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„…Unscheinbarkeit und viel Erinnerung“: Gedächtnismedien in Bettina Spoerris Konzert für die Unerschrockenen (2013)

„…Unscheinbarkeit und viel Erinnerung“: Gedächtnismedien in Bettina Spoerris Konzert für die Unerschrockenen (2013)

Author(s): Małgorzata Dubrowska / Language(s): German / Issue: 5/2020

In this article, the reconstruction of the family history in Bettina Spoerri’s novel Konzert für die Unerschrockenen [Concert for the Fearless] is analysed. The narration contains different mediums of memory. The central medium of memory is music: for the narrator, this archive of the memory mainly consists of old recordings, but also of reminiscences about the concerts and private performances of Leah, the main protagonist of the novel. Photographs, by means of ekphrasis, serve as another essential medium of memory, opening up “the windows of time” (Overath). In this article, these mediums are considered in the context of the ideas of Sontag and Barthes. The widely understood concept of art (paintings by Rothko, installations by Horn, plays by Chekhov) is yet another medium of memory, connecting the present with a past that does not exist any more. This reconstructed story is part of the genealogy of the writer, who belongs to the third post-Shoah generation.

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აგიოგრაფიული ციტატა

აგიოგრაფიული ციტატა

Author(s): Ivane Amirkhanashvili / Language(s): Georgian / Issue: 16/2015

At first glance citation bears an accidental sign, as a reduced form, as a passage,as a fragment but at the same time it is quite a logical process, part of the conscious sideof the text, a meeting point of real and ideal, objective and subjective, where an idea isconstructed and literary status of a text is enhanced.It is always in the upper layer of the text archeology. In relation to the text it is symmetric and contrasting. Passivity is not inherent, always active until not devalue itself with excessive intensity.This is academic method of expressing the thought, automated subject, scheme which takes part in the formation of the ontology of the text. According to the genre rule,it is not a detail but meaning. However, the meaning cannot be considered the only factor.It has dialectics which is realized by the principle of unity of the components. A construction obtained by means of fragmentation has an ability of multifaceted development. It development by leaps, a technique of out word action, mechanics of style, manifestation of the dialectic nature with a claim of fullness.It has both empiric and speculative, detached from the reality, separated from practice.After clarification of the direct meaning, it starts associative reception, increases motivation of psychological action.The formation of thought takes place which aims to attain the beauty: express an idea effectively and make an impact on the reader.By form hagiographic citation approximates to the scientific cognition rather than literary. The reason of its use and the size is to be determined by the author but there are instances when the text of composition requires this.

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არაგვისა და „არაგვიანის“ სემიოტიკა (ლინგვისტურ-სემიოლოგიური ძიებანი)

არაგვისა და „არაგვიანის“ სემიოტიკა (ლინგვისტურ-სემიოლოგიური ძიებანი)

Author(s): Gocha Kuchukhidze / Language(s): Georgian / Issue: 20/2019

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ბატონიშვილი ვახუშტი ენისა და წიგნის გამო ერთიანი საქართველოს ნიშანთა შორის

ბატონიშვილი ვახუშტი ენისა და წიგნის გამო ერთიანი საქართველოს ნიშანთა შორის

Author(s): Meran Ghaghanidze / Language(s): Georgian / Issue: 20/2019

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ბიბლიის განმარტების მეთოდები

Author(s): Eliso Kalandarishvili / Language(s): Georgian / Issue: 10/2009

Among the methods of the explanations of the Bible, which have been elaborated by the clergy for centuries, the most distinguishing is Allegorical Method. It has been established in the Alexandrian School. Palestine was the first country where there were followers who were trying to learn the covert conceptions of the text of the Bible. Although, its final formations are connected with the name of Paul the Disciple. He established the Christian-Allegorical method of explanations of the Bible and also created its terminology. The most important type of an Allegorical explanation is Prophetic Explanation. This is an attempt of searching the indications for the future occurrences. For example: arrival of Messiah, resurrection of deceased, establishment of heavenly kingdom by Christ and etc. Many of the Bible parts are explained as prophesy about the church. This method of an explanation of Bible is also well known for Georgian spiritual literature. All the terms that are used by the followers of this method are well known for our writers. The most developed tendency is the one, which is in accordance with the fact that all the occurrences or events of “New Testament” are predicted in “Old Testament”. This way, the events of the Divine History is connected to Christ and his epoch. Allegory connects two great worlds with each other. In old Georgian translations of “New Testament” there are preserved those terminological details, which allows us to observe the processes of Christian Theology – formation of Theological terms, exegetics, as an interpretation of the letter of the text of divine, formation of theological bases. This proves that translation skills in working for the public Georgian erudite, their principles were based not only on knowing Greek language perfectly, but understanding Christian Theology with its esthetic-theory issues. Palestinian rabbis used to separate indirect, non-literal interpretations of the Bibl in different types. According to Philon’s idea, there are two main types of allegorical interpretations: physical and ethical. Both of them present the types of allegory and it is supported by the examples from philosophical researches, therefore allegorical interpretation is equal to the philosophical interpretation. By the influence of Philon, Climent from Alexandria turned the philosophical interpretation into Christian side and also added four types of “New Testament” which is know as a term of “Allegory”. Climent is using other equal words for the term “Allegory”. But at last Climent separates the interpretation of Holy Scripture into two classes: direct and allegorical, whereas allegorical into three classes: moral, physical and theological. It has to be pointed out that these ideas of Middle Age theologians were shared by Dante Alighieri and he also made all these for the fundament of his “Divine Comedy”.

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გეორგ ლუკაჩის ლიტერატურული კრიტიკა

გეორგ ლუკაჩის ლიტერატურული კრიტიკა

Author(s): / Language(s): Georgian / Issue: 20/2019

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გოეთეს „არჩევითი ნათესაობა“ კონტრასტული ლინგვისტიკისა და თარგმანის თეორიის კონტექსტში

Author(s): Nata Janelidze / Language(s): Georgian / Issue: 10/2009

Contrastive or confronting/contacting linguistics is a considerably new direction, which came into being on the basis of typology. In the depth of contrasting linguistics, parallel to the sphere, oriented on the applied direction, another variant has developed, which takes an increasingly intensive part in the formation of the linguistic theory. Every language can be compared to any other language, i.e. it is always possible to find common features between them, enabling us to describe and identify them. This position is based on the supposition that the characteristic feature of every language is to express the content in a wider sense, which belongs to the sphere of the theory of translation. The eternity of mankind’s values unites the world by the literary meta-language, implying the existence of universal dimensions, expressed on the level of language universalias. (Chomski, Coseriu, Zailer, Leman, etc). How does any person take the genius of any nation? It was an answer to this question that laid foundation to the theory of translation the so called “translaticas”, which raised the comparative research on the level of a text and placed it in the internationalinterdisciplinaryarea. Translation is a means of multiplying of “language realias” and its basis is the versatile foundation of languages.(N. Gogolashvili). We live in the epoch of the refinement of contacting technologies: on the contrastive-comparative way, the direction, adequate to every language level cropped up and fully comprised the stratification space. The presented article is devoted to the “Elective Affinities” by Goethe, translated by Nelly Amashukeli.The work is an attempt of anthropologization of the theory, borrowed from the field of chemistry and is presented within the frame of this theory.

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იდეოლოგიური დისკურსის ფუნციონირება ტოტალიტარული რეჟიმის ოფიციალურ ტექსტებში

იდეოლოგიური დისკურსის ფუნციონირება ტოტალიტარული რეჟიმის ოფიციალურ ტექსტებში

სტალინის 60 წლისთავისადმი მიძღვნილი კრებულის მასალების მიხედვით

Author(s): Konstantine Bregadze / Language(s): Georgian / Issue: 20/2019

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ილია ჭავჭავაძის პოეტიკა- ძირითადი ტენდენციები

ილია ჭავჭავაძის პოეტიკა- ძირითადი ტენდენციები

Author(s): Tamar Lomidze / Language(s): Georgian / Issue: 20/2019

In order to determine the main trends of poetics and artistic thinking of Ilya Chavchavadze, it is necessary to find out what signs of critical realism are revealed in his work (the issue of ideas and ideals embodied in the works of Ilya Chavchavadze is thoroughly and thoroughly considered in the Georgian scientific literature. We explore only the basic principles characteristic of the specific artistic thinking and poetics of representatives of critical realism and, in particular, Ilya Chavchavadze). One of the fundamental principles suitable for the classification of literary movements was formulated by Roman Jacobson. In particular, according to Jacobson, “it was often stated that metaphor dominated in schools of romanticism and symbolism, but we are still not sufficiently aware of the fact that the so-called“ realistic ”direction is dominated by metaphor, and this direction is the middle stage between the decline of romanticism and the birth of symbolism and opposes both of them. « Thus, Jacobson distinguished literary trends on the basis of what mode of thinking manifests itself in each of them — metaphor (synthesis) or metonymy (analysis). This idea of Jacobson has not found wide application in literary criticism, not counting several studies, for example, the remarkable “Мегаистория“ by I.P. Smirnov. The ideas outlined in this book, we used in the analysis of Ilya Chavchavadze’s works. As a result of the study, it turned out that, contrary to Jacobson›s point of view, the metonymic, analytical principle prevails in the artistic thinking of Georgian romantic poets. The question arises: what - metaphorical or metonymic pole of thinking is revealed in realism and, in particular, in the works of Ilya Chavchavadze? According to the concept of I.P. Smirnov, a feature of realism is the metaphorical union of objects and phenomena. This property is typical for the works of Ilya Chavchavadze. In particular, the expression of the metaphorical principle is that the works of Ilya Chavchavadze are multifunctional. They combine, on the one hand, artistic, and on the ilia WavWavaZis poetika: ZiriTadi tendenciebi 14 other - didactic, political, philosophical and other functions. Accordingly, the accusations directed against Ilya Chavchavadze due to the fact that they are allegedly of little value from an artistic point of view are incorrect. But the point is that Ilya Chavchavadze, as a realist writer, did not set himself the goal of only achieving artistic goals. And since his works are multifunctional –respectively, they cannot be considered and evaluated using the same criteria that are used in relation to other writers. Recognizing the principle of metaphor (synthesis) as the basic principle of artistic thinking in realism, we can recall that according to one interesting modern theory, the theory of A. Wierzbicka, there is always a hidden negation in the metaphor. From observations of realistic literature and, in particular, over the artistic texts of Ilya Chavchavadze, it is clear that this hidden denial is interpreted in them assessed, that is, one of the components of the metaphor is always characterized negatively. In the poem The Hermit, the cowgirl and the hermit create a metaphorical pair. The hermit is entirely devoted to his spiritual aspirations, but the cowgirl lives an ordinary earthly life, which the hermit regards as the kingdom of evil. The path chosen by the hermit is not criticized by the author - a ray of light (on which the hermit can lay his prayer) is a manifestation of God’s grace to the hermit. Thus, both the hermit and the cowgirl are good characters. However, in the poem as a realistic work, preference is given to the point of view of the cowgirl, rather than the hermit (according to the principle: not X, but -Y). Being a metaphorical couple, they have similar properties - both are attributed to the love of mortal life, but that character is punished who refuses it. The image of the ray of light is remarkable, as is the image of the rainbow in The Ghost. The symbol of the welfare of the people is the seven-colored rainbow, and the symbol of spirituality, the heights of one person is a ray of light. Both the ray and the rainbow are the middle instances between heaven and earth, between God and man. In The Beggar’s Tale, both of the main characters are representatives of various social classes of masters and serfs. They are united by longstanding affection for each other. The negative qualities of the hero-master, as well as the positive qualities of the hero peasant, are due to their social position. Here the metaphorical principle operates - sedation based on the evaluation approach. Of course, among the gentlemen there were highly moral people, as well as among the peasants - immoral, but in the concept of Ilya Chavchavadze, as a realist writer, positive properties are attributed to people engaged in physical labor, or rather, representatives of the social stratum, which is a mediator between nature and culture. Based on the foregoing, a conflict between the “fathers” and the “children” can be considered in a new way.It is well known that this conflict was initiated by an article by Ilya Chavchavadze and his “Mysteries” The first (and only) among Georgian scientists, who noted that this conflict had no basis, was Grigol Kiknadze. After analyzing in detail the history of this conflict, he came to the conclusion that this conflict had no real basis. The juxtaposition of «fathers» and «children» and a ten-year sharp controversy between the old and the new generations would not have arisen if it were not for the iniTamar lomiZe 15 tiative of Ilya Chavchavadze. Apparently, young Ilya Chavchavadze, whose thinking and consciousness were determined by the metaphorical principle, divided Georgian society into two hostile camps (according to the metaphorical principle, which implies the connection of two objects according to the evaluation principle - not x, but y, even when there is no real basis to oppose them), and he himself gave rise to a conflict between generations where there was no substantial reason for the conflict and the opposition of two generations of Georgian writers and statesmen. It seems that even this brief review confirms the metaphorical character of the world perception and artistic thinking of Ilya Chavchavadze, on the basis of which his work can be interpreted in a new way

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კავკასიის ფრანგული დღიური

კავკასიის ფრანგული დღიური

Author(s): Archil Tserediani / Language(s): Georgian / Issue: 20/2019

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კარიკატურა. როგორც აზროვნების მოდელი

კარიკატურა. როგორც აზროვნების მოდელი

Author(s): Ada Nemsadze,Manana Shamilishvili / Language(s): Georgian / Issue: 20/2019

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მეტაფორა და მეტამორფოზა

მეტაფორა და მეტამორფოზა

Author(s): Rusudan Tsanava / Language(s): Georgian / Issue: 09/2008

The study of metaphor, the central trope responsible for the artistic quality of a text, started in the times of Aristotle. Since then, many scholarly opinions have been ventured and several theories have been developed. One of the principle objectives of metaphor studies is admitted to be its relationship with other tropes: simile and metonymy. Along with this, scholars have been exploring interrelationships between metaphor and metamorphosis. The so-called transformations are prevalent in the artistic thought. They offer a vivid picture of the author’s (character’s) spiritual state and very often determine chief merits of artistic images found in a text. Virtual or imaginary transformations are associated with mythic metamorphoses. It should also be noted that unlike simile and metonymy, metamorphosis is not a trope. Another noteworthy fact is that the majority of scholars draw a clear line between metaphor and metamorphosis. This viewpoint is supported by two arguments: 1. Metaphor implies nothing that could suggest transformation. On the contrary, bidimensionality, conceptual likening of two altogether different ‘items’ is inherent with metaphor. On the other hand, metamorphosis is the repercussion of mythological thought when every type of transformation is perceived as a real fact. Hence, transformation is a means of world perception. 2. Metaphor is distinguished for its tendency to penetrate the field of semantics, which is not characteristic of metamorphosis. In my opinion, the erroneous conceptual basis of such reasoning lies in limiting metamorphosis solely to the domain of ‘mythological thought’. Close analysis of the nature and kinds of metamorphosis revealed that the latter implies an unanticipated identification of absolutely opposite values (categories, classes). And the myths reflecting a metamorphosis explain the prime cause (etiology) of unanticipated transformations. These universal etiological myths offer a single or several similar versions throwing light on the semantics of a metamorphosal image, turned into a poetic figure. In fact, ancient creative thinking is mostly based exactly on metamorphosal images. Metamorphosis, an ‘output’ of the earliest, most archaic thinking, is to a greater extent a source of ancient metaphor. This thinking incorporates every manifestation of primeval syncretism – religion, thought, generalization and creativity; integration and disintegration. Naturally, not all metamorphoses develop into a metaphor; sometimes metamorphoses retain their original nature and appear as independent elements. These processes can be compared to the treatment of diamonds. Not every piece of rough diamond will turn into a fine cultivated gem but only those cut by a skillful master. Metamorphosis is a rough diamond in the hands of a master, who can cut it into a metaphor if he wishes so. The aim of the paper is to determine the function of metamorphosis in differentiating between new and old (ancient) metaphors

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პოსტკოლონიური ზოოკრიტიციზმის პერსპექტივა მე-19 საუკუნის ქართულ ლიტერატურაში

პოსტკოლონიური ზოოკრიტიციზმის პერსპექტივა მე-19 საუკუნის ქართულ ლიტერატურაში

Author(s): Hayate Sotome / Language(s): Georgian / Issue: 20/2019

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რომანტიზმი - ტრანსეროვნული დიალოგი

რომანტიზმი - ტრანსეროვნული დიალოგი

Author(s): Levan Bregadze / Language(s): Georgian / Issue: 20/2019

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საგნის სემანტიკა

Author(s): Roland Barthes / Language(s): Georgian / Issue: 10/2009

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دلالات الاهانة عند الطوارق من خلال طقوس الأداء

دلالات الاهانة عند الطوارق من خلال طقوس الأداء

Author(s): Meriem BOUZID SABABOU / Language(s): English,Arabic / Issue: 19/2019

Disparage, cursing and verbal abuse are among the discarded topics, or which society tries to avoid, to say the least. The Tuaregs share with numerous other societies their interest in the Word and its purpose. They know that it more painful than a strong hit that causes physical pain. The saying "Wounds do heal while the Word doesn't" (T∂zza ∂boussen W∂r T∂zza t∂yna) may be an indication of the word impact on its hearer if it is "bad" or hurtful. Slander affects individuals, men or women, and tribes as well. It collectively harms these hierarchical societies governed by relationships that balance between seriousness and humor. The latter is nothing but an essence of a wind-proof of the painful events witnessed by the society. It allows transformation of social pains into outlets through which harmony could be achieved and embarrassing situations could be avoided. We try, through the proverbs, poems and various tales, to limit the words and forms of curse and insult within the Tuaregs, by focusing on ritualistic cursing through the pertaining poems and songs, which has become prohibited topics except in rare situations with heavy reservations. That is because poets quitted sarcasm until it became prohibited due to its impact on individuals and groups, propagation rapidity of songs and poems and the lightning-like memorization, transmission and broadcast of such songs and poems.

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علاقة القرآن بالشعر

علاقة القرآن بالشعر

Author(s): Halim Öznurhan / Language(s): Arabic / Issue: 27/2013

The relation of poetry with Qur’an has been the matter for discussion since the Qur’an came. The verses of Qur’an have stressed that Qur’an is not a poem and the prophet is not a poet. Due to the opinions of Arabs about pre-Islamıc beliefs and the characters of the poets in this era, the poets in these verses are mentioned as negative. Only in the Surah of al- Shu‘arâ, there is an exception that the poets who believe and behave in a right way have been exempted. When the prophet is alive, poets read poems and then there has been a change in the topics of poetry due to the effects of Qur’an, and the poets who are inspired by Qur’an expressed their beliefs in their poems.

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علاقة اللفظ بالمعنى وتعليم العربية

علاقة اللفظ بالمعنى وتعليم العربية

Author(s): al-Dyab Ahmed / Language(s): Arabic / Issue: 32/2016

It is discussed in this study that (or this study is about); the relation between meaning and utterance and how the foreigners can benefit from this relation in Arabic Language education. This study comprises of three parts: The first part discusses some scholars prefers utterance to meaning. The second part discusses some scholars want to follow the way of seperation of the meaning and utterance (or isolate the meaning from utterance), sometimes they choose meaning, the other time utterance.(They can choose meaning or utterance from time to time.) In the third part; the idea “utterance and meaning can not be seperated from each other” is examined.

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عين على الصَّقالبة عین على الذات
قراءة في

عين على الصَّقالبة عین على الذات قراءة في "جنائن الشرق الملتھبة؛ رحلة في بلاد الصقالبة"

Author(s): Mahmoud Al-Ashiri / Language(s): English,Arabic / Issue: 18/2018

This study is reading through one of the contemporary Arab journeys to the countries of Slavs, as Arabs called them in historical literature. This journey is written by Saeed Khateby under the title of “Eastern inflamed gardens; a journey to the Slavs’ countries” published in 2015 and winner of “Ibn Battuta” prize for contemporary journeys. He toured between Ljubljana, Graz, Zagreb, Sarajevo, Srebrenica, Belgrade and Kiev, in an extension of the literary, geographical and cultural heritage of which we got to know the famous journey of “Ibn Fadlan”, under a common ancient history of the Ottoman control and the nationalism and political trends in modern history, as well as the fertile human experience. As the narrator is trying to read the others in this text, he is also trying to discover his self and contemplate a side of its reality; as for what is not present, insight might be present in terms of absence, which can be read by eye and contemplated by insight. As research is questioning this singular work it’s also questioning the documentary type to which it belongs. Is journey literature still capable of producing thrill and excitement confronting the revolution of communications, filmmaking, documentaries and publicity of other types of novels? Did easiness of travel and mobility forfeit journey literature its privacy and flavor? The research is addressing the journey text as a narrative one, hence questioning the nature of this implicit convention by which this belongs to this type and how it is regulated. That is very different from other narrative modalities, like: novels, stories, diaries and confessions. In this context, we discuss some of the questions such as where journey literature text stands between information and imagination. To what extent does focalization intersect with the narrative ideology, and how the different components of focalization: cognitive, psychological and emotional can vary under the ideology of the text.

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غادة السمان في رحلاتھا أو كیف یصبح الجسد حقیبة سفر

غادة السمان في رحلاتھا أو كیف یصبح الجسد حقیبة سفر

Author(s): Yousef SH’HADEH / Language(s): English,Arabic / Issue: 18/2018

In a book entitled ”The Body is a Suitcase” Ġāda as-Sammān publishes narratives from places visited by her in the years 1964-1976. In the form of essays and reportages, she describes European and Arab cities, including many capitals. These materials that resulted finally in the abovementioned 520-page book had been earlier published separately in two Lebanese journals and one of them also in a Kuwaiti journal. In her works Ġ. as-Sammān do not focuses on descriptions of visited places but she shows noteworthy and often surprising phenomena or cases that should be interesting for the curious Arab reader. She picks untypical traditions and titbits referring to the daily life of the European societies and correlates them with Arabian traditions. The aim of this paper is to analyse the concept of journey in terms of Ġāda as-Sammān works and destabilisation as a consequence of the journey. Ġ. as-Sammān herself declares that destabilisation instigates the people to think. Therefore, during her journey she contemplates many important issues relevant to the cultural and political life of Arabs. Language used by the author is very colourful so in this paper it also forms an area of investigation. It is worth noticing that sometimes Ġ. as-Sammān’s works are full of metaphors and beautiful expressions adeptly and tastefully used by the author. On the other hand, some of her essays are written in simple language and can be understood directly – the conclusion is that Ġāda as-Sammān’s main goal was to make her works get to the broadest audience possible.

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