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.
Colonialism and the Possibilities of a Franco-German Rapprochement before 1914
Images of London in Dissolution in the Novels of William Le Queux
Wheatley and Ian Fleming. 1 Le Queux's works are also acknowledged as representing the worst excesses of the German ‘invasion panic’ genre in the years before 1914. In numerous novels, serialised stories and reminiscences, he reached a wide audience
Maxence Van der Meersch's Invasion 14
W. Brian Newsome
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.
A critique of immigration policy in Germany through the lens of Turkish-Muslim women's experiences of migration
The largest group of migrants in Germany is the Turkish people, many of whom have low skills levels, are Muslim, and are slow to integrate themselves into their host communities. German immigration policy has been significantly revised since the early 1990s, and a new Immigration Act came into force in 2005, containing more inclusive stances on citizenship and integration of migrants. There is a strong rhetoric of acceptance and open doors, within certain parameters, but the gap between the rhetoric and practice is still wide enough to allow many migrants, particularly women, to fall through it. Turkish-Muslim women bear the brunt of the difficulties faced once they have arrived in Germany, and many of them are subject to domestic abuse, joblessness and poverty because of their invisibility to the German state, which is the case largely because German immigration policy does not fully realise a role and place for women migrants. The policy also does not sufficiently account for ethnic and cultural identification, or limitations faced by migrants in that while it speaks to integration, it does not fully enable this process to take place effectively. Even though it has made many advances in recent years towards a more open and inclusive immigration policy, Germany is still a 'reluctant' country of immigration, and this reluctance stops it from making any real strides towards integrating migrants fully into German society at large. The German government needs to take a much firmer stance on the roles of migrant women in its society, and the nature of the ethnic and religious identities of Muslim immigrants, in order to both create and implement immigration policy that truly allows immigrants to become full and contributing members to German social and economic life, and to bring it in line with the European Union's common directives on immigration.
This essay traces the process of naturalization of Shakespeare on the Continent and especially in nineteenth-century Germany with the consistent recurrence of his oscillation between the Protestant and Catholic poles in the biographical studies by Shakespeare scholars up to the twentieth century. In the second half of the eighteenth century, when German poets and critics discovered Shakespeare and chose his dramas as their literary models, they were not chiefly interested in his biography, character, and religious belief. Instead, his German admirers, especially of the school of Sturm und Drang (Storm and Stress) and the early Romanticists, concentrated on coming to terms with his dramatic art and defining his poetological position.
Krista Molly O'Donnell
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.
Jean Elisabeth Pedersen
“What is a nation?” Ernest Renan’s famous rhetorical question to an audience at the Sorbonne on 11 March 1882 has remained vital for a wide variety of scholars in fields as diverse as history, literary criticism, sociology, philosophy, and political science. Renan initially posed the question barely ten years after the close of the Franco-Prussian War, which had sparked the establishment of the French Third Republic, the unification of Germany under the leadership of Wilhelm I, and the transfer of the disputed territory of Alsace-Lorraine from French to German control in the months between July 1870 and May 1871. Renan made no overt mention of these events while he was speaking, but he rejected any possible answer to his question that might attempt to base the creation of nations and national identities on shared “race, language, [economic] interests, religious affinity, geography, [or] military necessities.” This explicit refusal constituted an implicit rejection of the entire range of German justifications for the acquisition of the two recently French border provinces.
The politics of French and German cinema between the onset of the Great Depression and the end of World War II is far from a new topic of study. However, scholars have typically focused on one country or the other, rather than comparing the two, and prioritized high-profile directors (for example, Jean Renoir, Jean-Paul Le Chanois, Leni Riefenstahl, and Veit Harlan) whose work benefited from direct party sponsorship and served a clearly propagandistic function. Reflecting the evolution of cultural history and film studies over the past decade, this collection of essays seeks to enrich the traditional approach in three ways. The first is by expanding the definition of politics beyond official party or state discourse to include power-related issues such as representation of gender and gender roles; access to material resources including funding and technology; relationships between film creators and industry or government officials; and competition between commercial and ideological priorities in film production, censorship, and distribution.
Franz A. Birgel
Characterized by Siegfried Kracauer as "the first and last German film that overtly expressed a Communist viewpoint," Kuhle Wampe (1932) is also noteworthy for being the only film on which Bertolt Brecht collaborated from beginning to end, as well as for its controversial censorship in the tumultuous political context of the late Weimar Republic. When set against the background of the 1920 Motion Picture Law and the censorship of two other high-profile films—Sergei Eisenstein's Battleship Potemkin and Lewis Milestone's All Quiet on the Western Front—the political history of Kuhle Wampe highlights the indecisiveness, fragility, and fears of the German Left as the Nazis prepared to take power.
Orthodox Jewish Responses to the Holocaust
Orthodox Jews in postwar German Displaced Persons camps experienced the Holocaust's rupture of God's covenantal relationship with history and the eclipse of sacred reality. They sought to recapture that reality, even though the continuity of tradition that held it had been shattered. This was done by voluntarily reviving tradition, as if by doing so the sacred could be invoked. Following momentary suspension, they sought to restore ethnic-generational purity and traditional ritual. They invested holiday celebration with Holocaust meaning. On the level of thought they expanded Israel's metahistory to include the unprecedented tragedy and intensified their own contributions of Torah and Teshuvah to the higher drama, and recommitted their trust that divine light was implicit to reality's darkness.