Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Introduction: Finding the “Good German”
- 1 Re-Presenting the Good German: Philosophical Reflections
- 2 “Görings glorreichste Günstlinge”: The Portrayal of Wilhelm Furtwängler and Gustaf Gründgens as Good Germans in the West German Media since 1945
- 3 From Hitler's Champion to German of the Century: On the Representation and Reinvention of Max Schmeling
- 4 Wilhelm Krützfeld and Other “Good” Constables in Police Station 16 in Hackescher Markt, Berlin
- 5 The “Good German” between Silence and Artistic Deconstruction of an Inhumane World: Johannes Bobrowski's “Mäusefest” and “Der Tänzer Malige”
- 6 Saints and Sinners: The Good German and Her Others in Heinrich Böll's Gruppenbild mit Dame
- 7 Being Human: Good Germans in Postwar German Film
- 8 “The Banality of Good”? Good Nazis in Contemporary German Film
- 9 Memories of Good and Evil in Sophie Scholl — Die letzten Tage
- 10 Deconstructing the “Good German” in French Best Sellers Published in the Aftermath of the Second World War
- 11 Macbeth, Not Henry V: Shakespearean Allegory in the Construction of Vercors's “Good German”
- 12 A Good Irish German: In Praise of Hugo Hamilton's Mother
- 13 Shades of Gray: The Beginnings of the Postwar Moral Compromise in Joseph Kanon's The Good German
- Works Cited
- Filmography
- Notes on the Contributors
- Index
Introduction: Finding the “Good German”
Published online by Cambridge University Press: 05 June 2013
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Introduction: Finding the “Good German”
- 1 Re-Presenting the Good German: Philosophical Reflections
- 2 “Görings glorreichste Günstlinge”: The Portrayal of Wilhelm Furtwängler and Gustaf Gründgens as Good Germans in the West German Media since 1945
- 3 From Hitler's Champion to German of the Century: On the Representation and Reinvention of Max Schmeling
- 4 Wilhelm Krützfeld and Other “Good” Constables in Police Station 16 in Hackescher Markt, Berlin
- 5 The “Good German” between Silence and Artistic Deconstruction of an Inhumane World: Johannes Bobrowski's “Mäusefest” and “Der Tänzer Malige”
- 6 Saints and Sinners: The Good German and Her Others in Heinrich Böll's Gruppenbild mit Dame
- 7 Being Human: Good Germans in Postwar German Film
- 8 “The Banality of Good”? Good Nazis in Contemporary German Film
- 9 Memories of Good and Evil in Sophie Scholl — Die letzten Tage
- 10 Deconstructing the “Good German” in French Best Sellers Published in the Aftermath of the Second World War
- 11 Macbeth, Not Henry V: Shakespearean Allegory in the Construction of Vercors's “Good German”
- 12 A Good Irish German: In Praise of Hugo Hamilton's Mother
- 13 Shades of Gray: The Beginnings of the Postwar Moral Compromise in Joseph Kanon's The Good German
- Works Cited
- Filmography
- Notes on the Contributors
- Index
Summary
In the aftermath of the Second World War and the Nazi period, both the Allied occupying powers and the nascent German authorities in the political and cultural spheres sought Germans whose record during the war and the Nazi period could serve as a counterpoint to the notion of all Germans being evil. After the division of Germany in 1949, finding “good Germans” whose record helped legitimize each of the new German states became a core aspect of building a new nation in Germany and of the propaganda battle in this respect between the two German states. In eastern Germany, the ruling Socialist Unity Party (SED) began, even before the creation of the German Democratic Republic in 1949, to honor those Communists such as Ernst Thälmann who had died at the hands of the Nazis, as well as those “good Germans” of earlier generations, such as Rosa Luxemburg, who had opposed right-wing, “proto-Nazi,” forces from a socialist or communist standpoint. Leadership of the new state passed into the hands of people who for the most part had spent the Nazi years outside Germany, people such as Walter Ulbricht and Wilhelm Pieck. Communist resistance was used to legitimize the state, and those officially recognized as “Fighters against Fascism” were accorded privileged treatment, which was instantly withdrawn if they engaged in political opposition to the new order.
- Type
- Chapter
- Information
- Representing the "Good German" in Literature and Culture after 1945Altruism and Moral Ambiguity, pp. 1 - 15Publisher: Boydell & BrewerPrint publication year: 2013