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BIG-DIMENSION RONDE-BOSSE SCULPTURE AND BAS-RELIEFS IN THE NEOLITHIC PERIOD

BIG-DIMENSION RONDE-BOSSE SCULPTURE AND BAS-RELIEFS IN THE NEOLITHIC PERIOD

Author(s): Ioana-Iulia Olaru / Language(s): Romanian Issue: 31/2022

In Neolithic, in big-dimension statuary, the first type was the one of menhir-statues: blocks of stone with one of the faces conventionally rendering a simplified feminine or masculine silhouette, in a basrelief which is a little high; the second type is the one of monumental statues carved in volume, with the same steatopygia as it is the case of statues (thus, all the types of rondebosse sculptures had the same cult destination). The types of reliefs are those that decorate ceremonial structures (menhirs), cultic ones (temples, but also altars, stelae) and funerary ones (tombs). The present material will illustrate ronde-bosse and bas-relief sculpture with representative examples from different regions of Europe, Close or Far East up to the Americs, recording similarities and also peculiar aspects of each region, regarding shapes, dimensions, materials, ornaments.

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CONSTANTIN SILVESTRI – AN OVERVIEW OF PIANO MUSIC

CONSTANTIN SILVESTRI – AN OVERVIEW OF PIANO MUSIC

Author(s): Marius Boldea / Language(s): Romanian Issue: 32/2023

The article proposes a detailed overview of Constantin Silvestri's piano works, an exploration of his compositional style and an interpretation of his harmonic, melodic, rhythmic, dynamic, and expressive language. A continuous nuancing of the composer's language is observed throughout the opus, a permanent enrichment of his compositional style. From the neoclassical influences of the Bartók/Stravinsky/Prokofiev type to folkloric accents or the reflections of expressionism, the composer develops a personal language, difficult to fit into a particular style of the modern era, as he tends to incorporate each of them in his own original way, processing them creatively in the rhetoric of his compositional grace. Constantin Silvestri's piano music represents a central profile in the architecture of his compositions, the piano being the most exploited instrument that runs through his entire creation from the first opus, Suitele, to the penultimate, Sonata IV. His piano works are distinguished by twelve opus, which can be divided into two stylistic periods: the first, neoclassical (of his youth), and the second expressionist (with moments of stylised folklore), in the last opus.

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SPLENDOR POŻYWIENIA O KOMUNIKACYJNYCH FUNKCJACH PRZEDSTAWIEŃ DARÓW NATURY W SZTUCE EUROPEJSKIEJ
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SPLENDOR POŻYWIENIA O KOMUNIKACYJNYCH FUNKCJACH PRZEDSTAWIEŃ DARÓW NATURY W SZTUCE EUROPEJSKIEJ

Author(s): Małgorzata Wrześniak / Language(s): Polish Issue: 1/2022

An analysis of iconographic material related to the representations, used in art, of the gifts of nature shows their diversifi ed functions and meanings. The meanings conveyed by images of food depend not only on their position in a given artefact (as a central scene, a background scene or a decorative motif), but also on the broad historical-cultural context that shapes the symbolic content of the images: from clear, or even obvious, religious connotations, to moral guidelines, to references of implicitly erotic nature. The present article proposes a general classifi cation of the iconographic material in question, to discuss some topics related to the food images present in culture, and to identify communication functions of such images in art and in fashion. The classifi cation is the basis for refl ection on symbolic content communicated throughout history via images of vegetables, fruit and different kinds of meat shown in market and kitchen scenes, as well as in vanitas still lifes that refer to biblical themes or are of moralizing nature. The paper addresses also the symbolism of food in contemporary fashion and luxury goods advertising. Fruit and vegetables depicted in such contexts refer to the meanings well established in art history, those of abundance and fulfi llment which comprises also reaching for what is forbidden.

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WINO – SACRUM – CODZIENNOŚĆ SZESTIDIESIATNICY I GRUZIŃSKA SUPRA
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WINO – SACRUM – CODZIENNOŚĆ SZESTIDIESIATNICY I GRUZIŃSKA SUPRA

Author(s): Joanna Wojnicka / Language(s): Polish Issue: 1/2022

The article discusses Otar Iosseliani’s feature debut movie Falling Leaves of 1966. Georgian-born, Iosseliani is a representative of the generation of Soviet intelligentsia called the “Sixtiers.” He was also among the Soviet fi lm directors who were proponents of the so-called national schools of fi lm-making. The poetics of Iosseliani’s movies is rooted in the documentary approach, and the view of reality they convey is indeed of documentary nature; however, in the Falling Leaves, he combines his documentary viewpoint with a subtle yet clear reference to his native culture, which determines the ethnic identity of the Georgian people within the Soviet state. His recourse to the emblematic elements of the Georgian tradition, i.e., wine and feast (supra), enables a look at the mid-sixties in the Soviet Union which is discreet (hidden behind the pseudo-documentary poetics), occasionally ironic and occasionally poetic, yet certainly devoid of any idealism.

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MATKA ZIEMIA, DOM I RAJ UTRACONY TRANSCENDENTNE KINO DARRENA ARONOFSKY’EGO O SYMBOLICZNEJ WYMOWIE „MOTHER!”
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MATKA ZIEMIA, DOM I RAJ UTRACONY TRANSCENDENTNE KINO DARRENA ARONOFSKY’EGO O SYMBOLICZNEJ WYMOWIE „MOTHER!”

Author(s): Marcin Kępiński / Language(s): Polish Issue: 2/2022

Both popular culture as such and contemporary Hollywood movies are intended primarily as a form of entertainment, and a culture researcher is not expected to trace hidden symbols, myths or meanings rooted in traditional cultures in them. Modern popular mythologies by no means manifest the mythological pattern described by Mircea Eliade. Today’s popular culture incorporates diverse images, ideas, references, and fragmented meanings and, as such, constitutes a conceptual patchwork. However, I claim that the cinema of Darren Aronofsky delivers more than pure entertainment. It does not consist in a free juxtaposition of elements of popular culture and exhibits tropes and motifs, as well as a symbolic language and archetypal protagonists, pertaining to the myths constantly recurring in the history of culture. The goal of the paper is a discussion of Aronofsky’s Mother! against the concepts of hospitality, home and strangeness (otherness). In his pursuit of answers to the questions he deems as essential, the director (and author of a culturally signifi cant narration) refers to the topoi and tropes characteristic of Mediterranean mythologies and the Judeo-Christian tradition.

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NARRACJE O PRAWOSŁAWIU WE WSPÓŁCZESNEJ ROSJI O SERIALU „ZBAWICIEL POD BRZOZAMI”
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NARRACJE O PRAWOSŁAWIU WE WSPÓŁCZESNEJ ROSJI O SERIALU „ZBAWICIEL POD BRZOZAMI”

Author(s): Małgorzata Abassy / Language(s): Polish Issue: 2/2022

To what extent can traumas caused by the Soviet and Russian past be transformed and healed by narratives rooted in the Orthodox faith regarded as the foundation of Russian culture? The question is the leitmotif present in the source material analyzed in the paper, i.e., the television series Spas pod berezami by Leonid Eydlin. The episodes of the series address different facets of a parallel narrative about forgiveness, humility, trust, and communion of people sharing in the common fate. The paper considers Orthodoxy as a culture and a faith, without analyzing, however, its theological aspect or its relationship to the state. A similar approach was adopted by Eydlin, who intended to make viewers acquainted with a different, less cruel reality than the one they experienced in their everyday life. The author concludes that the analyzed series is a narrative of great culture-creating potential. Spas pod berezami offers the viewers a means of self-inspection, provides them with a new perspective on their experience, and may contribute to healing the cultural trauma.

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PROPOZYCJE „ETHOSU”
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PROPOZYCJE „ETHOSU”

Author(s): P. M. / Language(s): Polish Issue: 4/2022

Books recommended by Ethos: Przemysław Krzywoszyński, Jan Woleński, Fenomen opery, Universitas, Kraków 2022, ss. 280.

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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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From Agricultural Village to Socialist Industrial Town

From Agricultural Village to Socialist Industrial Town

Author(s): Romana Hajduková,Alžbeta Sopirová / Language(s): English Issue: 1-2/2023

Town of Strážske has gained recent attention because of heavy contamination with PCBs produced in Chemko Strážske, which was established in August 1952. Since then, small village in region of Upper Zemplín in eastern Slovakia had experienced a rapid industrialisation and urbanisation. Promising economic development quickly led to migration of builders and future factory workers to Strážske. New housing estates, „hostel for singles”, public and recreational amenities were built simultaneously with the factory construction. Growing population and urban development had a single goal – to support the industrial development. Industrial and spatial development changed Strážske from a small agricultural village to a thriving socialist industrial town, gaining town status in 1968. This paper aims to present the comprehensive picture of the urban development of Strážske from the 1950s to the present with an emphasis on socialist industrialization as the determinant of spatial development and socio-economic changes leading to emergence of brownfields and urban shrinkage.From Agricultural Village to Socialist Industrial Town.

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DEKONSTRUKCJA DYSKURSU POLITYCZNEGO
W PARODII NOWOROCZNYCH PRZEMÓWIEŃ WŁADIMIRA PUTINA

DEKONSTRUKCJA DYSKURSU POLITYCZNEGO W PARODII NOWOROCZNYCH PRZEMÓWIEŃ WŁADIMIRA PUTINA

Author(s): Agata Książek / Language(s): Polish Issue: 178/2022

The aim of this article is to analyze the strategies of deconstruction of political discourse in contemporary audiovisual parodies. It presents case study of Yegor Loskutov’s parody, which is a reminiscence of the New Year speeches of Vladimir Putin. The text indicates the features of political discourse that are subject to parodic transformations. The study presents a new linguistic perspective on the phenomenon of deconstruction in comparison to the theory of language games. The analysis of the sample work leads to the conclusion that the authors of contemporary parodies conduct a multipronged deconstruction of political messages on the visual, lexical, pragmatic and stylistic levels. By imitating the speeches of authorities representatives with implementation of ironic and allusive signals, language games, and stylistic transforma- tions, the authors of the parodies criticize the techniques of communication of politicians and the ideas they represent.

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RESİM BÖLÜMÜ ÖĞRENCİLERİNİN SANAT GİRİŞİMCİLİĞİ ALGILARI

RESİM BÖLÜMÜ ÖĞRENCİLERİNİN SANAT GİRİŞİMCİLİĞİ ALGILARI

Author(s): Üyesi Menekşe ŞAHİN KARADAL / Language(s): Turkish Issue: 59/2023

Entrepreneurship and art share common features. Indeed, the topic of art entrepreneurship has not been explored as extensively as necessary. On the other hand, it is important for artists to gain awareness, knowledge, and skills in entrepreneurship. Both artists and entrepreneurs develop new ideas and products. In fact, the characteristics of "innovation" and "risk-taking" found in the definition of entrepreneurship are also seen in the artist's artistic production process. Innovation in art can be approached in two ways: firstly, doing what has not been done before (breaking away from an art tradition), and secondly, bringing a different approach to what has been done before (making variations within an existing structure). In terms of content, it is pertinent for artists to be innovative like entrepreneurs, to take risks, to organize resources, to be able to see opportunities, and to be proactive. The purpose of this study is to analyze the perceptions of art entrepreneurship among the students of the Fine Arts Faculty Painting Department. Therefore, interviews were conducted with the students of the Painting Department, and the data obtained were subjected to content analysis. The findings bear qualities that will contribute to practitioners and literature. According to the career plans of the majority of the Painting Department students who participated in the study, most of them want to become entrepreneurs. In addition, it is understood that the participants have perceptions and knowledge in line with the literature on the topic of art entrepreneurship.

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À la lektira

À la lektira

Author(s): Vesna Nosić / Language(s): Bosnian,Croatian,Serbian Issue: 129-130/2023

Jela i pića stari su kao i čovječanstvo. Motivi jela i pića zapisani su u djelima mnogobrojnih književnika. U rad su uvrštena školska lektirna djela iz Hrvatskog jezika za gimnazije iz književnopovijesnog razdoblja nazvanog realizam koje je u europskoj književnosti trajalo 1830-ih – 1870-ih godina, a u hrvatskoj književnosti 1881. – 1892./1895. godine. H. de Balzac, G. Flaubert (francuska književnost), N. V. Gogolj, I. S. Turgenjev, L. N. Tolstoj, F. M. Dostojevski (ruska književnost), E. Kumičić, A. Kovačić, K. Š. Gjalski, J. Kozarac i V. Novak (hrvatska književnost) napisali su romane, pripovijetke i novele u koje su stavili mnoga jela i pića. Jela i pića likovi su blagovali u svakodnevici i u različitim prigodama, kao što je krštenje, zatim svadba, karmine, božićni i uskrsni blagdani, kućni posjeti, sajam i lov. Iz prikazanih blagovanja složen je jelovnik koji sadrži obična, svakodnevna i prigodna, svečana jela i pića.

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Proliferacija motiva izgona trgovaca iz Hrama u slikarstvu 16. stoljeća: urbanosociološki kontekst

Proliferacija motiva izgona trgovaca iz Hrama u slikarstvu 16. stoljeća: urbanosociološki kontekst

Author(s): Džana Mehmedović / Language(s): Bosnian Issue: 23/2023

This paper aims to provide the urban-sociological context for the significant proliferation of the topic of Christ Cleansing the Temple in 16th-century painting. Widely accepted interpretations of this phenomenon consider it exclusively in the context of the Counter-Reformation, i.e. the Catholic Revival, considering the topic to be a symbol of the rejection of Protestant dogma or, otherwise, the Church's struggle against the demoralization of its clerics. The Counter-Reformation context is indisputably significant. However, certain socioeconomic processes that mark the 16th century, such as the development of protocapitalism in Italy, i.e. the establishment of year-round trade in the city and the emergence of a new, politically and economically dominant class of merchants and bankers, also emerge as an aspect worth examining. French sociologist Henri Lefebvre considered the 16th century to be a turning point in the development of urban forms and pointed out the connection between this biblical story and the disdain for the restructuring of the city which was due to those changes. Owing to his theses on the production of space, we will observe a dual involvement of the Church in the motions of inhibition and initiation of processes which, by producing a new type of space, disrupt the balance that ensured its material and symbolic power.

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DRUŠTVENI ZNAČAJ FILMA I FILM KAO PREGNANTNA SOCIOLOŠKA TEMA

DRUŠTVENI ZNAČAJ FILMA I FILM KAO PREGNANTNA SOCIOLOŠKA TEMA

Author(s): Stefan Elezović / Language(s): Bosnian Issue: 23/2023

Review of: Nemanja Đukić (ur.), Film i identitet: Istraživanje društveno-političke upotrebe filma, Univerzitet u Banjoj Luci - Fakultet političkih nauka, Banja Luka, 2021

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Holokauszt és múltfeldolgozás az On the Spot dokumentumfilm-sorozat nyolcadik évadában (Az ellenség gyermekei)

Holokauszt és múltfeldolgozás az On the Spot dokumentumfilm-sorozat nyolcadik évadában (Az ellenség gyermekei)

Author(s): Dávid Sándor Szőke / Language(s): Hungarian Issue: 3/2020

The aim of the present paper is to examine the issues of Holocaust trauma and coming to terms with the past in Children of the Enemy, the eighth season of the documentary series On the Spot, discussing two episodes, one about Edith Eva Eger and the other about Gábor Máté. What is special about these stories is that instead of exploring the Holocaust in historical depth, the makers’ focus falls on the narratives of the survivors and their children, whereby they not only reveal the truth of storytelling, but they also recapture the subject’s past traumatic experiences in the present time. The filmmakers Eszter Cseke and András S. Takács make the viewers see these stories as important components of memory culture, and they do it so by moving toward the past not merely in itself, but by looking back from the present state of consciousness, discussing how the trauma of the past and the constant feeling of stress was and has been passed on to the next generation of survivors. Examining the life stories of Eger and Máté, I identify storytelling as an essential part of coming to terms, which makes both the teller and its audience face their trauma of the past by recalling the events of it. The paper also discusses the ways Eger and Máté have dealt with their own traumas, made their own self-discoveries, and used what they have learnt about themselves as an essential part of their psychotherapeutic practice.

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‘We’re All Mad Here’: Alienation, Madness, and Crafting Tom Waits

‘We’re All Mad Here’: Alienation, Madness, and Crafting Tom Waits

Author(s): Nadia López-Peláez Akalay / Language(s): English Issue: 1/2023

Tom Waits, through his poetry, his poetic and public personae, has become the father of the desperate failures of society, those who lay down and fill the background with disillusionment. No-direction-homers flock together and become the majority of Waits’ main characters. As an artist, he gives a voice and a name to those who, otherwise, would remain invisible, endowing them with corporeality. Waits, through the projection of his public persona, illumines the lives of the weak, who strive to survive in a world that has always fed upon those below. There is something honourable about the people who struggle the most, trying to find their path in the darkest of places, and Waits, through his career as an entertainer, has always prioritised his respect for these people, praising their many faults and poor decisions, merging them with the tormented collective and thus becoming one with their sadness and horror. This paper will focus on how Tom Waits constructs his personae through an identification with the disappointments of society: the underdog, and, more particularly, the alcoholic underdog. I intend to focus mainly on the lyrical content of his albums Rain Dogs and Small Change, together with their respective representations in other art forms, specifically interviews, lives, artistry, etc. This section will also include Tom Waits’ depiction of some characters as grotesques, as they form the limits of societal acceptance. In the last section, I will examine the presence and construction of these grotesques in his album Alice (2002), while comparing the lyrical content to its other cultural manifestations.

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Umjetnost i utopija

Umjetnost i utopija

Author(s): Predrag Finci / Language(s): Croatian Issue: 23/2023

The position on utopia is the position on reality. Utopia is the theme of many works of art, one can even claim that the arts are the ultimate description of utopia, and the arts strive to achieve utopia. The arts contain utopian elements, and actually, the arts are the completely accomplished version of utopia.

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PERSPECTIVE OF THE AUDIOVISUAL ARTS: ON WAYS AND TOOLS OF STUDYING EMOTIONS IN THE CURRENT VISUALS

PERSPECTIVE OF THE AUDIOVISUAL ARTS: ON WAYS AND TOOLS OF STUDYING EMOTIONS IN THE CURRENT VISUALS

Author(s): Małgorzata Sławek-Czochra,Joanna Sosnowska / Language(s): English Issue: 1/2023

Emotions in visual arts can be subject to an analysis on the level of the act of creation, the work itself, categories of technique and reception, as well as on the degree of division into form and content. Studies show a dichotomy between an intellectual (cognitive) sphere and an emotional (aesthetic) sphere, pointing to the role of recipients’ competence, allowing them to properly read the cultural and artistic code behind emotions presented in visual works. The article is a theoretical review of methods, trends and tools for researching emotions in audiovisual arts. It presents ways of studying emotions in visual arts: film/video, photograph/graphics, all available through the media. They should be discussed on three levels: emotional objectives of the sender, emotions inherent in the artistic work, and emotional reception. Works of visual arts combine virtual and actual realities, hence the way a visual work is created is important. Therefore, the article also presents tools for the study of emotions in audiovisual art on three levels: a) in relation to means of expression, b) aesthetic, and c) presenting content. The summary clearly shows the transdisciplinary nature and methodological syncretism of research on emotions in audiovisual art.

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VISUAL REPRESENTATIONS OF EMOTIONS ON THE BASIS OF INTERNATIONAL RESEARCH MATERIAL

VISUAL REPRESENTATIONS OF EMOTIONS ON THE BASIS OF INTERNATIONAL RESEARCH MATERIAL

Author(s): Małgorzata Sławek-Czochra / Language(s): English Issue: 1/2023

This study aims to investigate which emotions were most often evoked through art created during the pandemic and what are the new symbols of emotions and themes used in the creative process. Two research techniques were used in the study: content analysis and Panofsky’s method. The research material consists of 100 illustrations obtained from the internet after entering the keywords ‘art’ and ‘coronavirus’ in Google. In the analysed material the most common emotion was fear of COVID-19, loneliness, inability to maintain physical closeness, and the rules of social distancing. The most common reactions were: a desire to isolate from the source of infection, trying to hide from the coronavirus, avoiding an infection by covering the mouth and nose with a mask, gloved hands, staying at home in isolation from other people who can spread the disease. The second most common emotion was anger, most often caused by a risk of infection with COVID-19, isolation, government decisions restricting the organization of artistic events, and relocation. The most common behaviour that expressed anger was screaming and aggression, such as hitting or kicking a coronavirus molecule or its manifestations. Sadness was triggered by a fear of COVID-19, spread of the virus, health deterioration, loss of salary and loss of contact with family, loneliness in hospital, and social distancing. The manifestations of sadness in the analysed images could be observed through facial expressions, eyes, and crying. Sadness can also manifest itself through apathy and self-isolation. The least frequent emotion in the analysed research material was joy, which was the result of an improvement in the general health situation in the country, recovery, effectiveness of health care, a new topic in art, and satisfaction with family life. The symptoms of joy were, above all, a smile on the face, kisses, jumping and dancing. Street artists appealed to a wide variety of themes: religious, mythological, popular culture, and new technologies. The analysis of the research material showed that new symbols representing the SARS-CoV-2 pandemic appeared in the social space and culture: the coronavirus molecule (an emotionally universal symbol) and a white or blue surgical mask and latex gloves symbolizing fear. The study brings some knowledge about new symbols of emotions, the specific content of art during the COVID-19 pandemic, and new research tools to be used.

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WIKTORYŃSKIE FLORARIUM: MOTYWY KWIETNE W SEKWENCJACH ADAMA ZE ŚWIĘTEGO WIKTORA

WIKTORYŃSKIE FLORARIUM: MOTYWY KWIETNE W SEKWENCJACH ADAMA ZE ŚWIĘTEGO WIKTORA

Author(s): Łukasz Libowski / Language(s): Polish Issue: 2/2023

In this article I deal with the floral imagery encountered by the reader of the sequences of Adam of Saint Victor († 1150). This author is one of the most important representatives of the school that operated for several centuries, beginning in the 12th century, at the Parisian canonical abbey of Saint Victor. There is little literature about his work in the Polish writing at the present time. The study is divided into two parts. The first is a review of the source material. Here I present successive fragments of Adam’s sequences in which floral motifs appear. When it comes to the second part of the text, I share in it some observations of a different nature, collecting them into four points. These observations are, of course, related to the relevant imagery.

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