Kaj bo z gradivom profesorja Christiana za monografijo o Louisu Adamiču

His premature death prevented Professor Henry A. Christian from publishing his monograph on life and work of Louis Adamic. However, he has left a rich legacy - his research material of Adamiciana - as a basis for the continuation of his work. His daughthers, Judith Christian and Carolyn Needham, have donated his papers to the Immigration History Research Center (IHRC) at the University of Minnesota. Professor Rudolph J. Vecoli, head of the IHRC, has added the new acquisition to the archives of the IHRC, andestabilished »The Louis Adamic/Henry Christian Fund for Slovene American Studies«. This fund would provide research assistance for graduate students, either American or Slovene, who would help process Slovene-American materials in the IHRC, includingthe Christian papers, and at the same time, pursue graduate studies related to Slovene-American history and culture.Profesorju Henryju A. Christianu je prerana smrt preprečila objavo monografije o življenju in delu Louisa Adamiča. Njegova bogata zapuščina – zbrano gradivo o Adamiču – pa kljub temu predstavlja dragoceno osnovo za nadaljevanje njegovega raziskovalnega dela. Njegovi hčerki Judith Christian in Carolyn Needham sta darovali njegovo gradivo ustanovi Immigration History Research Center (IHRC) na Univerzi v Minnesoti. Professor Rudolph J. Vecoli, direktor IHRC, je poslano gradivo vključil v obstoječi arhiv IHRC in hkrati ustanovil »Sklad Louisa Adamiča in Henryja Christiana za slovenskoameriške študije«. Sklad naj bi podpiral slovenske ali ameriške podiplomske študente pri urejanju slovenskoameriškega gradiva v arhivu IHRC ter pri raziskovanju slovenskoameriške zgodovine in kulture

Maxo Vanka's collage "World War II" is a brilliant gematrical composition

The American-Croatian painter Maksimilian Vanka, 1 1889-1963, or Maxo for his friends, composed together with his American wife Margaret, her father dr. Stetten DeWitt and his friends Louis and Stella Adamic, his most enigmatic work, the "WORLD WAR II" collage. The collage originated at the reunion of Maxo Vanka, his wife Margaret, his friends Louis and Stella Adamic, with Margaret's father Dr. Stetten DeWitt, after his return from Europe at war. The party was exhilarated with Dr. Stetten's safe escape from Korcula (Dalmatia) to Paris, Le Havre and on board of the French liner lie de France to New York, and preoccupied with the imminent World War

Pisma Louisa Adamiča nečaku Tinetu

The article is based upon the publication of a number of letters and short notices (in anauthentic transcript) that Louis Adamic sent to the author, his nephew Tine Kurent, between 1946-50. The contents of these letters as well as some of the author’s spelling errors reveal, besides his current activities and future plans, the writer’s emotional stateat the time when he was writing them.Prispevek se opira na objavo nekaterih pisem (v avtentičnemu prepisu), ki jih je Louis Adamič poslal svojemu nečaku Tinetu Kurentu v letih 1946 - 50. Tako vsebina kot tudi nekatere pravopisne napake v pismih odkrivajo - poleg podatkov o Adamičevih tedanjih dejavnosti in načrtih - tudi njegova čustvena stanja v trenutkih, ki jih je pisal

Reading a painting: Maxo Vanka’s collage “World War II”

The interpretation of symbols on the collage “The Beginnings of World War II” by the American-Croatian painter Maxo Vanka is the story about the escape of Dr. Stetten, Vanka’s father-in-law, from the occupied France via the MS Ile de France, and about the exposal of a nazi agent, Douglas Chandler, by Vanka and his friend, the American-Slovene writer Louis Adamic

THE CONTINUITY OF THE ANTIQUE COMPOSITIONAL PRINCIPLES IN THE ARCHITECTURE OF THE EUFRASIAN BASILICA

El artículo aborda la supervivencia de los modos de construcción más allá de la caída del Imperio Romano, en particular se discuten las medidas de la basílica eufrasiana desde el punto de vista de la metodología, el ritmo modular, proporción y simbolismo numérico

THE CONTINUITY OF THE ANTIQUE COMPOSITIONAL PRINCIPLES IN THE ARCHITECTURE OF THE EUFRASIAN BASILICA

This article studies the remains of the ways of building after the Fa11 of the Roman Empire and discusses, in particular, the size of the eufrasian basilique from the methodological point of view, the modular rythm, the proportion and numerical symbolism.El artículo aborda la supervivencia de los modos de construcción más allá de la caída del Imperio Romano, en particular se discuten las medidas de la basílica eufrasiana desde el punto de vista de la metodología, el ritmo modular, proporción y simbolismo numérico

Maxo Vanka's collage "World War II" is a brilliant gematrical composition

The American-Croatian painter Maksimilian Vanka, 1 1889-1963, or Maxo for his friends, composed together with his American wife Margaret, her father dr. Stetten DeWitt and his friends Louis and Stella Adamic, his most enigmatic work, the "WORLD WAR II" collage. The collage originated at the reunion of Maxo Vanka, his wife Margaret, his friends Louis and Stella Adamic, with Margaret's father Dr. Stetten DeWitt, after his return from Europe at war. The party was exhilarated with Dr. Stetten's safe escape from Korcula (Dalmatia) to Paris, Le Havre and on board of the French liner lie de France to New York, and preoccupied with the imminent World War

The continuity of the antique compositional principles in the architecture of Eufrasian basilica

Vidmar, Aleksander El artículo aborda la supervivencia de los modos de construcción más allá de la caída del Imperio Romano, en particular se discuten las medidas de la basílica eufrasiana desde el punto de vista de la metodología, el ritmo modular, proporción y simbolismo numéric