The issues raised in the article focus on the ways of communicating family narratives from the perspective of reflection on this type of historical writing by the history of historiography. An expression of this reflection is the proposed classification of narrative strategies and genre types of narration within the set of family histories, and the conceptual category of family histories, which captures this set and opens the field for further discussions on the phenomenon of private family narratives.

Research project on The Lviv Multicultural Historical Environment in the 19'" and 2(Y• Centuries is realised since 2002 by a group of Polish and Ukrainian historians. Research concentrates on the rich historiographic achievements ofLviv Polish, Ukrainian, German and Jewish historians in the 191h and 20'h centuries. Various contributions discuss the institutional support for historians such as university chairs and seminars at the Lviv University, professional quarterly ,,Kwartalnik Historyczny" and Historical Society.

The aim of the article is to reflect on the phenomenon of great art exhibitions, gathering exhibits, mainly paintings, exceptional from the perspective of national cultural heritage, which collectively represent a defined generational message. The reflection included the best‑known exhibitions of recent decades, being an expression of the historical culture of a time of great changes in the life of Polish society at the turn of the 21st century. These are two exhibitions at the National Museum in Kraków, the first exhibition ever by Marek Rostworowski, “Polish self‑portrait” (1979); the second is an exhibition of Marek Szczerski’s work entitled #dziedzictwo/heritage (2017); a jubilee exhibition organised by the National Museum in Warsaw in collaboration with the Louvre‑Lens Museum, the National Museum in Poznan and the Adam Mickiewicz Institute on the centennial of regaining independence, entitled “Poland. The power of the image” (2019‑2021). This reflection also includes the monumental exhibition organised collectively by the Royal Castle in Warsaw and the Martin Gropius Bau in Berlin, with the participation of the curator Anda Rottenberg, entitled “Side by side. Germany‑Poland 1000 years of history in art.” (2012).

The article is a review of te book by Urszula Topolska. The disseration’s methodological approach comprises an examination of response, based on the aesthetics of response and utilising institutional analysis.