship in Poland in the interwar period. The first detailed rules on censorship appeared in February 1919. Due to the small level of film production, these provisions related primarily to distribution and screenings. The detailed instructions for censors from 1920 cited in the text contain a long list of prohibitions concerning the presentation of scenes and images "contrary to law and public morality." In practice, film was subject to political, moral, military, religious, and also artistic censorship. The article presents the ways to circumvent censorship guidelines used by distributors and cinema owners, as well as a critical evaluation of the activities of this institution in the eyes of film publicists.

Abstrakt

L'articolo prende in esame l'opera prima del regista Vittorio De Sica, in particolare i suoi primi quattro film: "Rose scarlatte" (1940), "Maddalena zero in condotta" (1941), "Teresa Venerdì" (1941) e "Un Garibaldino in convento" (1942). Oltre a collocare l'opera del regista italiano nel contesto politico, sociale e culturale dell'ultimo decennio del regime fascista, vengono analizzati i messaggi impliciti delle singole pellicole, abilmente nascosti sotto una maschera comica: p.es. l'emancipazione femminile, il carattere repressivo delle istituzioni e la problematica del "Strapaese e Straccittà".

Nie tylko "Złodzieje rowerów" – faszystowskie Włochy w pierwszych filmach Vittoria de Siki

Artykuł analizuje cztery pierwsze filmy Vittoria De Siki: "Szkarłatne róże" (1940), "Magdaleno, dwója ze sprawowania" (1941), "Teresa Venerdì" (1941) oraz "Un Garibladino in convento" (1942), pod kątem ich kontekstu politycznego, społecznego i kulturowego. Analiza poszczególnych dzieł pozwala ukazać ich zawoalowane przesłanie (np. dotyczące emancypacji kobiet, represyjnej natury instytucji oraz problematyki "Strapaese i Straccittà"), ukryte pod maską komizmu.

Film actors, theatre actors? The Polish actors' market in recent yearsThe author of the paper analyzes the career paths of Polish film and theater actors in recent years, taking account of social and institutional changes in Polish theater and cinema after 1989. On this basis, current three strategies present in the acting profession are identified: Courtier, Byplay and Celebrity. These three groups are highlighted depending on actors' artistic achievements and accu- mulated symbolic capital. The main thesis of the article is that leading film actors, who are most successful on the big screen, forsake engagement in theater. While describing this regularity, the author provides specific examples of actresses and actors - eg. Magdalena Cielecka, Andrzej Chyra, Jacek Poniedziałek and Agnieszka Grochowska. The article concludes with considerations about the various reasons why Polands market for film actors and the theater market have split in recent years. ; Film actors, theatre actors? The Polish actors' market in recent yearsThe author of the paper analyzes the career paths of Polish film and theater actors in recent years, taking account of social and institutional changes in Polish theater and cinema after 1989. On this basis, current three strategies present in the acting profession are identified: Courtier, Byplay and Celebrity. These three groups are highlighted depending on actors' artistic achievements and accu- mulated symbolic capital. The main thesis of the article is that leading film actors, who are most successful on the big screen, forsake engagement in theater. While describing this regularity, the author provides specific examples of actresses and actors - eg. Magdalena Cielecka, Andrzej Chyra, Jacek Poniedziałek and Agnieszka Grochowska. The article concludes with considerations about the various reasons why Polands market for film actors and the theater market have split in recent years.