Category: VOLUME V, No.1

The personal relationship between Béla Bartók and Paul Sacher was brief, lasting for a mere five years from the summer of 1936 until the composer’s final departure for the United States in the autumn of 1940. Short-lived as it was, however, it contributed to three masterpieces; compositions that eventually turned

Dr. Mária Schmidt, Director of the House of Terror, mediated a conversation with thejournalist and filmmaker David Satter about his award winning documentary Age of Delirium, which tells the story of the fall of the Soviet Union as lived and experienced by the Soviet people. The discussion followed the first public screening in Hungary of Age of Delirium at the Pushkin cinema in Budapest under the

When people start working with fairy tales in individual therapy or groups, they know very little about the tale itself – or indeed, about therelationshipexistingbetweenthemandthefairytale.They only see a story which may attract or repel them with elemental force, but they are unable to say why. Perhaps it is because they recognise themselves in the fairy tale’s protagonist. Or perhaps the conflict between the

Once upon a time, beyond seventy-seven lands, even farther, beyond the Óperencia too, at the crumbling side of a ruined oven, in the seventy- seventh pleat of the skirt of an old woman there was a white flea, and right in the middle of it was a gleaming royal city,

“Star of the Nativity” is one of six gospel poems in the longer lyric sequence that Pasternak published as the last chapter of  Doctor Zhivago. Five of the six poems revolve around the Passion. “Star of the Nativity”is the one exception. Its aesthetic reminds me of a Roublev icon–painting as annunciation, as Pavel Florensky says – a likeness for an invisible, spiritual energy for which it is the leading wave. (Florensky is thinking by analogy of Jesus through whom God, although imageless, approaches in