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Spiritual Crisis as a Sign of Time: the Projection of the Problem in the Fiction of the Slavic World

Spiritual Crisis as a Sign of Time: the Projection of the Problem in the Fiction of the Slavic World

Author(s): Tatiana Hajder / Language(s): English Issue: 11/2019

The article discusses the phenomenon of spiritual crisis as a typical attribute for each transitional era. Fiction is always sensitive to all the changes in the spiritual, ethical and philosophical components of society. Therefore, the appearance of certain motifs or plots in the works of Ukrainian and foreign modern writers, who are representing Slavic literature can serve as an indicator of the morality and spiritual health of society. Spirituality is often measured by the degree of religion. The spiritual crisis gives rise to readiness to return to sources and traditions, which for the vast majority of the European readers is Christianity. The purpose of this article is to identify the most typical motifs in modern Slavic (Ukrainian, Polish and Russian) literature, which indicate an individual spiritual search at the turn of the ages. Fiction has always been designed to influence the formation of human values. The appeal of modern writers to the problem of faith and faithlessness or belief in various non-Christian cults (esoteric, mystical, neopagan, etc. cults) in the modern world indicates that our civilization is experiencing a deep spiritual crisis and it is literature that can reflex the process of their exit. In this way, the reader rethinks the problems that humanity is facing more and more often. This is loneliness, lack of close and deep connections between people, disbelief, which causes weakness and fear of tomorrow. Thus, motifs and plots, primarily borrowed from Christian doctrine, are understood as an attempt to determine the path to mental equilibrium.

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Cultural Journalist Eminescu and the Theatre from Bucharest

Cultural Journalist Eminescu and the Theatre from Bucharest

Author(s): Iulian Bitoleanu / Language(s): English Issue: 1/2016

Eminescian cultural journalism means to dedicate several articles to literature, language, folklore, theater, religion, education and culture. In this paper, I pointed out that, of the 20 items about theater, 11 are dramatic chronics and 9 are theatrical dissertations. Like inter-war Camil Petrescu, the journalist Eminescu exceeded in the 8th and 9th decades of the nineteenth century and reviewed the status on all facets of this art of Thalia. From the hottest actors, performers game, fame authors, director role - intrinsic problems - from economic and sociological literature, such as salaries, the attitude of theatrical heads (anagers) public empathy. Success depends not only on the performance on stage or the sounds of the playwright - among those approached by the journalist: Sophocles, Hugo, Scribe, G. Sand, Shakespeare, Gogol; the great interpreters of the time, Millo, Eufrosinia Popescu, Petre Velescu can have moments of apathy, which would seriously damage public success. So there may be less visible factors in scenic representation of a dramatic work. Polyphonic journalist by vocation, Eminescu sensed the thorny issues in theater and objectivity made him take matters into his own hands, regardless of the consequences. Criticism in socio-political area was manifested in the theater area, the targets being artists, designers, directors... The dramatic analyst never spared anyone, not even the president of the Theatre Committee, Ion Ghica. Disavowed demanding cultural journalist, the columnist impugned order and stunned the cultural world of the time with the vastness of his knowledge in comedy, tragedy, drama. Eminescu had sufficient documentation about French, German, and even American theater! He was intrigued that we still hadn’t had a national repertoire - I flaw unsolved by Kogalniceanu's and Alecsandri’s forty-eighters. Moreover, sarcastic theatric commentator every now and then showed by a kind of tabula rasa that very few actors would be credited as a professional in his opinion: Alecsandri, Hasdeu, Deparateanu. He omitted himself, supreme proof of modesty. Eminescian theatrical publicity catches the eye with the deep views, by drilling haze layers of text, and by alert, concise and elastic phrasing, not once connotative, aphoristic. There is even a study where Eminescu can afford a theatrical bet. In general, he remains a vigilant theater analyst, perhaps the most active of his period, being a forerunner to Nicolae Filimon.

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Човекът във виртуалната общност

Човекът във виртуалната общност

Author(s): Gergana Georgieva / Language(s): Bulgarian Issue: 4/2018

The introduction of the term “virtual community” is accredited to the American writer, critic, teacher and freelance journalist Howard Rheingold and his seminal book from 1993 The Virtual Community: Homesteading on the Electronic Frontier. He theorizes the virtual communities as “social aggregations that emerge from the Net when enough people carry on those public discussions long enough, with sufficient human feeling,to form webs of personal relationships in cyberspace.” In his book Rheingold reflects on computer-mediated communication based on his own experience with one of the oldest and still functioning virtual communities The WELL (from Whole Earth ‘Lectronic Link), created in 1985. What are the types of the virtual communities and their characteristics and attributes? What is the life cycle of a virtual community and what are the different levels of interaction of its members? What are the main elements of the digital citizenship? Ever since the 90s of the 20th century the definition of the virtual community has been evolving and upgraded by a number of researchers in the field of the new technology-mediated communications. The rapid development of technology and their growing presence in everyday life pose more and more questions in front of theorists and practitioners.

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LORENZO LOTTO VS. GEORG LEMBERGER. UNA STORIA D’INVENZIONE

LORENZO LOTTO VS. GEORG LEMBERGER. UNA STORIA D’INVENZIONE

Author(s): Giulio Angelucci / Language(s): Italian Issue: 1/2018

Lorenzo Lotto vs. Georg Lemberger. The Story of Invention. This contribution is a new excerpt from the research Lotto vs. Lemberger. Due dipinti politici di soggetto religioso intorno al 1522. It is its second section published after the one which appeared in 2017 on issue no. 1 of «Historia Artium» with the title Lipsia 1522. L’Epitaffio Schmidburg di Georg Lemberger. Religione, Politica e Pittura. This work has started from a comparative analysis of the Lemberger’s Schmidburg Epitaph and the Crucifixion by Lorenzo Lotto at Monte San Giusto. It has deliberately ignored the fact that the two paintings belong to two very different socio-cultural environments, that they have always remained separated from each other by more than one thousand kilometers and that they appear antithetical if considered from a stylistic and religious perspective. Being aware of such differences, the singularity of the compositional structure shared by the two paintings has brought to a parallel analysis of the three different sections in which both of them are articulated. In this structure, the simultaneous presence in the same sequence of three different genres of visual representation has been identified. In both works and in the same vertical sequence, appear in fact: the Icon (the Crucifixion, in the upper part); the Illustration (the characters and actions on the Golgotha, in the middle part); the Narrative (in the lower part, where the image of the customer is presented in a context which offers the key for a political interpretation of the whole painting). Being analyzed independently from each other and in a comparison between the two works of art, the three sections of the image have revealed such analogies to allow an interpretation of the occurring variations based on rhetoric, as if Lotto had intentionally confuted the religious theses illustrated by Lemberger. This contribution contains two paragraphs which are specular to those published on the 2017 issue of «Historia Artium» and dealing with the lower section of the German work of art. They analyze the lower section of the Italian work of art: here, Narrative is identified under the fallacious appearance of the Lamentation at the Foot of the Cross, and the content to which this narration is functional is being interpreted.

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PROPAGANDA IMPERIALĂ ȘI MEDALISTICA. SECOLELE XVII-XVIII

PROPAGANDA IMPERIALĂ ȘI MEDALISTICA. SECOLELE XVII-XVIII

Author(s): Claudia M. Bonţa / Language(s): Romanian Issue: 1/2018

The Imperial Propaganda and Medalistics. XVII-XVIII Centuries. The propaganda for official politics was an important issue. Literature and arts were used as propaganda means. Beyond the written word, the image succeeded in direct, strong transmission of the desired message. Thus art has become a very efficient propaganda tool. The propagandistic impact of the official painting caused the large numbers of medal issues dedicated to historical-celebrative themes by the House of Austria in the 17th – 18th Centuries.

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DIE KUNST – UND KULTURZEITSCHRIFTEN DAS ZIEL, DAS NEUE ZIEL UND OSTLAND – „FOREN EINER SCHAFFENSFREUDIGEN GENERATION”

DIE KUNST – UND KULTURZEITSCHRIFTEN DAS ZIEL, DAS NEUE ZIEL UND OSTLAND – „FOREN EINER SCHAFFENSFREUDIGEN GENERATION”

Author(s): Gudrun-Liane Ittu / Language(s): German Issue: 1/2018

Revistele de cultură şi artă Das Ziel, Das neue Ziel şi Ostland –„platforme ale unei generaţii creative”. În atmosfera de entuziasm care se instalase după încheierea Primul Război Mondial, la Braşov au apărut revistele de artă şi cultură Das Ziel/Ţinta şi Das neue Ziel/Ţinta nouă, iar la Sibiu Ostland/Ţara de la răsărit, cu scopul de a oferi cititorilor posibilitatea familiarizării cu creaţiile modernismului şi ale avangardei. Aceste publicaţii îşi propuneau totodată să ofere tinerilor creatori platforme de exprimare. Dificultăţile economice precum şi conservatorismul publicului au dus la dispariţia rapidă a celor trei periodice, care în ziua de azi sunt rarităţi bibliofile. În ciuda scurtei lor apariţii, Das Ziel, Das neue Ziel şi Ostland au avut o contribuţie incontestabilă în dezvoltarea artei plastice a germanilor din Transilvania în perioada interbelică.

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Информационен кръговрат

Информационен кръговрат

Author(s): Lachezar Tochev / Language(s): Bulgarian Issue: 1/2017

From the emergence of social facts to turning them into socially meaningful information, a process similar to circling water in nature takes place. We can identify several entities that interact: the creator of the social fact, namely the Creator System; the system of publicly relevant information, which is the group of subjects and their relationships, which have the role of disseminators of publicly important information. The receiving system, which includes a source system. The circle closes. The energy we need to move this circle can be found in the aspirations of individual groups of society to guide the core social activities - capital, production and redistribution.

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Българският метъл от двата края на Желязната завеса – подстъпи към темата

Българският метъл от двата края на Желязната завеса – подстъпи към темата

Author(s): Plamena Petrova / Language(s): Bulgarian Issue: 2/2017

Bulgarian metal music and its media images have changed significantly since the appearance of this music in Bulgaria. Metal functions in a different way in society and media before and after 1989. The differences in metal music and its media coverage in the two outlined periods are significant, due to the differences in the socio-political system and the media environment. During the 1980s, metal faces challenges, related largely with the attitude towards it. At the end of the decade, heavy music starts to become a part of the media landscape and festival programs. The mainstreamisation of Bulgarian metal starts to unfold in the 1990s. Bulgarian metal and its media images continue to change.

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(ПОСТ)МОДЕРНИЗАЦИЈА НА МАКЕДОНСКИОТ ТАНЦОВ КОНТЕКСТ

(ПОСТ)МОДЕРНИЗАЦИЈА НА МАКЕДОНСКИОТ ТАНЦОВ КОНТЕКСТ

Author(s): Sonja Zdravkova-Džeparoska / Language(s): Macedonian Issue: 2/2014

At the beginning of the 21st century, what does “postmodern art” mean? Where can it be positioned in Macedonian cultural space? In what condition is dance in Macedonia as an art form? What are the new trends? Through these questions, this essay will explore certain procedures which are integrated into artistic products. The mixing of various stylistic forms or layers of culture is no longer a novelty, but rather one of the postulates of postmodern art. Dance, with its certain strictly defined rules, appears to be a hermetically sealed system that does not change (which is true to some extent in terms of classical productions), but it inevitably, especially with new choreography, is unable to avoid influence from general developments in the arts and society. One of the notable changes in dance is a blend of elements from popular culture with artistic dance. This essay will attempt to define some processes that gain relevance through new dance settings. Specific trends will be elaborated upon not only through an analysis of specific examples, but also through seeking to provide a theoretical answer to this new type of artistic creation.

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ПРИМЕНА НА ИНФОРМАТИЧКО-КОМУНИКАЦИСКАТА ТЕХНОЛОГИЈА НА СТУДИИТЕ ПО МУЗИЧКА ПЕДАГОГИЈА: МУЗИЧКА АКАДЕМИЈА ВО ПУЛА, ПРИМЕРИ НА ДОБРА ПРАКТИКА

ПРИМЕНА НА ИНФОРМАТИЧКО-КОМУНИКАЦИСКАТА ТЕХНОЛОГИЈА НА СТУДИИТЕ ПО МУЗИЧКА ПЕДАГОГИЈА: МУЗИЧКА АКАДЕМИЈА ВО ПУЛА, ПРИМЕРИ НА ДОБРА ПРАКТИКА

Author(s): Lada Duraković / Language(s): Macedonian Issue: 3/2015

The competence for the use of advanced technologies is considered an extremely important competence for working in the teaching process. Their importance for education has been recognised at all levels, most of the basic documents linked to education point out that during their education young people have to acquire the basic competences which will qualify them for their use. The direct work with students at institutions of high education and the research of pedagogic practice have shown that the use of ICT influenced the visible improvement in the preparation of teaching tasks, the performance of individual lectures and the realisation of teaching units during faculties or schools’ lessons. This article offers examples of application and design of multimedia tools by which the students of the Pula Music Academy have contributed to the music-educational practice.

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ИСТОРИСКО-ТЕОРИСКИТЕ ПРЕДМЕТИ И НИВНАТА ПРИМЕНА ДЕНЕС НА ФАКУЛТЕТОТ ЗА ДРАМСКИ УМЕТНОСТИ – СКОПЈЕ - КОМПАРАТИВНИ ПРИМЕРИ -

ИСТОРИСКО-ТЕОРИСКИТЕ ПРЕДМЕТИ И НИВНАТА ПРИМЕНА ДЕНЕС НА ФАКУЛТЕТОТ ЗА ДРАМСКИ УМЕТНОСТИ – СКОПЈЕ - КОМПАРАТИВНИ ПРИМЕРИ -

Author(s): Ana Stojanoska / Language(s): Macedonian Issue: 3/2015

This study is created as a kind of review of the work of the historical - theoretical subjects and their plausibility in modern theater education. Primary focus is our sets in compare with world standards. New age, information society, social networks, search for new knowledge. New technologies are changing the theater. Today’s theater has several parallel “battles” that leads, which are designed to make it more accessible and more responsive to the public. It should also be noted and the general openness and knowledge of the situation in the world. Thus, we as teachers educate students of this group of syllabuses is open to new opportunity, as well as the creation of new teaching methods and applying the acquired knowledge. If we accept the idea that all of us who are involved in the process of creating theater (educators, students, professionals, critics, audiences) should work for the good of the theater, it is logical to analyze theater education today.

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Razgovor ili saslušanje? Komunikacijski kapaciteti filozofije (i) umjetnosti

Razgovor ili saslušanje? Komunikacijski kapaciteti filozofije (i) umjetnosti

Author(s): Slađana Kavarić / Language(s): Croatian Issue: 14/2019

For the purpose of a more detailed understanding of the aesthetic aspect of philosophy, it is worthwhile not only to make a distinction between art and philosophy, but to understand whether and to what extent the conversation between the two areas is necessary. The article seeks to examine whether philosophy is necessary when art falls into the problem of self-understanding or the sensibility of art is necessary to relieve the pure thought. In order to understand in more detail the character of this relation is necessary review of the aesthetics of Hegel, Schelling and Schopenhauer and the explanation of the role of art in the philosophy of Friedrich Nietzsche.

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Aktivnosti pjevačkog zbora Fra Nenad Dujić i Tamburaškog orkestra Franjevačke teologije

Aktivnosti pjevačkog zbora Fra Nenad Dujić i Tamburaškog orkestra Franjevačke teologije

Author(s): Fra Nikola Matošević / Language(s): Croatian Issue: 1+2/2018

Pjevački zbor bogoslova Franjevačke teologije Fra Nenad Dujić akademsku godinu 2017/2018. započeo je 3. listopada nastupom na svečanom prijemu u povodu proslave svetkovine sv. Franje Asiškog u Provincijalatu Bosne Srebrene na Kovačićima. Istog dana zbor je svojim pjevanjem animirao Obred preminuća svetog Franje u oratoriju sv. Pavla na Nedžarićima.

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Mediji između korporativne i mesijanske kulturne politike

Mediji između korporativne i mesijanske kulturne politike

Author(s): Fahira Fejzić Čengić / Language(s): English Issue: 14/2019

Jurgen Habermas reminds us that the communication mind exists in its two forms... As an emancipatory communication mind, then it realizes the repair of the world and consciousness.But he can also exist as a form of his depravity, as, it fixes the world and consciousness. But he can also exist as a form of his depravity, as, therefore, a perverted communication mind that enslaves and destroys the world and consciousness. Frequent mediaization with the help of media spectacle in the area of culture, ethics, aesthetics and religion increases this distorted dimension of the communication mind of our time.

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Protection of Street Art (Graffiti) from the Perspective of Latvian Authors’ Law

Protection of Street Art (Graffiti) from the Perspective of Latvian Authors’ Law

Author(s): Vadim Mantrov / Language(s): English Issue: 1/2019

Street art (covering all street art types including graffiti) is considered as one of expressions of urban life and; simultaneously, one of peculiar intellectual creations. For years, street art was not recognised as a type of art and was usually subject to public condemnation, but street artists were (and still are) subject to liability arising from vandalism (hooliganism) acts. However, attitude against street art and its different expressions has been changing in recent years becoming recognised and valued as a specific type of modern art. This shift has been influenced by visual attractiveness of different creations of street art mainly murals containing graffiti; commencement of commercialisation of street art including sale of murals embodying graffiti at auctions; and court disputes over protection of street art expressions. Street art including graffiti may be subject to legal protection, yet it depends on a particular jurisdiction. The aim of the present article is to consider possibility of protection of street art in Latvia from the perspective of authors’ law (i.e. copyright) law. This paper discusses specific issues in relation to street art for its protection within Latvian authors’ law such as authorship as street artists usually create street art expressions anonymously; the concept of work by discussing compliance with criteria put forward to a work under authors’ law; integrity of a work as street art expressions such as graffiti are usually murals involving a clash between property law and authors’ law; distinction of street art from pure vandalism; and necessity for specific rules addressing specific nature of street art. The paper provides conclusions for identifying proper place of street art within legal framework of Latvian authors’ law.

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Issues Concerning the Preservation of Graffiti. Developing Conservation Practices Worldwide

Issues Concerning the Preservation of Graffiti. Developing Conservation Practices Worldwide

Author(s): Sintija Saldābola / Language(s): English Issue: 1/2019

This conference paper is dedicated to rising issues concerning the preservation of graffiti. The author outlines practical and ethical aspects conservators are dealing with while preserving an industrial canvas. How to treat artworks that are tangible and intangible at once? Graffiti is not just a drawing we see on the murals. It is a form of social movement, an artistic expression of opinion. We can draw similarities with contemporary art, where an idea might be an essence of the artwork and artists do not always think about the longevity of their creations. Artists might use materials and techniques that make conservator’s work practically impossible. That is why conservation in its traditional interpretation is an unsuitable solution for graffiti. Various ethical and practical questions have to be answered before conservator and society decide to preserve the art of graffiti.

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Street Art Map of Riga

Street Art Map of Riga

Author(s): Agnese Aljēna / Language(s): English Issue: 1/2019

Riga street art map was made as a collaborative project by FaceBook group Ielu Mākslas mednieki (street art hunters). The group was created in September 2017 after an initial FB post by Agnese Aljena inviting people to create such map. Post went viral and soon the group reached 500+ members, all hunting street art in Riga and posting online their findings. It took about 2 months to create initial street art map covering most of the notable street art object of the city. Later new created artwork was added and identified destroyed art work is marked with black markers.

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

"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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AGRESIJOS DEMASKAVIMAS OSKARO KORŠUNOVO IR LARSO VON TRIERO KŪRYBOJE

AGRESIJOS DEMASKAVIMAS OSKARO KORŠUNOVO IR LARSO VON TRIERO KŪRYBOJE

Author(s): Salomėja Zaksaitė / Language(s): Lithuanian Issue: 42 (01)/2018

This article explores issues related to how social roles, when imposed, become oppressive to on an individual, and how consciously chosen roles become “more true” than the reality itself and advance the investigation of human nature. The text consists of three parts. In the first part, we discuss dramaturgical theory as well as the psychosocial and artistic experiments about the social power of enacted social roles. The second part is an analysis of a trilogy directed by Lithuanian theatre director Oskaras Koršunovas – Hamlet, The Lower Depths and The Seagull. It is followed by an examination of the trilogy of Danish cinema director Lars von Trier – Antichrist, Melancholia and Nymphomaniac. Both trilogies embrace certain common dichotomies: truth vs. lie; individual responsibility vs. collective conformism; freedom vs. oppression; life vs. death; openness vs. hypocrisy; reality vs. fiction; deep play vs. superficial theatricality. The analyzed works of art, combined with the psychosocial experiments, reveal that realistic play (experimentation) can help to grasp shocking data about human behavior that would be extremely difficult to obtain without dramaturgical acting.

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Screenshot as an Art: An Aesthetics of In-Game Photography

Screenshot as an Art: An Aesthetics of In-Game Photography

Author(s): Ivan Rokošný / Language(s): English Issue: 1/2/2018

Photography has become an integral part of daily life for a huge part of the population with rising phenomena such as digital photography and social networks. In many ways, it is widely considered as an art. Creating still images with the camera plays a key role in numerous digital games as part of the narrative. Apart from being implemented in the digital games as the key element of the gameplay, it has also become an opportunity for players to explore open-world environments and create unique compositions of still images from their own perspective. In this paper we argue, that in-game photography could be seen as mixed media art, or even as a specific genre of photography.

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