We are grateful to the Managing Editor of the French History Network Blog for permission to reproduce the article by Southampton doctoral student Emily Hooke on a set of cardboard toy theatre scenes depicting the Liberation of Paris. The University Library has these in its Liberation Collection, and they featured prominently in the exhibition which we mounted in 2014.
Roland Forgues, Le Général de Gaulle à l’Arc de Triomphe, 26 août 1944 (Paris: Edition de l’Office Central de l’Imagerie, 1944). See bibliographic record here. Click on the image to enlarge.
On a trip to Paris a few years ago, I was wandering along the Seine, glancing casually at the boquinistes when I spotted something interesting: three pieces of cardboard illustrated with scenes from the Liberation of Paris — 19-26 August 1944 — and dated later that year. Looking closer, I could see these sheets were cardboard cut-outs, as the tabs under the figures show (fig. 1, fig. 2, fig. 3). They also contained the only information I have been able to find of them: They were illustrated by Roland Forgues and commissioned by l’Office central de l’imagerie, Paris.
Researching further, I found that these were far from the only representations of the Resistance aimed at youth during the Liberation. Indeed, there was a boom in children’s literature at the Liberation — despite the paper shortages. These sought to repair the damage done by children’s comic books under the Occupation such as Le Téméraire, which framed the Resistance as villains – ‘without morals and without courage’.
The cardboard cut-outs sparked my interest in popular culture, and added a new dimension to my research: youth. Following the Liberation the Resistance became seen as ‘military, patriotic and essentially masculine’ despite evidence to the contrary, and I wanted to see how they fitted into the construction of this gendered narrative. Continue reading
In previous posts we pointed out how literary prizes are useful for our collection development. By acquiring prizewinning works we document the evolving canon of German literature. In this post I will present a selection of German literary prizes awarded recently.
Arguably the most prestigious prize for German language literature is the Georg-Büchner-Preis. The 2016 prize was awarded by the Deutsche Akademie für Sprache und Dichtung to Marcel Beyer for his rich work which ranges from the epic to the lyric and essayistic. The Akademie said that “his texts devote themselves to the representation of the German past with the same precise dedication with which they trace the sound of the present time. They pursue a poetic geography, which is always also an exploration of language”. The latest works acquired by the University Library are his poetry collection Graphit (C203.d.8391) published in 2014 and his collection of essays Sie nannten es Sprache (C204.d.7081) published in 2016. Continue reading
Postcard showing a funeral procession for the February Revolution dead, on Nevsky Prospect. From the Catherine Cooke Collection.
One hundred years ago, Russia was in the grip of the February Revolution. By the Revolution’s end, the Tsar and his government had been overthrown. 1917 had now seen the unthinkable happen, as hundreds of years of tsarist rule were overturned. Yet this was just the beginning of a world-changing year.
First, a pedant’s note about months. Many readers will know that the February and October Revolutions refer to the Julian calendar, and are what we usually refer to as dates in the “Old Style”. In the Gregorian calendar (whose dates are “New Style”), the February Revolution took place in March and the October Revolution in November. The names have, however, always stuck. The Soviets formally adopted the Gregorian calendar in early 1918 but the Fevral’skaia revoliutsiia and Oktiabr’skaia revoliutsiia remained untouched.
While we normally write in this blog about books held by Cambridge, and while 1917-related UL material will certainly be studied in future posts, today’s post celebrates instead a freely available online initiative set up to mark the Russian centenary, the fascinating site 1917: svobodnaia istoriia (1917: free history): https://project1917.ru/ Designed specifically for a modern audience accustomed to real-time updates, the site covers the events of one hundred years ago, “as described by those involved … [using] only diaries, letters, memoirs, newspapers and other documents.” Illustrated with photos, art, and newsreel footage from the time, 1917: svobodnaia istoriia is absolutely captivating and terrifyingly good at bringing extremely turbulent times to life.
This is a guest post by Dr. Stella Panayotova, Keeper of Manuscripts and Printed Books at the Fitzwilliam Museum.
fol. 285r from the facsimile
In 2015 Cambridge University Library acquired a rare modern book about a unique medieval manuscript (F201.b.4.1). One of only 999 copies printed in 2015, it is a facsimile of a Book of Hours made in Angers c.1450. While the original manuscript is among the treasures of the Bibliothèque nationale de France in Paris (MS NAL 3244), the facsimile supports research and teaching in Cambridge. Faithfully recreating the richly illuminated and highly personalised prayer book, precious and tiny (10 x 7.8 cm) like a jewel, the facsimile invites the modern-day reader-viewer to relive the experience of the manuscript’s early owners.
The Book of Hours belonged to Jeanne de France (1438-1482), daughter of Charles VII. She may have received it as a wedding gift upon her marriage in 1452 to Jean, Count of Clermont, who would become Duke of Bourbon in 1456. The coats of arms sprinkled throughout the Book of Hours reveal Jeanne de France’s ownership as well as the fact that after her death the Duke of Bourbon re-gifted the manuscript to his next wife, Catherine d’Armagnac. Continue reading
In October 1866 Lewis Carroll told his publisher Macmillan that his friends in Oxford “seem to think that the book [Alice’s adventures in Wonderland] is untranslatable”. History has proved his friends very wrong, as a new three volume acquisition by the Library, Alice in a world of wonderlands : translations of Lewis Carroll’s masterpiece, edited by Jon A. Lindseth (S950.b.201.3527-3529), makes clear.