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Classical polytheism or “paganism” presented a challenge to the Philhellenes of the Enlightenment, who found it difficult to accept that the greatest minds of antiquity had been taken in by (vide Fontenelle) “a heap of chimeras, delusions, and absurdities.” Rejecting the claim that “paganism” was a deformation of the “natural religion” of the early Hebrew patriarchs, several Enlightenment thinkers developed theories of classical polytheism, presenting it as the apotheosis of the great kings and heroes of the first ages of man, a system of allegorical symbols that conveyed timeless truths, and the effort of a prescientific mentality to understand the hidden forces of nature. Although divergent in their interpretations of “paganism,” these theories converged by separating its origins from Judeo-Christian traditions and presenting religion as an essentially human creation. Thus, Enlightenment theories of classical mythology contributed to the emergence of the more cosmopolitan and tolerant spirit that characterized the age.

The relationship of the European Enlightenment to Islam has usually been analyzed by collating “attitudes” toward a religion conceived as constitutively non-European. Enlightenment thinkers made use of Islam and other major revealed religions to relativize and to mock the claims of the Christian church. However, the notion of Islam as irredeemably “other” to Europe is a modern projection. Many eighteenth-century people passed back and forth between Europe and lands dominated by Islam, changing their identity, language, or religion, seeking refuge or a reversal of fortunes. One such figure was Jean-Jacques Rousseau's father, Isaac. Rousseau was marked in multiple ways by the mobility between Europe and the Muslim world, and by the new ideas these crossings engendered. This study of Rousseau's treatment of Islam and the Islamic world in his life and work proposes another model for thinking about Europe and Islam in the Age of Enlightenment.

This article explores the relationship of religion, universal histories of philosophy, and eighteenth-century French vitalism in the work of Abbé Claude Yvon. Yvon, while in exile in the Netherlands, was a high-ranking associate of the Masonic societies of The Hague and close to radical publishers. He was also heralded as a materialist and radical Enlightenment partisan. Upon his return to France in 1762, his significant role in the Prades Affair (1752) led to mistrust and scorn on the part of the French clerical establishment, but he also spent the bulk of his later years writing anti-philosophe apologetics for the Catholic Church. This unlikely collision of seemingly inimical career trajectories makes Yvon a figure that transcends common understandings of Catholic Enlightenment, as well as recent scholarly taxonomies of “radical” and “moderate” Enlightenment introduced by Jonathan Israel's controversial synthesis of the age. Yvon's awkward adherence to a kind of “vitalistic materialism” is but one such aspect of his ambivalent position on the peripheries of radical and Catholic Enlightenment currents.

When Dr. Rosie Gräfenberg traveled to French West Africa in 1929, she set the French security and intelligence service on high alert. Rumors preceding her arrival suggested she might be a Russian agent, a communist agitator, and a German spy, among other things. She, however, presented herself as a German journalist. This article contrasts Gräfenberg's autobiography and newspaper articles with French police archives to consider why the stories surrounding her life diverged so greatly and what variations in detail, fact, and tone reveal about how Franco-German relations influenced considerations of race, nation, gender, and sexuality in the French Empire. In part because her trajectory was so outlandish, Gräfenberg's writings help us to consider the influence of World War I upon interwar colonial politics, procedures, and presumptions.

This article explores the ways in which French intellectuals understood the changing and intersecting relationships between France and Germany, France and Alsace-Lorraine, and France and Africa during the early twentieth-century expansion of the French empire. The body of the text analyzes the interdisciplinary discussions of Paul Desjardins, Charles Gide, and their academic and activist colleagues at the Union pour la vérité (Union for Truth) and its Libres entretiens (Open Conversations) in the immediate aftermath of the First and Second Moroccan Crises. Focusing on the Union's 1905–1906 and 1912–1913 debates over the issues of nationalism, internationalism, imperialism, and colonization provides a new understanding of the relationship between French national identity and French imperial identity. The conclusion explains how and why this group of largely progressive French political analysts simultaneously rejected German expansion into France and justified French expansion across the African continent.

This article argues against the importance of colonial tensions for the worsening of Franco-German relations between the two Moroccan Crises in 1905 and 1911. Traditionally, historians have interpreted the clashes of French and German interests over Morocco in the first two decades of the twentieth century as putting France and Germany on the path to armed conflict in 1914. This article shows, however, that the First Moroccan Crisis engendered intense efforts by both German and French pro-colonialists to come to a peaceful understanding with each other. The article thus demonstrates that in the early years of the twentieth century, French and German colonialists indeed thought in transnational terms; that is, their understanding of their own and their counterpart's interests was based on the recognition of mutually shared values and racial features that transcended both countries' European borders.

The French Colonial Union (Union Coloniale Française) and the German Colonial Society (Deutsche Kolonialgesellschaft), two powerful imperialist lobbying associations, each began to promote white women's colonization in 1896. Their respective justifications for women's overseas settlement demonstrate the very different concerns that preoccupied French and German nationalists at the turn of the century. Strong public opposition to these campaigns also indicates the very different reactions from the French and German public to these imperialist organizations' extremist views on race, gender, and reproduction at the turn of the century.

In the early 1920s, Germany orchestrated an international propaganda campaign against colonial French troops stationed in the Rhineland that used the racist epithet “black horror on the Rhine,” and focused on claims of widespread sexual violence against innocent Rhenish maidens by African French soldiers, in order to discredit the Versailles Treaty. I argue that black horror propaganda fused elements of Allied propaganda—especially images of the barbaric “Hun”—with Germany's own wartime propaganda against colonial Allied troops. I use the significant film against colonial soldiers, Die schwarze Schmach (The Black Shame, 1921), to highlight the tensions and pitfalls of the German propagandistic strategy. As the debates over the film illustrate, black horror propaganda often had the effect of reminding audiences of German war crimes rather than diverting attention away from them. The ultimate ban of Die schwarze Schmach demonstrates the complex political nature of the 1920s backlash against atrocity propaganda.

In his 1935 novel Invasion 14, Maxence Van der Meersch painted a nuanced picture of the German invasion and occupation of northern France during World War I. Despite local controversy, Invasion 14 won national and international praise, losing the Prix Goncourt by a single vote. Though neglected in the wake of World War II, when the author's treatment of Franco-German relations between 1914 and 1918 ran headlong into evolving myths of widespread resistance between 1940 and 1944, Invasion 14 has garnered renewed attention as a window onto the occupation of World War I. Heretofore unappreciated, however, is Van der Meersch's use of colonial themes of race and empire. Based on research in the Archives Maxence Van der Meersch, this study explores the author's treatment of colonial motifs, demonstrating their centrality to the novel and the debate it generated.