Kilka przykładów metafor akwatycznych, które odnoszą się do najważniejszych pojęć filozoficznych

The paper discusses three stages in the development of hunting. Initially hunting had an adaptive value and contributed to the process of evolution of humanoids. When animals were domesticated hunting rituals still constituted an important element of cultural identity and were subject to various transformations due to the pressure from the state and the church. In the contemporary world, under the influence of ecology we witness the emergence of a new ethics which changes man’s relationship to animals. Hunting cannot be reconciled with the morality of modern humanity. Some people demand a complete ban on hunting or that only bloodless tradition should be continued.

The article attempts to reach the elements that control the efforts of constituting a specific type of vision of the past, with which — as I believe — we are dealing in the contemporary public discourse about history.

This article tries to outline the history of the theater of the absurd in Poland by focusing on the metaphor of theatrum mundi (a device which is characteristic feature of this type of drama) and its use by Tymoteusz Karpowicz in his dramas Dziwny pasażer [A Strange Passenger], Charon od świtu do świtu [Charon from Dawn to Dawn], Kiedy ktoś zapuka [When Somebody Knocks], Człowiek z absolutnym węchem [The Man with an Absolute Sence of Smell], Przerwa w podróży [A Break in a Journey]. This metatheatrical device enables the dramatist to create a world of play-acting for its own sake, a world without God, with characters unable to look beyond the exigencies of their role and thus to express his disenchantment with the 20th century and his estrangement from the post-World War II reality. It also enables him to explore the mechanisms of theatrical performance and the role of language in the creation of reality.