http://hdl.handle.net/11089/56762 Sat, 04 Apr 2026 08:42:58 GMT 2026-04-04T08:42:58Z http://hdl.handle.net/11089/56867 Response to the Polemic Regarding the Review of Research on Population Losses in the Wola District During the Warsaw Uprising of 1944 Przeszowski, Kazimierz This response draws attention to the purpose of the original 2024 article, presents general remarks on the polemic text, and discusses the allegations concerning the review of research and the comparative study regarding: The number of victims of mass executions, the size of the German pacification forces, and the area and population of the Wola district. Finally, it addresses the relevance of the findings of the original article in light of the criticisms raised in the polemic. Mon, 30 Jun 2025 00:00:00 GMT http://hdl.handle.net/11089/56867 2025-06-30T00:00:00Z http://hdl.handle.net/11089/56866 Overestimated Balance Sheet — the Astray of Research Without Archival Sources. In Response to Kazimierz Przeszowski Kuberski, Hubert The polemic reviews the research of Kazimierz Przeszowski, which was intended as a balance sheet of previous estimates by Stanisław Płoski and Ewa Śliwińska, Adam Borkiewicz, Hanns von Krannhals, Maria Turlejska, Antoni Przygoński, Joanna Hanson, Maja Motyl and Stanisław Rutkowski, Piotr Gursztyn, Norbert Bączyk and Grzegorz Jasiński, as well as Hubert Kuberski. These estimates indicate that the number of victims of the Wola massacre ranged from 10,000 to 57,600 (even 65,000). This part can be considered a precise summary of previous studies. However, the subsequent section of the article is based on statistical research derived from postwar historians’ studies (lacking statistical data from 1938–1944), which does not allow for detailed research. The comparative analysis of mass executions in Rumbula near Riga, Babi Yar near Kyiv, and executions carried out during Operation ‘Ertnefest’ [sic! actually — Aktion ‘Erntefest’] in Distrikt Lublin is even more problematic, as the author proves that German forces in Wola were sufficient to exterminate even 65,000 people. Przeszowski demonstrated that the Wola district was estimated to have been inhabited by around 100,000 people in the summer of 1944, potential victims of mass executions. These finding, indicate the need for a new methodological approach and further archival research into the number of human losses in Wola in 1944, particularly concerning the analysis of documents preserved in the Bundesarchiv. This place provides an orientation to the number of German, Austrian and Eastern European exterminators during the two-day danse macabre in Northern County — commonly known as the Wola district. Mon, 30 Jun 2025 00:00:00 GMT http://hdl.handle.net/11089/56866 2025-06-30T00:00:00Z http://hdl.handle.net/11089/56772 Ukrainian Classical Music in the Public Sphere Amid the Russo-Ukrainian War: 2022–2023 Kuleba, Nataliia This article discusses the state of Ukrainian classical music during the first years of the full-scale Russian invasion, the understanding of which requires familiarity with the historical context and the rhetoric of post-colonial studies. The cultural confrontation between Ukraine and Russia reached its peak during this period, leading to a significant decline in the promotion and performance of Russian classical music both within Ukraine and internationally. Since 2022, a shift in the Ukrainian musical landscape—marked by the revitalisation of repertoire politics and an active process of derussification has been observed. This positive development is demonstrated in Ukraine’s opera houses and their ongoing repertory renewal: this includes Kateryna by Oleksandr Rodin (Odesa), Fearful Revenge by Ievhen Stankovych (Lviv), and Vyshyvanyi. The King of Ukraine by Alla Zahaikevych (Kharkiv). The Ukrainian opera Chornobyldorf by Roman Hryhoriv and Illia Razumetskyi is regarded as one of the best modern repertory operas. The staging of Genesis. Opera of Memory by the same authors in the Khanenko Museum (Kyiv, 2022) has become a new phenomenon in Ukrainian musical life. The Nova Opera group presented the Art of War opera by the young composer Serhii Vilka, based on a libretto by Myroslav Laiuk. Classical works by Ukrainian composers are also being reconceptualised: Lviv Opera presented an action version of Cossacks Beyond the Danube by Semen Hulak-Artemovskyi.Global interest in the works of Ukrainian classical music has increased; therefore, the online repository of works by local composers (the number of records on the Ukrainian Live Classic app platform rose from 500 to 1700, representing the creativity of more than 70 authors) has been developed. The renowned promoter of Ukrainian classical music is the Days of Ukrainian Music in Warsaw’ festival, which has been held since 1999 (founded by Roman Rewakowicz). The world tours of the Ukrainian Freedom Orchestra (initiated by the Metropolitan Opera and Polish National Opera) and the Kyiv Symphony Orchestra, whose programmes are based on Ukrainian music, occur within the framework of cultural diplomacy. In November 2022, during the United Kingdom–Ukraine Season of Culture, a festival of new and experimental music took place in Huddersfield with the participation of Ukrainian performers. The ‘Solidarity Project’ is an invitation from Ukrainian composers to collaborate with the Metropolitan Opera. However, there remains a lack of professional discussion regarding national classical music in the Ukrainian media landscape. Departments specialising in the post-colonial studies of Russian culture, in which Ukrainian culture has existed on the sidelines for a long time, are currently being established. Mon, 30 Jun 2025 00:00:00 GMT http://hdl.handle.net/11089/56772 2025-06-30T00:00:00Z http://hdl.handle.net/11089/56773 The Evolution of the Role of Mass Media in Wars – Media as a Tool, a Threat and a Side of the War Derlatka, Katarzyna E. Released information can lead to the outbreak of war, such as ‘The Ems Telegram’. It can also cause changes in the actions of the ‘great and the small’ of this world, influence the perception of reality and lead to a reversal of events. The examples of the media’s involvement in the history of wars described in this article demonstrate its use by conflicting parties as an instrument of warfare. Furthermore, they also make it clear that the media can be a threat and even a war party. During war, it is necessary to control the media space, understand the role of the media, pay attention to their presence in war, their technological capabilities, and their power to influence audiences and developments. Skilful and planned use of the media for political and military purposes can influence the success of operations. Mon, 30 Jun 2025 00:00:00 GMT http://hdl.handle.net/11089/56773 2025-06-30T00:00:00Z