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Daniela Kurtza lata szkolne

100%

Komorowski J.

tom 67

nr 4

130-138

Daniel Kurtz (Curz, Kurz, Kurc), the ballet master of the Narodowy Theatre under the reign of King Stanisław August, was an outstanding dancer and author of numerous ballets admired by the public. Following the partitioning of the Polish-Lithuanian Commonwealth, Kurtz moved to Lwów, where having retired as a dancer, he took on the career of a dance teacher. He was a teacher of a young Aleksander Fredro, among others. In 1809 Kurtz moved to Podolia (i.e. from the Austro-Hungarian territory to the territory under Russian rule), and he became a teacher of the renowned Podolian Gymnasium in Winnica in 1816. At the same time, he taught at private schools for girls. His students performed at public examinations that marked the end of the school year, which was duly noted even in Vilnius newspapers. Kurtz taught at the gymnasium until 1822, after which time he either retired or passed away. The date of his death, however, is not recorded in any surviving documents.

Daniel Kurtz (Curz, Kurz, Kurc), baletmistrz Teatru Narodowego w czasach króla Stanisława Augusta, był znakomitym tancerzem i autorem wielu podziwianych baletów. Po rozbiorach Rzeczypospolitej wyjechał do Lwowa, gdzie po zakończeniu kariery scenicznej podjął pracę nauczyciela tańca. Uczył między innymi młodego Aleksandra Fredrę. W 1809 udał się na Podole (czyli z zaboru austriackiego do rosyjskiego), a w 1816 został nauczycielem tańca w wysoko cenionej szkole – Gimnazjum Podolskim w Winnicy. Równocześnie uczył w prywatnych szkołach dla panien. Jego podopieczni występowali podczas corocznych egzaminów publicznych, kończących rok szkolny, co odnotowywała nawet gazeta w Wilnie. Kurz był nauczycielem gimnazjum do 1822, po czym zaprzestał pracy lub zmarł. Data jego śmierci nie jest jednak znana z dokumentów.

Dookoła trzech Hamletów. Teatr Polski w Warszawie 1922–1939–1947

100%

Komorowski J.

tom 62

nr 1(245)

77–97

The Polski Theatre has presented Shakespeare’s Hamlet to its audiences three times so far, in 1922, 1939, and 1947. The production of 1922, directed by the theatre manager Arnold Szyfman, constituted a decisive element of the counteroffensive mounted against increasingly heavy attacks of the critics. They all accused the theatre of lowering its artistic level. The Shakespearean counterstroke was received warmly, in hopes of change for the better. Unexpectedly, the premiere of Hamlet directed by Aleksander Węgierko, which took place on 4 April 1939, was overshadowed by political life, as the threat of war was looming ever larger and Great Britain had just provided Poland with the guarantees of military help. Thus, contrary to the producers’ intentions, many reviewers interpreted the play, and Fortinbras’ army march against Poland especially, in the context of the current political situation. As a result, the artistic qualities were often overlooked. Another premiere of Hamlet, on 17 July 1947, again directed by Szyfman, inaugurated the final of the all-national Shakespearean Competition, which was to show the condition of theatre companies in post-war Poland. The Competition was taking place in a tragically ambiguous situation. On the one hand, it was supposed to be a sign of Polish ties with European culture while on the other hand, it was organised in a country being, for all practical purposes, under Soviet occupation, in the circumstances of increasing Communist terror. This time, however, due to censorship, the theatre reviews were devoid of clear political references. The production received positive but not enthusiastic reviews even though it won the greatest number of awards in the competition. Tadeusz Kończyc, one of the 1939 reviewers, remarked that, despite difficulties, the greatest theatres once in a while “come back to Hamlet as to a fount of powerful and everlasting impressions”. The Polski Theatre in Warsaw has not done so for 66 years.

The relationship between antibiotic therapy in early childhood and the symptoms of allergy in children aged 6–8 years - the questionnaire study results

26%

Raciborski F. , Tomaszewska A. , Komorowski J. , Samel-Kowalik P. , Białoszewski A. Z. , Walkiewicz A. , Lusawa A. , Szymański J. , Opoczyńska D. , Drużba M. , Borowicz J. , Lipiec A. , Kapalczynski W. J. , Samoliński B.

nr 4

470-480

Introduction: Studies based on the ISAAC questionnaire suggest a correlation between the use of antibiotics and the prevalence of asthma and allergy in children aged 6-7 years. The number of courses of antibiotic therapy is an important factor. Objectives: To investigate the relationship between the use of antibiotics during the fi rst years of life and the prevalence of allergy and asthma among children (aged 6-8 years) in the urban population of Poland. Materials and Methods: A survey-based study with a self-completed questionnaire. The respondents were parents of children aged 6-8 years living in Warszawa, Poland. 1461 completed questionnaires were collected. Results: Asthma was declared in 4.3% of the children. Wheezing and/or sibilant rhonchi within 12 months before the study was observed in 13.5% of the cases. Asthma medication was taken by 21.8% of the children. Allergic rhinitis was declared in 18.7% of the children. Problems with sneezing, rhinorrhea, and nasal congestion not associated with cold or fever were observed in 40.7% of the children. The a nalysis of the odds ratios between the use of antibiotics and the symptoms of allergic diseases revealed a clear correlation. The highest odds ratio was observed between the completion of over three courses of antibiotic therapy prior to the age of 12 months and the declaration of one of the following: asthma (OR = 5.59, 95% CI: 2.6-12.01), wheezing and/or sibilant rhonchi (OR = 4.68, 95% CI: 3.01-7.27) and taking medicines for breathlessness (OR = 5.12, 95% CI: 3.42-7.68). Conclusions: There is a direct relationship between antibiotic use in the fi rst 3 years of life and asthma and allergy symptoms in children aged 6-8 years old.