Suchergebnisse

Turkey has adopted the presidential system over parliamentarism in 2018 with the promise that the new system would bring more stability, democracy, and economic growth. As being the most recent country which changed its government system through a referendum to presidentialism, Turkey constitutes a very important example to be analyzed in order to see the effects of it after a long-adopted parliamentary period in the 21st century. This paper compares the basic features of democracy as well as the democratic presidential systems with the example of Turkey and aims at finding out if the presidentialism has performed well and if not, why, in the light of examples and chosen indicators. Findings of this study suggest that presidential system led to a "consolidation of power" which in its nature is anti-democratic. Analysis of certain indicators show that presidentialism did not perform well in Turkey on democratic, political as well as economic fronts.

Disciplined bodies or transgressive subjects. Somatoesthetics of fictional death and black metal bands

The performances of metal music gropus kind be described as a spectacles of a high degree of symbolic convention, which is paradoxically intended to cause the effect of constant authenticity among spectators and listeners. However, it is diffucult to find any kind of material that shows behind-the-scenes existance of those gropus, we can find critical reflection on the phenomenon of behind-the-scenes discipline in meta-music texts, such as comics and animations devoted to the biographies of fictional music groups. These texts transgress the problem of the masochistic spectacle of the body fictional authenticity of the musical groups. Examples of such texts are the Japanese animation Detroit Metal City (2008) and the Polish comic Będziesz smażyć się w Piekle by Krzysztof "Prosiak" Owedyk (2016).

Reviewed monography Necros. Introduction to death body's ontology by prof. Ewa Domańska (AMU) is a fragmentary reflection on ontological status of dead body and corps (treated subjectively). Review's author presenting the methodological assumptions of the work, its main goals and concepts of consideration for political scientists. Author also indicates how the term (historical) "necropolitics" could be used by political science and sets a potential field for its scientific exploration.

Yersinia pestis (formerly Pasteurella pestis) is a type of bacterium. It is believed to have been responsible for plagues of the early 1300s. More accurately, it is a Gram-negative rod-shaped coccobacillus. It is a facultative anaerobe that can infect humans and other animals. Human Y. pestis infection takes three main forms: pneumonic, septicemic, and bubonic plagues. All three forms are widely believed to have been responsible for a number of high-mortality epidemics throughout human history, including the Justinianic Plague of the sixth century and the Black Death that accounted for the death of at least one-third of the European population between 1347 and 1353. It has now been shown conclusively that these plagues originated in rodent populations in China. More recently, Y. pestis has gained attention as a possible biological warfare agent and the CDC has classified it as a category A pathogen requiring preparation for a possible terrorist attack. Every year, thousands of cases of plague are still reported to the World Health Organization, although, with proper treatment, the prognosis for victims is now much better. A five- to six-fold increase in cases occurred in Asia during the time of the Vietnam war, possibly due to the disruption of ecosystems and closer proximity between people and animals. Plague also has a detrimental effect on non-human mammals. In the United States of America, animals such as the black-tailed prairie dog and the endangered black-footed ferret are under threat from the disease.

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin's autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie "Fotografia chłopów polskich do 1944 r." [At an exhibition "The Polish peasants in photographs to 1944"] and Wisława Szymborska's Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.

This article concerns the sources and mechanisms of the monopolisation of power in democracy. Where do the claims of people's representatives for exclusive rights to rule come from? The author pleads two arguments and try to prove them in both the history of theoretical frameworks of democracy and its political adaptations. The first argument is that these claims are provoked by the very idea of democracy – they are its structural component which decides on its pharmakonic action, because – that's the second argument – it (the idea) is based on the construction of oppositional concepts like egalitarianism vs. elitism, power of the people vs. power of capital and their derivatives. That's why democracy, as a cure for – in respect of gaining – equality, freedom and justice, can poison these values to death simultaneously. It creates inequalities and discriminates separated people. Every substantial content of its formal values is fatal to it. It tends to move to some kind of authoritarianism, fundamentalism or totalitarianism.

The main goal of a reporter / photojournalist is to capture some interesting, shocking material, one that would affect the emotions of a reader. Therefore, poverty, suffering and death become the most important, and the reporter follows their path no matter whether such actions seem moral or not. The writer might then easily lose the main focus, a man. A man who reveals all the naked truth, uncovers the suffering, hoping to improve his or her being. At the end, such people are abandoned by the reporter and they become just a well-sold history. The purpose of my paper will be to look closer at the amoral attitude of a reporter and the relationship: reporter/ photojournalist – the main character of a text. My analysis will be based on Wojciech Tochman's latest reporter's book – Eli, Eli. To prove my thesis more distinctly, I will confront the contemporary reportage with the one from the Interwar period represented by the pioneers of social reportage – Irena Krzywicka and Wanda Melcer. My goal will be to indicate the evolution of the genre, its transformations and their causes.