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Hermeneutyka spojrzenia we współczesnej sztuce wizualnej. Idea widzeniai poetyckie „wypatrywanie”

Hermeneutyka spojrzenia we współczesnej sztuce wizualnej. Idea widzeniai poetyckie „wypatrywanie”

Author(s): Rafał Solewski / Language(s): Polish Issue: 217/2016

The article at the beginning recalls the various reflections on looking, seeing, vision and im - age discussed within the so-called visual turn. Next we conduct analyzes and interpretations of works of David Hockney, Marina Abramovic and Robert Cahen, which deal with different aspects of looking, seeing, vision, and perception of another. The presence of poetic opera - tions in works, discovered in hermeneutical interpretation, is indicated. Such an interpre - tation allows to reveal the intuitions and traces of metaphysical ideas in works of art and through works of art, to which the research discourses dominating within the so-called visual turn did not sufficiently served. In conclusion, I propose to use the term “to actively seek” for the intuition of metaphysics, based on the analogy with the Hans-Georg Gadamer concept.

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Gry terenowe Daniela Rycharskiego jako animacja więzów pokrewieństwa

Gry terenowe Daniela Rycharskiego jako animacja więzów pokrewieństwa

Author(s): Weronika Plińska / Language(s): Polish Issue: 217/2016

The field game of Daniel Rycharski was a participatory art project curated by Szymon Maliborski from the Museum of Modern Art in Warsaw and conducted in the artist’s home village Kurówko, North Mazovia, in 2014. In cooperation with local contributors, Rycharski prepared a set of field games, such as: “fertilizing the field with manure” or “gathering edible weeds” to entertain visitors from Warsaw. In this article, drawing on my ethnographic data and selected interpretations, I argue that the main topic of The field games were kin-based social relationships. The aim of the project was to bring together those who Rycharski imagined as “descendants” of Polish peasants and their forgotten “ancestors”. The majority of participants were employees of cultural institutions, so his project also aimed at renegotiation of the conditions under which contemporary “new folk art” can be created.

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Fotografia dokumentalna – pomiędzy sztuką a nauką

Fotografia dokumentalna – pomiędzy sztuką a nauką

Author(s): Kamila Zarembska-Szatan / Language(s): Polish Issue: 217/2016

In the following article the author proposes a new approach to photo-document as a technology and its location on the border between the two matchmakers – art and science. Photography is a research tool that really contributes to the increase of knowledge about the world, brings new knowledge in a par with other scientific disciplines. On the other hand, many professional photographers demand that their work is seen through the prism of artistic criteria, a natural consider displaying their works in galleries and publishing them in albums.

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Новото в българската музика през XIV век
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Новото в българската музика през XIV век

Author(s): Svetlana Kujumdzieva / Language(s): Bulgarian Issue: 1/2021

The 14th century was one of the peak centuries in the history of Bulgarian Orthodox music. Two factors defined what was new in its development at the time: the affirmation of the new version of the Jerusalem Typikon and of the hesychasm. Both factors are conditioned by one goal – the unity of the Christian faith with functioning strong institutions. The affirmation of the new version of the Jerusalem Typikon led to the synthesis of the monastic and cathedral practices. This synthesis, in turn, led to the compilation of a new class of notated book, which included much of the repertoire previously transmitted exclusively in an oral away, and the establishment of a single notation system displacing the pre-existing such systems. The hesyhasm was revived for spiritual renewal of Christian values. The hesychasts paid special attention to the word. The “divine” beauty of the latter was sought. The style of “weaving of words” was developed. The aim was to return the “purity” of the sacred texts lost during the Latin occupation of Byzantium, as well as to update the liturgical texts according to the norms of the new Typikon. As examples of the affirmation of the new Jerusalem Typikon and of the hesychast ideas in music, the activity of one of the greatest medieval musicians, St. John Kukuzeles, about whose Bulgarian origin arguments are given, is discussed along with the established “kalophonic” or “beautiful-sounding” repertoire, an analogue of the style of “weaving of words”, and some particularly significant chants, such as those designated “Bulgarian”, defending the prestige of orthodoxy and testifying to the Bulgarian creative power. The chants in the Palauzov’s copy of the Synodikon of Tsar Boril, a re-actualized book as a result of the two councils against the heretics organized by Tsar Ivan Alexander, are also discussed.

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The Painted Program of the Mateič Monastery and the Ktetorship of Empress Jelena Nemanjić Asen as the Path to the Salvation of the Soul
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The Painted Program of the Mateič Monastery and the Ktetorship of Empress Jelena Nemanjić Asen as the Path to the Salvation of the Soul

Author(s): Ljubica Vinulović / Language(s): English Issue: 1/2021

Empress Jelena Nemanjić Asen, wife of the Serbian Emperor Stefan Dušan (1331–1355), mother of Emperor Stefan Uroš V (1355–1371), and sister of Bulgarian Emperor Ivan Alexander (1331–1371), is the first empress from the Nemanjić dynasty. Jelena‘s parents were the despot Stracimir and Keraca, the sister of Tsar Mihailo Šišman. Her marriage to king Stefan Dušan additionally strengthened the king’s ruling legitimacy, as through his marriage with Jelena, he intermarried with Roman ruling families. Her role in governing the empire during the reign of King Dušan and after his death, when she ruled independently in Serres, as well as her role in shaping the visual culture of medieval Serbia, is extremely important. Jelena was the only woman who sojourned on the Athos, which also testifies to her position and importance, but also to the respect that the monks of Mount Athos had for her. She sponsored the monks and monasteries on Mount Athos, and she also supported the Catholic monasteries in Dubrovnik. Tradition also attributes to the empress the erection of the Church of the Assumption of the Mother of God in Nerodimlje, near the village of Uroševac, where emperor Uroš was buried. However, her most important endowment is the Monastery of Mateič, probably built as her burial church. The monastery was an expression of her private piety and her personal connection with the Mother of God, who was her protector. Helena‘s endowment also had a political dimension, which, like her private piety, is reflected in the architecture of the katholikon and in the program of frescoes. The Monastery of Mateič, has its prototype in the architecture of Constantinople churches such as the Holy Apostles and the Monastery of Christ Pantokrator, but also in the Monastery of the Holy Archangels near Prizren, the endowment of Emperor Stefan Dušan. This connection between Constantinople and Serbia does not testify to a blind repetition of the ground plan of a church but to the cultural and ideological transfer of visual patterns from the Roman Empire to the countries of the Roman cultural circle through cross-cultural connections in which women played a key role. The painted program includes many cycles, such as the Great Feasts, the Passion of Christ, Christ’s Miracles, Christ’s post-resurrection appearances, the Life of the Virgin, the Akathistos of the Virgin, the cycle dedicated to the Ecumenical Councils, as well as the scenes from the lives of saints: Archangel Michael, John the Baptist, Demetrios, Anthony the Great, and Elijah. A vast number of saints in the form of busts and standing figures are painted in the naos and narthex. There are several scenes and cycles that rarely (or never) appear in churches from the time of the Nemanjić, such as the cycle of the Acts and the Martyrdom of the Apostles, the legend of King Abgar, as well as the Genealogical Tree of the Nemanjić, Komnenian, and Assen dynasties. Jelena‘s ktetorship and the painting of the Mateič Monastery testify to her ruling ideology, but above all to her private piety and personal relationship with the Mother of God, who is her intercessor and protector during the Last Judgment, as well as to Jelena‘s hope in salvation.

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Témata vzdělávacích programů pro školy a zájmové skupiny v regionální výstavní instituci

Témata vzdělávacích programů pro školy a zájmové skupiny v regionální výstavní instituci

Author(s): Miloš Makovský,Lucie Melechovská,Dagmar Myšáková / Language(s): Czech Issue: 4/2023

The paper presents partial outputs from the second – qualitative – phase of research focused on accompanying and educational programs in galleries and museums in the Ústí nad Labem region (CZ). The focus is on educational programs for schools and interest groups. The aim of the paper is to present the results of the analysis of interviews with employees of institutions with regard to the sub-research questions. What topics are the educational programs for schools focused on? Specifically, we are looking at the way in which the theme of art is reflected in the educational programs and the link between the programs and themes related to the region, its history and cultural heritage.

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Impulzy historického odkazu Marie Szymanowskej a jej inštruktívneho cyklu „Vingt Exercices et Préludes pour le Pianoforte“

Impulzy historického odkazu Marie Szymanowskej a jej inštruktívneho cyklu „Vingt Exercices et Préludes pour le Pianoforte“

Author(s): Jordana Palovičová / Language(s): Slovak Issue: 4/2023

The article deals with the forgotten historical legacy of the distinguished Polish female piano virtuoso and composer Maria Szymanowska (1789 - 1831) and her inspiring instructive piano cycle „Vingt Exercices et Préludes pour le Pianoforte“ (Twenty Exercices and Preludes).

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SAVA HENŢIA ŞI LEGENDA GENOVEVEI DIN BRABANT
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SAVA HENŢIA ŞI LEGENDA GENOVEVEI DIN BRABANT

Author(s): Cristian I. Popa / Language(s): Romanian Issue: 1/2023

With respect to the early works of painter Sava Henţia (1848-1904), the year 1870 proved to be highly important: he completed his studies, obtained a scholarship in Paris, received different awards and his first works were exhibited. A lesser known work is also dated to this year, part of the array of historical and mythological subjects, at this time preferred by the painter: “Genevieve of Brabant”. The oil on canvas work illustrates, besides the artistic component, the reflection of a folk novel that was also known to the Romanian population of the 19th century either through translated editions or even, since the 17th century, through manuscripts that circulated alongside the old books. Henţia’s view on the theme is characteristic of the regional environment in which he worked, since the subject is contaminated by characters that draw away from the theme that had emerged in the Germanic medieval west. One such example would be the confusion of Siegfried with the Knight of the Swan, the latter depicted with a winged head, similar to Genevieve’s son from the painting under scrutiny in the present paper. Half a century later, Mihai Sadoveanu and illustrator Ary Murnu readdressed the subject and the theme, including the same motifs that were first encountered in Romanian art through the works of Sava Henţia.

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UN CARNET CU SCHIȚE ARTISTICE, CONCEPTE DE CONSTRUCȚII ȘI ALTE ADNOTĂRI DIVERSE AL LUI TRAIAN ACHIM DIN 1928-1929
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UN CARNET CU SCHIȚE ARTISTICE, CONCEPTE DE CONSTRUCȚII ȘI ALTE ADNOTĂRI DIVERSE AL LUI TRAIAN ACHIM DIN 1928-1929

Author(s): Gabriela Mircea,Smaranda Cutean / Language(s): Romanian Issue: 1/2023

Based on a unique book of graphic sketches and notes of Traian Achim (1885-1945), former drawing teacher at the ”Mihai Viteazul” High School in Alba Iulia, in the years 1919-1945, several unique events from his biography and didactic, artistic activity (including domestic, family) can be reconstructed from 1928, until February 4, 1929 (when his notes stop, because the pages of the notebook end). Thus, what was known from the testimonies of the teacher's daughter-in-law, the late Mrs. Valentina Achim, is confirmed, namely the fact that Traian Achim himself designed (making a detailed plan, in our opinion), both the family house, on Moților St., and the building of his artistic workshop, in back of the courtyard, both of which, now, in the light of new information, can be dated with certainty to the year 1928. We can also admit, at the same time, that this year the artist also created the mural depicting Horea, Cloșca and Crișan, from a niche of the Maieri I Orthodox Church in Alba Iulia, a work unfortunately covered during a recent repainting of the mentioned place of worship. He was very concerned, including during the classes he taught at the high school, in his final years, with the ways of graphically representing the different mental states of people, being a lecturer and connoisseur in detail of some European scientific and artistic works on physiognomy or arts decorations, which the teacher had assimilated, reading them either in German or in French (which he knew very well). It is noted that, during that year, he held private shorthand typing courses with over 25 students, recruited from among the most important families of the town, of different ethnicities and occupations, etc. The same artist created the project of the painting for the graduates of “Mihai Viteazul” High School, the 1928-1929 class, and it is believed that he was usually the one who designed this type of artistic-craft work, for several series of graduates. He took care of his family (including the garden of the new house, built in 1928) and created, we believe, several oil paintings on the theme of family life, the concept of which can be found in the pages of the notebook. The artistic value of his sketches is not out of the ordinary, but not entirely negligible, anyway, the artist creating his modernist style of representation (which, perhaps, was not and still is not to everyone's taste), but it denotes professionalism and passion for his job (and his artistic concerns).

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Звуково-визуални взаимодействия в сонористичната композиция „Флуоресценции“ на Кшищоф Пендерецки

Звуково-визуални взаимодействия в сонористичната композиция „Флуоресценции“ на Кшищоф Пендерецки

Author(s): Nadezhda Todorova-Radeva / Language(s): Bulgarian Issue: 1/2023

This paper examines one of Krzysztof Penderecki's emblematic early sonoristic compositions “Fluorescences” (1961 – 1962) from the perspective of the interplay of the perceptual factors auditory and visual. The specific parameters of the sonoristic structure (timbral and articulatory, textural-sonic, dynamic, temporal) are investigated as the main catalysts for the activation of vivid and sensually impressive colour-light and spatial associations. The correlation of visual and auditory perception in the context of the synesthetic system of connections is of research interest not only for its conceptual significance for Penderecki's sonoristic stylistics, but also for its positioning of the coomplex area of multisensory perception as one of the central ones in the musical art of the second half of the twentieth and early twenty-first centuries.

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Проблема музыкального воплощения недетерминированных видов нотации на примере творчества Эрла Брауна и его последователей

Проблема музыкального воплощения недетерминированных видов нотации на примере творчества Эрла Брауна и его последователей

Author(s): Svetlana Slatvinskaya / Language(s): Russian Issue: 1/2023

The article deals with the important phenomena of modern musical art of the XX – XXI centuries in the field of notography – “graphic” and “time notation” types of notation, the creator of which is considered to be the representative of the American avant-garde – Earl Brown. The example of the “Folio” cycle demonstrates the peculiarities of “time notation”, where the iconic representations of durations are indeterminate and conventional. On the other hand, the graphic score of the play “December 1952” occupies a special place in the cycle, which combines two opposite approaches, in connection with which the problem of how to translate a spatial object into a temporal plane, which can lead to different results, is outlined. Through the prism of analyzing the works of Brown's followers in the use of “graphic” and “time notation” types of notation, the author notes the interrelation of notational solutions. In conclusion, a complex of issues concerning musical graphics is covered, from understanding the author's intention to its realization and peculiarities of perception.

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Импулси за иманентно-музикални представи в музикалнотворческото съзнание, основани върху разнообразни типове сетивност и отворена асоциативност

Импулси за иманентно-музикални представи в музикалнотворческото съзнание, основани върху разнообразни типове сетивност и отворена асоциативност

Author(s): Dimitar Damyanov D. / Language(s): Bulgarian Issue: 1/2023

The musically creative consciousness is always inspired by a variety of stimuli. They provoke the writing of the musical work, influence perceptions and thinking, and generally shape the musical artistic worldview. By studying these phenomena and the interrelationships between them, a comprehensive improvement of artistic musical activities is reached. All practical methods are based on these studies, which aim at faster and deeper development in the field of music pedagogy, psychology and generally enriching musical theoretical knowledge.

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Стилови аспекти на солфежа

Стилови аспекти на солфежа

Author(s): Teodora Dimitrova / Language(s): Bulgarian Issue: 1/2023

Ear training covers a wide range of musical phenomena from different historical styles and genres. After a long dominance of classical-romantic material as a basis in ear training, at the end of the 19th and the beginning of the 20th century, due to the rapid development of the musical language itself, intonation and structural elements of folklore, modern music, and jazz entered the solfege. Today, concepts such as “jazz solfege”, “ethno solfege”, “choral solfege”, etc., are already freely used, which are entirely aimed at certain genre directions in the wide musical palette. This text is an attempt to review and evaluate the presence of stylistic elements in solfege in different practices, in different specialties, and its purpose is to set the question of the expediency of a comprehensive stylistic approach in ear training (primarily in the field of higher education). The article examines various aspects of such a stylistic approach. Possible forms of work, aural acquisition of typical stylistic patterns and formulas to establish a certain intonation and rhythmic base for certain styles are commented on.

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Умаленият и полуумаленият септакорд и доминантовият нонакорд в стилистичния метод на преподаване на хармония на Дитер де ла Мот

Умаленият и полуумаленият септакорд и доминантовият нонакорд в стилистичния метод на преподаване на хармония на Дитер де ла Мот

Author(s): Nia Boneva / Language(s): Bulgarian Issue: 1/2023

Diether de la Motte’s Harmonielehre (1976) differs significantly from traditional harmony textbooks by applying the author’s stylistic method. This becomes evident already in the textbook’s table of contents, which is structured in an unusual way – it shows the material chronologically by epochs and composers, as opposed to listing it systematically by harmonic structures. Through the consistent application of his stylistic method, Diether de la Motte made a significant contribution to the historicization of music theory. The present article examines De la Motte’s approach to the diminished and half-diminished seventh chord and the dominant ninth chord, the history of which is traced throughout various chapters and sections of the Harmonielehre in relation to the oeuvre of certain composers.

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Синтезът на изкуствата в контекста на обучението по музика в средното училище

Синтезът на изкуствата в контекста на обучението по музика в средното училище

Author(s): Ralitsa Dimitrova / Language(s): Bulgarian Issue: 1/2023

This article focuses on the modern style of teaching based on cross-curricular connections in secondary school music education. The question of the interaction between the arts as a result of educational goals and expected learning outcomes is explored. Examples of the learning content are presented. It is accented between music, dance and fine art.

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Дигиталната трансформация като фактор за стилови промени в поп музиката

Дигиталната трансформация като фактор за стилови промени в поп музиката

Author(s): Stanimir Ivanov / Language(s): Bulgarian Issue: 1/2023

The influence of digitalization and digital transformation on pop music has been profound. Digital tools and platforms have democratized music production, allowing artists to create and distribute their work independently. Streaming services and social media have disrupted traditional music distribution models, connecting artists directly with global audiences. This digital era has also transformed fan engagement, fostering a more interactive and dynamic relationship. As technology continues to evolve, its impact on pop music promises ongoing innovation and opportunities for both artists and listeners.

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The challenges of teaching architectural project in the 21st century

The challenges of teaching architectural project in the 21st century

Author(s): María Isabel Alba Dorado / Language(s): English Issue: 1/2024

In recent years we have witnessed a series of changes that make it both necessary and urgent to redefine the limits of the architectural discipline, and in particular those of its teaching. The traditional profile of the architect as a builder has been radically transformed and has evolved towards other scenarios. The traditional teaching tools and procedures do not offer a response to the professional reality that the architect must assume in the face of the new approaches, services and considerations that contemporary society demands for this century. The aim of this article is to offer a reflection, from an educational perspective, on the challenges that the teaching of architectural project must face in order to provide future architects with the tools that will allow them to both approach new professional scenarios and respond to untested problems and unforeseen situations in a complex world. Training professionals to think for themselves with a critical and innovative spirit, encouraging the practice of creative and flexible thinking that enables them to define proposals and make imaginative decisions, developing work skills in co-production and co-creation environments or incorporating digital technology in the training of professionals are some of the challenges that this research addresses.

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Cechy folkloru w muzyce religijnej tradycji rzymskokatolickiej na Białorusi

Cechy folkloru w muzyce religijnej tradycji rzymskokatolickiej na Białorusi

Author(s): Veranika Ramanenkava / Language(s): Polish Issue: 12/2022

Religious folklore in Belarus exists on two levels: folklore sung directly in the homes and folklore sung in the church. “Home” folklore frequently permeates the church’s liturgical chants. The specificity of folklore performance in religious music can be traced through the text (the transformation of the literary text by dialectal and borrowed words), directly through the music (the adaptation of variation elements to the melody, folk ornamentations, very slow tempo, etc.), and through the manner of performance (breaking up the sung phrase, chest resonance singing, transposition of the key, etc.). The text of this article describes the specificity of the performance of religious works in Belarus, both liturgical and domestic. It distinguishes and describes the methods of performance, and shows their similarities based on the examples of specific pieces of music. The relationship between folklore and church art is shown not only by their general features, but also by their interrelationships. It manifests itself in the general properties of the genre, the means of expression, and the singing style, which consists of a synthesis of words and melodies, modal-melodic structures, phrasing dictated by breathing, a unity of time and rhythm, and elements of polyphony (heterophony).

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Congregational Hymns in Folk Memory

Congregational Hymns in Folk Memory

Author(s): Ágnes Watzatka / Language(s): English Issue: 12/2022

Congregational hymns are usually composed by priests or cantors. Hymns are transmitted via congregational singing and they often become the anonymous common property of the whole congregation. In Hungarian villages many congregational hymns were adapted by the local people. These hymns were sung in the same “local” style as the folksongs (with free rhythm and rich ornamentation). Hungarian musicologists have collected hymns from the 16th and 17th centuries in rural areas. During the process of assimilation, the melodies were slightly, or sometimes significantly, modified. This occurred as a consequence of the tonal difference between the hymns, composed mostly in major-minor tonalities, and Hungarian folksongs, which predominantly use old modes. The results of this collection of folklorized hymns were used in the compilation of a new hymnal in which the editors published the contemporary folk versions of many old hymns.

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Śpiewy kalwaryjskie funkcjonujące w tradycji pisanej i ustnej w Kalwarii Zebrzydowskiej i w Kalwarii Pacławskiej w kontekście ich percepcji w wybranych parafiach południowo-wschodniej Polski

Śpiewy kalwaryjskie funkcjonujące w tradycji pisanej i ustnej w Kalwarii Zebrzydowskiej i w Kalwarii Pacławskiej w kontekście ich percepcji w wybranych parafiach południowo-wschodniej Polski

Author(s): Kinga Strycharz-Bogacz / Language(s): Polish Issue: 12/2022

The aim of this article is to characterise the Calvarian singing in the written and oral tradition in Kalwaria Zebrzydowska and Kalwaria Pacławska in the context of their perception in selected parishes of south-eastern Poland. Pilgrimages to these Calvaries fostered the development of local singing. A comparative analysis has shown that, by coming into contact with the distinctiveness of pilgrimage performances, local singing became susceptible to their influence, and thanks to the perception of those believers visiting the Calvaries, such local singing spread to other regions of the country. The repertoire practised by pilgrims in their parishes was combined with local religious songs, becoming known as “Calvarian singing,” with rich melodies and content (we can also find contrafacta among them). The audio collection of the Music Archive of Religious Folklore of KUL contains recordings of 47 incipits of Calvarian singing from south-eastern Poland. Research has proved that, as a documented oral tradition, they show a variability (i.e. various types of transformations of their songbook notations) which is often regionally determined. Calvarian songbooks confirm the coexistence of written and oral traditions. It has been shown that songbook notation is identical to the oral tradition and it is merely a printed source functioning in parallel with the practice of this repertoire.

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