Script Writer Research Articles

DOR dan Drama Keadilan (Analisis Sosiologi Sastra)

The study of play scripts is one of the rare literary studies. One reason is because the object is very rare. The highly productive Indonesian play script writer is Putu Wijaya. Putu Wijaya wrote many stories with many themes, one of which was titled DOR, which raised social and justice themes. The theory used to analyze DOR is the sociology of literature with the help of psychology and law science through literature study with the method of reading, listening and note taking. In DOR, there are various kinds of character clashes between characters in responding to a case. Justice that tries to be sought in the narrative of this play always collides with various problems, where the premise becomes a kind of reflection on social phenomena that occur in the real world. Even though it was written decades ago, DOR still feels relevant to the condition of society, especially its relation to the world of law enforcement and the search for justice, which is increasingly bleak and unclear. As a work of art, DOR is capable of photographing various kinds of legal world phenomena with all its cross-clashes. The clash of character or character really represents all the complexities of legal problems in Indonesia. Where various interests take part in determining the results of justice seeking.

Antimicrobial stewardship in dentistry: an arts-based approach to intervention development

BackgroundExcessive antibiotic prescribing is a global public health and patient safety problem. Around 10% of all antibiotic prescriptions worldwide are from primary dental care, with 80% estimated to be unnecessary. Earlier research identified 34 factors associated with dentists’ decisions on whether to prescribe antibiotics for adults with acute dental problems. We aimed to develop an evidence-based, theory-informed, story-based intervention to reduce antibiotic prescribing for adults during urgent dental appointments. MethodsCoproduction stakeholders included four people with lived experience of acute dental problems, four dentists, three dental nurses, three health-care researchers, two service managers, and two national policy makers. Two workshops were held: prioritising which of the 34 factors to target through the intervention; and developing narratives for the story-based intervention. A live scribe produced a graphic record of small-group discussions during the first meeting, which was followed by a full-group prioritisation exercise using nominal group technique. A theatre-company led the second workshop in which stakeholders assisted in developing the narratives through a values-based exercise and role play. A script was then commissioned. FindingsComplex relations between the factors influencing prescribing were captured by the graphic record which stimulated additional insight from group discussion. Stakeholders prioritised 11 factors for the intervention and advised that engaging the target audience about the risks of antibiotics (rather than just broadcasting messages to them) was particularly important. By exploiting the so-called stickiness of stories for sharing information, role play provided a rich source of narratives from which the professional script writer developed a series of nested video monologues called Quick Fix Frank. InterpretationAs well as focusing complex intervention development on issues important to end users, coproduction provided additional insight about antibiotic prescribing behaviours within the dynamic system of urgent dental appointments beyond that achieved from a previous systematic review and ethnographic study. The video monologues produced are part of a complex intervention (currently in development) for inclusion in the national dental antimicrobial stewardship toolkit. Testing and evaluation of the complex interventions will build on the experience of a similar online resource from primary medical care (Treating Antibiotics Responsibly: Guidance, Education & Tools). Its design makes it appropriate for engaging the wider population, including health-care professionals, in the messages that: antibiotics have risks as well as benefits, and antibiotics do not cure toothache. FundingWT was funded by a National Institute for Health Research (NIHR) Doctoral Research Fellowship (DRF-2016-09-148). This manuscript presents independent research funded by the NIHR. The views expressed are those of the authors and not necessarily those of the National Health Services, the NIHR, or the Department of Health and Social Care.

Richmond Sarpong

ChemCatChemVolume 11, Issue 13 p. 2942-2942 InterviewFree Access Richmond Sarpong First published: 30 May 2019 https://doi.org/10.1002/cctc.201900804AboutSectionsPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinked InRedditWechat Abstract Professor Sarpong was interviewed in celebration of his SSOCJ Mukaiyama Award 2019. Richmond Sarpong Professor Sarpong was interviewed in celebration of his SSOCJ Mukaiyama Award 2019. Date of birth: April 23rd, 1974 Position: Professor of Chemistry and Executive Associate Dean, University of California, Berkeley (USA) E-mail: rsarpong@berkeley.edu Homepage: http://www.cchem.berkeley.edu/rsgrp/ ORCID 0000-0002-0028-6323 Education: 1995 B.A. Chemistry, Macalester College, St. Paul, Minnesota (USA) 2000 PhD in Organic Chemistry with Prof. Martin Semmelhack, Princeton University (USA) 2000–2004 UNCF-Pfizer Postdoctoral fellow with Prof. Brian Stoltz, California Institute of Technology (USA) Awards: 2019 SSOCJ Mukaiyama Award 2015 ACS Arthur C. Cope Award 2015 RSC Synthetic Organic Chemistry Award Hobbies: Tennis, listening to music The thing I like most about my work is collaborating with incredibly passionate and talented coworkers, and always learning something new. When I was eighteen I wanted to be a professional tennis player or a movie script writer. Clearly, I have moved in a very different direction! I admire people that show a high level of honesty and integrity. My favorite time of day is the evening, when I go home and get a big hug from my daughter. Next to family time, I also love 7:00 in the morning when I open the ASAPs to see what is new. These days, thanks to social media, word about the latest papers gets out there so much more quickly! The most important lesson I have learnt is to be respectful to each person you interact with, and to embrace diversity and change. I would like to have a year off to learn a new language and some biology. During my PhD studies I always dreamt of making a major discovery to help humankind. I chose Chemistry as a career because I thought it presented the best opportunity for me to make a difference. I also love how objective and how creative it is. My 3 top papers: 1“A Short Synthesis of Delavatine A Unveils New Insights into Site-selective Cross-coupling of 3,5-Dibromo-2-pyrone”: V. Palani, C. L. Hugelshofer, I. Kevlishvili, P. Liu, R. Sarpong, J. Am. Chem. Soc. 2019, 141, 2652. (This paper highlights a symmetry-inspired approach to the synthesis of a natural product that also required insight and execution of a selective cross-coupling reaction.) CrossrefCASPubMedWeb of Science®Google Scholar 2“Deconstructive Diversification of Cyclic Amines”: J. B. Roque, Y. Kuroda, L. T. Göttemann, R. Sarpong, Nature 2018, 564, 244. (The idea of achieving diversification of molecules at a framework level opens up a new way to achieve late-stage molecular editing.) CrossrefCASPubMedWeb of Science®Google Scholar 3“Network-Analysis-Guided Synthesis of Weisaconitine D and Liljestrandinine”: C. J. Marth, G. M. Gallego, J. C. Lee, T. P. Lebold, S. Kulyk, K. G. Kou, J. Qin, R. Lilien, R. Sarpong, Nature 2015, 528, 493. (Highlights the use of network analysis for generating viable retrosynthesis of complex polycyclic molecules.) CrossrefCASPubMedWeb of Science®Google Scholar Volume11, Issue13July 4, 2019Pages 2942-2942 This article also appears in:Catalysis Awards ReferencesRelatedInformation

Multilingualism, collaboration and experiential learning with multiple modalities: the case of Mondovision

ABSTRACT The paper documents the final project in an undergraduate seminar on multilingualism at the University of Toronto from a pedagogical perspective. The multimodal and multimedia project – centered on the idea of a fictitious festival of popular music, the Mondovision Song Contest – uses the genre of pseudo-documentary as a channel for collaborative and experiential learning. The students get engaged in multiple roles: script writer, graphic designer, film editor, actor/actress, and dancer, to mention a few. The Mondovision project serves as a medium to not only master subject matter content that focuses on multilingualism across continents, but also gives the students an opportunity to develop interpersonal and collaboration skills and to acquire multimedia and multimodal literacies. The paper provides both student and instructor perspectives on the experience, focusing on their respective roles and exemplifying what is here referred to as affirmative pedagogy of multilingualism.

The Beginning of the Artistic and Mentoring Activities of O. Dovzhenko

The beginning of the artistic and mentoring activity of the genius Ukrainian film director and script writer Oleksandr Dovzhenko was investigated and analyzed at the article; his cinema-pedagogical activity at the Odessa State College of Cinematography of the All-Ukrainian Photo Cinema Management was studied; the possibilities of attraction to teaching at the Theatre Cinema Photo Department of the Kyiv Art Institute were clarified. We established the facts of Oleksandr Dovzhenko’s work in the methodological commissions on “Film Director’s work” and “Sociology and History of Arts, History of Material Culture, History of Cinema” at the Artistic Faculty of the Kyiv State Institute of Cinematography.

Philosophical and aesthetic aspects of the face in the context of teaching selected humanities subjects at the Poznan University of Medical Sciences

The paper starts off from the prehistoric role of the face and the dominant significance of the question of the face in the humanities. Author will address the above questions in the context of his own teaching of such subjects as Philosophy, History of Philosophy, Aesthetics, and Philosophy of Medicine. He draws attention to the role of works of art he uses in the teaching process, e.g. the tale Beautiful Face from the book 13 Tales from the Kingdom of Lailonia by the eminent philosopher Leszek Kołakowski. As the person instrumental for the film adaptation of this book and the script writer, the author will share his experience of making use of films from the series 14 Tales from the Kingdom of Lailonia by Leszek Kołakowski, begun in the late 1990s. Contributing to the making of individual films in the TV Studio of Animated Films in Poznań were distinguished directors, outstanding actors, e.g. Zbigniew Zapasiewicz and Andrzej Seweryn and expert stage designers. Of special importance for the teaching process in the context of these films is the intersemiotic translation, related to the questions of the face. Author will moreover reference in his teaching practice ideas put forth by philosophers such as Plato, Emanuel Levinas and Jan Payne and works by such eminent artists as Tadeusz Kantor and Zbigniew Libera. Individual issues discussed in the paper will be illustrated with ample iconography related to the face, including images unpublished earlier, such as those from the films from the above series, currently under production.

From written utopia to audiovisual dystopia. The serial and cinematographic adaptations of The Typescript of the Second Origin

Following the recent cinematic adaptation of Manuel de Pedrolo’s novel (Mecanoscrit del segon origen, 1974), this article undertakes a comparison of the various adaptations for the big and small screen. The series, produced by TVC and shown from 1985-1986, was directed by Ricard Reguant. It is composed of 7 episodes and had Manuel de Pedrolo himself as script writer. The 2015 film Segon origen, directed by Carles Porta and Bigas Luna, has a running time of 102 minutes. The starting point for this comparison will be its assignment to the science fiction genre as a utopic or dystopic product. Comparisons will be drawn with other audiovisual and literary products, as well as the original 1974 Mecanoscrit novel. The methodology used is to compare these two cultural productions, especially in regard to issues of myth, genre, intertextuality and adaptation.

Development of an implementation intention-based intervention to change children\u2019s and parent-carers\u2019 behaviour

BackgroundImplementation intentions enable individuals to translate good intentions into action. Parents and children can find maintaining oral health difficult, as evidenced by the presence of tooth decay. This is a common condition in children in spite of being preventable through the use of regular tooth brushing, fluoride protection and avoiding sugar intake. Even when parents and children are positive about looking after the teeth, they can face challenges in maintaining consistent habits. The aim of this paper is to describe the design of a video animation to teach parents and children how to use implementation intentions to establish new habits to improve oral health, applied in this case, to parents and children with cleft lip and/or palate (CLP).MethodsEvidence from a qualitative study of parents’ and children’s knowledge, beliefs and behaviour informed the design of an animation forming part of an intervention for children and parents using implementation intentions. The user views generated a set of guiding principles to determine the style and content of a teaching video, whilst an animation designer translated the key messages of implementation intention into images and characters appealing and meaningful to the target audience of children and parents.ResultsA team of researchers, an animation designer and a script writer designed a 2-min video as a teaching tool for children and parents. The team drafted and iteratively refined the content and visuals, with guidance from an advisory group and informal discussions with children in the target age group and their parents. Planning, consulting, designing and production of the animation spanned a total of 20 weeks. The video explains how to formulate ‘if-then’ plans using the voices of a boy and his mother in a conversation, with examples from oral health to illustrate how to enact intentions. It is available via digital media and designed to be delivered by dental care practitioners. The effectiveness of the intervention will be evaluated as part of a feasibility study.ConclusionThe current study describes the development of an intervention mediated through an animation tutorial that enables children and parents to devise ‘if-then’ plans to improve oral health as a collaborative endeavour between parents and children. The animation uses examples from oral health, but we believe there is scope for exploring application of the intervention to other areas of behaviour.

«THE OVERCOAT»: A VANGUARD FILM VERSION OF THE CLASSICS

The subject about interaction of literature and cinematography in the 1920-ies is touched in the article. Modern-day opinion about dismissive attitude of the vanguard cinematography to Russian classics needs detailing and review. One of the proofs of two kinds of Art interacting is Tynyanovs participating in cinematization of The Overcoat by Gogol as a script writer. The peculiarity of Tynyanovs approach was about assembling plenty plots of Russian classical prose. Movie-essay of Gogols style was a pathbreaking extempore themed on numerous works of Gogol, Tolstoy, Pushkin and Dostoyevskiy. Thus, literature text was completely changed with keeping different origin motives and artistic image. In the article we can see examination and conclusion of how cinematography and poetry reunited in the screenplay of Yuriy Tynyanov. Also, the role of intertextuality in the film artistic integrity is considered.

Analysis of M42SP-7P on the Balinese Papyrus Script Printing Control System

Script writing art in the lives of Balinese people has a very important function, particularly in terms of writing a sacred script such as writing an inscription on copper plate, bronze, silver, and gold, by using a penknife which required a persistence, patience, skill and experience by itself, since not all Balinese people is able to do this very complicated work. Considering the difficulty in writing a script on papyrus and the rarity of script writer experts, therefore the researcher gives appreciation on papyrus preservation and conservation. In the present time, sophisticated technology has replaced manual equipments which required a lot of manpower to be operated. Maybe also the inscription writing model with ancient language and writing has been done so many times with computer technology by using the printer as the interface for printing. In this research the Balinese script printing tools will be designed namely a penknife using robotic technology which mimicking human hand’s motion when writing a script on papyrus. Thought the script tool printer design through robotic technology in order to write a script on palm leaves is an important role of technology as an innovation strategy that is able to create new thinking, new ideas and inovation creative products. Eventually is also expected to satisfy the user as consumer and a new creative market.

Remembering the Age of Iron

Over the past few years we have witnessed a minor cultural phenomenon in China, with the production and enthusiastic reception nationwide of several television dramas about Chinese workers in the socialist decades. Set in the industrial plants of Liaoning in China’s northeast, once the industrial powerhouse of the socialist nation, these drama series centre on the dramatic transformation in workers’ experiences from 1949 to the start of economic reforms. In this paper I explore these series, asking: what does the smallscale production but enthusiastic reception of this genre tell us about the contemporary cultural politics of class? This paper addresses this question by (1) highlighting the key aspects of workers’ experiences with socialism as depicted in these television narratives; (2) considering the creative agenda of Gao Mantang, the script writer of the most successful industrial-themed television series; and (3) identifying some crucial ways in which the subjectivity of workers and other social groups in contemporary Chinese society intersect to shape the cultural politics of class. This discussion shows that television dramas have indeed become the basis of a widely accessible public forum that helps forge a renewed appreciation of the moral integrity of China’s working class, vent a widespread sense of injustice, and foster a certain degree of solidarity between workers and other social classes. At the same time, while television dramas about workers may hold significant potential for mobilising public support for the working class and advocating workers’ interests, this discussion also suggests that so far this potential has not been fully exploited.

China’s Copyright Protection for Audio-Visual Works – A Comparison with Europe and the U.S.

One of the most heated debates in the current Chinese Copyright Law Revision is copyright protection of films. Individual creators/authors of films (such as a film director or script writer) have criticized the current rule, which vests copyright ownership of a film with the producer of a film, as depriving them of a fair opportunity to share in the commercial success of their work. As a result, the guilds representing individual creators have been lobbying to change the current “producer-ownership” rule to “individual creator-ownership” model, or as an alternative, leaving copyright ownership of films to be decided by contract. Not surprisingly, movie studios are objecting to such a proposed change.To build a successful movie industry, China is looking for inspiration from the Hollywood model — the US copyright protection of films. Yet because China’s copyright system is based on the Continental European model, a comparison with its origin — France and Germany, seems inevitable. This paper compares copyright protection of films in France, Germany and the U.S. with China (from its first Copyright Law in 1999, its subsequent revisions until the most recent one), in terms of film authorship, ownership and remuneration scheme. In the end, the author proposes a hybrid model for China — reserving the Continental European concept of moral rights for individual authors, while vesting ownership of a film with the producer of a film, and at the same time, introducing a more balanced remuneration scheme for individual creators in a film.

Sobre el oficio literario y audiovisual del guionista de ficción

The text explores a field of study that usually occupies little space in magazines and academic texts: script writing fiction and whether that script can be considered an audiovisual job and / or literary. In order to achive this aim the literature is analyzed (often focused more from a professional point of view than academic) and the various positions that are maintained on the place of the script in the audiovisual field by the approach of six basic questions that are establishing as a reflexion on the office, vocation, the valuation and habits of the script writer as a writer and also as a filmmaker. It is, thus, an essay that attempts to stake and claim the position of the filmmaker in the audiovisual industry and also claim for their role as a writer, basing the meaning of their work and also claiming their position in the audiovisual industry by bringing into play the contributions of writers, filmmakers, screenwriters and academics who have previously thought about these issues, relating them and building a clear storyline that concludes accurately with the commitment of recognizing the writer in the universe of fictional creation.

“I Believe in Seven­String Guitar”: On the Occasion of Yury Vizbor’s 80th birthday

Is dedicated to diverse artistic and creative work of this singer­songwriter, journalist, script writer and actor. The author analyses Vizbor’s poetics and evolution of his creativity from his students’ songs and to philosophical lyrics imbued with existential feelings and evaluates Vizbor’s contribution to Russian culture as that of a man of the sixties.

Keeping fiction true to life

Nurse Teresa Lynch spent a day on the set of the BBC television drama Silk, advising the programme makers on the portrayal of character with advanced prostate cancer. She ensured equipment and procedures were accurate, and encouraged the script writer to make the storyline more hopefull.

Literary Translations: From Novel to Film, from Australia to Europe

On 24th May, 2012, 1 sat down to talk with the producer Emile Sherman and script writer Louise Fox about the process of adapting Dead Europe to the big screen. Emile won the Academy Award for Best Picture for his production of The King's Speech (2010), and Louise has written extensively for radio, the theatre, and television, including being one of the key writers on Love My Way.The film departs substantially from the novel. While the novel switches between the present-day narrative of Greek-Australian Isaac Raftis' sojourn across Europe and that of his grandmother, Lucia, growing up in a small village in Greece in the early twentieth-century, the film discards Lucia's narrative completely in favour of Isaac's. This change is accompanied by a shift in focus from Isaac's mother in the novel to that of his father who, played by William Zappa, has a pivotal role in the film. In the novel, Isaac's return to his family village re-activates the ancient family curse placed upon his grandmother. But in the film, the family curse seems to be re-activated in the lead-up to Isaac's planned departure for Europe: we see his father fill his mouth with soil, then commit suicide by deliberately crashing his car. Isaac's trip to Europe thus inadvertently becomes a pilgrimage to put his father's ashes to rest in their ancestral Greek village. He feels a connection to his ancestral homeland despite having gimvn up on another continent, but the land itself infects him and soils him spiritually. Europe in this film carries within it fertility and potential for grcnvth, but also all the dirt, waste, and remnants of the past that his family wanted to bury and forget.LYNDA NG (LN): Emile, hmv do you pick your projects? You've produced several successful films that were adapted from literary texts (Disgrace, The King's Speech, and Dead Europe). What is it about a novel or-in the case of The King's Speech, a play-that tirtnslates into a good film?EMILE SEIERMAN (ES): Well, The King's Speech wasn't a produced play, so in a way it was more like a screenplay that I read. I'm conscious that novels are very different from films, and often very good novels-literary novels-don't make good films because films essentially need story. Novels work very well for the internal world but film is much more an external world. Often, in terms of what I'm interested in-it's something that has-it takes on something interesting-it takes on a big topic or it's something that takes on an interesting angle-something different. I'm often not drawn to normal drama books that are just stories of families or whatever. It needs to have some element that makes it different and that you can almost talk about and people go-oh, that's the thing about that. I think that can be important when you're trying to make a film that's going to have to cut through in a crowded film marketplace and you'll have to get it financed and you'll have to get audiences to want to go and see it. There'll always be a brilliant movie that's just a lovely domestic drama, but that's very hard to actually pull together. So, in the case of Dead Europe it felt like it was making a really quite bold statement about how the past is so pressed against the present, and what lies beneath the surface of contemporary Europe, and on the fringes of contemporary Europe. Disgrace, obviously, was making quite a big statement about race relations in the state of South Africa. But sometimes it might be an amazing actor or amazing director who is interested in a book. But I think that finding something that is a little bit extraordinary is the key for me.LN: Where did the idea for the project originate?ES: It was a synchronicitous originating process. I read the book-I actually read about it in-I subscribe to Booksellers and Publishers, that magazine. And I read about a review in it. I read the book and I thought, wow, this would be incredible, and I started negotiating the rights with Christos. …

Menciptakan Karakter yang Menarik dalam Penulisan Naskah Film

The main character in a movie is the central to the film itself. Generally, a movie tells the story of a specific character. The character can be drawn from figures that exist in the real world or a fictional character. Thus, the success of a movie is always directly proportional to the success of a movie script writer in formulating the main character in the movie. By the increasing of techniques of writing a story, it can be determined how to make characters to be interesting in a movie script.

Екфрастичні елементи сучасного кіносценарного тексту (В. Мицько “Портрет”)

The purpose of this research is to study ekphrasis, a phenomenon actual in recent years, (N. Braginska, A. Voievodina, V. Bychkov, L. Geller, G. Kosikov, V. Lepahin), on the example of a modern scenario text (“The Portrait” by V. Mytsko). The topicality of the issue is stipulated by the need to analyze ekphrasis as a literary device that performs the function of a specific tool in the “translation” of painting, music, sculpture or architecture into the language of literature. The research methodology is based on the complex tool offered by the modern approaches utilized to single out and analyze new literary forms generated by the intermedial contextuality state (provisions of structural and semantic approach, genre-study discourse, receptive poetics practice.) Other arts texts furnish scenario, a historically determined twentieth-century literary form, with their own illustrative examples. At the heart of the author’s address to ekphrasis is the intention to verbalize a non-verbal image. In addition, ekphrasis presents the script writer’s own aesthetic modus, her/his own receptive needs and impressions from other artists’ works, comprising specific hermeneutic resource of the text that cannot be ignored. Ekphrastic elements of the modern scenario “The Portrait” by V. Mytsko (ekphrasis-fiction, ekphrasis of the famous works of art, ekphrasis-interpretation, ekphrasis-psyhologization, ekphrasis-impression or “infection”) suggest organicity of this device for the practice of creating scenario texts in general. Due to this device, a literary text is getting extremely rich, thus engaging in active dialogue with other art forms. Furthermore, these descriptions in V. Mytsko’s scenario are applied to arouse reader’s/viewer’s creative and associative thinking and, at the same time, encourage him/her to appropriate creative reflections.

Two Voices about Poznań Studio of Animation Films

The article relates to the studio both as an institution which has operated for three decades in different economic systems and various legal and organisations forms and as a creative team that has made films. The authors are: Ewa Sobolewska, a film producer associated with the Studio since the very beginning, its president for over ten years to date, and Jan Zamojski, an academic and script writer cooperating with the Studio as the author of adaptations and scripts for the films of the series Fourteen Tales from the Kingdom of Lailonia by Leszek Kołakowski. The article adopts a perspective of Production Culture studies initiated by J.T. Caldwell, with the use of the so-called emic perspective and a narrative interview. It is composed of a methodological part and authors’ comments to the questions they posed to each other. The narratives provide impressions from the period of developing the concept of the film and from the film set itself. They also contain more general self-reflections on the role of the script writer and the role of the producer in the creation of a film and reflections on the role of the Poznań Studio of Animation Films for the culture of film, including its local aspect.

Bolesław Sulik — łącznik z Londynu

Bolesław Sulik (1929–2012), an emigration publicist, script writer and filmmaker, from the second half of the 60’s of the 20th century visited Poland several times. He cooperated with leading Polish directors Andrzej Wajda nad Jerzy Skolimowski. In the 70’s he established contact with the budding opposition, Adam Michnik among others. He became the unofficial liaison officer between the countrys’ opposition (the Workers’ Defence Committee) and Kultura in Paris. The Security Service intended to enlist him. In 1976 the candidate for a secret collaborator was listed in the index of persona non grata in the People’s Republic of Poland.