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Время в художественных текстах и комментариях к ним

Время в художественных текстах и комментариях к ним

Author(s): Alexander Dolinin / Language(s): Russian Issue: 9/2022

Discussing anachronisms in Alexandre Dumas’ The Three Musketeers, Umberto Eco concluded that most of them remain unnoticed by the Model Reader of the text as they are never located “in very strategic places” and can’t be identified without specialized knowledge that the Model Reader does not have. The article develops upon Eco’s observations, arguing that such “invisible” anachronisms are intrinsic to those genres of the novel that set the task of portraying a distinctive epoch, from Walter Scott’s and Leo Tolstoy’s historical fiction to Sergei Gandlevsky’s representation of the 1970s. If a plot and characters of the text are somehow related to particular historical incidents and persons, the scholarly commentary ought to pinpoint and explain anachronistic discrepancies, but the attempts of annotators to ascribe temporal exactitude to ahistorical narratives (e.g., Pushkin’s Eugene Onegin) are seen as futile and even harmful.

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Из материалов для комментария к «Капитанской дочке»: 12–25

Из материалов для комментария к «Капитанской дочке»: 12–25

Author(s): Alexander Ospovat / Language(s): Russian Issue: 9/2022

In these notes (see also the previous volume of Slavica Revalensia), Prof. Alexander Ospovat of UCLA identifies the sources of several segments of Alexander Pushkin’s novel _The Captain’s Daughter_, uncovers themes and events silently implied in the text (e. g., the protagonist’s sexual amusements, the money system in 18th-century Russia, a bath ritual in the Russian countryside, etc.), and reconstructs hidden meanings of individual episodes.

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Elusamuslik ärkvelolek hotellis “Hukkunud alpinist”

Elusamuslik ärkvelolek hotellis “Hukkunud alpinist”

Author(s): Tõnn Adermann / Language(s): Estonian Issue: 19/2022

Aga mis siis on see inimese elu siin ilmas? Kunagi mul oli yks sõber Joosep, kes arvas, et kui möödub päev, mil ta kasvõi yhe korra ei mõtle sellele, miks ta mida teeb ning millepärast ta yldse eksisteerib, on tegu raiskuläinud päevaga. Leian endki tihtilugu muude argiste ja samas niivõrd efemeersete probleemide kõrval mõtisklemas mina-olemise teemal – see ei ole kerge, kuid ilma selleta samuti ei saa. Uku Masingul oli mõiste “elusamus”, mis kätkes endas ideed olla igal järgneval päeval parem inimene kui eelneval. “Inimese ehk mõistliku olendi eluülesandeks ehk sihiks ehk elu mõtteks võib pidada “elusamust”. Elu on mõttekas siis, kui inimene saab olla intensiivsem, teadlikum, ärkvemal eilsest” (Tootsen 2000: 01.01–01.23). Tootsen lisab: “Elusamus on Uku Masingu tuletis ühest indiaanikeelsest sõnast, mille samatähenduslikuks vasteks võiks pakkuda “ärkvelolu”“ (Tootsen 2000: 00.00–00.10). Elusamus on justkui juhtmõte, millest oma elus kinni pidada, lausa konstantinstanislavskilik сверхзадача ehk pealisylesanne – miski, mille poole pyyelda. Vendade Arkadi ja Boriss Strugatski 1970. aastal ilmunud ulme-krimiromaan ““Hukkunud Alpinisti” hotell” (edaspidi lyhendina: HAH) on kahtlemata yks nendest teostest, kus käsitletakse “mina” olekut natukene teises võtmes, esitatakse kysimusi olemasolust ja eksisteerimisest nii inimeste kui “teistsuguste” vahel, kuid mitte ainult, sest tuuakse sisse ka mitmetahuline piiride tunnetamine, dogmaatilisuse ja tundmatute maailmade olemus ja probleemistik.

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Liminality as an Autopoietic Process within Spatial Identity

Liminality as an Autopoietic Process within Spatial Identity

Author(s): Katarina Bošnjak / Language(s): English Issue: 1/2021

Spatial identity surpasses geographical boundaries of a certain space, and denotes not only physical characteristics of space, but its meaning to people that use it, as well as their intercommunication, which produces new social and spatial meaning. Unless there is an abrupt change in social structure or formal/functional transformation of (un)built environment, we perceive spatial identity as something almost permanent. However, it is in a constant state of change, existing in a present state that relies on our past experiences and contains projections of our future, maintained through constant background processes of disorganization and concomitant organization – in other words, identity is in the state of (perpetual) liminality. Liminality is the product, as well as the initiator of autopoietic processes within identity, which leads to the main premise of this article – (spatial) identity is an autopoietic system. This is analyzed through three chosen aspects of place attachment: ritual, memory and architecture.

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Un’arte per gli ebrei, un’arte per il mondo. Le strade di El Lissitzky e Moyshe Broderzon

Author(s): Laura Quercioli Mincer / Language(s): Italian Issue: 13/2022

An Art for the Jews, an Art for the World. The paths of El Lissitzky and Moyshe Broderzon. For a short but fertile period, the paths of the two extraordinary artists El Lissitzky (1890-1941) and Moyshe Broderzon (1890-1956) intersected and gave rise to important artistic projects. Both authors shared the ideal projects of the Bund, and in particular the affirmation of the cultural autonomy of Jews in their countries of residence. Their choices then diverged: Lissitzky became one of the most distinguished coryphaei of Suprematism and Soviet art; Broderzon, on the other hand, remained faithful to the project of creating a new Jewish art directed towards a Jewish audience. Their story is told against the backdrop of Jewish participation in the Central-Eastern European avant-garde.

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TRANSDISCIPLINARY AND TRANSNATIONAL MANIFESTATIONS IN OJĀRS FELDBERGS’ ART: THE CONCEPT OF BORDERS

TRANSDISCIPLINARY AND TRANSNATIONAL MANIFESTATIONS IN OJĀRS FELDBERGS’ ART: THE CONCEPT OF BORDERS

Author(s): Laine Kristberga / Language(s): English Issue: 1/2022

In this article the author examines the concepts of transdisciplinarity and transnationalism as methodological tools in art analysis. By applying these tools to the case study of Latvian artist Ojārs Feldbergs and addressing the concept of borders in his art, the author questions knowledge production systems, especially in terms of Western art discourse. The author doubts that in our hybrid globalised world it is still possible to look at artists and their oeuvre through a monoethnic perspective. It is important to be aware of parallel processes, intercultural encounters and sources of inspiration beyond the borders of one country or discipline. Yet, in doing so, the centre-periphery relationship should be addressed critically and the dictate of cultural metropolises as centres should be avoided. Given that Feldbergs’ art cannot be seen as a constituent of isolated elements – object (sculpture), space (environment), time, spectatorship – but, indeed, as a complex whole, which is hybrid and synthesised, it is crucial to define Feldbergs’ artistic strategies addressing the concept of borders – both physical and symbolic.

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THE ART OF PERESTROIKA: NEW MOVEMENTS IN GEORGIAN ART OF THE 1980s

THE ART OF PERESTROIKA: NEW MOVEMENTS IN GEORGIAN ART OF THE 1980s

Author(s): Ketevan Tsetskhladze / Language(s): English Issue: 1/2022

The study of Georgian art of the perestroika is very important, especially in the context of the history of art movements of the 1980s, linked to the establishment of the non-official art groups in Tbilisi. The aim of this article is to analyze the history of the establishment of the art groups Archivarius (1984) and Tenth Floor (1986) and to discuss the art movements of the 1980s in Tbilisi. The generation of Georgian artists involved in the nonofficial art groups fundamentally changed the art scene of that period and played an important role of the development of contemporary art in Georgia. Perestroika, associated with Mikhail Gorbachev’s policy of openness, contributed to a shift in political and sociocultural discourse throughout the Soviet Union and also played an important role in the artistic processes in Georgia. All the events that took place in the 1980s art scene of Tbilisi portray a vigorous willingness to hasten away from the Soviet dimension and maintain the memory of a historical discourse. Some artists found a way out through emigration; others discovered an intangible shelter via working collectively. Perestroika had clearly formed a special environment in which things that were previously unseen became visible. The Georgian avant-garde managed to create its own sui generis aesthetic and theoretical principles in just a decade, alongside expressing postmodernist hues at certain points.

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Современная русская патриотическая песня как отражение посттравматического национального синдрома

Современная русская патриотическая песня как отражение посттравматического национального синдрома

Author(s): Eleonora Lassan / Language(s): Russian Issue: 2/2022

The author has addressed both Soviet and post-Soviet song discourse a number of times already, as it is in the song discourse that one can discern the reflection of the ideological attitudes on the one hand and a certain indicator of how the spirit of the times changes on the other. The 2000s increased the impact channels of the song genre by adding the visual channel to the ones already existing; that is, a truly popular song is disseminated in clips. There appeared a new kind of a “civil” song in the Russian song space. It explicitly coincides with the propagandist trends, either the ones being created or the ones that have already been set. This song discourse is full of ressentiment motives that have rallied the present-day Russian authorities and a certain part of the population. Their aggressively advancing potential is related to the traumatic condition of the society experiencing a particular shock caused by the feeling of the loss of the erstwhile grandeur of the country. The author deals with the functions of such a propagandistic song that can be characterized as an additional propagandistic narrative on the examples of Gazmanov’s and Bichevskaya’s songs.

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YUNUS EMRE’NİN DİLİNDE CÜMLE YAPILARI

YUNUS EMRE’NİN DİLİNDE CÜMLE YAPILARI

Author(s): Turan HÜSEYNOVA / Language(s): Turkish Issue: 57/2023

Our research shows that in the early stages of language development, simple sentences had a wider use. This does not mean the absence of compound sentences, only simple sentences are more in proportion when we compare them. As we know, it is not possible to have the sentence structures used historically in a language in the same way in modern period. Because the thoughts of people that have developed over the centuries have certainly reflected this to the language. A person who started to think differently more complexly began to express their ideas not with simple sentences, but with compound sentences. In 12-13th centuries poets and writers, who took refuge in the palaces at a time when the Byzantine power in the land was weakened and the Seljuks were getting stronger, began to create new style works. The language of the works of Yunus Emre, who lived and created in the 13th century, has a very important place in this regard. When we compare it with the sentence structures in the language of the monuments belonging the 7th century, we now see different compound sentence structures in Yunus Emre's language. In this article, sentences found in Yunus Emre's language were first diversified by meaning and later by structure.

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UŞAQ FOLKLORU və ONUN JANR XÜSUSİYYƏTLƏRİ

UŞAQ FOLKLORU və ONUN JANR XÜSUSİYYƏTLƏRİ

Author(s): Kadim RUFULLAYEV / Language(s): Turkish Issue: 57/2023

The article is dedicated to children's folklore, which is an important part of folk literature. It is emphasized here that folk literature, filtered through the centuries-olf poetic filter of our people and survived to this day, shaping the taste of those who listen to it, also guards the education and upbringing of the growing younger generation. After all, there have not always been schools and educational centers like today. Therefore, adults have been engaged in upbringing their children in every field, and in order to educate their children more faithfully, they have created small-scale and easy-to-understand works, allegorical tales, legends, riddles, and lyrical examples according to their age level. Such works create conditions for the formation of the way of thinking of young children as well as their habits of finding answers to questions that arise in the attempt of comprehension of the world. The article emphasizes that children's folklore is divided into two parts in terms of the formation of genres; genres formed by adults for children and genres formed by children themselves. The article provides detailed information based on examples of appropriate genres. These examples, which include children's folklore, educate children in noble qualities such as love to labor, respect to elder people companionship, friendship, bravery, perseverance, and keep them away from negative situations such as enviousness, laziness, greediness and cowardice. Therefore, the more the society develops and new generation is born, the more folklore examples will be created and will contribute to the education of the younger generation.

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NECATİ CUMALI’NIN GÖMÜ, KUYU, EZİK OTLAR OYUNLARINDA GÖÇ

NECATİ CUMALI’NIN GÖMÜ, KUYU, EZİK OTLAR OYUNLARINDA GÖÇ

Author(s): Yücel Özdemir / Language(s): Turkish Issue: 57/2023

The phenomenon of migration, which has existed since the observing observations of humanity, in its simplest definition, is the movement of living or a group of people, depending on various reasons, from where they are or where they live, to another place. Necati Cumalı, one of the important figures of the Turkish literature world, is the child of an immigrant family who was exposed to forced migration with his family. The Emigrant Writer Necati Cumalı, whose owner also experienced the migration himself, handled the general migration phenomenon of his works, as well as the fact that many people wrote works of literature. In addition to his novels and poems, the issues of immigration and immigrants were also dealt with in the theater plays he wrote. Among the theater plays, Gömü is theatrical plays written about immigrants who went to Greece from the Urla district of İzmir, immigration to Germany in Kuyu, and internal migration from the Black Sea to Urla in Ezik Otlar. First of all, both literature and expenditures have been used, since the study is based on literature and education and does not aim to find and reveal the ways in literary works. According to Eagleton, while presenting the society and people in every aspect of his life, he takes his place in the face of modern literature. Because, moving away from the realities of modern literature, language, myth, imagination, the structure of the human mind, etc. did not overcome the alternative narrative such as What is literary emerges by being hidden as a situation in which individuals teach each other (Eagleton, 2014, p. 203). It is the definition of literature or the state of revealing a literary work that did not exist before. In the studies of sociology of literature, the author's position in society should be addressed from his birth, and analyzes and examinations should be made without denying the effect of developmental processes on the author. Therefore, avoiding to analyze the bidirectional relationship of the author, who performs this function/operation, with the society, leaves the study unfinished in one aspect. In the study, migration, which is the theme of Necati Cumalı's Theater Plays titled "Gömü, Kuyu, Ezik Otlar" in the sociology of literature, was carried out using the text-content-analysis method in line with the qualitative research.

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MOTIV KRAVE U HRVATSKOJ NOVELISTICI PRVE POLOVINE 20. STOLJEĆA

MOTIV KRAVE U HRVATSKOJ NOVELISTICI PRVE POLOVINE 20. STOLJEĆA

Author(s): Sanja Franković / Language(s): Croatian Issue: 2/2020

The motive of a cow appears in some of the most significant Croatian novellas of the first half of the 20th century. The paper compares the literary-historical and social context of its appearance in the novellas “Boškarina” by Vladimir Nazor (Savremenik / Contemporary, 1910), “Svoga tijela gospodar / The Master of His Own Body” by Slavko Kolar (Hrvatska revija / Croatian revue, 1931) and “Mrak na svijetlim stazama / The Darkness on the Bright Paths” by Ivan Goran Kovačić (Hrvatska revija / Croatian revue, 1935). The representation of a cow as the only treasure is influenced by the poetics of the period which a particular novella belongs to. Under the influence of Modernist styles of Neo-Romanticism and Art Nouveau, Nazor's novella elevates a thin cow to the hyperbolised breadwinner in the environment which intertwines Christianity with pagan beliefs. Kolar's and Kovačić's novellas were created in the period of socially engaged literature and they both establish sharp differences between the two worldviews: Christianity is legitimate, and paganism suffers social condemnation. In Kolar's novella, a family saves itself from poverty by the marriage of a son after the old cow was lost by his own guilt. The cow in Kovačić's novella is taken away from an aged shepherd because he did not pay a military tax. In all novellas, the motive of a cow initiates the plot and is connected with the unfortunate destiny of human characters, whose happiness is subordinated to the material demands of their family or social community.

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ELEMENTE SIMBOLISTE ÎN NUVELA BALCONUL DE ANTUN GUSTAV MATOŠ

ELEMENTE SIMBOLISTE ÎN NUVELA BALCONUL DE ANTUN GUSTAV MATOŠ

Author(s): Maria Lațchici / Language(s): Romanian Issue: 2/2020

Antun Gustav Matoš was a famous Croatian poet, short story writer, and journalist. He is considered to be responsible for opening Croatia to the world of European modernism. His first work from 1892, The Power of Conscience (Moć savjesti) marks the start of Croatian modern literature. Balcony is a short story with symbolist elements in which the main protagonist Eugen tells the story of the balcony to his love from his youth - Cvijeta. In the story, Eugen talks about his fascination with the balcony, but also about the unrealistically beautiful woman who appeared on it.

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O CĂLĂTORIE DE LA „LUMINA CREDINŢEI” LA ÎNTUNERICUL DE NEPĂTRUNS AL MORŢII: DERVIŞUL ŞI MOARTEA DE MEŠA SELIMOVIĆ

O CĂLĂTORIE DE LA „LUMINA CREDINŢEI” LA ÎNTUNERICUL DE NEPĂTRUNS AL MORŢII: DERVIŞUL ŞI MOARTEA DE MEŠA SELIMOVIĆ

Author(s): Gordana-Nicoleta Peici / Language(s): Romanian Issue: 2/2020

Meša Selimović designs a gnoseological journey of the dervish against a historical background containing elements contemporary to his biography. It follows the axis light – darkness – truth and justice – the loneliness of power and emphasizes the spiritual degradation of the protagonist. Starting from Ahmed Nurudin’s portrait illustrated in the beginning of the novel, this paper studies the symbols and cultural archetypes such as light, darkness, death, fall, journey and the circle present in the 1966 literary masterpiece Death and the Dervish. Interpreted in the terms of a psychological novel with parable elements based on historical material, it is the result of the process of mythification, demythification and remythification. Furthermore, the symbols and cultural archetypes grafted on a historical substrate urge meditation on the human condition.

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INTERDISCIPLINARNO ČITANJE ROMANA SAVRŠEN ŠUT

INTERDISCIPLINARNO ČITANJE ROMANA SAVRŠEN ŠUT

Author(s): Radmila Satarić / Language(s): Serbian Issue: 2/2020

In this paper, using novel Savršen šut / The Perfect Kick (2020) as an example, we will point out the intersection of literary discourse and the discourse of performance art that we associate with soccer. Within the context of contemporary hybrid conceptions of art and culture, novel The Perfect Kick represents a "polygon" for intertextual readings and referentiality in a literary text.

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IDEOLOGIE ET PRAGMATISME CHEZ ANDREI GULEASKI

IDEOLOGIE ET PRAGMATISME CHEZ ANDREI GULEASKI

Author(s): Carmen Dărăbuş / Language(s): French Issue: 2/2020

The paper Ideology and Pragmatism to Andrei Guleaski analyze in which way the socialist-communist ideology connect the utopia with the practice in the novel of the Bulgarian neorealist writer Andrei Guleaski, The House with Mahogany Staircase, in the second part of the twentieth century century. Brusarski family it is revelator in this case: despite a common past (they acted in communist-anarchist party cells), the three brothers evolve differently, applying the ideology according to their inner nature, in the in the process of modernization through industrialization of the society. Some of them oppose to the brutal manner of removal from a familiar archaic life, and others taking advantage of ideology to promote themselves in profession and in society.

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IMAGINEA ȚĂRILOR ROMÂNE ÎN OCHII UNOR CĂLĂTORI FRANCEZI DIN EPOCA PROTECTORATULUI RUSESC

IMAGINEA ȚĂRILOR ROMÂNE ÎN OCHII UNOR CĂLĂTORI FRANCEZI DIN EPOCA PROTECTORATULUI RUSESC

Author(s): Nicu Diaconiuc / Language(s): Romanian Issue: 1/2021

The present article summarizes the travelogues of four French voyagers visiting the barely known Romanian Principalities in the nineteenth century: consuls Lagau and Cochelet, diplomat Bois-le-Comte and adventurer Bellanger. After presenting a few milestones in the history of French-Romanian relations and some key-concepts which best describe the general attitude of every French early modern traveler, the article displays different views of the same space and just about the same time period: that of the Russian Protectorate. Mostly seen by the French diplomats as competitors and largely depicted in a bad light, the Russians raise quite great concerns to the authors of the below selected works. Nevertheless, it is the image of the Moldo-Wallachians, with their appearance, near environment, virtues, vices, and especially life stories which stands central to each of the four journeys.

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Feministyczna narratologia filmowa. Sporo pytań i kilka odpowiedzi

Feministyczna narratologia filmowa. Sporo pytań i kilka odpowiedzi

Author(s): Barbara Szczekała / Language(s): Polish Issue: 119/2022

Artykuł stanowi wprowadzenie do feministycznej narratologii filmowej: zarysowuje jej cele i wyzwania, wymienia narzędzia, nakreśla wstępnie możliwości operacjonalizacji i mapuje użyteczność analityczną. Feministyczna narratologia filmowa rozumiana jest tutaj jako subdyscyplina narratologii badająca zarówno narracje tworzone przez kobiety, jak i narracje o kobietach. Podkreślony jest jej aspekt metakrytyczny i rewizjonistyczny jako refleksji służącej zdemaskowaniu złudnego (męskiego) uniwersalizmu w tradycyjnych i strukturalistycznych propozycjach teorii opowiadania. Narratologia feministyczna osadzona zostaje w kontekście innych narratologii, przede wszystkim korporalnej (Punday, Stańczyk), naturalnej (Fludernik), kognitywnej (Bordwell, Branigan), transmedialnej i postklasycznej (Herman). Jedną z głównych kategorii stosowanych w tekście jest pojęcie doświadczeniowości (Fludernik), zgodnie z którym narracja jest w stanie reprodukować rzeczywiste ludzkie doświadczenia.

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„Film a dějiny” (i poprzednicy) – czeski projekt badania filmu historycznego (2005-2021)

„Film a dějiny” (i poprzednicy) – czeski projekt badania filmu historycznego (2005-2021)

Author(s): Mariusz Guzek / Language(s): Polish Issue: 120/2022

Film a dějiny (Film i historia) to nie tylko wydawany w Czechach cykl publikacji pokonferencyjnych, ale także świadectwo nowego sposobu radzenia sobie tamtejszego środowiska akademickiego z dylematami historycznofilmowymi. Ukazujące się od 2004 r. monograficzne opracowania z jednej strony wypełniają filmoznawcze białe plamy, poruszając tematy wcześniej w dyskusji nieobecne, a z drugiej proponują dialog zogniskowany wokół kluczowych zagadnień dotyczących kinematografii narodowej. Do tej pory zrealizowane zostały następujące projekty: „Adolf Hitler i inni – filmowe obrazy zła”, „Polityczna kamera – film i stalinizm”, „Normalizacja”, „Pierestrojka”, „Postkomunizm – przemiany w czeskim filmie historycznym po roku 1989” i „Propaganda”.

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CUMHURİYET DÖNEMİ MODERNLEŞME SÜRECİNDE TÜRK MÜZİĞİ POLİTİKALARI

CUMHURİYET DÖNEMİ MODERNLEŞME SÜRECİNDE TÜRK MÜZİĞİ POLİTİKALARI

Author(s): Pelin Demirçe Altintaş / Language(s): Turkish Issue: 98/2022

Culture is defined as all the material and spiritual values of a society from the past to the present and the transfer of these values from generation to generation, and it has changed and developed since human beings started to exist. This development and transformation describe a process of change arising from the geographical and social interactions that societies have experienced in their past. The process of modernization that had started in the Ottoman Empire gained momentum with the proclamation of the Republic. In this process, interventions were made in many social areas under the name of modernization. In Anatolia, which has a musical tradition from the Ottoman Empire to the Republican period, the biggest intervention for the modernization efforts that started with the Republic was in the field of music. Turkish society would find its own identity with a new type of music under the name of 'National Music' by collecting the melodies created by and existing in their own villages and their own people, not the music left over from the Ottoman Empire. As a result, compilation trips were organized to many parts of Turkey. At the same time, with the reforms made in the field of education, new educational institutions were opened and students were trained. With the return of the students sent abroad for education, the methods of Western Music were learned, and it was ensured that the National Music created in Turkey was made polyphonic by subjecting it to new arrangements with these methods.

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