The Role of the ZMOT Model in the Management of Cultural Entities This article deals with Google's ZMOT model and its potential use in cultural entities. The article analyses the application of the model, using one particular culture unit as a study case.

SELECTED ISSUES IN USING TECHNOLOGY IN EDUCATION IN CRITICAL AND HISTORICAL PERSPECTIVEHigh educational hopes were put into the appearance of each and every medium. The history of media development in the 20 th century is also the history of high educational hopes and spectacular failures. It seems that at least some major links of these processes are repeated in the development of most important technologies for transmission of information. Many scholars (e.g. Neil Selwyn from Monash University) believe that critical approach provides accurate diagnosis of failures in educational technology applications. Historical perspective, on the other hand, allows for seeing the whole of certain processes and eliminating the phenomena that are negative from the researcher's standpoint, e.g. excessive enthusiasm that accompanied the introduction of new technologies. This kind of "emotional smog" largely disappears if we accept historical perspective. Critical and historical analysis of the use of technology in education may give the opportunity for its effective use and avoiding traps into which radio, television, and the Internet fell during the 1990s.

Uniwersytet Szczeciñski (Pe³no)sprawni s¹ bez szans, czyli crip studies we wspó³czesnym kinie Obecnooeae osób z niepe³nosprawnooeci¹ w przestrzeni artystycznej, w tym w sztuce filmowej, wi¹¿e siê z prowadzonymi na gruncie disability studies badaniami i analizami pooewiêconymi kulturowemu modelowi niepe³nosprawnooeci. Wyrastaj¹c z szeroku ujêtego modelu spo³ecznego, kulturowe ujêcie niepe³nosprawnooeci przyjê³o na pocz¹tku bie¿¹cego stulecia formê crip studies, rozwij¹cych dotychczasowe analizy w kierunku okreoelenia zró¿nicowanej to¿samooeci osób z nie-pe³nosprawnooeci¹. Powrót do kalectwa jest na gruncie tej koncepcji wyrazem niezgody na trwanie wykluczaj¹cych praktyk spo³ecznych, które dotycz¹ zarówno relacji miêdzy normalnooeci¹ a kalectwem, jak i stosunków w niejednorodnej spo³ecznooeci osób z niepe³nosprawnooeci¹. Radykalnooeae tego podejoecia znajduje swoj¹ intersuj¹c¹ realizacjê w niektórych wspó³czesnych produkacjach filmowych, prezentuj¹cych bohaterów z niepe³nosprawnooeci¹ zgodnie z wywrotow¹ ide¹ crip studies, a wiêc sprzeciwu wobec dominacji ujednoliconych standardów wygl¹du i sprawnooeci cz³owieka z równoleg³ym ukazaniem nieoczywistych walorów kalectwa. S³owa kluczowe: niepe³nosprawnooeae, crip studies, disability studies, sztuka filmowa (Fully)abled have no chances or crip studies in contemporary cinema movies The presence of people with disabilities in the artistic space, including movie art, is related to the researches and analysis conducted on the basis of the disability studies and devoted to the cultural model of disability. Growing from the wider social model, the cultural approach to disability at the beginning of the present century transformed into crip studies, which elaborated previous analysis into direction of defining the diverse identity of people with disabilities. On the basis of this concept the return to cripple is an expression of disagreement over the duration of exclusionary social practices that concern both the relationship between normality and disability, as well as the relations in the heterogeneous community of people with disabilities. The radicality of this approach finds its interesting implementation in some contemporary cinema movies, presenting characters with disabilities in accordance with the subversive idea of crip studies, and thus opposition to the dominance of unified standards of human appearance and ability with parallel presentation of non-obvious advantages of being the cripple.

Katherine Boo's award-winning non-fiction book (2012) and David Hare's play Behind the Beautiful Forevers (2014) are set in a Mumbai slum called Annawadi. They tell a story of one family's struggle with the Indian judiciary system, describing the life in a Mumbai slum in the process. The article purports to analyse the translation element of Boo's narrative, as well as the book's translation (Polish translation by Adrianna Sokołowska-Ostapko) and adaptation (Hare's play). The first part of the article is focused on various shifts occurring in those secondary texts. Special attention is paid to ideological consequences and motivations of various decisions, which, consequently, leads to the question about the oppressive potential of translation (inspired by theories of Edward Said and Gayatri Spivak). The second part of the article deals with the fact that although translation remains an essential and obvious component of Behind the Beautiful Forevers for all three authors (Boo, Hare, and Sokołowska-Ostapko), this issue has been largely neglected (or misrepresented) by readers and critics. This, in turn, leads to the question (based on Itamar Even-Zohar's polysystem theory) to what extent the case of Behind Beautiful Forevers can be interpreted as a product of various forces conditioning the scope and future of postcolonial translation.