German Victims Research Articles

Фигурации памяти: процессо-реляционная методология, иллюстрируемая на примере Германии

Jeffrey Olick is one of the most prominent researchers in the field of memory studies today. Yet, none of his works have been translated into Russian. “Figurations of memory” is one of his most important texts. It is dedicated to the process-relational methodology. J. Olick criticizes traditional approaches to collective memory as a static thing, whereas it should be studied as a process. On the other hand, the author criticizes a mainstream understanding of memory as a unified object. Instead, he suggests that there are multiple mnemonic forms and practices that should be investigated. As a result he presents a new methodology that is based on analysis of the four essential aspects of memory work: field (in the Bourdieuvian sense), medium, genre, and profile. This method of analysis leads to emergence of additional empirical categories, such as official, vernacular, public, and private memory; affective, aesthetic-expressive, instrumental-cognitive, and political-moral media; the normal legitimation, German traditions, German victimhood, and German guilt genres; and the reliable, moral, and normal profiles. Though the final model may seem rather complex, the author claims that it is clearer and more precise that other models of research of collective memory. He claims that this methodology is universal for studying a large number of sociological topics.

‘We Shall Be Punished’: Positionality and Postmemory in Rachel Seiffert’s The Dark Room and Uwe Timm’s In My Brother’s Shadow

During the Second World War, the German officer Wilm Hosenfeld, on duty in Poland, wrote about the war atrocities committed by his country, ‘We shall be punished for it. And so will our innocent children, for we are colluding when we allow these crimes to be committed.’ Taking this diary entry as its starting point, this essay assesses Rachel Seiffert’s 2001 novel The Dark Room and Uwe Timm’s 2005 autobiographical novella In My Brother’s Shadow in the light of contemporary German victim and collective guilt discourses, transposing Marianne Hirsch’s term ‘postmemory’ on to the children of the perpetrators.

Luftkrieg and alien invasion: Unacknowledged themes of German wartime suffering in the Hollywood blockbuster Independence Day

West German native Roland Emmerich's Independence Day (1996) is considered the prototypical Hollywood blockbuster of a post-Cold War era of globalization in which new impulse was given to the diffusion of American cultural products across national borders. Michael Rogin's analysis of Independence Day as a resonant document of post-Cold War American anxieties and hopes illuminates the meaning of the film for American audiences but fails to note the film's relationship to post-unification German anxieties and hopes. Referencing a key text in the postCold War German reconsideration of (non-Jewish) German wartime suffering, W. G. Sebald's essay on the cultural effects of the Allied bombing campaign (Luftkrieg and Literatur), and singling out Sebald's argument about the suspect role of fantasy in depicting unprocessed trauma, this article suggests how narrative and visual elements of Independence Day evoked problematic notions of German victimhood. However inadvertently issues of German national identity and historical memory were broached by Emmerich and his many German collaborators, the product of their collective efforts offered a cinematic experience that could resonate in distinctive ways with post-unification German moviegoing audiences.

Dialectics, dogmas, and dissent: stories from East German victims of human rights abuse

Dialectics, dogmas, and dissent: stories from East German victims of human rights abuse

Compensation of victims of interpersonal violence in Hessen/Germany

A research project on the German Victim Compensation Act (OEG). In cooperation with the Hesse Maintenance Council and Fulda County (October 2009 to September 2010). Since March 2007, there is...

Germans as victims in the literary fiction of the Berlin Republic

In recent years it has become much more accepted in Germany to consider aspects of the Second World War in which were not perpetrators, but victims: the Allied bombing campaign, the expulsions of ethnic from the east, the mass rapes inflicted on German women, and the postwar internment and persecution of Germans. An explosion of literary fiction on these topics has accompanied this trend. Two key texts are W. G. Sebald's The Air War and Literature (1999) and Gunter Grass's Crabwalk (2002), but there are many others. The vast majority of these texts seek not to revise German responsibility for the Holocaust but to depict the fate of Germans in an empathetic manner, seeking a balance German victimhood and German perpetration. This book of essays by leading scholars from the UK, the US, and Germany is the first in English to examine in detail the variety of these recent texts. An opening section on the 1950s - a decade of intense literary engagement with as victims before the focus shifted in the 1960s to German perpetration - provides context, drawing parallels but also noting differences between the immediate postwar period and today. The longer second section focuses on key texts written since the mid-1990s advent of the Berlin Republic and the coinciding shifts in perspective on the Nazi past, on questions of perpetration and victimhood, on the fates of ordinary Germans, and on the balance between historical empathy and condemnation. Many of the works considered are among the best of contemporary German literature and are widely read in English translation. This volume will therefore interest not only the specialist but also the general reader (titles of texts and quotations are translated). Cultural historians, historians of the Holocaust, and comparative literature specialists will also find this book an invaluable resource and guide. ~~ STUART TABERNER is Professor of Contemporary German Literature, Culture, and Society, and KARINA BERGER, B.A., M.St., is a Ph.D. candidate, both at the University of Leeds, UK.

Narrative Tensions: The Archive and the Eyewitness

There is a basic tension between eyewitness narratives and archival records (which have attracted the attention for many artists and intellectuals in the last decade or two). Archival material bears the imprint of the bureaucratic, of that which has been institutionally preserved. It gives us traces of the dead, evidence of the past that has been recorded but not (yet) processed; it exists as a mnemonic device, as that which awaits the coming of the researcher to be brought back to life. The eyewitness narrative, on the other hand, is intensely personal, even if also collective. The opposition between these two modes of representation and of memory itself has a long history. In “Plato's Pharmacy” Jacques Derrida stages and deconstructs the opposition between memory and re- and com-memoration, between the living truth and the archive. More recently, Giorgio Agamben, writing about the new Memorial to the Murdered Jews of Europe in Berlin, analyzes the differences between the “unforgettable” and that which can be recalled to memory and archived. This paper examines the ways in which the dynamic relations between the living and the dead, the private and the public, the fragment and the whole, the personal and the institutional, and the autobiographical and the historical, inform and complicate -- in different ways -- both the eyewitness narrative and the archive. The discussion will focus on the Memorial at Hohenschönhausen to the East German victims of the Stasi (at the site of the former interrogation center and prison, where the tours are all conducted by former inmates), and the Stasi Museum at the site of the former Stasi headquarters, with its miles of archival files.

‘Gegen den Strich’: The Early Representation of German Wartime Suffering in Walter Kempowski's Mark Und Bein (1991)

ABSTRACTThis article examines Walter Kempowski's Mark und Bein. Eine Episode (1991), a text that commemorates and represents the flight and expulsion of ethnic Germans from the eastern territories at the end of the Second World War. Published almost a decade before the recent preoccupation with ‘German wartime suffering’ began, the book was largely ignored by critics, scholars and the public at the time of its publication. I argue that Mark und Bein anticipates some of the major themes in Germany's ongoing ‘Vergangenheitsbewältigung’ and should be reconsidered in the context of the current wave of literary representations of German victimhood. Reflecting on the various ‘memory contests’ surrounding the Nazi past, the text aims to represent German victimhood in a way that shuns both ‘political correctness’ and apologism, and attempts a more inclusive portrayal where German suffering and German perpetration stand alongside each other. This article contends that Mark und Bein largely succeeds in achieving historical balance, despite occasional dehistoricising or relativising elements in the narrative, and is thus an early and valuable example of post‐unification German fiction attempting adequately to represent Germany's past.

Günter Grass und die Musik by Anselm Weyer

906 Reviews Moeller contributes a second essay focusing on 'Victims inUniform' and analysing threeGerman war filmsof the I950s; Paul Cooke also focuses on film,but traces a trajectory from theearlyHeimatfilm through the critical impetus ofNew German Ci nema to 'a cinema of consensus' (p. 9I) as represented by Sonke Wortmann's football melodrama, Das Wunder von Bern (2003). Helmut Schmitz exposes German vic timhood as a subterranean agenda of theHistorikerstreit of the I98os and Bill Niven explores how theAllied bombing ofDresden has been figured in theart and literature of theGDR and on into thepresent. A cluster of essays then address what might be broadly termed a 'decentring' of theHolocaust discourse within public commemorative politics.With reference to re cently accessed files,Pertti Ahonen demonstrates how the killings at theBerlin Wall were ruthlessly instrumentalized by both sides during the Cold War; Andrew H. Beattie explores how the problematic 'anti-totalitarian consensus' (p. i6o) of I990S public debate is set to issue into amore diversified commemorative landscape. Stuart Taberner also explores this same problem with reference to awide range of recent literatureand attests theeffective 'normalization' of aGerman culture thatcan address German victimhood within the context ofGerman perpetration as part of a 'new in clusiveness' (p. i68). Two pieces focus on recent external triggers.Andreas Huyssen argues that theGerman peace movement's opposition towar in Iraq reignited debates about airwar legacies closer to home and triggered a 'geopolitical nostalgia' (p. I92) inEurope that isdirected explicitly against theUS. Karolina von Oppen and Stefan Wolff explore the rising importance of theGerman expellee organizations against the background of theKosovo conflict and of EU enlargement. Finally, in trying to understand the low profile of professional historians in these debates, Stefan Berger also sketches what he calls the 'Europeanisation of theHolocaust' (p. 224), which, he argues, might allow Germans to rediscover theirpast steering a path somewhere between the universalization of victimhood and nationalist apologia. As is clear, the great strength of the volume is itsgenuinely interdisciplinary ap proach. It would have been fascinating, though, to see one thingmore fully ana lysed: the relationship between 'familyalbum' and 'encyclopaedia' (Harald Welzer, Sabine Moller, and Karilina Tschuggnall, 'Opa wvarkeinNazi': Nationalsozialismus undHolocaust imFamiliengeddchtnis (Frankfurt a.M.: Fischer, 2002)), or 'active' and 'archival' memory (Aleida Assmann, Erinnerungsraume: Formen undWandlungen des kulturellen Geddchtnisses (Munich: Beck, I999)), to cite the current historical and philosophical buzzwords respectively (also referenced in the volume). Overall, the volume does not really address themechanisms by which private memory actually becomes public discourse, and the role culture might play as potential intermediary in thatprocess. However, the (almost) uniformly excellent standard of contributions, aimed at an anglophone readership, the inclusion of maps and a 'Chronology of Events', along with a characteristically nuanced and thought-provoking introduction by Bill Niven, mean that this volume is themost rewarding account of this issue to date. A must forall those interested in this area. NEW COLLEGE, OXFORD KAREN LEEDER Giinter Grass und dieMusik. By ANSELM WEYER. (Kolner Studien zur Literaturwis senschaft, i6) Frankfurt a.M.: Peter Lang. 2007. 307 pp. ESI .5. ISBN 978 3-63I-55593-4. Although Gunter Grass iswell known as amaster ofmany crafts, this doctoral dis sertation is the firststudy to provide an overview of his eclectic use ofmusic. The broad title encompasses the very differentmusical aspects and influences,which the author presents in threemain parts. MLR, I03.3, 2008 907 Part Iprovides some biographical details, fromGrass's early listening tooperas on the 'Volksempfiinger' to his experience as a band member of a jazz group. Anselm Weyer discusses some ofGrass's major works, startingwith the function of thedrum inDie Blechtrommel, the use of leitmotif technique inHundejahre, and the parallels between Hundejahre andWagner's Ring desNibelungen. In his brief chapter on Das Treffen inTelgte,Weyer attempts to explain why themusician Heinrich Schiitz must be seen as one of the narrative's main characters. This is followed by a discussion ofGrass's use of palindromes in Im Krebsgang. Weyer explores the construction of Grass's latestnovella and his concept of 'Vergegenkunft', and puts both in thecontext ofmusical theory.This firstpart is the least original, and the author's claim thathis approach invitesnew ways of readingGrass's works isnot always convincing. Never theless, itdoes provide...

Germans as Victims: Remembering the past in Contemporary Germany by Bill Niven

MLR, I03.3, 2oo8 905 to Paver) only partially successful narrative structures, in terms of what they 'do' rather thanwhat they 'say': Schlink inparticular iscriticized forhis undifferentiated presentation of social class, forhis assumption thathis 'generation' all share his edu catedmiddle-class perspective on theNazi past. The thirdchapter, on theother hand, which examines one work of 'documentary literature' (Helga Schubert's Judasfrauen) and two documentary films (Helke Sander's BeFreier und BeFreite and Ruth Beck ermann's Jenseits des Krieges), explores theways inwhich gender shapes post-war memory of theThird Reich. Paver contends that these female film-makers are essen tially trapped in a double bind, since their laudable attempts to replace the clichieof theauthoritative male voice-over with amore exploratory female perspective merely perpetuate thedistinction theyare seeking to subvert. The fourth chapter analyses the relationship between Marcel Beyer's Flughunde, Michel Tournier's Le Roi des Aulnes, and Volker Schlondorff's film adaptation of Tournier's novel (Der Unhold), comparing theirdepictions of an ambivalent hero and, inparticular, the implications ofusing different languages todescribe theNazi period. The finalchapter uses abroader discussion of theways in which memory has been con structed in the formerconcentration camps Mauthausen and Ebensee as the starting point for an analysis ofChristoph Ransmayr's novelMorbus Kitahara, which Paver reads as a (specificallyAustrian) 'critique of the culture of commemoration' (p. 122). This phrase could also be applied toPaver's perceptive study. If it is at times per haps a touch too brisk, if itdeliberately ignoresmany of the standard literary texts of the period, this is doubtless due to its remit as a guide to students of European cultural studies. At all times aware of its own methodological bias (the conclusion, for instance, usefully reminds us thatnot allGermanic literature isobsessed with the Third Reich), it fulfils this remit admirably, and will doubtless find itsway onto the standard reading-lists for theperiod. In taking a step back from the academic indus tryof 'Vergangenheitsbewaltigung' and asking some basic methodological questions, Paver has produced a thought-provoking introduction to the critical issues of con temporary 'Gediichtniskultur'. UNIVERSITY OF KENT BEN HUTCHINSON Germans as Victims: Remembering thePast inContemporary Germany. Ed. by BILL NIVEN. Basingstoke: Palgrave Macmillan. 2oo6. iX + 292 pp. ?18.99. ISBN 978 1-4039-9043-3. This rich and fascinating collection gives a fresh and eminently readable overview of thememory politics which has made the years since unification so remarkable in Germany. Since the i960s Germans have been confronting the legacy of theThird Reich as a perpetrator collective. Arguably, however, since the I990S and especially since 2005, theHolocaust no longer takes centre stage in theGerman culture of memory, but rather theproblem ofGerman victimhood-from theAllied bombings ofGerman cities, or the rape ofGerman women, to the expulsions ofGermans from Eastern Europe after thewar. This volume seeks todeconstruct the idea that a signi ficant taboo was broken in 2002 with the controversial publication ofGunter Grass's ImKrebsgang (and to a lesser extentwithW G. Sebald's Luftkrieg und Literatur lec tures,published in I999), and todemonstrate instead that the topos ofvictimhood has been a constant, if largelyunrecognized, undercurrent of post-war German culture. An essay by thehistorian Robert G. Moeller sets the termsof the debate, focusing on the search for what might be termed 'a usable past': also the subtitle of his influ ential War Stories (Berkeley: University ofCalifornia Press, 200I)): a search which dominates this volume as a whole. A first section moves broadly chronologically: 906 Reviews Moeller contributes a second essay focusing on 'Victims inUniform' and analysing threeGerman war filmsof the I950s; Paul Cooke also focuses on film,but traces a trajectory from theearlyHeimatfilm through the critical impetus ofNew German Ci nema to 'a cinema of consensus' (p. 9I) as represented by Sonke Wortmann's football melodrama, Das Wunder von Bern (2003). Helmut Schmitz exposes German vic timhood as a subterranean agenda of theHistorikerstreit of the I98os and Bill Niven explores how theAllied bombing ofDresden has been figured in theart and literature of theGDR and on into thepresent. A cluster of essays then address what might be broadly termed a 'decentring' of theHolocaust discourse within public commemorative politics.With reference to re cently accessed files,Pertti Ahonen demonstrates how the killings at theBerlin...

The Rereading of Willy Münzenberg's and Margarete Buber-Neumann's Lives in Antonio Munoz Molina's Novel Sefarad (2001)

ADOLF Endler, in his journal Tarzan am Prenzlauer Berg (1994), mentions a picture album belonging to the poet Kurt Barthel, from 1952 to 1954 president of the East German Writers' Organization and notorious for his enthusiastic support of Stalin. In some photographs, consisting mainly of group pictures of Barthel with other communists from former periods of his life, some of the faces are missing: Kuba [Spitzname fur Kurt Barthel] hatte tatsachlich aus all diesen Beweisstucken fur seinen 'Aufstieg' in den vierziger, funfziger Jahren all jene beruhmten Kopfe heraustranchiert [...], welche sich seiner oder der Meinung der Partei zufolge als Verrater entpuppt hatten, als Renegaten und Revisionisten, kurz als 'ekles Geschmeiss' [...] / (Kuba [nickname for Kurt Barthel] had indeed cut out from those pieces of proof of his 'career' in the 1940s and 1950s all the famous heads that according to his or the Party's opinion had turned out to be 'traitors,' 'renegades' and 'revisionists,' in short 'disgusting beasts' [...]). (197, all English translations are mine) That Kurt Barthel had cut out the faces of some of the famous communists from the photographs is symbolic of the discourse of orthodox Marxism as it was practiced mainly in the GDR and in the Soviet Union before the fall of the Berlin Wall and the end of the Cold War. For instance, names like Willy Munzenberg, a renowned German communist who was considered a traitor by the Communist Party, were excluded from the history of the Communist movement. This note will show that Antonio Munoz Molinas's novel Sefarad inserts back some of the missing faces into the history of German communism, especially those of Willy Munzenberg and Margarete Buber-Neumann. The great value of the novel consists not only in a subtle and sensitive reading of the lives of different European Jews during the years of the Holocaust, but also, intertwined with it, a reading of German victims of both Nazism and Stalinism. The author renders personal stories of people whose lives were deeply influenced by the politics and history of the twentieth century and attempts to describe how they felt certain historical events. Among those people are Willy Munzenberg and Margarete Buber-Neumann, who were communists and, at the same time, victims of the witch-hunting for the heterodox within the Stalinist system. Buber-Neumann, who lived in exile in the Soviet Union, was even turned over to Hitler after the German-Soviet Non-Aggression Pact of 1939 and barely survived the Ravensbruck concentration camp. As a consequence, until the end of the Cold War, Munzenberg's and Buber-Neumann's lives were largely excluded from orthodox Marxist discourse--as if speaking of them would have been politically incorrect. Antonio Munoz Molina, by crossing geographic and cultural borders, succeeds in breaking this taboo. The novel Sefarad with the subtitle novela de novelas / (a novel of novels) consists of seventeen chapters, which, at first glance, seem to be completely unrelated. They tell stories of Jews, of communists, of people from Andalusia who feel homesick living in Madrid, of drug victims, or of the narrator's feelings of exclusion during his childhood--in short of human beings who are exiled or feel exiled in one way or another. Only one chapter describes the expulsion of the Jews, whose Spanish name is Sefarad, from the Iberian Peninsula and their later fate. Therefore, critics called the structure of the book a cajon de sastre / (box of the tailor) (Neuschafer 158) in which you put everything that is unorderly lying around at the moment. However, a closer look reveals that, as Sabine Friedrich stated, im Kontext des Romans wird Sefarad [...] zum Inbegriff fur die verlorene Heimat, nach der sich die Exilierten zurucksehnen / (in the context of the novel, Sefarad becomes a symbol for the lost home to which the exiled are longing to return) (316). This note will examine chapter seven of the novel, which deals with the existential uprooting in the lives of Willy Munzenberg and Margarete Buber-Neumann. …

Memories of Universal Victimhood: The Case of Ethnic German Expellees

Images of German victims have become a ubiquitous feature of political debates and mass-mediated cultural events in recent years. This paper argues that changing representations of the Holocaust have served as a political cultural prism through which histories of German victimhood can be renegotiated. More specifically, we explore how the centrality of the Holocaust in Germany informs how the postwar expulsion of twelve million ethnic Germans has been remembered during the last sixty years. Most interpretations of the destruction of European Jewry and the expulsion of ethnic Germans from Poland and Czechoslovakia and their corresponding memory cultures treat these memories as mutually exclusive manifestations of competing perceptions of national self understanding. We suggest that memories of both the Holocaust and expulsions are entwined. The Holocaust remains a specific event but also spans a universalizing human rights discourse that conceals the magnitude of the Holocaust as a particular historical occurrence; at the same time, the expulsion stops being a particular event and is being reframed as a universal evil called "ethnic cleansing." Examining recent political and public debates about how the expulsions of ethnic Germans are politicized and remembered reveals how comparisons to other incidents of state sanctioned violence and claims of singularity shape the balance of universal and particular modes of commemoration.

GIs and Germans: Culture, Gender, and Foreign Relations, 1945-1949

At the end of World War II roughly 300,000 American GIs were deployed as occupation forces in Germany. Many of them quickly developed intimate relations with their former enemies. Those informal interactions played a significant role in the transformation of Germany from enemy to ally of the United States, argues Petra Goedde in this study. Goedde finds that as American soldiers fraternized with German civilians, particularly as they formed sexual relationships with women, they developed a feminised image of Germany that contrasted sharply with their wartime image of the aggressive Nazi stormtrooper. A perception of German victimhood emerged that was fostered by the German population and adopted by Americans. According to Goedde, this new view of Germany provided a foundation for the political rapprochement that developed between the two countries even before the advent of the Cold War. Her provocative findings suggest that the study of foreign relations should focus on interactions not only between politicians and diplomats but also between ordinary citizens.

Representing German Victimhood and Guilt: The Neue Wache and Unified German Memory

Commemorating National Socialism and Communism from the perspectiveof 1989 often results in an uneasy conflation of Germanguilt and victimhood. When the events of 1933-1989 are presentedas one long authoritarian period, war and tyranny can easily be construedas external forces that simply befell the German nation.While memories of national guilt are divisive, memories of victimhoodunify and simplify an otherwise ambiguous past. The 1995restoration of Berlin’s Neue Wache is emblematic of this conflationof guilt and victimhood. As the central German memorial to all victimsof war and tyranny, the Neue Wache neither distinguishesbetween dictatorships, nor between perpetrator and victim.

Law and the Great Plains: Essays on the Legal History of the Heartland

Preface Regional Legal History and the Great Plains Toward a Legal History of the Great Plains by John R. Wunder The Legal Culture of the Great Plains by Kermit L. Hall Landmark Cases of the Great Plains German Victims and American Oppressors: The Background and Legacy of Meyer v. Nebraska by Paul Finkelman A Kansan Looks at Brown by Michael S. Mayer The Railroad Question Revisited: Chicago, Milwaukee & St. Paul Railway v. Minnesota and Constitutional Limits on State Regulations by James W. Ely, Jr. Legalists of the Great Plains Practicing What You Preach Against? Karl Llewellyn, Legal Realism, and The Cheyenne Way by Scott Landers William Jennings Bryan's Law Practice by Andrew Koszewski Judiciaries of the Great Plains Observations on One Hundred Years of Federal Judging in Western Missouri District Court by Lawrence H. Larsen Tribal Courts: Constitutional Decision Making and an Opportunity for Transformation by Frank Pommersheim Appendix Index

The Position of the Victim in Criminal Procedure — Results of a German Study

In the last few years, the crime victim has moved into the forefront of criminological research and criminal justice policy. This is a worldwide development. In many countries, including the Federal Republic of Germany, victim protection and victim compensation laws have been enacted. The extent to which such legal steps effect an actual improvement of the victims' situation remains largely unexamined. This paper presents the results of a German research project which examined the influence of the recently revised German victim protection law upon criminal law practice. Judges, prosecutors and lawyers were surveyed. A clear resistance by judges and prosecutors was discerned relative to implementing the victim protection rights. For them, the victim is still an outsider and a ‘trouble maker’ within the criminal proceedings. They see increased victim attention as involving additional trouble, effort, time, and possibly creating longer delays in proceedings. In contrast, the attitudes of the attorneys were more favorable toward including the victim in the criminal justice process.

Bitter Wounds: German Victims of the Great War, 1914-1939

Bitter Wounds: German Victims of the Great War, 1914-1939

Bitter Wounds: German Victims of the Great War 1914-1939

Bitter Wounds: German Victims of the Great War 1914-1939

Bitter Wounds. German Victims of the Great War, 1914-1939. By Robert Weldon Whalen. (Ithaca and London: Cornell University Press, 1984. 245 pp. 18 illustr. $24.95)

Journal Article Bitter Wounds. German Victims of the Great War, 1914–1939. By Robert Weldon Whalen. (Ithaca and London: Cornell University Press, 1984. 245 pp. 18 illustr. $24.95) Get access Robert O. Paxton Robert O. Paxton Columbia University Search for other works by this author on: Oxford Academic Google Scholar Journal of Social History, Volume 19, Issue 2, Winter 1985, Pages 399–400, https://doi.org/10.1353/jsh/19.2.399 Published: 01 December 1985

Bitter Wounds. German Victims of the Great War, 1914-1919

Bitter Wounds. German Victims of the Great War, 1914-1919