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Az erőszak
Part of author´s book on historical novels, a chapter on the representation of the persecution of Jews.
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Part of author´s book on historical novels, a chapter on the representation of the persecution of Jews.
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A relatively new but devoted friend, László Bitó, analyzes the responsibility borne by Hungarians and Christians in connection with the Shoah in an essay bearing the title “For the 80th birthday of Ágnes Heller’s everlasting youth”.
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Our new section “Family portrait” presents the everyday life of Ágnes (Sára Zorándy). Moreover, as the village of Nagybörzsöny has become such an important setting of her life, another photo essay present her rural settings (Andor Gábor Tooth).
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Family portrait” presents the everyday life of Ágnes (Sára Zorándy). Moreover, as the village of Nagybörzsöny has become such an important setting of her life, another photo essay present her rural settings (Andor Gábor Tooth).
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Ágnes Heller, too, is represented in two articles addressing topics that are important to us. In “Witness, witnesses, eyewitnesses,” she critiques with friendship the Judaism related essay written by two younger colleagues, György Tatár and György Gábor. Her other contribution is from her book on historical novels, a chapter on the representation of the persecution of Jews.
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Júlia Vajda, with an interview focusing on her professional interest, the psychosis of the Shoah, addressing the painful experience of a loss of a father, constituting the connection to the life experience of the feted person.
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There is no more distinguished personage than his contemporary and fellow citizen of the world Ágnes Heller to congratulate Imre Kertész on his eightieth birthday.
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János Kőbányai discusses the literary relationship between Imre Kertész and Dezső Szomory.
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Louise O. Vasvári’s study on the Novelness of Imre Kertész’s Fatelessness examines the author’s work from the perspective of English-language scholarship on the Holocaust.
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Hava Pinhas-Cohen’s essay is concerned with the enormous life-changing influence that having translated into Hebrew "Kaddish for an Unborn Child" had on her.
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Mátyás Sárközi, who lives in London, evokes the role of his grandfather, the playwright Ferenc Molnár, and of his father, György Sárközi, as members of the Nyugat circle.
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György Péter Hárs continues his major study, initiated in the first issue of this volume, on the ties between the Nyugat and psychoanalists and culture, centering on the friendship and professional relations between the editor-in-chief Ignotus and Sándor Ferenczi. Petra Horváth introduces us to a less well-known author from the Nyugat circle, Olivér Brachfeld, who was particularly interested in both psychology and Spanish literature.
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The author takes a look at the few existing monographs of the subject of the Nyugat, stressing the Jewish features of the social background of each.
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Rudolf Klein, the Jewish historian of architecture of international renown, examines the visual style of the transition into the modern and its Jewish aspects in his study, Secession: un gouˆt juif? (Both the Nyugat and Múlt és Jövő endorsed this style in their visual manifestations.)
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János Kőbányai sketches the parallel roads taken by the Nyugat and Múlt és Jövő, as a thesis/antithesis rapport, notwithstanding their many common features and shared authors.
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Clara Royer, a young French researcher (who has just obtained her Ph.D. from the Sorbonne with a dissertation on the topic of Hungarian Jewish literature), examines the works of Károly Papp and Andor Endre Gelléri in the light of their conflicted relations with their respective fathers, under the shadow of Franz Kafka.
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Bálint Veres’ essay, ‘What is Israeli music?’ commemorates another less known founding father, Ödön Pártos, one of the most significant representatives of Israeli music.
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