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The author of the article proposes the following theses: political transformations enabled the democratisation of the Polish educational system and the creation of non-public (private) schools in Poland after 1989; the creation of the Educational Social Association initiated the creation of non-public schools in Poland; the creation of Szczecin International School (SIS) as a response to the needs of the market of the international community settling down in Szczecin; the activities of SIS, a school that runs an inter-cultural education: international programmes that make it possible to teach in a culturally diversified environment; familiarisation with another culture as a way to the acceptance, tolerance and understanding.
More...Między sztuką a polityką.
Born in Szczecin Heinrich George was one of the most outstanding theatre and cinema actors of the Weimar Republic and the Third Reich. He appeared in the films that played an important part in the history of the cinema (Metropolis directed by Fritz Lang, 1927; Berlin-Alexanderplatz directed by Phil Jutzi, 1931). When Hitler seized power in Germany, Heinrich George supported the Nazi regime in spite of his leftist convictions. After 1933 he appeared in many films both neutral in their meaning and the ones that were a pure Nazi propaganda such as Jud Süss directed by Veit Harlan. Heinrich George arouses controversy even in the present-day Germany. Appreciating his achievements as an actor it is not possible to ignore his involvement in Nazism.
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The article is written as an addition to the previous article by N. Fonyakova. It gives some different considerations on the motifs and symbolism of the subject depicted on the vessel from Kotski. It is necessary to state that these motifs and subjects are not pertinent only to the Khazar culture, but also occurred among the Early Hungarians (esp. the motif of decoration of the rim of the vessel) and among the cultures in Central Asia for a long time. The author’s idea is that it is not possible to give any prevalence of one or the other interpretation of the subject, being discussed either as a representation of a “Heroic combat with the Hero-virgin” or of a “Initiation Combat between the King and the Pretender”, though she is more inclined towards the first view. The basic conclusion is that this subject can be attracted towards the reconstruction of the (Proto)bulgarian mytho-poetic model.
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