Ordonka abraham

Dam: Esa z Kuzni Zelichowskiej · Registration #: PKR 6172 · Date of Birth: 1999-4-3 · Variety: Shorthair · Country (current).
He was an admirer of Abraham Lincoln (and reportedly spoke with him on several occasions).
Ordonka, 1902–50): singer and actress, performed in the cabaret Qui pro.

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The modern tango band draws the inspiration from both the world’s traditional and avant-garde Argentine tango. The band skillfully explores and adopts all musical trends associated with tango. Their repertoire includes classical tango in new arrangements, tango covers of popular songs and original composition.

The group, formed in 2015, performs regularly with orchestras from all over Poland, including AUKSO Chamber Orchestra of the City of Tychy, Elblag Chamber Orchestra, NFM Orchestra in Wrocław, Chamber Orchestra in Nowy Sącz, Sinfonietta Cracovia and Silesian Chamber Orchestra, performing symphonic and chamber concerts.

Grzegorz Bożewicz: bandoneon and accordion
Piotr Malicki: acoustic and electric guitars
Hadrian Filip Tabęcki: piano and music arrangements

Hadrian Tabęcki: Piano
Hadrian is a composer, arranger, and pianist from Warsaw. He has composed music for films (“Lejdis” dir. by Tomasz Konecki, among others), theatre plays (for Yidishpil Tel Aviv and the Jewish Theatre in Warsaw, etc.). He composes music to poems and texts by Wojciech Młynarski, Wisława Sz

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Transgressive Women in Modern Russian and East European Cultures

Figures Introduction

Yana Hashamova, Beth Holmgren and Mark Lipovetsky as independent agents unencumbered by sexism (Hua 2009, 68). Utilizing productively the fusion of gender performativity and the way it destabilizes gender norms and expectations with Foucault's notion of transgression as the continual crossing of boundaries, we expose the tension between feminism and post-feminism and challenge the widespread perception of Slavic women as complicit in their oppression. Through repetitive rituals of transgression, women in the following chapters appear as independent agents capable of self-determining decisions. Some of the questions we ask are: what does it mean to interrupt and co-opt normative gender expectations and how are Slavic women simultaneously complacent about and defiant of normative gender expectations?

To elaborate on the Butler-Foucauldian undergirding of our volume: Judith Butler's seminal contributions to constructivist understandings of gender and its performative nature in society hav