Essays analyzing postwar literary, cultural, and historical representations of "good Germans" during the Second World War and the Nazi period. In the aftermath of the Second World War, both the allied occupying powers and the nascent German authorities sought Germans whose record during the war and the Nazi period could serve as a counterpoint to the notion of Germans asevil. That search has never really stopped. In the past few years, we have witnessed a burgeoning of cultural representations of this "other" kind of Third Reich citizen - the "good German" - as opposed to the committed Nazi or genocidal maniac. Such representations have highlighted individuals' choices in favor of dissenting behavior, moral truth, or at the very least civil disobedience. The "good German's" counterhegemonic practice cannot negate or contradict the barbaric reality of Hitler's Germany, but reflects a value system based on humanity and an "other" ideal community. This volume of new essays explores postwar and recent representations of "good Germans" during the Third Reich, analyzing the logic of moral behavior, cultural and moral relativism, and social conformity found in them. It thus draws together discussions of the function and reception of "Good Germans" in Germany and abroad. Contributors: Eoin Bourke, Manuel Braganca, Maeve Cooke, Kevin De Ornellas, Sabine Egger, Joachim Fischer, Coman Hamilton, Jon Hughes, Karina von Lindeiner-Strasky, Alexandra Ludewig, Pol O Dochartaigh, Christiane Schoenfeld, Matthias Uecker. Pol O Dochartaigh is Professor of German and Dean of the Faculty of Arts at the University of Ulster, Northern Ireland. Christiane Schoenfeld is Senior Lecturer in German and Head of the Department of German Studies at Mary Immaculate College, University of Limerick.

Kevin De Ornellas argues that in Renaissance England the relationship between horse and rider works as an unambiguous symbol of domination by the strong over the weak. There was little sentimental concern for animal welfare, leading to the routine abuse of the material animal. This unproblematic, practical exploitation of the horse led to the currency of the horse/rider relationship as a trope or symbol of exploitation in the literature of the period. Engaging with fiction, plays, poems, and non-fictional prose works of late Tudor and early Stuart England, De Ornellas demonstrates that the horse a bridled, unwilling slave becomes a yardstick against which the oppression of England s poor, women, increasingly uninfluential clergyman, and deluded gamblers is measured. The status of the bitted, harnessed horse was a low one in early modern England to be compared to such a beast is a demonstration of inferiority and subjugation. To think anything else is to be naive about the realities of horse management in the period and is to be naive about the realities of the exploitation of horses and other mammals in the present-day world."