Theory and practice of sport psychology suggest that emotional and behavioral states of anxiety and aggression both affect athletic performance. The aim of the present study was the investigation of possible differentiation among water -polo male and female players according to their anxiety, anger and aggression levels. The sample consisted of 225 players (120 men, 105 women), between the ages of 17–39 years old. They completed the Greek versions of the: (a) CSAI -2, and (b) CAAS instruments. Results revealed differences among almost all questionnaire variables, between sport (athletic) experience’ groups. Finally, male athletes of the 2nd national division identified greater levels of anger and aggression in comparison to all other division groups. Overall, results shine some light on facets that play an important role and can affect the athletic performance of water -polo players.

The issue in the title is known and is being analyzed for a long time, however its

complexity makes the setting of both – the future of it and contemporary form

– emerge a lot of questions marks. I do not intend to leave most of them aside.

I do make an attempt however to present its complexity and as well the importance

in the reflextion upon life and activity of scholars. In these remarks I do

recall several ways of presenting it and do make an attempt to stress out those

of research possibilities which may lead to interesting outcomes. In the end part

of the remakrs I do present some of them. I treat this step as an invitation to

further discussion on the sensibility and anger of scholars.

This article, focused principally on the exploration of contingency, the body and disgust in Michał Witkowski’s novel Margot, is also a polemic and a vindication of the book against the barrage of criticism it received from its reviewers. Most of them decided that Margot was a novel about nothing, a haphazard mix of sundry discourses devoid of any linear structure. In fact, several critics blamed the author of giving away both the narrative structure and the plot to capricious contingency. The article takes a fi rm stance against such charges and argues that contingency does not need to be seen as a fault at all. It lies at the heart of the novel and determines the actions of characters, but it plays as important a role in people’s lives outside fi ction. Analysing the ups and down of the main characters (Margot and Wadek Mandarynka), the article explains the function of emotions, the body, the characters’ language and their ideas of sacrum in the legitimization of contingency. A special role in this mechanism is played by disgust. Reactions of disgust are always contingent, or, as Julia Kristeva puts it the abject has the power to terrorize the subject to such extent that he can do nothing but to succumb to contingency. In working out the idea of the contingency of selfhood, the article also draws on Richard Rorty’s approach, and in particular his concept of ironism. The latter is used to classify the main character of Witkowski’s book as a consummate ironist, i.e. a person who tests different languages in which the world can be described in order to pursue his carnal desires. Finally, the article argues that in his novel Witkowski not only brings to light the fortuitous character of the postmodern identity but also creates a heterogeneous language to express it.