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.

This book is a biographical history of Rottnest Island, a small carceral island offshore from Western Australia. Rottnest is also known as Wadjemup, or "the place across the water where the spirits are", by Noongar, the Indigenous people of south-western Australia. Through a series of biographical case studies of the diverse individuals connected to the island, the book argues that their particular histories lend Rottnest Island a unique heritage in which Indigenous, maritime, imperial, colonial, penal, and military histories intersect with histories of leisure and recreation. Tracing the way in which Wadjemup/Rottnest Island has been continually re-imagined and re-purposed throughout its history, the text explores the island's carceral history, which has left behind it a painful community memory. Today it is best known as a beach holiday destination, a reputation bolstered by the "quokka selfie" trend, the online posting of photographs taken with the island's cute native marsupial. This book will appeal to academic readers with an interest in Australian history, Aboriginal history, and the history of the British Empire, especially those interested in the burgeoning scholarship on the concept of "carceral archipelagos" and island prisons.

Das Buch illustriert anhand zahlreicher Fotos das Leben im Internierungslager auf Rottnest Island (Australien). Dort wurden im Ersten Weltkrieg neben zivilen feindlichen Auslandern aus Deutschland und OEsterreich-Ungarn auch indigene Strafgefangene von australischen Soldaten und Wachen festgehalten. Dennoch kam es zu seltenen Momenten der Verbruderung uber nationale und ethnische Grenzen hinweg. Die Koexistenz von Mannern unterschiedlichster Herkunft und Sozialisation, die oft nicht einmal eine gemeinsame Sprache hatten und doch mitten im Ersten Weltkrieg eine friedliche Gemeinschaft pflegten, mag im Ruckblick auf die Geschichte als Inspiration dienen.

The Heimat film genre, assumed to be outdated by so many, is very much alive. Who would have thought that this genre which has been almost unanimously denounced within academic circles, but which seems to resonate so deeply with the general public would experience a renaissance in the 21st century? The genre's recent resurgence is perhaps due less to an obsession with generic storylines and stereotyped figures than to a basic human need for grounding that has resulted in a passionate debate about issues of past and present. This book traces the history of the Heimat film genre from the early mountain films to Fatih Akin's contemporary interpretations of Heimat.