Tag: Liberation Collection

Illustrated books and humour in Cambridge University Library’s Liberation collection (1944-1946)

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This year will mark the 80th anniversary of the Normandy landings and the Liberation of France from German occupation, at the end of the Second World War. As part of the ongoing promotion of and research into Cambridge University’s Library Liberation collection (1944-1946), we have been delighted to shed light on Sophie Dubillot’s AHRC-funded collaborative (Cambridge UL and Open University) PhD project: ‘Ce n’est pas une blague: Purposes and Limits of Visual Humour in Early Post-War France (1944-46)’ and on the Liberation Collection (1944-46) Visiting Scholarship at Cambridge UL, whose first recipient will be announced in the next few weeks. We would be very happy to welcome you on Tuesday 19th March, 5-6pm at the Faculty of Divinity on the Sidgwick site, for Sophie Dubillot and Irène Fabry-Tehranchi’s talk on the Liberation collection: Illustrated books and humour in Cambridge University Library’s Liberation collection (1944-46), as part of the Cambridge Festival (you can register here).

This talk will examine a selection of the Liberation collection’s illustrated works (ranging from deluxe fundraising anthologies to commemorative works, clandestine printing and poetry), as well as humorous drawings representing struggles (such as restrictions, housing issues, and missing family members), in an ideologically divided country in dire need of reconstruction.

Irène Fabry-Tehranchi

The Liberation Collection (1944-46) Visiting Scholarship, Cambridge University Library

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Cambridge University Library is delighted to announce the launch of the Liberation Collection Visiting Scholar Programme. Generously supported by the Penchant Foundation, this new initiative will enable a Visiting Scholar to spend between two and four months undertaking research focused on the Chadwyck-Healey Liberation Collection held at Cambridge University Library.

This programme is a collaboration between the University Library Research Institute and Clare Hall, a graduate college located at the heart of the University of Cambridge, renowned for its informal approach to college life and its international diversity. The maximum value of the scholarship is £6000 for UK-based applicants and £7000 for international applicants.

Bulletin municipal. Numéro spécial consacré à la Libération.
Ville de Toulouse, Octobre 1944. Liberation.a.235
Special issue of the city bulletin of Toulouse published after the liberation of the city in August 1944.

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Purposes and Limits of Visual Humour in Early Post-War France through Cambridge UL’s Liberation collection (1944-46)

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We are delighted to share the new webpage designed by the University Library Research Institute (ULRI), for the AHRC-funded doctoral award on France and the Second World War, a collaborative project of the Open University and Cambridge University Library.

The PhD candidate, Sophie Dubillot, previously contributed to this blog pieces on the French résistante Madeleine Riffaud and the collaborationist Auguste Liquois; the résistant priest Père Jacques de Jésus (who inspired Louis Malle’s 1987 film Au revoir les enfants) and Julien Unger’s Le sang et l’or : souvenirs de camps allemands (1946).

Sophie is using material from the Chadwyck-Healey Liberation Collection and the abundant press of the Liberation period to examine humorous drawings in the immediate aftermath of the Second World War in France (1944-46). Her project aims to examine visual humour’s forms, functions, and limits at a time when the French had to negotiate the delicate post-war transition back to peace. Sophie’s research focuses on how humour served to redefine the French nation in the early post-war period and how different influences on the drawings encouraged or stifled particular voices.

Irène Fabry-Tehranchi

“Liberté… J’écris ton nom”: Eluard’s poem and the Cambridge UL Liberation collection

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The police killing of 17-year-old Nahel Merzouk on 27 June in Nanterre (in the suburbs of Paris) and civil unrest that occurred subsequently in France show how challenging it is to uphold the values of equality and fraternity, both socially and institutionally. For Bastille Day this 14th of July, we focus on the famous poem ‘Liberté’, initially entitled ‘Une seule pensée’, composed by Charles Eluard under the German occupation of France in 1941. This love poem to Nusch was turned into a celebration of and aspiration to Freedom. It is marked by the leitmotiv “J’écris ton nom”, reminding us of the power of both speech and writing. While the collaborationist Vichy régime had replaced the French revolutionary motto from “Liberté, Egalité, Fraternité” to the conservative “Travail, Famille, Patrie”, the poem “Liberté” became emblematic of French resilience throughout the Second World War and beyond. This blogpost gives an overview of the early publications of the poem: many of which are available at Cambridge University Library, including special editions with the Eluard’s signature and dedications, within the Chadwyck-Healey Liberation collection.

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A paper on Visualization of French Book Covers from the Liberation Collection (1944-1946) at Cambridge University Library

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A few years ago, Cambridge University Library funded a temporary position to finish most of the cataloguing of the Chadwyck-Healey Liberation collection, which is now considered complete and contains more than 3,200 titles, mostly French, published between the summer of 1944 and the end of 1946. At the time, we also pioneered an additional technical feature which was to add thumbnails of the book covers (and links to the full-size images) in the library catalogue. We are delighted that the final phase of this project was recently completed, with the support of Charles Chadwyck-Healey, the work of photographer Fanny Bara, and the help of our colleague Tristram Scott in Digital Services. You can see the results with keywords search in the catalogue. The thumbnail of the cover picture allows readers and researchers to have a glimpse of the physical aspect of the books, ahead of a potential visit to the library, or in order to carry out bibliographic checks. It also sheds light on the iconographic interest of the Liberation collection, which contains many illustrated books and many illustrated covers (some of them feature in the Liberation collection Flickr album).

sample of Liberation collection colour book covers

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Chilling Nazi, antisemitic and anti-Communist propaganda in Cambridge UL’s National Socialism collection

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I recently catalogued two dozen of Nazi booklets and pamphlets circulating in France in the 1940s. They are an addition to existing special collections of National Socialist literature at Cambridge University Library; and a good complement and forerunner to the more recently donated Chadwyck-Healey Liberation collection (which focuses on French language works mainly published between 1944 and 1946). A first Nazi literature collection in the University Library (CCA-CCC.25) contains a selection of books representing National Socialist Germany and is based on a collection of 750 items, including school textbooks and songbooks, which were acquired in August 1947 through His Majesty’s Stationary Office.

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Liberation Literature Lecture on 27 April 2021 : booking now open

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The 2021 Liberation Literature Lecture will take place online on Tuesday the 27th of April, 2021, from 6pm to 7pm UK time.  Professor Laurence Bertrand Dorléac, the acclaimed art historian and exhibition curator, will speak on ‘Why the story changes : new understandings of art in occupied France’.  Professor Dorléac’s talk and subsequent Q&A with Professor Nick White of Cambridge’s MMLL Faculty will be in French with simultaneous English translation.  All are very welcome.

The lecture series is generously supported by the charitable trust of Sir Charles Chadwyck-Healey, who is of course also the donor of the extraordinary Liberation Collection which inspires the series.

Among the artists who continued to produce work in occupied France (and who will be a focus in Professor Dorléac’s talk) was Pablo Picasso. The image shown here is the front cover of the Picasso libre exhibition catalogue which stands in the Chadwyck-Healey Liberation Collection at Liberation.a.232. The exhibition was held in the summer of 1945 at Galerie Louis Carré in Paris, showing paintings largely carried out under Nazi occupation before the Liberation of Paris in August 1944. The catalogue is large in terms of height (just under 29 cm) but brief: 63 pages of text and 21 plates. The plates are in black and white. I will update this post in due course with a couple of images when I am next in the Library. Current staff and students can look at an online version of the book via HathiTrust, through the temporary ETAS “check out” service: please see this other record in iDiscover.

Booking for the 2021 Liberation Liberation Lecture is now open, at this link [NB there is no need to enter a password, only an email address]. Further details about the event, in English and in French, can be found on this page, as well as contact details for the Library’s External Engagement team who are coordinating arrangements.

Mel Bach

“Sous la botte” (2): the German boot in the illustrated book covers of the Liberation collection (1944-46)

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In 2019, I started working on a project aimed at providing access through Cambridge University Library catalogue (iDiscover) to digitised images of book covers of the Chadwyck-Healey collection (about 3000 books in French about the Second World War, the Occupation and the Liberation, published between 1944 and 1946), with photographer Fanny Bara. We were struck by the number of titles and cover illustrations featuring the German boot (see my previous blog post on the use of the expression “sous la botte” in the literature of the Liberation). More than half of the Liberation collection books whose title refers to the German boot feature illustrated covers including an actual depiction of a boot (five covers) or German soldiers in uniform (six covers, three of which are photographic). Only the comic book Biroulet sous la botte by Raymond Sempé, (Liberation.a.37) features a strictly black and white cover illustration: while a stern looking German soldier goose steps, Biroulet, depicted as a mischievous peasant child, wearing clogs and beret, and holding a simple wooden stick, cocks a snook at him.

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“Sous la botte” (1): the German occupation of France and Belgium in the literature of the Liberation (1944-46)

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Black jackboots or “marching boots” (Marschstiefel), already used by the German infantry during World War I, were still part of the German army uniform during World War II, though they were gradually replaced by lace-up ankle boots (Schnürschuhe) from 1941 onwards. Although the phrase “sous la botte” was already used to describe German domination during World War I, it became widely used in reference to World War II, sometimes associated in the titles of books from the Liberation collection (1944-46) with a more or less precise time-span, ranging from 1940 to 1943, 1944 or 1945. The expression has become synonymous with that period of German occupation of France and Belgium. The military boot has become strongly associated with the image of the German soldier/officer in popular imagination and cultural representations, from contemporary posters to current historical movies. According to Google search results, they seem to be a particularly successful retail item nowadays, whether as (presumed) original artefacts, or as faithful reproductions. The footwear was used as a potent symbol of the German occupation of France and Belgium and of the oppression endured by the local populations. In particular, the recurring use of the expression “sous la botte” provided an evocative image of the German occupation as an oppressive regime of (military) tyranny (eluding the responsibility of the Vichy government and the question of French collaboration).

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A Tragedy of Betrayal and Revenge

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A single photograph reveals the division, distrust and betrayal that tore France apart both during and after the war. It is of a local football team in a village (possibly Maintenon) in the Eure-et-Loir region, in which four of the players are related. They are Francis Fermine, fourth from the left, with his arms folded, in the back row. His two cousins, Omer and Noé Sadorge are at each end of the row and his brother-in-law, Pierre Sadorge is in the front with his arm round the captain.

Sans titre

Comment meurt un réseau by ‘Colonel Rémy’, Liberation.b.663, p.112-113.

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