Marxism, as any social ideology, contains many conflicting motives. They represent the potential of various political doctrines. The aim of the article was to show the sources, content and consequences of the ideological conflict between the two Marxists, precursors of conflicting political ideologies. Vladimir Lenin, with his monopolistic rights to the interpretation of Marxism, the army-like organization of the party and the recognition of his opponents as enemies, became the forerunner of the totalitarian system. Eduard Bernstein, touted as the creator of revisionism, has verified Marxism, rejected the ved that the socialist party should participate in a democratic system dogma of the class struggle, claimed the proletarian revolution being irrational and belie, using its mechanisms for achieving the objectives of the working class. In this way Bernstein became one of the promoters of democracy. The article discussed the main ideological and political consequences of the gap between the two ideological movements.

The article is devoted to a book by David lnving. Goebbels. Mózg Trzeciej Rzeszy (Goebbels, Brain of the Third Reich) published in the Polish translation in 1998.

If the characterization of avant-garde proposed once by Henri Saint Simon, and later maintained by Daniel Bell as well as Lidia Burska in the book entitled Awangarda i inne złudzenia. O pokoleniu ‘68 w Polsce (“The avant-garde and other illusions. On the ’68 generation in Poland”) is adopted, the philosophical revisionism inside Polish Marxism (the Warsaw school of the history of ideas) may be considered a phenomenon analogous to the artistic avant-garde which gained prominence in the middle of the 1950s. In Burska’s understanding, the significant trait of avant-garde is effective impact on the state of consciousness, stances and choices of the public. This essential factor highlights the connection between avant-garde and revisionism, due to the fact that, as it was commonly believed in Poland, the Warsaw school played a major role in the formation of the Polish post-war humanities. The purpose of the paper is to propose an understanding of the impact exerted by the Warsaw school of the history of ideas. In relation to this problem, the author refers to the testimonies of people who constituted that milieu, and he focuses on some topics from the hermeneutics of H.-G. Gadamer (the concept of the efficacy of history; the concept of application) and from the philosophy of H.R. Jauss (the concept of the horizon of expectations).

This text is a presentation of the project of a revisionist history of feminist art in Poland. In its first part, I draw attention to the fact that the conceptual frameworks that shape the narratives of the relationship between art and feminism, both global and local, have proved to be extremely durable. In the next two sections of the article, I present a revisionist history of feminist art in practice with brief analyses of three works: Banner-Corset and Cover for My Lover by Maria Pinińska-Bereś (both 1967) and Consumer Art by Natalia LL (1972–1975).

In recent years, some authors have departed from the classical presentation of World War 2. This article analyses selected alternative and revisionist narratives present in the works of Tymoteusz Pawłowski, Rafał Ziemkiewicz and Piotr Zychowicz in terms of historical and ahistorical thinking, presents the authors' attitude towards the achievements of historiography, and presents the way in which they create their narratives, the content of those narratives, and evaluates them in terms of their correctness from the point of view of compliance with historical facts.

The article depicts the personage of Karol Modzelewski (1937–2019) the outstanding activist for freedom of Poland, long-term political prisoner, prominent medievalist historian and full member of the Polish Academy of Sciences.