Girdling was applied to 5-year-old potted beech individuals of early, intermediate and late phenological forms to block assimilate export from leaves. Phloem severance caused accumulation of soluble carbohydrates and starch in leaves and increased the C/N ratio. While the hexose content increased continuously until the end of the experiment, the sucrose and starch contents peaked earlier, depending on the plant's phenological features. Different rates of chlorophyll degradation and H2O2 and TBARS (thiobarbituric acid-reactive substances) production in different phenological forms implied that phloem girdling was the source of oxidative stress and, depending on the phenological form, accelerated leaf senescence to different degrees. The variable rate of the increase in soluble carbohydrate and starch content, characteristic of the different phenological forms, had different modifying effects on the antioxidant activity in leaves. Compared with the early phenological form, the late form was characterized by a smaller increase in H2O2 and TBARS content and delayed and slowed chlorophyll and carotenoid degradation. In conjunction with the larger increase in the activity of antioxidant enzymes (catalase, ascorbate peroxidase and superoxide clismutase) induced by carbohydrate accumulation and slower carotenoid degradation, these changes led to the late form having greater resistance to oxidative stress and slower senescence.

This article takes up Adam Dziadek’s somatic approach to literature to explore the theme of erotic experience in two poems by Jarosław Iwaszkiewicz, ‘L’amour Cosaque’ and ‘Amore profane’. With the help of inputs from gender studies and the contemporary theories of the subject it has been possible to profi le the ‘I’ of the poems as a deeply fragmented and sexually ambiguous subject, and, upon the evidence of the elusive autobiographical details woven into the text, as a subject suspended in a liminal space, between the real and the fi ctive world. After analyzing the body represented in the text, both perfect and decrepit, as well as traces of the poet’s carnality that interfere with the text and the reader’s sense of his own soma the article arrives at the following conclusion: in Jarosław Iwaszkiewicz’s lyrics the body seems to project its impressions and experiences onto reality, thus blurring the border between the inside and the outside.