Vera Kohn

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Vera Kohn in the last years of her life in her house in Quito.
Vera Kohn as an actress

Vera Kohn , née Schiller (born March 24, 1912 in Prague , Austria-Hungary , † June 29, 2012 in Quito , Ecuador ) was a German-speaking Jew. She grew up in Czechoslovakia, which became independent in 1918 . After it was occupied by the German Wehrmacht , she and her husband, the architect and painter Karl Kohn , fled to South America in June 1939, where she built a new life in Ecuador, first as an actress and later as a psychologist and therapist.

Life before emigration

origin

When researching Vera Kohn, one comes across several name variants. Maria-Luise Kreuter, who in her book Where is Ecuador? wrote about Kohn's theater work in Quito, calls it Kohn-Kagan throughout. This addition to the name, which, like the name Kohn itself, refers to the origin of the Kohanims , seems to have been used for the first time by Karl Kohn as a pseudonym after Zuzana Güllendi-Cimprichová to sign his painting, while he continued to act as Karl Kohn as an architect . It is not known why Vera Kohn decided to adopt this addition. In later years she seems to have resorted to the combination of her married name with her maiden name, and the name variant Khon also appears in some Spanish-language texts. In the following, the name Kohn will be used here, unless otherwise spelled out from quotations.

Much information about Vera Kohn's life seems to be based on her book, in which she gives a cursory overview of her life on the first fifty pages or so (see works ). The title Initiatic Therapy does not immediately indicate that it is also an autobiographical representation, and the text follows a chronology, but rarely comes up with precise details of persons or dates and is always interwoven with the attempt of one's own life before Reconstruct the slide of a therapeutic concept.

Vera Krohn's father was a lawyer and her paternal grandfather was a farmer in Třebívlice . Her maternal grandfather was a banker, “Director of many companies, chocolate factories, carpet factories and other companies. [..] He and my grandmother were very important to me. ”In Bernhard Hetzenauer's documentary, she tells of a sheltered childhood in the German-Jewish milieu of Prague. From the family's circle of friends, she mentions Franz Kafka , Max Brod or Franz Werfel , which suggests a certain closeness to the Prague circle . In the film she herself describes German as her mother tongue, but also points out that she has learned Czech. She writes about her childhood:

“My life as a child moved between my grandparents 'house (it was close to us and always open) and my parents' house. We lived on a 5th floor in what is now the modern part of town, in Vinohrady, where wine used to be grown. At home there was a cook, a nanny and a maid. We ate around a round table and after lunch we had coffee in the bay window, where the sun shone in and we called it 'The Café'. Our garden consisted of Mother's flower box, which had five or six plants with green leaves.
Until I came to Ecuador, my father's word was valid: to do something that would not have pleased him would have been worse than to ignore a religious commandment. We were brought up with very clear values ​​that were sometimes exaggerated. "

This “we” includes a sister who remains anonymous and the three years older brother Ewald, from whom she learned a lot. Both siblings do not appear in the further course of the book, with one exception. Vera attended the “German School for Women” in Prague, received private French lessons, and particularly emphasizes her love for poetry and theater. As a child she already did the latter with family and friends, and she was no less impressed by the performances at the Prague theater, which for her as a child embodied “the fantastic world of myths, of the non-real” from which she after the Performances had to manage the painful change into the reality of everyday life. “It was an awakening from this unreal beauty. To take on the role of obedient and good daughter again meant a great effort for me, which I dragged with me for years. I only got over it many years later through therapy. "

The marriage to Karl Kohn

Vera Kohn began studying psychology at Charles University in Prague, but later studied French literature at the Sorbonne in Paris . When exactly that was cannot be determined with certainty, but during her time in Paris she was already in a stable relationship with Karl Kohn, born in 1894, who had worked in his brother Otto Kohn's architecture office since 1920 . The architect, who was eighteen years older than him, was supposed to build a house for his parents, but that didn't happen, "but the architect talked to my father and it was decided that I would marry him". Although this made her “fantasies [...] unexpected reality” for her, as a daughter from an assimilated Jewish family she had to learn to come to terms with a culture that was alien to her, which for her was symbolic with the change from the familiar Christmas tree to the Hanukkah chandelier was connected.

“At the age of 23 I had to learn from my husband's family to adapt to the customs of Orthodox Jewish life. [..] My Christmas was irrevocably lost in this contract between my father and the architect. [..] I was driven out of the whole, As if torn away from myself, from the sacred, from childhood.
The child needs the ritual through which it feels protected and integrated into its environment in order to be able to rise from there to the absolute. I was offered a substitute: eight candles, readings in Hebrew I couldn't understand, and a traditional meal that was alien to me in exchange for the magic tree full of lights, decorations and sweets. This is not a criticism: I couldn't identify with these symbols. "

The wedding took place in 1934, and the honeymoon took the couple to Urk in Holland, which at that time still existed as an island. She speaks very ambiguously of the “little Prague baby ” that was on display: Karl Kohn had designed and built a two-seater convertible especially for the honeymoon, and thus the trip became a “demonstration trip, an opportunity for the factory to do that Make Prague Baby known and sell ”. Vera was the photographer of the trip, and her husband, seeing the sea for the first time in his life, painted.

The villa of the Kohn brothers in Prague.

In 1935 daughter Tanya was born in Prague, now a well-known artist. Zuzana Güllendi-Cimprichová reports on the "Villa Kohn in Prague - Smíchov" built in 1936 with the "furniture designed by the architects themselves". “The building was erected at the highest point on a slope. The dynamic and voluminous structure dominates the large garden, which is divided into terraces and functionally divided into a community garden, a children's playground with a pool and a kitchen garden. "

The Kohns were no longer able to enjoy their new home, in which Otto Kohn and his family presumably lived, because on October 1, 1938, the German Wehrmacht began to invade Czechoslovakia. In Bernhard Hetzenauer's documentary, Vera Kohn tells of the harassment by the Germans and the difficulties of being able to leave the country. Her brother, who lived in England, was rescued and was able to provide the money for the taxes the Jews had to pay before they left. Her parents also lived in England by then. Vera Kohn and her family left Prague in June 1939. In her traumatic memory she stayed with a relative who had accompanied her to the train, but had to stay behind because there were no funds available for his departure. He became a victim of the Shoah . In her book, Vera Kohn does not go into the discussions and difficulties in the run-up to emigration - not even the controversial plans to emigrate in parts of the family.

emigration

In a note, Zuzana Güllendi-Cimprichová refers to the archive of the Kohn family in Quito, which contains numerous documents "which document Karl Kohn's unsuccessful efforts to emigrate to Great Britain and the USA since the beginning of 1938". (Note 13) In the main text, however, she writes: “The family's original emigration destination was Argentina, but Karl Kohn later decided to go to Ecuador.” Güllendi-Cimprichová also cites an interview that the journalist Karel Hvíž mitala on December 4, 2009 with as a source Joseph John Kohn , the son of Otto Kohn and nephew of Vera Kohn's husband Karl. This shows that in June 1939 a total of 21 people from the Kohn family set out from Prague via Strasbourg, La Rochelle and Liverpool to Ecuador. There were two reasons for choosing this destination. On the one hand, another Kohn brother, Kamil Kohn (1897–1971), had received a visa for Ecuador and persuaded his brothers to go there as well. In order to stay together with the extended family, Otto Kohn did not use a visa for the USA for himself or his family.

Another reason named by Joseph J. Kohn was based on economic relations between Czechoslovakia and South America. Ecuador lived in a longstanding conflict with Peru, in the course of which both countries obtained weapons from Czechoslovakia. As a result, Ecuador had large debts in Czechoslovakia and therefore offered Czechoslovakia that emigrants destined for Ecuador could settle these debts in kroner before leaving and would be exempt from taxes and local duties in Ecuador. In addition, the “liberal-minded government of Ecuador [...] had hoped for cultural enrichment and, above all, an economic upswing from the European-Jewish emigration. For Ecuador, in which there was almost no middle class at the time, the well-educated migrants from Europe promised an increase in technical know-how and new technologies. In short: the socio-political situation was generally favorable for Jewish migrants. ”All of this, according to Joseph J. Kohn, led to a large proportion of the Jewish immigrants in Ecuador coming from Czechoslovakia.

In her book, Vera Kohn tells us nothing about the family and political backgrounds that led to the country of exile in Ecuador. She told Bernhard Hetzenauer that they first traveled to England with the intention of emigrating to Canada. But then one day her husband came home and said that they would leave for Ecuador the next day. That was surprising for her, but not particularly dramatic. She didn't know anything about Ecuador, but was looking forward to the adventure. She also said nothing about whether she traveled alone with her husband and daughter, while Güllendi-Cimprichová writes that Karl Kohn arrived in Quito with other family members at the end of 1939. But since Vera Kohn also mentioned that she traveled to South America from Liverpool and she also describes the departure from Czechoslovakia similar to her nephew Joseph J. Kohn, it can be assumed that her trip also took place in the family group of the 21 Kohns. A remark made by Vera Kohn in connection with the first walk she and Karl through Quito alluded to this family group: “'It's wonderful,' he told me. He took me through Junín Street and to Santo Domingo and informed me that we would stay here, that he had decided not to go to Argentina, even though I had already obtained a visa for this country and a place on the ship. I think he didn't want to part with his brothers who wanted to stay in Ecuador. "

Early years in Ecuador

The voyage ended with the disembarkation in the open sea off Salinas .

“My story in Ecuador begins with the dark, with the absolute black darkness of a night on the Ecuadorian coast. The darkness is blacker to the eyes accustomed to the light of the ship. A girl almost falls into the water and for the first time in my life I see, feel and experience the dark, frightening and mysterious. A blow that shakes us: We have arrived. It's probably sand, maybe earth. Everything is a riddle, an idea; a big dose of fear and a little bit of humor. All darkness contains a point of light and there is a lonely pear rocking in the light breeze over the table called customs. "

For Vera Kohn, this arrival is closely related to a dream she had as a child in Prague and which she tells about in Hetzenauer's film, which owes its title to this dream.

“Another memory has to do with emigration, a dream I had around the age of seven. It's like a thread that has accompanied me all my life. In school I had learned that there is fire in the center of the earth, which impressed me very much. How was it possible that I could walk on the earth while fire burned inside? In the dream I went down thousands of stairs to the center of the earth, to the fire. There was an old woman there to look after it. I had to jump over the fire and then climb another flight of stairs on the opposite side. In the end I saw a beach with sand and palm trees, exactly like the beach of Salinas in Ecuador, where our ship, coming from Europe, docked. This dream has been repeated three times. That's why I was deeply impressed: I had seen this very beach and knew it before I came to Ecuador. The dream is timeless from the perspective of our daily consciousness. In order to find the essence, I had to undertake a double journey, once into the center of my unconscious: I needed the warmth of its depth. And on the other hand, a journey on the surface: I had to travel to another culture, to another continent, to another landscape. "

Joseph J. Kohn also remembered the disembarkation as a dramatic experience. “They let us take a small boat to the Ecuadorian coast at midnight on the open sea. [..] The boat swayed heavily, there was strong wind and big waves. The adults complained about the anti-Semitic staff on the ship, but for us children, we were three cousins ​​and four cousins, it was great adventure and great fun. We only took a couple of suitcases for the trip. But we sent several so-called lifts [transport boxes] in advance, large boxes with books, paintings and carpets. ”Vera Kohn mentions 24 people who had arrived and speaks of $ 300 in cash that the group had. Of this, they were charged $ 120 for the first night in a hotel.

The family stayed only briefly in Guayaquil and then moved on to Quito, where Karl Kohn found work at the art college and where Oswaldo Guayasamín was one of his students. Joseph J. Kohn describes the early years in a somewhat more differentiated manner.

“Father was an architect. When we arrived in Quito (the capital of Ecuador), the whole family, all 21 people, rented three houses in an alley called Juan Rodriguez on the outskirts. The emigrants later called this street 'Kohnstrasse'. One day a man came with several assistants who introduced himself as Churro Cordova and said that in three months he would become Ecuador's president. He said he knew that my father and brother were famous architects in Prague and that the Faculty of Architecture in Cuenca , which is the most famous university, is going through a major crisis and desperately needs an independent architecture professor to handle the situation. My father and uncle told him that they had never been professors and, secondly, they couldn't speak Spanish. He replied that this was not important at all and that he would give them half a year off to learn the language. [..] Father accepted the offer and went to Cuenca. At that time, Cuenca was a medieval city, we drove there from Quito for two days. Fortunately, there were three Czechs living there who helped my father translate his lectures into Spanish. Life was adventurous, but we only stayed there for three years, then we moved back to Quito and my father worked with his brother Karl. "

The fact that only Otto Kohn accepted this offer, and not his brother Karl, was due to Vera Kohn, as Joseph J. Kohn reports: “My aunt Vera wanted to be an actress and claimed that the only way to start is in Quito, and she refused to leave. ”Since Otto Kohn and his family returned to Quito in 1942 and the stay in Cuenca had lasted about three years, as Joseph J. Kohn reported, Vera Kohn's theater plans must have existed as early as 1939, and thus long before Foundation of the Kammerspiele in Quito, where her career began. However, Joseph J. Kohn points out elsewhere that his aunt initially abandoned her acting plans and began studying psychology. It was her second, but not yet her last, attempt to study this subject.

At least three Kohn brothers were able to quickly gain a foothold in Ecuador and start a civil career. Kamil Kohn, who persuaded the brothers to emigrate to Ecuador, first founded a small wire factory, which developed into a larger company, Ideal Alambrec . Otto Kohn (* 1887) moved with his family from Ecuador to New York in May 1945 and tried to work as an architect there too. But he suffered a heart attack in 1947 and was initially unable to work. When he got better, he developed into a successful furniture designer. He died in 1965. Karl Kohn, Vera's husband, became a successful Ecuadorian architect who was able to “develop an independent artistic position and integrate himself into the Ecuadorian architecture scene”.

Acting career

Katya Kohn was born in 1942, the second daughter of Karl and Verena Kohn. It is not known whether Vera Kohn was still studying psychology at the time, and neither is it known when she turned to acting. Without precise dating, she writes: “The theater that I loved very much became a reality when a German director named Dr. Loewenberg came and invited everyone to take part. At that time there was a theater company led by Ernesto Albán. He was a very good actor, but not his colleagues. There were other groups too, but they only played sporadically. In the German room theater we were all lovers and since there was no money, we made the decorations, the clothes, the lighting ourselves. "

Kreuter mentions Vera Kohn for the first time in connection with the second season of the Kammerspiele (late 1944 or early 1945). Vera Kohn played Christine in Arthur Schnitzler's play Liebelei , and “with this performance the future› star ‹of the Kammerspiele was born: Vera Kohn-Kagan, who from now on took on leading roles alongside Gerti Goldmann and later also in front of an Ecuadorian audience Spanish language achieved success. The theater critic Wenzel Goldbaum qualified Huberta Reuscher-Heiman, Vera Kohn-Kagan, Gerti Goldmann and Inge Friedberg as ›a quartet of female performers‹, for which many large stages could envy the ensemble. In her role as Eliza Doolittle in Bernard Shaw's comedy › Pygmalion ‹, with which the second season ended, Goldbaum compared Vera Kohn-Kagan with the ›great human actresses‹ in the performances of Otto Brahm and Max Reinhardt . "

In Bernhard Hetzenauer's documentary, Vera Kohn confidently claims that she only ever played leading roles. She also points out that her husband, Karl Kohn, was also involved in the theater work: he painted backdrops. It is not known whether she was already involved in the first Spanish play by Kammerspile , the Spanish Snow White version Blanca Nieves y los Siete Enanos performed in 1946 . This was followed in 1947 by a performance at the Teatro Nacional Sucre with the participation of Ecuadorian actors. Was played A Doll's House by Henrik Ibsen with Gerti Goldmann in the title role. When in 1951 "the Kammerspiele practically ceased to exist as a German-language theater", Vera Kohn-Kagan was the only actor who remained, who learned the Spanish language and took language and singing lessons. “The performances met with the interest of the press, and Löwenberg appeared here as the person who had helped the theater in Quito in the first place and Vera Kohn-Kagan as the“ figure in the foreground of the Ecuadorian theater world ”, who was beyond modern means Theaters. "

In an article on the occasion of Vera Kohn's centenary, reference is made to ten years of theater work in Quito and the theater obsession that developed in the process, which prompted Vera Kohn to study theater 'seriously' at the Actors Studio in New York. She describes it like this:

“Insisting on being an actress, I traveled to New York and was accepted into the Actors Studio, where I learned more from life than theater. The teacher was a Russian actress who showed me that I was not an actress. But then I said to myself, 'This woman says I'm not a construction player, but I play very well.' In reality, the actor has to have a center to which he refers, but I have identified myself completely with the characters: with my skin, with my mind, with my body. As a result, I wasn't acting out of myself. That's why I lost myself. I had played like that for over ten years. Now I know that it causes schizophrenia in many actors. "

Photos of Vera Kohn from her time at the Kammerspiele

From drama to trauma

As in her childhood (see above), Vera Kohn found the switch between acting and real life a painful process. “It was bad for me when I was interrupted and brusquely torn from this awareness of identification with the role in order to transform myself into a housewife who had to function in everyday life. From identification with the Greek goddess to everyday things in the kitchen. I felt like I was being cut with a knife. Living between two levels was a great pain. Going back to reality and making sure that lunch and dinner were ready on time or writing letters of recommendation and contracts for my husband was like jumping from one level of consciousness to the other. ”This life in two levels of consciousness was reinforced by the dominant role of Karl Kohn, through which she feels deprived of her own energy.

“Karl, my husband, decided everything. Because he wanted to be with his family, we stayed in Ecuador; he decided whether we wanted to befriend this or that person; what we would eat; whether I could go to the hairdresser or not; the color of my clothes (he couldn't stand it if I wore a color that didn't go with his artistic taste). He had architecture - proportions - in his blood: he drew first and then measured. He knew exactly what he wanted in all artistic aspects of life. He drew entire neighborhoods, houses, víllen, jewelry and everything that could be created in the artistic. He was also a painter and a wonderful portraitist. "

Vera Kohn attests to a loss of self and describes the attempt to find it again as "a thread that spins through the entire novel of my life".

Self-discovery in Europe

In 1957 Vera Kohn informed her husband that she was going to Europe. She traveled to Vienna, where her sister lived, and together with an actor from the Burgtheater gave readings and radio programs. The subject was Ecuadorian poems that she had translated into German.

A book set the course for Vera Kohn's future life. In a Stuttgart bookstore she met Karlfried Dürckheim's In the Sign of Great Experience and asked the author for an appointment. After the first meeting, she rented a room in a neighboring farmhouse and told her husband, who had meanwhile followed suit and with whom she had spent some time in the Alps, that she would stay here now. "He was very understanding or desperate because he no longer knew what to do with this woman who just screamed and cried." However, he visited her occasionally and waited for her "three years in Europe and Israel".

Together with Dürckheim's wife and partner Maria Hippius , she practiced breathing and underwent an analysis according to Carl Gustav Jung . Looking back on her first meeting with Dürckheim, she wrote: “I came for an appointment of 20 minutes and stayed for three years.” During this time, she also learned the method of guided drawing developed by Hippius , which was widely used in Bernhard Hetzenauer's documentary occupies. “The client paints a bowl like a nest with his eyes closed and two hands and fills it with something important for him, depending on his mental state. These images are an exact psychic photograph, and a physical transformation and constant awakening occurs via the symbol that appears in the image. "

In the course of her further learning, Dürckheim repeatedly urged her to treat patients herself. Not infrequently this led to borderline experiences, which she learned to master through the supervision of Dürckheim or Hippius. She vividly describes her experience with initiatic therapy using the example of a phone call with her husband, to whom she informed that she no longer wanted to come back to him. She interpreted his outburst of anger as an opportunity for him to finally get rid of his fear while she had passed out during the conversation.

“I was like extinguished, it was more than I could endure, but what later turned into a great experience. I found an enormous light instead of darkness, a light that was new to me. I saw a person, I saw something like a master. (I think the individual has to go to the end of his strength and when he has really given himself up, something happens (I compare it to the ascent of Mount Everest). If we just can't anymore, a new one opens up Door to the unknown. Going through it is compulsory. It is what man is looking for: the initiatic experience . After that I felt as if everything was full of love; probably my husband's curses on the phone were an expression of his love, an expression of it that he didn't want to lose me. "

Vera Kohn's stay with Dürckheim and Hippius ended in 1961. The relationship with Karl Kohn had found a new foundation, and the couple went to Zurich together, where Vera was supposed to audition for a role in Tennessee William's play The Glass Menagerie at the Schauspielhaus Zurich . The audition was not to their satisfaction and led to a momentous decision:

“I realized I wasn't an actress. I could play but I didn't see myself; I needed someone to give me feedback and tell me how I was playing. I think that was the last step in knowing that I would return to Ecuador. In addition, the time to stay abroad had expired: people with naturalization in Ecuador could only stay outside the country for four years, and on August 4th that time was over. We went back to Ecuador. "

New start in Ecuador

Undated recording from Vera Kohn's middle years.

At the age of 49, Vera Kohn began studying psychology for the third time in Quito. It ended after eight years with a PhD in clinical psychology .

Parallel to her studies worked Vera Kohn three times a week voluntarily in a psychiatric hospital , but on that of their elected term asylum better was true: it was a Verwahranstalt for mentally ill people, but no device that could make the deposited human outreach . She attended a facility for children with brain damage in Seattle and volunteered at a psychiatric hospital in Mexico.

Vera Kohn closes her memories by referring to the Centro de Desarrollo Integral (CDI) she founded in the early 1970s together with Father Marco Vinio Rueda . There is a quote from her on the institute's homepage.

“It was my life project to found the Center for Holistic Development CDI to offer psychological services to people with limited economic resources and all people in need of psychological support so that they can wake up, learn to express their opinions and make decisions on their own initiative to meet. Society can only be changed with a conscience.
The CDI is a place that offers help in adapting to the new demands that every person faces in their life.
I very much hope that this center will continue to be a space of transformation for future generations. "

The photographer

Vera Kohn already took on the role of photographer on her honeymoon in 1934. She seems to have remained loyal to this passion for a long time, as evidenced by the many recordings of small films she shot or the fade-ins of photos she made in various documentaries. Bernhard Hetzenauer, who was able to view a lot of her image and film material, assumes that Vera Kohn was “not only interested in personal motifs, but also anthropological subjects, such as the life of the indigenous people at the time. Starting in 1939, she used her camera to film several rolls of 16mm color film, which at that time still had to be sent to Rochester / New York for development. So it's really special, one can say unique footage. I was told it was the first color material ever shot in Ecuador. I came across the film roles rather by chance during the shooting when Vera and I opened a suitcase with old photos, programs from her time as an actress and the films. And it wasn't that easy at first to find a way to watch the films at all - luckily there was still a 16mm projector in the Cinemathek in Quito. There I filmed the material with my HDV video camera because Quito's Cinemathek did not have any professional digitization options in 2010. "

Works

  • Vera Schiller de Kohn: Initiatic Therapy. Towards the sacred core. Nordländer, Rütte 2012, ISBN 978-3-937845-32-6 .

literature

  • Maria-Luise Kreuter: Where is Ecuador located? Exile in an unknown country from 1938 to the end of the 1950s. Metropol, Berlin 1975, ISBN 3-926893-27-3 .
    Under the title Donde queda el Ecuador? Exilio en un país desconocido desde 1938 hasta fines de los años cincuentas , the book was published in 1997 in Quito in Spanish.
  • Frithjof Trapp (ed.): Biographical lexicon of theater artists. Part 1: A - K. (= Handbook of the German-speaking Exile Theater 1933–1945. Volume 2/1). Saur, Munich 1999, ISBN 3-598-11375-7 .

Documentaries

Web links

On the life and work of the German-speaking Jewish architect Karl Kohn (1894–1979)

Individual evidence

  1. a b c d e f Zuzana Güllendi-Cimprichová: Modern Transfer Czechoslovakia - Ecuador
  2. Vera de Kohn: La espiritualidad a los 100 años (see web links )
  3. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 17.
  4. a b c Bernhard Hetzenauer: And in the middle of the earth there was fire (see under documentaries )
  5. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 18.
  6. On the website of the IMPORTADORA SCHILLER company it is stated that the company was founded on June 1, 1952 by Dr. Ewald Schiller was founded, "a German-Jewish immigrant who was looking for a better future in America after he had left Germany, which was then ruled by National Socialism". Whether this is actually Vera Kohn's brother Ewald cannot be verified.
  7. This could mean the German Girls Reform Real Gymnasium .
  8. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 23.
  9. Vera Schiller de Kohn: Initiatic therapy. 2012, pp. 24-25.
  10. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 26.
  11. Tanya Kohn & Enlace Judío - Entrevista exclusiva a Tanya Kohn , April 9, 2014.
  12. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 26.
  13. a b c d e f g h J. J. Kohn: Mathematics has fascinated me since childhood. (see web links )
  14. ↑ So far there is only one article about the Prague architect Otto Kohn in the Czech-language WIKIPEDIA: Otto Kohn
  15. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 34.
  16. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 29.
  17. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 20.
  18. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 30.
  19. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 34.
  20. ↑ The "Churro Cordova" mentioned in the quote can only have been Andrés Córdova, who served as interim president from December 11, 1939 to August 10, 1940. See the article President of Ecuador in the English-language WIKIPEDIA.
  21. Ideal Alambrec, 75 años construyendo historias en la industria ecuatoriana , press release of September 25, 2015.
  22. ^ Pontificia Universidad Católica del Ecuador: Katya Kohn . Katya Kohn, married Bernasconi, is a well-known designer and illustrator who, among other things, illustrated a volume of poetry by Pablo Neruda .
  23. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 36. For Ernesto Albán see the article in the English-language WIKIPEDIA: en: Ernesto Albán .
  24. Maria-Luise Kreuter: Where is Ecuador located? 1975, p. 253.
  25. Maria-Luise Kreuter: Where is Ecuador located? 1975, pp. 255-256.
  26. Maria-Luise Kreuter: Where is Ecuador located? 1975, p. 258.
  27. Maria-Luise Kreuter: Where is Ecuador located? 1975, pp. 261-262.
  28. 100 anos de Vera Schiller de Kohn (see web links )
  29. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 37.
  30. Vera Schiller de Kohn: Initiatic therapy. 2012, pp. 36–37.
  31. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 40.
  32. a b Vera Schiller de Kohn: Initiatic therapy. 2012, p. 38.
  33. ^ Karlfried Dürckheim: Under the sign of great experience. mvg, Munich 1993, ISBN 3-478-08448-2 .
  34. a b c Vera Schiller de Kohn: Initiatic therapy. 2012, p. 43.
  35. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 45.
  36. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 47. The brackets correspond to the original text. Vera Kohn gives a detailed explanation of her idea of initiatic therapy after the autobiographical part in her book starting on page 53. Most of these are lectures and essays she has given.
  37. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 48.
  38. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 49 ff.
  39. Vera Schiller de Kohn: Initiatic therapy. 2012, p. 51.
  40. Literally translated it should read Center for Integrated Development , but the name Center for Holistic Development is more in line with Vera Kohn's intentions.
  41. CENTRO DE DESARROLLO INTEGRAL . "Fue mi proyecto de vida crear el Centro de Desarrollo Integral CDI, para ofrecer servicios psicológicos a gente de bajos recursos económicos ya todas las personas que necesitan apoyo psicológico para que despierten, aprendan a opinar ya tomar decisions con in. Solo con conciencia se puede cambiar la sociedad.
    El CDI es un lugar que brinda ayuda en el proceso de adaptarse a las nuevas exigencias que cada persona enfrenta en su vida.
    It mi profundo deseo que este Centro continúe siendo un espacio de transformación para las generaciones que vienen. "
  42. Bernhard Hetzenauer in an interview with Dagmar Weidinger: Memory is always a construction.