Histoire, hommage et pédagogie au musée de la Libération de Paris-musée du général Leclerc-musée Jean Moulin by Sylvie Zaidman, Alix Quéré

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Cette étrange étrangère qu’est l’exilée : Adélaïde Blasquez by Luisa Montes Villar

“…In it, two works of Adélaïde Blasquez a French-Spanish woman writer, exiled in Belgium since 1936 and at a later time in France, after of the liberation of Paris in 1944, are presented. Les Ténèbres du dehors (1981) and Le Bel Exil (1999) describe the imaginary of the exile and childhood insinuating the rooting and the distance of the woman writer toward their mother tongue and toward the country of their wild fancies, Spain.…”
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Communist Armenian Women’s History by Lerna Ekmekcioglu

“…While LAS was arrested a month before the liberation of Paris and died in the Ravensbrück Concentration Camp soon afterwards, her comrades decided to continue the fight though on a different platform. …”
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Modernism, existentialism, postcriticism: Gabriel Marcel reads Pilgrimage by Guy, A

“…In La Force de l’age (1960), her memoir of the period from the late 1920s through to the liberation of Paris in 1944, de Beauvoir describes her reading interests:</p> <br/> <p>Besides the books that I read with Sartre, I took in Whitman, Blake, Yeats, Synge, Sean O’Casey, all of Virginia Woolf, tons of Henry James, George Moore, Swinburne, Swinnerton, Rebecca West, Sinclair Lewis, Dreiser, Sherwood Anderson, all the published translations in the ‘Feux croisés’ series, and even, in English, the interminable novel by Dorothy Richardson, that managed across the course of ten or twelve volumes to say absolutely nothing. …”

Ozu, le siècle et le geste by Román Domínguez Jiménez

“…Du coup, chacun peut depuis son fauteuil, grâce aux dispositifs tels que youtube et dailymotion se rapporter à presque toutes les séquences du siècle : des films de Méliès, en passant par Chaplin et Fernandel, aux images de la libération de Paris, de la guerre du Vietnam, des vidéos de Michael Jackson et des derniers moments de Ceausescu.Le musée imaginaire de Malraux portait dans ses photographies l’impossibilité de réunir toutes ses œuvres. …”
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