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Creating For the State. An Introduction

Author(s): Caterina Preda / Language(s): English Issue: 3/2017

This introductory article presents the study of the state artist in the context of the communist regimes in Eastern Europe and the USSR through several case studies. This introduction places the analyses gathered here of the relationship between artists and the state in different phases of the communist regimes, and in different artistic expressions, as well as in several countries. While the focus is on Romanian cases of study, the articles bring forward possible comparisons with neighboring communist regimes. Some of the articles included in this special issue deal with visual arts, literature, photography, amateur rural comedy brigades, and specific cases of artists (Ion Irimescu and Ion Grigorescu), while other articles discuss the specific institutional contradictions of the Soviet cultural framework. This issue advances thus a little bit further in the comparative institutional archive-based study of cultural institutions during communism.

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Arta fotografică românească în perioada 1968-1978. Evoluţia revistei Fotografia

Author(s): Maria Orosan-Telea / Language(s): Romanian Issue: 3/2017

During the communist regime, photography was a popular activity due to the existence of the Association of Photographic Artists. Its members weren’t professional artists, but mostly people with technical backgrounds, and who transformed their hobby into a job. The lack of interest of Romanian artists in photography (except for a few particular cases such as Ion Grigorescu or Ștefan Bertalan) can be explained by the fact that there were no photo-video departments within the art universities and the Romanian Artists’ Union (UAP), the only form of institutional organization of the Romanian artists, had no special photography department. Therefore, the photographic practice in communist Romania was linked to the Association of Photographic Artists and not to the Romanian Artists’ Union. The evolution of its activity in the period between 1968 and 1978, and the impact that politics had on it transpire very well from the evolution of the Fotografia magazine, the only photo periodical of that era. This article shows that even in a creative field, which was overlooked by the Communist Party, the echoes of the official political discourse were felt, mainly after 1975. We have outlined two aesthetic trends in the mid-1970s. One was the photograph obtained by laboratory procedures, supported by a depoliticized discourse and the second was a pseudo reportage photography, namely the communist propaganda photography.

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Artă în spațiul public sau artă pentru sine. Ipostaze ale artistului Ion Grigorescu în epoca comunistă și posttotalitară

Author(s): Ileana Pintilie / Language(s): Romanian Issue: 3/2017

This article discusses the case of Ion Grigorescu, and of his ambiguous relationship with the communist regime, which he registered through a form of ”documentary realism”. Through his ”realgrams” Grigorescu documented real life experiences in an innovatory approach to the majority of Romanian artists of the time using photographs of his everyday environment, and being inspired by his social and political context. Grigorescu is thus an artist committed to the public space and assuming a critical stance without it being discursive, pedant or moralizing. The approach of this study is descriptive, based on the artists’ artworks and self-descriptions, and seeking to situate Grigorescu’s approach in the context of the communist regime and its transformation after 1990 into a democratic regime. The conclusions show that Grigorescu’s artworks are anti-system, criticizing any establishment, no matter in which regime he finds himself. His contestation is specific to a committed artist that chooses to express his freedom of expression beyond his own studio.

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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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Andrzej Różycki. Fotograf i fotozof
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Andrzej Różycki. Fotograf i fotozof

Author(s): Marek Janczyk,Iwona Święch / Language(s): Polish Issue: 3/2022

A synthetic summary of the oeuvre of Andrzej Różycki, with particular emphasis on his photographic theory and praxis. The point of departure for auteur interpretations of the artist’s works is an evocation of a monographic exhibition featured in 2004 at the Museum of the History of Photography in Kraków. The conception of this text, partially referring to the scenario of the exhibition, constitutes an attempt at a successive retrospective approach to the multi-motif oeuvre of Andrzej Różycki, made almost twenty years later. An essential supplement of the theme interpretations are references to texts accompanying the artist’s exhibitions.Różycki’s compositions are universal and, at the same time, personal. His self-presence in art is linked with expressing ambivalent stands spanning from emphasis on the rank of the creative mission to an unconventional artistic joke and sometime irony. A successive, equally essential motif is reference to the sacrum sphere, in which the presence of spirituality is linked with an awareness of the infinite rank of the past and memory. The ambiguity of existential reflection is also expressed by works disclosing time continuity while simultaneously pertaining to the complexity of the meanings of reality, in which prosaic motifs are linked with symbolic-mystical ones. Many of the compositions, in particular those created by using the strategy of the quotation, disclose a mood of nostalgic reflection or melancholy.Conclusions of the presented text deal with the rank attained by Różycki’s art. Its special features include originality and a constant striving towards creative autonomy expressed in, i.a. a relentless undermining of the ideological stereotypes of art and a search for new formal solutions. The works of Różycki indubitably constitute one of the most significant phenomena not only in the history of photography but also of twentieth-century Polish art.

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Mediated Remembering of Having Been Traumatized  Collectively in Recent Hungarian Historical Films: Transmediating Analogue Photography in Post Mortem (2020) and Natural Light (2021)

Mediated Remembering of Having Been Traumatized Collectively in Recent Hungarian Historical Films: Transmediating Analogue Photography in Post Mortem (2020) and Natural Light (2021)

Author(s): Andrea Virginás / Language(s): English Issue: 1/2023

Analogue photography takes on additional characteristics and functions as it is transmediated in such 21st century Hungarian—e.g. small national, and Eastern European—film historical examples like Post Mortem (Péter Bergendy, 2020) or Natural Light (Dénes Nagy, 2021). The examination of thetransmedial media representation, or simply the transmediation (Lars Elleström) of the oldest electronic mechanic visual medium, analogue photography, shall guide the comparative analysis—meant to assess photography’s features as an apparatus of/for culturally mediating collective traumas within the confines of historical feature filmic narratives, and also in the context of modelling communicative generations in their relationship(s) to identify-crafting collective crises. The aim is to demonstrate that contemporary Eastern European, and more specifically Hungarian filmmakers who belong to a third generation of “memory restorers” (Aleida Assmann) when faced with the First or the Second World War present interesting epistemic constructions on the collective past and offered for common remembrance in the context of the cinematic feature film. The main proposal that the present paper makes as a theoretical argument concerning the multifaceted process of transmediation—in this case the narrative feature filmic transmediation of the apparatus of analogue photography—is that the examined two films, PostMortem and Natural Light, may be conceived of as post-digital age meta-exercises on the role of analogue photography in constructing cultural memories of often collectively traumatic happenings.

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Dawne fotografie dotyczące życia i twórczości Jana Matejki w zbiorach Archiwum Narodowego w Krakowie

Dawne fotografie dotyczące życia i twórczości Jana Matejki w zbiorach Archiwum Narodowego w Krakowie

Author(s): Bożena Lesiak-Przybył / Language(s): Polish Issue: 67/2022

The collection of the National Archives in Cracow contain 66 photographs related to Jan Matejko. They were taken in the period from 1860s till 1939, mostly by photographers from Cracow and Warsaw, but the authorship of some of them remains unknown. Due to their subject, the photographs may be divided into four groups: 1) presenting Jan Matejko (6 likenesses) and documenting his funeral (2); 2) photographs documenting the artist’s works (47 items); 3) photographs related to Jan Matejko’s house as a museum (7 photographs) and 4) photographs taken during Jan Matejko’s 100th birthday anniversary (4 photos). Most of the photographs, that is 47, have been donated. But the Archives also tried to purchase some key materials. This way 14 (or 15) photographies have been obtained. The provenance of 3 of the photographs remains unknown.The photographs gathered in the National Archives in Cracow create an interesting collection, which, although not very wide, contains some precious items (works lost or damaged during World War II), which are particularly important for the researchers interested in the artist’s life and activity. Especially on the grounds that every photograph related to Jan Matejko is of undeniable value.

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Consuming Class. Imagining Upper-Middle Classness through Photography in Vanity Fair

Consuming Class. Imagining Upper-Middle Classness through Photography in Vanity Fair

Author(s): Amelie Ochs / Language(s): English Issue: 31/2021

This art historical close-reading enters into dialogue with theories of class and is located at the intersection of visual history, periodical studies and historical consumer research. While the term “consuming class” is closely connected to the present globalized world, the origins of this social phenomenon date back at least to the 19th century. The article examines the ways in which photography is used to imagine this class and its sense of distinction. Taking as its object Vanity Fair’s November 1922 issue, the author analyzes different uses of photography and its relation to readers. Stressing social theories by Thorstein Veblen and C. Wright Mills, she defines the consuming class as an upper-middle class, searching for a point of orientation in high society culture in order to stabilize their own class-consciousness. In this sense, she argues that the visual content of Vanity Fair is rather a presentation for – than a representation of – the consuming class. The article also examines the modern magazine as a display and circulation platform for modern art, photography and advertisement which motivates the visual and social practice of image consumption.

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THE CLOSE-UP: A PICTURE IS WORTH A THOUSAND WORDS

THE CLOSE-UP: A PICTURE IS WORTH A THOUSAND WORDS

Author(s): Mădălina Eugenia Ciucu (Răsniceanu) / Language(s): Romanian Issue: 33/2023

Through the cinematographic adaptations made, with valuable literary works as baseground, the filmmaker (re)composes narrative subjects in the form of film performances, with an impact on the public. Being a cinematographic art, the screenings harmoniously combine the image and the word, creating poetic structures, carrying deep meanings. One of the means of cinematographic expression, especially relevant, is the close-up image. This type of image is an objective one and focuses on elements or beings of particular importance in the perception of the film speech, and the discovery of the focused subjects - by the viewer, through the eyes of the protagonist - has as a consequence the rethinking of the information provided by the story up to that moment and stored in memory, as well as restoring the meaning of film creation. The purpose of using the close-up is to give suspense to the action, either by anticipating or highlighting a state or event belonging to the story which is played. Depending on the object chosen to build up the close-up and depending on the moment of its placement on the axis of the narrative, the filmmaker also fixes its meaning, which the viewer must decode. In the screen adaptation of Camil Petrescu's novel, Ultima noapte de dragoste, întâia noapte de război, (1979), screenwriter Sergiu Nicolaescu created sequences of great artistic sensitivity, in which the close-up with the faces of the protagonists betrays all the inner turmoil, the varied palette of unverbalized feelings, these images undoubtedly becoming the mirror of the human soul, with everything it possibly feels.

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SEHEN UND GESEHEN WERDEN. MENSCH-TIER-VERHÄLTNIS ZWISCHEN WIRKLICHKEIT UND ILLUSION IN DAVID WIESNERS BILDERBUCH „FLOTSAM“

SEHEN UND GESEHEN WERDEN. MENSCH-TIER-VERHÄLTNIS ZWISCHEN WIRKLICHKEIT UND ILLUSION IN DAVID WIESNERS BILDERBUCH „FLOTSAM“

Author(s): Qingyu CAI / Language(s): German Issue: 42/2022

The picture book Flotsam depicts a boy who meets animals at a beach and finds an analog camera as flotsam, with which he discovers a peculiar underwater world. In the book, human-animal- relations are reflected dialectically in the context of visual perception with art, namely photography and fine arts, as well as literature, being used as the medium of reflection.

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KOLEKSIONI I FOTOGRAFIVE NË ARKIVIN E KOSOVËS - dokumente për njohjen e Kosovës të shekullit të kaluar -

KOLEKSIONI I FOTOGRAFIVE NË ARKIVIN E KOSOVËS - dokumente për njohjen e Kosovës të shekullit të kaluar -

Author(s): Hatixhe Ahmedi / Language(s): Albanian Issue: 1-2/2021

Within the framework of its activities, the State Agency of Kosovo Archives has its own special unit- Photo Archive, which has an important collection of photographs. Though the Photo Archive of Kosovo was, in fact, created as a separate unit relatively late, (in 2000), it still managed to collect and promote a significant collection of photographs, which today exceeds over 1,500 photographs. In this collection of photographs, most of them belong to the period after the Second World War, respectively the second half of the last century, but there are also photographs from previous years. This collection is important and of even greater value, because it contains preserved photographs of various personalities of that time, the main events that marked that era, monuments and objects that begun to be built and those that were, unfortunately, destroyed and we know about them today only through these photographs; preserved photographs of neighborhoods, bazaars, houses and old streets of our cities, especially Pristina, which do not exist today, photographs of craftsmen and artisans who once practiced their activities in our cities, which have already gone down in history and, since they stopped working, we know them precisely only through these photos, etc. Therefore, based on this fact, our paper talks about the values and importance of the Photo Collection preserved in the Kosovo Archives and which especially helps the visual recognition of Kosovo in the second half of the 20th century; it also talks about the content of this collection, its multiple values, but also about how to preserve, arrange, systematize, use and digitize it and make it available to researchers and other interested parties as easily as possible.

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Кон збирката фотографии од  експедицијата на Н. П. Кондаков во Македонија во 1900 година: анализа  и класификација

Кон збирката фотографии од експедицијата на Н. П. Кондаков во Македонија во 1900 година: анализа и класификација

Author(s): Emilija Apostolova Čalovska / Language(s): Macedonian Issue: 84/2023

Towards the end of the 19th century, which marked the disintegration of the Ottoman Empire, its Balkan provinces attracted the attention of scientists worldwide. Numerous foreign explorers traveled throughout the territory of the former Byzantine Empire, mapping and recording its cultural heritage. Among others, of particular importance is the great scientific expedition led by Nikodim Pavlovich Kondakov (1844–1925), which in 1900 visited the historical territory of Macedonia. Of exceptional importance for Macedonian historiography, ethnography, archaeology, anthropology, as well as for the research and protection of cultural heritage in the 169 Македонски фолклор бр. 84, стр. 153–175 country, is that the entire photographic collection from this expedition is kept today in the Archive of the “Marko Cepenkov” Institute of Folklore in Skopje. In the indicated collection, the photographs of the sacral and profane architecture from that period, as well as those with ethnographic-anthropological content, are of particular importance. Until today, this valuable collection has not been published or researched, remaining unknown to the Macedonian and wider public. After a thorough analysis of the photographic collection, it was determined that its basic classification can be made according to the following categories: A. Classification according to the location of the photo: region / city / village; B. Classification according to the subject of the photograph. The documentation consists of a total of 750 photos divided into 2 collections: 1. Macedonia (1900) – 8 registers and Athos (1898) – 1 register, with a total of 518 photographs; 2. Serbia (1902), with a total of 232 photographs. Regarding the subject of photography, the following general division of the photographic collection can be made: - Sacral architecture, art and religious objects, archaeological remains of monumental sacral architecture. Total: 308 photos; - Archaeological remains, spoliae, fragments and details of stone reliefs. Total: 44 photos. - Profane architecture: vernacular construction, city architecture; monastery lodgings and associated buildings. Total: 44 photos; - Ethnological-anthropological motifs: group and individual portraits, scenes from city and village crafts; household goods; various utilitarian objects, etc. Total: 72 photos; - Landscapes and panoramas. Total: 50 photos. The quantity of processed photo-documentation as well as the value of the photos themselves as a rare and precious historical testimony logically impose the necessity of publishing and popularizing this photo-archive. In that direction, the “Marko Cepenkov” Institute of Folklore has initiated a project for its digitization, followed by a promotion in the form of an exhibition of a selection of photos. Of course, a monographic and digital publication is planned for the next period, with the aim of bringing the precious photographic collection closer to the scientific and wider public, both in Macedonia as well as worldwide.

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Formy akčného umenia v tvorbe mladých dospelých

Formy akčného umenia v tvorbe mladých dospelých

Author(s): Daniela Valachová / Language(s): Slovak Issue: 3/2023

The paper deals with the issue of action art in a group of young adults. Action art provides a suitable space for self-realization for our respondents. Within the framework of qualitatively oriented research we used the method of observation and analysis of the process of creation. The preliminary results of the research, which we present in the text, showed two basic forms of action art creation by young adults. Both forms are appropriate processual ways of self-realisation for the aforementioned group of actors; they are different in terms of processes but also suggest common premises.

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Mindful Observers

Mindful Observers

Author(s): Jutta Fischel,Konrad Stania / Language(s): English Issue: 2/2023

The importance of services running in the background is often overlooked. Museum wardens assume such a role. This project focuses on them. It works using the means of photography, interviews and the respectful design of the presentation of the project results in a gallery.

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Развитие на монтажния принцип като метод в изкуството на руския авангард
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Развитие на монтажния принцип като метод в изкуството на руския авангард

Author(s): Gergana Tabakova / Language(s): Bulgarian Issue: 4/2023

The text aims to present the approaches of the Russian avant-garde in different arts and the interaction between them. The study presents the artistic practice of the period as a broad-spectrum phenomenon which manifests the idea of synthesis. The montage is brought out as universal method in the context of the various arts. The article also claims that, gradually, the montage principle turns into an instrument of the avant-garde’s urges for synthetism. As a result, the montage method gives the artistic practices possibilities of renewal. The period’s practices and concepts that cons ainting, film, sculpture, theatre, and literature are analysed in relation to the aims of the text. For the purpose of analysis, the following are used: little-known Futurist books, Sergei Eisenstein’s views on montage, the artistic practices of Russian futurist poets, Malevich’s zaum painting, and others. Searching for the interaction between these, the text brings out more fully the role of montage as a creative and formal method of the avant-garde.

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T. ALPARSLAN BABAOĞLU, HOCAM MUSTAFA DÜZGÜNMAN

T. ALPARSLAN BABAOĞLU, HOCAM MUSTAFA DÜZGÜNMAN

Author(s): Sait AVCI / Language(s): Turkish Issue: 43/2023

Review of: T. ALPARSLAN BABAOĞLU, HOCAM MUSTAFA DÜZGÜNMAN, İSTANBUL: ALBARAKA YAYINLARI, 2020. (ISBN: 978-605-74931-7-0, 195 SAYFA).

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PRILOG UPOZNAVANJU GRAĐANSKIH PORODICA SARAJEVA: KULTURNO-ANTROPOLOŠKA IZLOŽBA “GRAĐANSKA KULTURA SARAJEVA”

PRILOG UPOZNAVANJU GRAĐANSKIH PORODICA SARAJEVA: KULTURNO-ANTROPOLOŠKA IZLOŽBA “GRAĐANSKA KULTURA SARAJEVA”

Author(s): Indira Kučuk Sorguč / Language(s): Bosnian Issue: 10/2023

The paper presents the results of the cultural and anthropological study “Urban Sarajevo Culture” – which, as the multi-media exhibition, got presented to the wider public. The study itself is based in oral history, historical methods, and random case and experiments method. It was displayed as a contemporary conceptual module. The main source in the research process are the citizens of the capital city who responded to the published public call of the Museum of Sarajevo to voluntarily, with understanding the intentions and initiative, participate in describing and interpreting the culture of their ancestors through preserved artifacts (documents, photographs, unique object of settlement culture, clothes, artistic portraits, letters, books etc.). By their personal engagement in the project sarajevan families demonstrated the readiness to, together with the museum professionals, constructively fill in the gaps in our history remembrance, and show the scope of urban culture of Sarajevo and the scale of its continuity. The paper brings particular results from the research of 24 urban families in Sarajevo that was, in whole, presented to the public from July 21st to August 3rd 2022 within Gazi Husrev-bey’s Hanikah in Sarajevo.

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Vandeningoji Lietuva Vytauto Didžiojo universiteto profesoriaus hidrologo Stepono Kolupailos akimis

Vandeningoji Lietuva Vytauto Didžiojo universiteto profesoriaus hidrologo Stepono Kolupailos akimis

Author(s): Solveiga Vasilevskė / Language(s): Lithuanian Issue: 21/2023

University, hydrologist, social activist, chairman of the Lithuanian Photographic Amateurs’ Union, and the patron of the Scouts. At the same time, he was a passionate nature lover, initiator and organiser of water-based tours around Lithuania. The aim of the article is to describe Prof. Kolupaila’s contribution to the history of photography and popularisation of water tourism in Lithuania, on the basis of both visual and written sources. The article is mainly based on the photo album compiled by the hydrologist and stored in the Vytautas Magnus War Museum, containing 1318 images taken between 1934 and 1935. These graphic sources emphasise Kolupaila’s actions in researching Lithuanian water bodies, mentoring young scouts, and encouraging them to learn about their homeland. Kolupaila’s photographic legacy depicts virtually the whole country of Lithuania in the mid-1940s, including cities, towns, and villages, as well as rivers, lakes and other bodies of water, bridges, water measurement stations, and other objects. Some of the locations photographed have since been considerably altered or destroyed; consequently, capturing them at the time is vital and relevant today. Kolupaila’s album of photographs is considered micro-history, since these visual sources illustrate the hydrologist’s actions in a short period of time, revealing the wider settings of ordinary life and cultural history at the time.

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МУЛЬТИМЕДІЙНИЙ КОНТЕНТ БЛОГОСФЕРИ ЯК ІНСТРУМЕНТ ІНФОРМАЦІЙНОГО ВПЛИВУ

МУЛЬТИМЕДІЙНИЙ КОНТЕНТ БЛОГОСФЕРИ ЯК ІНСТРУМЕНТ ІНФОРМАЦІЙНОГО ВПЛИВУ

Author(s): Maria Komova,Dariia Primakova / Language(s): Ukrainian Issue: 3/2023

The purpose of the study is to determine the resources of the information influence of the content of the blogosphere of the Internet publication "Censor.NET". To realise this goal, it is necessary to solve the following tasks: perform a thematic analysis of the multimedia content of the blogosphere; analyse the performance of content topics; establish a typology of visual materials; determine the productivity and artistic features of using different types of content visualisation. The research methodology lies in the use of general scientific methods of analysis, synthesis, logical generalisations, the application of which made it possible to establish the thematic focus, typology of visualisation of textual information, their role in the implementation of informational influence on users of the blogosphere of the Internet publication "Censor.NET". The use of synchronous slice and statistical methods made it possible to establish quantitative indicators of the leading topics of posts in the blogosphere and types of visualisation of the analysed text. The synchronous slice is formed on the basis of a sample population. Visualisation was used to present the results of the study, in particular, regarding the topic of posts in the blogosphere and the types of visualisation of the analysed text. The scientific novelty of the work consists in the synchronous monitoring of the thematic direction and forms of visualisation of the content of the online publication, which makes it possible to evaluate its possibilities of exerting an informational influence on readers. Conclusions. The content of the blogosphere on the "Censor.NET" platform is a combination of textual and visual information. The thematic structure of the blogs indicates the top problems that are related to the political, military, socio-economic conditions of life in the country caused by the Russian-Ukrainian war. The content of the blogs indicates a high level of social instability, the expectation of aggression, as well as the activities of the Ukrainian authorities in relation to today's complex challenges. The most common visualisation methods include photos, screenshots, and videos. The specificity of the multimedia content of the blog is determined by the features of the blog platform and the nature of the publications. A blog with an optimal ratio of text and visual information helps to attract a wide target audience of readers, to exert an informational and emotional influence on them.

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Knjiga napisana plamtećim žarom

Knjiga napisana plamtećim žarom

Author(s): Zvonimir Stjepanović / Language(s): Croatian Issue: 134/2023

Review of: Mato Dominković, ŠTITARSKA FOTOSPOMENICA, Osnovna škola Ivana Martinovića Štitar; Štitar, 2023.

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