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Volume 11, Number 1-2, Winter-Spring 2002

Cover of Fidelio Volume 11, Number 1-2, Winter-Spring 2002

Features

Freedom vs. ‘Democracy’: How ‘Democracy’ Became Diseased  

by Lyndon H. LaRouche, Jr.

How the ‘Lost Corpse’ Subverts The American Intellectual Tradition  

by Stanley Ezrol

Who Were the ‘Nashville Agrarians’?  

by Stanley Ezrol

William Shakespeare and Thomas More: The Conscience of Kings  

by Paul Gallagher

Pope John Paul II on St. Thomas More  

Henry VII and the Creation Of Shakespeare’s England  

by Robert Trout

The Magna Carta Versus the Nation-State  

by Robert Trout

Editorial

The Crash Is On!  

News

D.C. Conference: Continue the American Revolution!  

International Webcasts Hear Strategic Direction from LaRouche  

Italy: Economic Development To Defeat Clash of Civilizations  

Arab Oil Conference ‘The Mideast As A Crossroad’  

Brazil: LaRouche Made Honorary Citizen of Sao Paulo  

Dialogue of Cultures: Institute Hosts German-Iranian Festival  

We Need an International Protocol For Banning Violent Videos  

Interview

Pianist András Schiff: ‘The beauty of Bach is the freedom he gives us ...’  

by Ortrun Cramer and Hartmut Cramer

Translated from the German by Cloret Ferguson.

Exhibits

A Yearning for the Classical  

by Bonnie James

‘Thomas Eakins: American Realist’ The Metropolitan Museum of Art, New York June 18–Sept. 15, 2002.

Commentary

‘Seize the High Ground of Independent Power’  

by Lyndon H. LaRouche, Jr.

Lyndon LaRouche replies to a question concerning ‘justice vs. revenge’

Reviews

The Public Wishes To Be Lied To  

by Paul Gallagher

Economics: The End of a Delusion by LaRouche in 2004.

Defending Lincoln—And Discovering Him  

by Anton Chaitkin

Lincoln’s Virtues, An Ethical Biography by William Lee Miller.

The Higher Standard of Truthfulness  

by David Cherry

Unholy War: Terror in the Name of Islam by John L. Esposito

Mozart’s Age of Republican Enterprise  

by David Shavin

The Beneficent Dervish by Mozart’s Circle and The Impresario by W.A. Mozart. Boston Baroque, Martin Pearlman, Director