Germans often claim that 'we have learned the lessons of our history.' But what, precisely, are the lessons they have drawn from their Nazi-era past? What experiences from that time continue to hold significant meaning for Germans today, and how have those experiences shaped postwar German cultural identity? Though Germans have come to recognize the evils of Nazism, for them, its primary evil derived from the war it unleashed and the hardships, death, and destruction that the war wrought on the Germans themselves, and less from the losses and suffering it caused others. Recent public discussion about the Allied bombing campaign against Germany, the expulsion of Germans from Eastern Europe, and other German experiences during and following the Second World War have revealed what some see as an emerging tendency among Germans to perceive themselves as much the victims of wartime acts as other peoples. Through a survey of postwar literature, film, and other popular media, as well as public commemorations and other means of memorializing and discussing the past, K. Michael Prince demonstrates that the theme of German suffering has been an abiding and even overriding element of postwar German historical memory and a chief component of German cultural identity. While academics have focused their attention on Nazism, atrocity and genocide, and while Germany's official ceremonies and other acts of public memory have been similarly directed, it was the wartime sufferings of average Germans that have remained at the core of German historical consciousness, influencing their attitudes toward war in general and shaping Germany's role in world affairs.

Germans often claim that "we have learned the lessons of our history." But what, precisely, are the lessons they have drawn from their Nazi-era past? What experiences from that time continue to hold significant meaning for Germans today, and how have those experiences shaped postwar German cultural identity? Though Germans have come to recognize the evils of Nazism, for them, its primary evil derived from the war it unleashed and the hardships, death, and destruction that the war wrought on the Germans themselves, and less from the losses and suffering it caused others. Recent public discussion about the Allied bombing campaign against Germany, the expulsion of Germans from Eastern Europe, and other German experiences during and following the Second World War have revealed what some see as an emerging tendency among Germans to perceive themselves as much the victims of wartime acts as other peoples. Through a survey of postwar literature, film, and other popular media, as well as public commemorations and other means of memorializing and discussing the past, K. Michael Prince demonstrates that the theme of German suffering has been an abiding and even overriding element of postwar German historical memory and a chief component of German cultural identity. While academics have focused their attention on Nazism, atrocity and genocide, and while Germany's official ceremonies and other acts of public memory have been similarly directed, it was the wartime sufferings of average Germans that have remained at the core of German historical consciousness, influencing their attitudes toward war in general and shaping Germany's role in world affairs.

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; and it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history.

This book discusses the intersection between philosophy and literature during the British Enlightenment. Its primary focus is the work of moral philosophers during the first half of the eighteenth century, but its larger interest is in understanding how the writing of philosophical fictions relates to the rise of the novel, and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history.

Can a writing textbook inform and entertain? Can a very brief rhetoric also function as a stand-alone guide to college writing? Yes and yes. Speaking of Writing is a concise yet comprehensive rhetoric with readings. Informed by scholarship in Writing Studies, this book follows four college students from diverse backgrounds as they face the challenges of reading, writing, and critical thinking in first-year writing and across the disciplines. Each chapter engages students in relatable, often humorous scenarios that focus on key challenges. Through its story-based approach, Speaking of Writing enacts student-centered and process-based pedagogy, showing students learning to address fundamental questions: How can I apply my own strategies for success to new assignments? How can I maintain my own voice when asked to compose in an academic style? What do college professors mean by a "thesis," and how is this different from what my high-school teachers meant? Why is this argument weak, and how can I make it stronger? The book's narrative vividly dramatizes a draft-and-revision process that includes instructor feedback, peer review, and careful research.