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Școala autohtonă de giuvaiergerie: nume necunoscute și pe nedrept pierdute

Școala autohtonă de giuvaiergerie: nume necunoscute și pe nedrept pierdute

Author(s): Liliana Condraticova / Language(s): Romanian Issue: 1/2023

Associated in workshops or as freelancers, working mainly in the city of Chișinău as one of the most important socio-economic and cultural centers of the country, jewelers and craftsmen have left an indisputable legacy, conceived in many articles of historical, artistic and memorial value. The 1972–1991 years were marked by the founding of the Jewellery Workshop of the Plastic Fund of the UNAP (1972), which allowed the concentration and unification of the efforts of the few artists who artistically processed metals. The jewelers worked in the Jewellery Workshop, promoting and continuing the traditions of the local school, they created decorative articles and author jewelry. They created professional articles, from an artistic and technological point of view, and participated at exhibitions. The aim of this article is to bring into prominence the name of a few artists from MSSR, who worked at the Jewellery Workshop since its foundation and had an essential impact in the assertion of the art of metals in the MSSR. The local school included craftsmen, who studied at artistic educational institutions from MSSR, as well as those self-taught in the metal art field. Names like Ovidiu Alexeenco, Valeriu Vinitchi, Vasile Shocin hold a special place alongside such artists, as Oleg Barascov, Gheorghe Cojusnean, Vladimir Kalasnikov, Semion Odainic, Natalia Vavilina, Victor Rotari etc., who developed together the local school in the field of metal art.

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Elemente folclorice în repertoriul ansamblului vocal instrumental „Orizont”

Elemente folclorice în repertoriul ansamblului vocal instrumental „Orizont”

Author(s): Cristina Pintilie-Romanenco / Language(s): Romanian Issue: 1/2023

The purpose of this article is to identify the methods of interaction of national folklore with the idioms of pop music and jazz in the creation of the vocal-instrumental group “Orizont”, led by Oleg Milstein. Based on the detailed analysis of the compositions “La morișca”, „Leana”, „Moldovan tunes”, etc. the author reveals the most representative methods of involving Romanian folklore in the sound texture of the pieces performed by the band “Orizont”. Among them it is worth mentioning: quoting popular songs, composing contrapuntal lines to folk melodies, combining themes of folkloric origin with stylistic and genre elements of pop, rock and jazz music. Special attention is paid to the treatment of vocal jazz methods used by the members of the “Orizont” band.

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New training master's program in "Art Therapy" at Academy of Music, Dance and Visual Arts "Prof. Asen Diamanidev" Plovdiv, Bulgaria

New training master's program in "Art Therapy" at Academy of Music, Dance and Visual Arts "Prof. Asen Diamanidev" Plovdiv, Bulgaria

Author(s): Vesela Kazashka / Language(s): English Issue: 1/2022

This article reflects a study related to the master's programs in "Art Therapy" in Bulgarian universities and formulates the need for training personnel in this field. An analysis of the existing master's programs was made, and a new interdisciplinary master's program "Art Therapy" was presented at the Academy of Music, Dance and Visual Arts "Prof. Asen Diamanidev" -Plovdiv, Bulgaria.

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Film fabularny jako przestrzeń edukacyjna w profilaktyce przemocy w rodzinie adresowanej do uczniów szkół średnich, realizowanej przez Komendę Powiatową Policji w Garwolinie

Film fabularny jako przestrzeń edukacyjna w profilaktyce przemocy w rodzinie adresowanej do uczniów szkół średnich, realizowanej przez Komendę Powiatową Policji w Garwolinie

Author(s): Danuta KALINOWSKA / Language(s): Polish Issue: 2/2021

The aim of the presentation is to present preventive measures and preventive measures being taken by the Polish Police in the area of domestic violence, using the feature films e.g. Pręgi and Plac Zbawicela. In this article, the following issues will be shown: existence of domestic violence with its psychological, emotional, social and religious determinants and long-term consequences for the victim as well. It is also appropriate to discuss socio-psychological context of violence. Firstly, we will show the sustainability of pathological conditions of the situations. Secondly, we will consider reasons for lack of defence activities. At the very end we will present negation attitudes and behaviour of the offender and the factors causing enslavement of the victims (affection and dependency in terms of social functioning in family, marriage or in concubinage). In order to present the whole problem included in the title of this presentation, we ought to point the regulations and the legal basis for all actions that have to eliminate this phenomenon (the Constitution, the Universal Declaration of Human Rights, the Criminal Code, the Law on prevention of domestic violence, the procedure NK). The practical part of the discussed issues will be the analysis of specific forms of violence: threats punishable with art.190 of the Penal Code, stalking with art. 190a of the Penal Code, coercion with art.191 of the Penal Code, domestic violence with art. 207 of the Penal Code, pimping of art. 204 of the Penal Code, paedophilia and pornography presenting people with Article minors. 200 of the Penal Code, the Penal Code 200a, 200b of the Penal Code, trafficking in human beings (so called – Abdomen for rent) and human organs; trafficking for prostitution. Another issue there will be linguistic and rhetorical analysis of prophylactic actions regarding to its stylistics e.g. an visual imagery, comparisons and a paraphrase. As far as working tools are concerned, it should be stressed that beyond the previously parsed spoken word, it is reasonable to discuss the role of the merits of a multimedia presentation, as also to analyze and highlight the role of the feature film. It is worth stating that films graphically and emotionally relate to the presented issues using the depicted history and the ensuing timeless content. What is more, they help to enhance the acquisition and consolidation of the meeting’s theme and they enable to sensitize on identical pathological phenomena that occur in the real environment of each of the participants. The last but not least is the fact that films encourage to protect themselves and others and they teach how to maximize the effectiveness of preventive actions. At the very end, there is a place for the conclusions that follow our analysis of forms and methods of work in crime prevention in domestic violence. First of all, they will give opportunities for a better impact on the recipient as well as they will help to improve further action in this regard.

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Търновските кинопанорами, заснети през 1904 и 1905 г. – всред първите филми, осъществявани някога в България

Търновските кинопанорами, заснети през 1904 и 1905 г. – всред първите филми, осъществявани някога в България

Author(s): Petar Kardzhilov / Language(s): English,Bulgarian Issue: 3/2021

In 1904, the English cinematographer Charles Rider Noble visited Bulgaria, where he shot 21 short chronicle-documentary films (lasting from 1 to 4 minutes). They were not preserved to present days, but their annotations have survived in the catalogues of the Charles Urban Trading Company (London), the company, which sent Noble in Bulgaria. They also describe the view ‟Railroad Panorama of the Pass of Tirnovo”. In 1905 the city was re-photographed – this time by the Scotsman John Mackenzie. From his footage and those of Noble, the American producer Charles Urban created (with the help of editing) the substantive film ‟Tirnova: The Ancient Capital of Bulgaria”, which successfully travelled the world…

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Pôvodná televízna tvorba pre deti v kontexte rozvoja mediálnej gramotnosti žiakov primárneho vzdelávania

Pôvodná televízna tvorba pre deti v kontexte rozvoja mediálnej gramotnosti žiakov primárneho vzdelávania

Author(s): Lenka Regrutová / Language(s): Slovak,English Issue: 3/2021

The paper deals with the possibilities of developing media literacy in the field of original television drama for children. Drama television production for children has a long tradition in Slovakia and reached its peak (production of a number of titles of various genres), especially in the 70s and 80s of the 20th century. In the first part, we will present selected genre-diverse titles (especially bedtime stories and feature series), which have achieved success in the international context, and even today, several of them are part of the RTVS program structure. Media literacy includes a combination of skills and abilities in four basic areas: approach, assessment / critical attitude, analysis and creativity. In this paper, we focus our attention mainly on critical attitude and analysis. The second part of the paper will present the results of work with primary education students (research will take place within the Prešov Children‘s University 2020), which will present selected titles of television production for children in order to develop their media literacy based on joint evaluation and analysis.

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Filmowość języka poetyckiego Czesława Miłosza

Filmowość języka poetyckiego Czesława Miłosza

Author(s): Zbigniew Kaźmierczyk / Language(s): Polish Issue: 28/2021

The paper develops the thesis on the movielike nature of Czesław Miłosz’s early poetry. It includes the premises of the thesis in contrast to innovative currents of the epoch. The paper discusses applying terms from the language of film as adequate when compared to the Nobel Prize winner’s synecdochic technique of imaging which is shown as the structural algorithm of the world of poetic multivoiceness. The paper displays the relation between ethics, philosophy and theology with the imaging of a poem. It proves that the advancement of the synecdochic-film technique, from figurativeness to the fluency of a take, is connected with balancing the Gnostic aversion of the poet towards the reality of body and matter. The balance between the feeling of terror of existence and its affirmation was favourable for creating fluent series: partes pro toto derived from the coming together of a name and a respected item, as well as accepting beings which are transcendent in their nature. The author of the paper states that through comparing the language of poetry and the language of film it was possible to show the poetic nature of Miłosz’s poems.

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When I Fall in Love with Machine.O tożsamości kulturowej Tajwańczykóww epoce postmediów, cyberfizycznej kultury przemysłowej i wojen technologicznych oraz roli, jaką odgrywa działalność artystyczna w jej wytwarzaniu

When I Fall in Love with Machine.O tożsamości kulturowej Tajwańczykóww epoce postmediów, cyberfizycznej kultury przemysłowej i wojen technologicznych oraz roli, jaką odgrywa działalność artystyczna w jej wytwarzaniu

Author(s): Anna Gryszkiewicz / Language(s): Polish Issue: 31/2022

This article could be read as a multi-voice, dynamic and being-in-progress model of relations that connect (could be linked to) a choreographic clip of the Taiwanese dance group Huang Yi Studio +, the establishment of a new Daimler AG factory in Sindelfingen and a sudden acceleration of work on Comprehensive Agreement on Investment between China and the EU at the end of 2020. Considering all of these events, I ask the question: What is the cultural identity of Taiwanese in the era of post-media, cyber-physical industrial culture and technological wars, and what role does artistic activity play in its production.

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Słupskie dyskursy migracyjne. Konteksty literaturoznawcze i teatralne

Author(s): Anna Sobiecka / Language(s): Polish Issue: 32/2022

This article aims to describe narratives regarding migration within Slupsk's cultural sphere and their contextual reflections in theatre. The article begins with a comparative analysis of local biographies written down in personal documents, such as the yet-to-be-published Wspomnienia pierwszych słupszczan (“Memories of the first residents of Slupsk”), and the published accounts of Slupsk's residents in Mój nowy dom (“My new home”). The above works are then examined through the lens the of literary discourse surrounding migratory identity.

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В. Т. Георгиевский об охране памятников церковной старины: Проект 1917 года

В. Т. Георгиевский об охране памятников церковной старины: Проект 1917 года

Author(s): Vitaliy Gennadevich Ananiev,Vitaly G. Ananiev / Language(s): Russian Issue: 2 (32)/2022

The article is devoted to the problem of preservation of religious heritage in Russia in 1917. The focus of the attention is a report on this topic, prepared by a prominent expert in the field of medieval Russian art V. T. Georgievsky (1861–1923). The report was prepared as part of the works of the Commission on the creation of the Ministry of Arts, organized with the active participation of the Institute of Art History (Petrograd). The article analyzes the relationship of V. T. Georgievsky with this Institute and his participation in the development of measures to protect religious heritage at the turn of the 19th – 20th centuries. In his report V. T. Georgievsky gives a detailed description of the history of the protection of church heritage inRussia at the beginning of the 20th century, the measures that were proposed and implemented in this area. The author of the report characterizes not only the results of these measures, but also the circumstances of their discussion and implementation. He also lists the most significant collections of ecclesiastical objects from the late imperial period. This is important for understanding what the network of such meetings was like on the eve of revolutionary upheavals. Finally, at the end of the report, he proposes some measures aimed at improving the protection of church heritage in Russia. This part of the report is succinct, but it is of particular importance. The main idea of V. T. Georgievsky is the centralization of the protection of monuments throughout the country. This is important for understanding the connection between the projects of the late imperial period and the policy in the field of monument protection and museum works in the early Soviet period. For the first time, the full text of the report from the archival fund of the Institute is published..

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Kultura i sztuka ulicy w Maghrebie na przykładzie Algierii i Tunezji. Zarys problemu

Kultura i sztuka ulicy w Maghrebie na przykładzie Algierii i Tunezji. Zarys problemu

Author(s): Anna Barska / Language(s): Polish Issue: 13/2022

In her article, Anna Barska presents various strategies used by social actors to manifest their desire to speak, to break taboos and to make sense of their presence in the city. The places represented, the time, the themes and the creator(s) are a form of message and communication. The examples Barska discusses, i.e., Algiers, Oran, Tunis and Djerba, are helpful in understanding the complexity of the socio-cultural and political life in the Maghreb.

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Мікротопоніми та живопис: точки дотику

Мікротопоніми та живопис: точки дотику

Author(s): Natalia Sokil-Klepar / Language(s): English,Ukrainian Issue: 1/2018

This article analyzes microtoponyms’ names as elements of artistic paintings of Ukrainian artists of the 20th – 21st centuries. There are revealed the main problems of onomastic terminology, coupled with the nomination of spiritual and material heritage of the Ukrainian people. The main emphasis is made on the names of the Ukrainian Carpathians microscopic objects. To nominate paintings Ukrainian artists often use microtoponyms for a clearer localization of a depicted area. Discovered common features of microtoponyms, especially in art and figurative painting. Microtoponyms and paintings embody national values above all spiritual, so have the emotional and aesthetic, suggestive, informative and other features. The names of such pictures on the structural level are both single- and multi-component. Reasoning base of microtoponyms is mainly orographic, hydrographic and dendrological terms that naturally follows from the description of the mountain environment. Explained series of similar paintings by various authors and found that the same locus can be presented to viewers in different ways. This stems from the author’s vision of the object, landscape lay the symbolic subtext. Knowledge of etymology, semantic and motivational elements of names of art paintings significantly expand the horizon of emotional and intellectual perception of pictures.

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Doświadczenie sztuki w fenomenologii kontr-intencjonalnej i nie-intencjonalnej

Doświadczenie sztuki w fenomenologii kontr-intencjonalnej i nie-intencjonalnej

Author(s): Andrzej Krawiec / Language(s): Polish Issue: 61/2023

The article raises the subject of intentionality of art in the light of transformations that counter-intentional phenomenology and non-intentional phenomenology have undergone. The changes to the way intentionality was understood substantially influenced aesthetic reflection and for that reason the starting point for the article is the analysis of Edmund Husserl’s intentional phenomenology followed by counter-intentional phenomenology of Jean-Luc Marion and non-intentional phenomenology of Michel Henry. Next, we will analyse how the ideas were absorbed by the developing phenomenological reflection on art, which paradoxically resulted in counter-reduction of the world and existential opening to experiencing its contents thanks to art. At the same time, the changes in understanding intentionality opened new directions for research into the intentionality of art itself. Therefore, the article aims at pointing towards contemporary research areas for phenomenological aesthetics and also indicates major methodological problems related to counter-intentional and non-intentional research perspective.

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Nové prvky ve starém prostoru?

Nové prvky ve starém prostoru?

Author(s): Michal Sklenář / Language(s): Czech Issue: 02/2022

The article examines attempts to expand the role of sacral space through artistic interventions and other activities. It focuses on selected Roman Catholic sacral buildings in the Czech Republic at the turn of the 20th and 21st centuries. After the Second Vatican Council, and in the Czech lands more significantly after 1989, we can observe a growing trend towards creating and placing works of art in liturgical spaces, benefiting from the “genius loci” of the building or buildings. Thus, we often find works based on site-specific art concepts in abandoned chapels, churches and monasteries scarcely used for worship; their authors aim to revive or restore the sites. During the Night of the Churches, an event held across the country, sacral buildings are open to the public and parishes and Christian communities invite people to visit them for a tour, exhibition, concert, etc. The text illustrates the diversity of approaches within the ecclesial milieu through the example of Lenten veils, which, in different contexts, may serve as a declaration of “commitment to tradition” and “cultural Christianity”. The conflict of discourse does not only apply to the different approaches of individual disciplines, but it also divides the Roman Catholic environment from within because a broader consensus on “appropriate interventions”, i. e., a consensus on the external presentation of the Church, is difficult to find.

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Scénografie v počátcích Divadla D

Scénografie v počátcích Divadla D

Author(s): Pavlína Vojtová / Language(s): Czech Issue: 1/2021

The study is focused on work and cooperation of five young stage designers/architects with director E. F. Burian in the avant-garde theatre of Divadlo D in its beginnings in early 1930s, namely César Grimmich, Miroslav Kouřil, Jiří Novotný, Karel Poličanský, and Josef Raban, and then mainly the trio KNR. The main part depands on presentation theirs working methods and themes, which reflect new techniques of visual art, focused on light experiments, photography, film and raw materials. Their methods are also confronted with work and experiments of László Moholy-Nagy

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Tichá přátelství: Vladimír Fuka, Eva Fuková, Jiří Kolář, Zdeněk Urbánek, Jan Rychlík, Kamil Lhoták, Josef Schwarz-Červinka, Jan Hanč a Emanuel Frynta

Tichá přátelství: Vladimír Fuka, Eva Fuková, Jiří Kolář, Zdeněk Urbánek, Jan Rychlík, Kamil Lhoták, Josef Schwarz-Červinka, Jan Hanč a Emanuel Frynta

Author(s): Anna Strnadlová / Language(s): Czech Issue: 1/2021

The period after February 1948 meant great change for the cultural sphere in Czechoslovakia. The art groups and clubs were dissolved; artists who did not want to squeeze into the limits of socialist realism had no choice other than to close themselves in the privacy of their homes and studios. However, after 1950, a group of friends formed around Jiří Kolář in Prague, having shared the same views on political and cultural development and, despite various artistic orientations, captured everyday experience in pictures or texts. This article focuses on the friendship of Jiří Kolář, Vladimír Fuka, Eva Fuka, Zdeněk Urbánek, Jan Rychlík, Kamil Lhoták, Jan Hanč, Josef Schwarz-Červinka, Emanuel Frynta, and others, and tries to portray this period of time, their mutual inspirations and relationships, and especially the extremely creative atmosphere, which was originated in this friendly circle. This thesis is based on diary entries, drawings, collages, poems, and literary texts which they created together and for each other in this unique, free, and inspiring environment.

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Intermedialita kaligrafických inspirací v poválečném umění a filosofickém diskursu

Intermedialita kaligrafických inspirací v poválečném umění a filosofickém diskursu

Author(s): Petra Polláková / Language(s): Czech Issue: 1/2021

In this study, based on my dissertation thesis, I focus on the issues of circulation and various methods of appropriating calligraphic practices within the framework of transnational art history, predominantly in the context of the post-war European and North American art scenes. Due to the multi-layered and intermedia nature of the topic of calligraphic inspirations, I have chosen the motif of the circle as a certain unifying element, through which I attempt to reflect the given issue within two distinct circles. The first topic is the examination of the possibilities of artistic or philosophical expression of the ontological meaning of corporeality and the circularity of the body in the process of creation. The circle also reflects the issue of periodic renewal and regeneration of mythical and historical time. I examine the issue of the cyclical nature of time in the context of post-war art, when the necessity of a new beginning arose, which would not only enable a deeper intercultural dialogue, but also strengthen the need to re-examine the original artistic roots and sources.

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„Děti, děti, z toho kouká buď blázinec, nebo vězení!“  Vídeňský akcionismus jako reakce na válečné, osobní i společenské trauma

„Děti, děti, z toho kouká buď blázinec, nebo vězení!“ Vídeňský akcionismus jako reakce na válečné, osobní i společenské trauma

Author(s): Tomáš Kubart / Language(s): Czech Issue: 1/2021

A group of “Viennese Actionists” was formed in Austria around 1961, ceasing to be active in 1970. One decade of their collaboration comprised creation of a series of multimedia artistic works, often in the form of provocative actions using the so-called Schweinvocabular (“nasty vocabulary”): fake violence, vulgarity, explicit sexuality, profaning state and church symbols, etc. The aim of such aesthetics was not a dull provocation; it was rather an artistic means by which the first generation of post-war artists, who personally experienced the horrors of World War II and the reverberations of the first, responded to the lack of denazification and the internal conflicts in the Austrian society. The paper will present the thesis that the designation of the group as “Viennese Actionism” is probably not derived from the noun “action”, but it is a reference to the current in behavioral psychology called sensomotoric actionism, which originated in the early 20th century and emphasized physical and performative coping with the trauma the Actionists experienced in young age (pain, suffering, loss of loved ones, mass scale of murders, etc.); sensomotoric actionism as a metaphor of artistic response to social trauma. One of the main impulses for the Actionists was thus the war trauma, both on an individual and socio-cultural level. The aesthetic means they employed were based on the actual contemporary methods of treating trauma. Using repulsive “images” that presented the horrors of war, the Actionists “forced” their audience to confront them and, if possible, go through social catharsis, giving back to the theater its ritual function it had in the society of the Classical Athenian polis.

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Monstrosity in a Ballet Adaptation of Mary Shelley’s Frankenstein

Monstrosity in a Ballet Adaptation of Mary Shelley’s Frankenstein

Author(s): Magdalena Berechowska / Language(s): English Issue: 13/2022

The article focuses on the analysis of the 2016 ballet adaptation of Mary Shelley’s Frankenstein created by Liam Scarlett for the Royal Opera House and the San Francisco Ballet. The purpose of the article is to show that this production presents the novel’s motif of monstrosity as queer desire and the prevailing societal conventions. The paper is divided into theoretical and analysis sections. The first one provides a brief overview of approaching the novel and its chosen cinematic adaptations through queer studies. The second section focuses on the narrative developed over the course of the 2016 ballet adaptation. It also discusses the formal devices, such as: choreography, costumes, characterisation, stage design, and theatrical properties, which together reinforce the narrative and allow the proposed interpretation of monstrosity.

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YASTIK ADAM OYUNUN İNCELENMESİ

YASTIK ADAM OYUNUN İNCELENMESİ

Author(s): Osman Emin / Language(s): Turkish Issue: 15/2023

The subject of this research is Pillow Man, a 2003 play written by Martin McDonagh. The work will be analyzed in terms of both, content and form during the study. Postdrama, tragedy and its parts, Jung's four archetypes, Foucault's prison theory, in-yer-face theatre, and Martin McDonagh's biography will be discussed. The study's goal will be to discover which currents affect today's theater, to determine whether old theater movements are still useful, and to bring to light how the theater has evolved in comparison to the past. Furthermore, how currents and modern morality affect theater plays will be examined in terms of Pillow Man, and the study will achieve its goal.

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