This collection is a valuable source of knowledge about a religious and philosophical doctrine of great cultural influence. The Christian Esoteric School of the so-called Universal White Brotherhood, created by Petar Danov / Beinsa Douno in 1922, was registered as a religious community after the establishment of Communist rule in 1948. In practice, however, the Brotherhood, referred to by the socialist state as “the Danovists’ Sect", led a semi-legal existence: their properties were seized and so-called "reactionary literature by author P. Danov" was confiscated, members of the Brotherhood and supporters were subjected to persecution, sentenced in prison and forced labour camps. State Security agents also infiltrated the spiritual community and a number of publications were published to rebut the "antiscientific and reactionary nature of Danovism". Despite these harsh conditions, followers of Petar Danov / Beinsa Douno managed to preserve their movement. This collection, which covers a wide period from the end of the 19th century through the present day, documents the activities of Petar Danov and his followers. Additionally, the collection demonstrates the increased interest and importance of the spiritual movement after the political events of 1989.
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In 1946, Lajos Szabó, a philosopher who defined his position as Biblicism (understood as an approach to philosophy which includes all aspects of culture and life), held exclusive seminars for young people in private apartments. The seminars were held periodically and covered subjects like psychology, economics, value theory, existentialism, Indian traditions, set theory, language mathesis, history, and movement theory. Together with his friend, György Kunszt regularly took notes on these events and a lifelong master-disciple relationship evolved between them. Kunszt actively participated in the maintenance of Szabo’s bequest. The materials donated by him to the Library of the Hungarian Academy of Sciences, Department of Manuscripts and Rare Books consists of the notebooks of Lajos Szabó on philosophical subjects made during his years in emigration and the documents on systemization of the oeuvre, which were made by Kunszt.
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Budapest Széchenyi István tér 9, Hungary 1051
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The documents of the Cultural Forum and Counter-Forum of Budapest in late 1985 reflected on the major changes which had just begun at the time in East-West relations, politics, and diplomacy, together with the challenging concept of cultural freedom as a basic part of human rights. For the official Forum, some 850 participants were accredited to Budapest, thus the city was home for six weeks to a legion of diplomats and experts. However, instead of the protocol-like program of the official Forum, the real novelty which caught the attention of the world, the samizdat press, the Western public, and dissidents from the East (not to mention the Hungarian secret police, who were busier than ever) was an open dispute among writers and intellectuals from both East and West that was held at a poet’s flat and then at a film director’s apartment, and which lasted three days. The rich and versatile sub-collection contains many exciting documents which are of potential interest both to Hungarian and international visitors.
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The Fund for Aiding the Poor (SZETA) was a unique endeavor of the Hungarian democratic opposition involving counter-cultural initiatives in the fields of art and literature and a heightened social awareness for those in need. The original documents of SZETA have survived to our day only in part, and are scattered across private collections. Therefore an almost complete documentary collection of SZETA could be composed only virtually as of yet, with items from the relevant holdings of the Blinken-OSA Open Society Archives, Budapest, the secret police files of the Historical Archives of the State Security Services (ÁBTL), Budapest, and Gabriella Lengyel's online collection, together with some private papers of Gábor Havas, Bálint Nagy, Ferenc Kőszeg, Gyula Kozák, Zsuzsa Hermann, and others.
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The photo collection of the painter Lóránt Méhes (“Zuzu”) portrays the personalities and events of the Budapest alternative art scene from the beginning of the seventies. The images arranged into scrap books in chronological order can be called social albums on the analogy of family albums, and present a composed, personal, visual imprint of the style of living of the nonconformist community.
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Budapest Reáltanoda utca 9, Hungary 1053
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