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"Declaration of Immortality" – Inspirations Derived from Creative Documentaries by Wojciech Wiszniewski

Author(s): Urszula Tes / Language(s): English / Issue: 24/2014

In his documentary Declaration of Immortality, Marcin Koszałka intentionally refers to the style of Wojciech Wiszniewski. Visual creativity is strongly exposed here, both in the style of filming and the presentation of the hero. The main character in the film, Piotr Korczak, reminds of the monument-like heroes from Wiszniewski’s films, like protagonist from Wanda Gościmińska. A Weaver Koszałka filmed the scenes in the Potocki Palace in Krzeszowice in the manner of Wiszniewski’s long tracking shots. Visual creativity in Koszałka’s and Wiszniewski’s films encompasses the staging, precise frame composition, and their intentional artificiality, which does not nullify the documentary their nature. Form in the works of the directors of Primer (Wiszniewski) and Declaration of Immortality (Koszałka) interacts more or less with the spirit of Stanisław Witkiewicz’s art. Koszałka, like Wiszniewski, ‘dismantles’ reality, exposing the illusion of cinema to present a guru of mountain climbing (Korczak) as a ‘hostage of immortality’. The lonely hero from Wiszniewski-like staged scenes in Declaration of Immortality is presented as an ‘outgoing star’ whose fame has passed, giving way to alienation or a sense of failure. The tension from Declaration of Immortality emerges from the contrast between the way of filming (heroic style), and the meaning of particular scenes. The cinema of Wojciech Wiszniewski includes symbols, metaphors, and allegories. Th is artistic conception goes well with Marcin Koszałka’s concept of cinema, which – since the making of Existence (2007) – has become more and more symbolic, incorporating Baroque-like formal ideas based on strong contrasts to evoke ‘cognitive discomfort’ in the viewer.

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"Kairos" fotografii – moment i wartość

Author(s): Joanna Spalińska-Mazur / Language(s): Polish / Issue: 2/2011

Since we have handed over the manufacturing process to machines, the art-photographyreaches the limit where creation is identified with cropping. The article essentially focuseson works by Georges Rousse, who can hardly be placed in the indicated paradigm and whooften declares that his painting interventions in places of different architecture result fromhis drive for sanctification of the places that may disappear or become empty. In case of thistype of activities, we are not dealing with the reflection of the actual history of the placesor a narrative that can be presented, but with the exploration of the possible time orders –not so much logical as imaginary; we are dealing with a higher register of sensations – withheterotopia. Geometric and monochromatic paintings that Rousse creates, based on simplearchitectural patterns to better modify the perception, disappear along with the places thatcontain them. The explosive moment of this art-photography, its kairos, urges the audienceto learn the mystery of the documented places; to travel in search of their original shape andenergy.

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"La buona figliuola" Carla Goldoniego a "Czekina albo cnotliwa panienka" Wojciecha Bogusławskiego

Author(s): Edyta Grzywaczewska / Language(s): Polish / Issue: 2/2015

„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.

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"Libuse" by B. Smetana in terms of culture the national glorification

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian / Issue: 1/2020

The purpose of the article is to highlight the positions of the current side of the Opera concept of "Libushe". It is relevant for the modern creative life of Smetana, where the signs of national glorification are concentrated, indicative, as a principle of expression, for the postmodern and post-postmodern cultural space. The methodology of the research is based on art criticism focusing on the culture of glorification. It comes from the cult instructions in the concept of P. Florensky, developments in the culture of dithyramb in O. Losev, ideas about the religious and cult principles of positive ritual in E. Durkheim. Art criticism in the development of cult installations of B. Asafiev's research considers the principles of consideration of the composition "Libushe" by B. Smetana and defines analytical, historical-descriptive, comparative-stylistic, interdisciplinary-comparative methods. The scientific novelty of the work is as follows: for the first time in the domestic cultural studies and artistic developments focused attention on the cultural phenomenon of worship as part ofthe expression of the national idea of the composition of the musical-a stage performance called Opera. Conclusions. Generalization of the spiritual-semantic and dramaturgical specifics of "Libushe" Would. B. Smetana allows us to put forward the concept of quasi-liturgical content of the named work. This poetics reveals creative and ideological parallels to the stage performance of "Ruslan and Lyudmila" by M. Glinka as the "Slavic Liturgy". According to B. Asaf'ev, both before Wagner's musical and theatrical heritage and its mythopoetic attitudes and before the Pasion of J. S. Bach-piest, he realized that Lutheranism was in contact with the Byzantine liturgical practice.

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"Miejsce urodzenia" Pawła Łozińskiego jako mnemotopos

Author(s): Magdalena Roszczynialska / Language(s): Polish / Issue: 2/2017

The author presents the film directed by Paweł Łoziński, Place of Birth (Miejsce Urodzenia,1992), in the categories of a multidimensional memory place, which, as a sort of workdone on the material of the past, can be characterized by definition as an object in action,a performative. She describes the movie using the concepts of affect, trauma culture andcollaborative authorship. The movie is presented as: a comparative place of memory, anarchive, trauma experience catalyst, trauma translator, a performative shaping a non-memoryplace into a mnemotopos – depending on the perspective/status of the author instance.

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"O, Małgorzato, będzie na bogato". Dynamika swojskości i światowości w ikonografii wideoklipów disco polo

Author(s): Monika Rawska / Language(s): Polish / Issue: 15 (22)/2016

The author traces the phenomenon of disco polo music and analyses the video clips of popular musicians from the 90’s (Shazza and Boys), comparing them with modern visual representations (Mig and Niecik), following the idea that what made and still makes this music genre popular is the specific tension between familiarity and wordliness.

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"Patrzył na wszystko jakby przez wizjer" - fotografia w "Walcu z Baszirem" Ariego Folmana

Author(s): Agnieszka Powierska / Language(s): Polish / Issue: 25/2015

The article analyzes the theme of photography in Ari Folman’s Waltz with Bashir (2008). It shows the relation between photography and narration as well as similarities between the way the photographic medium functions and the mechanisms of trauma. The author points out that Folman’s documentary film uses the theme of photography as a metaphor for the characters’ emotional distance to what they experience.

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"Quo Vadis?" by Enrico Guazzoni and "Quo Vadis?" by Gabriellino D’Annunzio: Production – Dramaturgy – Reception

Author(s): Anna Miller-Klejsa / Language(s): English / Issue: 18 (25)/2017

The paper concentrates on two feature films based upon Henryk Sienkiewicz’s novel about ancient Rome – "Quo Vadis?" (dir. Enrico Guazzoni [1913]) and "Quo Vadis?" (dir. Gabriellino D’Annunzio, Georg Jacoby [1925]). Both films belong to the peplum genre, popular during the era of silent cinema. The paper reconstructs production circumstances of both films as well as their historical reception. It is argued that both films can be seen through the prism of socio-political contexts, including the colonial ambitions of the Italian state.

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"Rzodkiewki" Janusza Morgensterna

Author(s): Marek Hendrykowski / Language(s): Polish / Issue: 19/2012

Marek Hendrykowski’s essay presents the importance of Janusz Morgenstern’s early short film Radishes made after Stalin’s death, in 1954 as a student work produced by Film School in Łódź. The main character, old worker Gruliński loses his clear hopes and human illusions. The pessimistic conclusion is closed further by the simultaneous description of the hero’s social image within a discourse of origins and the sacred which evacuates analysis of class conflict and sociological approach in the narrative of an “ordinary good man” brutally disturbed in his desires and works by the irruption and power of an omnipotent destructive Stalinist “red tape” bureaucracy. The poetics of Radishes is deeply influenced by the style of an Italian neorealism, first of all by its famous masterpiece, Vittorio De Sica’s Umberto D. (1952).

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"Serc starania stracone" - szekspirowskie libretto Wystana Hugh Audena i Chestera Kallmana

Author(s): Tomasz Kowalski / Language(s): Polish / Issue: 13-14/2009

The article deals with the most significant changes the authors introduced in order to adapt the Shakespearean play to operatic requirements, e.g. reducing the number of characters, ascribing new parts to some of the characters remaining or balancing female and male voices on stage. An analysis is made here also of the flow of time inscribed in the libretto and the significance of the scene when the messenger comes to the Princess, saying that the King of France is dead. Their symbolism is interpreted with the additional contexts that were provided by W.H. Auden’s lecture on Love’s Labour’s Lost, which are: court love, court manners, euphuism and the Platonic philosophy and its continuations. This philosophical context allowed both poets to read the play as a process of gaining knowledge of life and feelings which the King of Navarre and his courtiers had declared to study in their academy, but never succeeded.

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"Suszyć, skruszyć, zmielić, zważyć". Kino gatunków a filmy z Panem Kleksem

Author(s): Radosław Pisula / Language(s): Polish / Issue: 15 (22)/2016

Polish genre cinema in the time of Polish People’s Republic was in stagnation due to the sociopolitical situation. Limited access to the thriving foreign film industry suppressed a natural evolution within the genre cinema. However, the liberalization of stagnant and overly politicized rules in the communist film industry brought change in the 1980s.The government used to saw movies as a way to sell propaganda in the country. This cultural revolution was marked by the appearance of a new generation of directors, similar in some ways to American New Hollywood; rise of a VCR market and laxity of political restrictions.One of the best representatives of this progression is the Mr. Kleks movie trilogy. Adaptations of Jan Brzechwa’s cult book series: Academy of Mr. Kleks (1983), The Travels of Mr. Kleks (1985), Mr. Kleks in Space (1988). All of theme were directed by Krzysztof Gradowski. The series is a perfect example of a genre-melting pot. Something unprecedented in the Polish cinema.Although there are many radically different conventions in the story, the narrative is very coherent. The release of the first installment clearly marks the beginning of the transformation in the Polish film industry.In the article, I will present the ways in which the film genres are functioning in the Mr. Kleks movies and analyze how these highly original productions were part of a turbulent period of transformational change in communist Poland.

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"The Message of Protest”: Artistic Expressions of Punk / Hardcore Subculture Ideas

Author(s): Reda Šatūnienė / Language(s): English / Issue: 1/2008

Nekomerciālā panku / hārdkora subkultūra izveidojās no britu pankiem un amerikāņu hārkora 20. gadsimta septiņdesmito un astoņdesmito gadu mijā. Galvenās panku / hārdkora subkultūras iezīmes iemieso pankroka brīvības, kritiskās domas un vienlīdzības principus. Lietuvā daudzas jauniešu subkultūru paražas ienāca pēc valsts neatkarības atjaunošanas 1990. gadā. Raksts pievērš uzmanību nekomerciālās panku / hārdkora subkultūras idejām un vērtībām, kādas ietvertas lietuviešu trafaretu mākslā. Raksta empīriskais materiāls ir savākts, pateicoties atbilstošai metodoloģijai un kvalitatīvam (etnogrāfiskam) lauka pētījumam, kas veikts 2005.-2007. gadā. Raksta autore secina, ka panku / hārdkora subkultūras idejas - protestēšana pret "Sistēmu", ekonomisko un politisko uzkundzēšanos, patērētājfilozofiju, konformismu un starptautiskajām aliansēm - izpaužas trafaretu mākslā. Tā atklāj globālās un vietējās sociālās, politiskās un ekonomiskās aktualitātes.

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"Vidi coelum novum et terram novam". Treści ideowe i geneza form Kaplicy Matki Boskiej Karmelitańskiej we Frydmanie

Author(s): Maria Kazimiera Staniszewska / Language(s): Polish / Issue: 17/2017

The paper deals with the chapel located by the parish church in Frydmanin the Spiš (Scepusium) region, founded by the local parish priest Michał Lorencs in 1764.The interior of the octagonal building, is fitted with a homogeneous set of furnishingsconsisting of a centrally located two-sided retable surmounted by a unique shrine inthe form of a glazed star, and numerous wooden sculptures decorating niches in the walls.The chapel used to be a pilgrimage site and became the founder’s resting place. The paperdiscusses the history of the chapel, the religious and political context of its foundation aswell as problems explored in earlier studies, both popular and scholarly ones, with specialattention devoted to the article by Jan Białostocki and Adam Miłobędzki, from 1957, thathas served as a crucial point of reference in the existing interpretations of the chapel.Further, the article attempts to elucidate the still unresolved problem of the origins of thechapel’s plan and forms of its retable, pointing to the traits they share with the sacred architectureof pilgrimage sites, particularly shrines. The Chapel of the Holy Shroud in Turin hasbeen suggested as the closest counterpart for the Frydman chapel as far as its architecturalplan, the retable type and the way of displaying relics are concerned. The soft, flowing linesof the a-tectonic forms of the retable, in turn, seem to resemble South-German small-scalearchitectural church furnishings from the mid-eighteenth century.As far as the message carried by the decoration of Our Lady of Mount Carmel Chapel isconcerned, selected Old- and New Testament figures, depicted in the retable and wall niches,have been identified, and particular themes represented in the above decoration have beendetermined. The first, sepulchral, theme is manifested in the unmarked burial site of FatherLorencs, located ad sanctos, in the immediate proximity of the relics of catacomb saints.The next, Carmelite, theme is related to the Scapular Confraternity that had been associatedwith the chapel and church. The paper discusses also the Marian symbolism of the chapel,already explored to some extent in earlier literature, and its prominent Christological andEucharistic themes, which have hitherto not been adequately examined. In conclusion, OurLady of Mount Carmel Chapel is considered as a symbolic representation of the HeavenlyJerusalem and a powerful profession of faith in the intercession of saints and the Virgin Marybefore God.

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"Wieczór" Edwarda Żebrowskiego - autorska kopia

Author(s): Andrzej Szpulak / Language(s): Polish / Issue: 19/2012

The aim of this article is interpretation of the short film directed in 1964 by Edward Żebrowski, student of Film School in Łódź. Author is considering the many aspects of the relationships between study film and two years earlier debut of Roman Polanski, the famous Knife in the Water. He shows that by using the concept of feature of more experienced colleague, Żebrowski at the same time creates the foundations for his own film language and manifests its own perception of the world, as well as interpersonal problems, developed in further work.

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"Вогняний ангел" В. Брюсова та С. Прокоф’єва: погляд крізь призму "експресіоністичного Бедекера"

Author(s): Mariya O. Shavsha / Language(s): Ukrainian / Issue: 4/2011

A presence is proved in the article of lines of expressionism in the novel of V. Bryusov the "Fiery angel" and in opera of S. Prokof'ev with the same name.

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"Культуротворческий синтез" в реалиях музыкального искусства рубежа ХІХ–ХХ веков (на примере хоровых произведений С. Танеева)

Author(s): Nataliia Shvets / Language(s): Russian / Issue: 2/2015

The problem of integration, synthesis of multistyle sources, variety of ways of style trends reciprocity in choir cycle "Twelve choires a cappella for mixed chorus" or. 27, words written by Y. Polonsky, from the point of view of preservation and rethinking of traditions and style synthesis is investigated in the article. The trend of style synthesis, assimilation of models of previous epochs brightly shown in S. Tanieyev’s creative activity, whose potential was shaped and carried out during the period from the late XIX – early XX centuries, explicitly stands out as one of the leading trends in pluralism of styles defined by the turn of centuries, in complicated mixture of various style orientations (search of the new, separation from traditional systems, and, at the same time, strive for balance, compensation, preservation of progressive development of art). The aim of the article is to find out variety of ways style trends reciprocity, style synthesis effectiveness in the author's compositions as the expression of important style processes of the given period. Being a representative of musical romantism in historical sense, S. Tanieyev, at the same time, appealed to models deeply intellectual in music art: Renaissance, barocco, classicism. The search of something new together with assimilation and rethinking of traditions appeared in several aspects of S. Tanieyev's activity. The key point of S. Tanieyev's spiritual world and supreme tradition turned out to be philosophy. There is a resonation with Bach concepts of creative activity, with the problematics of classicism as well as with ethic essence of the Russian religious philosophy of the Silver Age in his reference to massive philosophic and ethic problems, in understanding the need in constant pursuit of ethical perfection, of the themes of complexity and counterpoint of the world, which means the unity of polar and, at the same time, cooperating beginnings of "life – death". Connection with barocco tradition possesses a special place in S. Tanieyev's heritage of chorus compositions. Russian chorus music owes to the author's creation of mastery and extraordinary compositions in different genres – opera chorus, cantatas, certain chorus a cappella, massive chorus. A very important place in composer's activity, in his theoretical concept, is devoted to polyphony – a significant achievement of the Renaissance and barocco. The author’s relying on rhetoric resonates with both barocco traditions and symbolist poetics of the late XIX – early XX centuries. Using music and rhetoric shapes, generalization, conventionalism, whose "eternal meaning" gives them the meaning of an emblem, symbol of certain notions, the compose tried to "decode", "interpret" the deep sense of poetic content, fill a note text with spiritual programme. Textual and compositional structure of Tanieyev's choires are rather difficult, and can be revealed only to those listeners, who are aware of barocco music lexis. The motive of chross – a symbol of chross agony – is emphasized among the most significant ones. It is this very shape which ties chorus cycle on Y. Polonsky's words. Austerity, ascetism, concentration of the motive resonates with the content of the text in those its parts where this music symbol is introduced. Rhetoric sign is included into extremely important, philosophically significant in dramatic sense moment of the cycle. A drawing of a circle (circulatio – turning around) became one of the most intensive and meaningful signs in S. Tanieyev's choires. It is associated with the idea of eternity, incredible beauty and verity in barocco music. In intonation dramatism of choires there can be found other music and rhetoric shapes as well, which are important for the dramatism of the whole. Thus, rhetoric shape anabasis, which denotes the symbol of resurrection in barocco music, appeares mostly in choires apealling to reveal lyrical beginning. Catabasis (a symbol of dying, a sign of sorrow, "putting into coffin" on barocco music) can be seen in the cycle of choires where there is a tense and dramatic beginning. Such rhetoric shapes as passus duriusculus, saltus duriusculus are applied to express mourning, suffering. Due to their fixed and stable semantics these music shapes were turned into "signs", emblems of certain feelings and concepts. Detailed study of means of music expression revealed polyphonism of S. Tanieyev's thinking. His massive chorus cycle became the ideal of reciprocity of different style trends in art, showing the ties between epochs, defining integrity of composer's style.

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"Музикалната естрада продължава да живее в културната памет на българите"

Интервю с Розмари Стателова за новата й книга 'Естрада и социализъм: проблясъци'

Author(s): Zhana Popova / Language(s): Bulgarian / Issue: 5/2019

Interview with Rosemary Statelova about her new book „Estrada and Socialism: Glimpses“

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"Пение на фортепиано" как образ инструментa

Author(s): Fan Lu / Language(s): Russian / Issue: 2/2017

Purpose of the research. The article deals with the tradition of "singing on the piano" and reveals its essence as one of the most important images of the instrument in the history of its evolution. Methodology. The research methodology is based on the methods of elementary theoretical and structural-genetic analysis and synthesis, historical, comparative and systemic methods of epistemology. Scientific novelty. Scientific novelty of this study lies in considering the centuries-old tradition of "singing on the piano" as a special image of the instrument, as well as in studying the factors of appearance, development and constant relevance of this image of the piano. Conclusions. The representation of the piano as a melodious instrument confirms the categorial potential of the concept of "image of the instrument". In the realization of "singing on the piano" the main thing is the implicit extrapolation of the concept of voice, this the most expressive tool in the musical and sound arsenal of man, on the opposite to voice in their physical properties possibilities of the piano. The illusion of "singing on the piano" creation of which requires the efforts of composer, performer and listener is one of the most interesting, meaningful and productive "images of instrument" in the history of musical art.

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"Рух до правитоків" у російському мистецтві початку ХХ століття

Author(s): Valentina Redya / Language(s): Ukrainian / Issue: 2/2011

The article is devoted to the "Scythian issue" in the context of Silver age culture as the new image-thematic sphere in Russian art, which romantically poeticized historic events through the prism of archaic. Appeals of local artists of the beginning of the 20th century (poets, painters, composers) are tracked back to ancient sources, which presented the opportunity to comprehend spiritual values and renewal of artistic system.

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"Сто тисяч" Миколи Мерзлікіна 1968 р.: режисерський метод

Author(s): Nina Gusakova / Language(s): Ukrainian / Issue: 1/2018

The purpose of the article is to study separate aspects of Mykola Merzlikin director’s method. The methodology of the research is based on historical, systematic and informational approaches, analyses and syntheses methods. Scientific Novelty. There are materials in the article that have been collected for the first time and give a general understanding of creative director’s approach of Mykola Merzlikin, famous Ukrainian stage director and teacher. The article is based on one of his earliest and most essential performances "One hundred thousand" written by Ivan Karpenko-Kary and staged in 1968. There is also analysis of Theatre for Young Audiences of that time. Due to the situation in the theatre and the country in general an information about bright creative experiments of Merzlikin and other stage directors wasn’t fully disclosed. Conclusions. There is a research of Mykola Merzlikin director’s method in the article. It is based on "One hundred thousand" play staged in 1968. The play was one of Merzlikin’s earliest performances and one of the most important events in Ukrainian theatre life in the late 1960s, according to those times and contemporary critics. "One hundred thousand" is a classical play. However, it became an experimental field in plastic and scenography, acting and character interpretation for the yang stage director. Although Merzlikin director’s method was an innovative working approach ahead of its time, the director performed the play again in 1990 opening a new exciting meaning and relevant point of view.

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