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William Collins Donahue, Holocaust as Fiction: Bernhard Schlink's “Nazi“ Novels and Their Films(New York: Palgrave Macmillan, 2010)

Reviewed by Margaret McCarthy

Theodor W. Adorno, Guilt and Defense: On the Legacies of National Socialism in Postwar Germany, edited, translated, and introduced by Jeffrey K. Olick and Andrew J. Perrin (Cambridge: Harvard University Press, 2010)

Reviewed by Gregory R. Smulewicz-Zucker

Friedrich Pollock, Theodor W. Adorno, and Colleagues, Group Experiment and other Writings: The Frankfurt School on Public Opinion in Postwar Germany, edited and translated by Andrew J. Perrin and Jeffrey K. Olick (Cambridge: Harvard University Press, 2011).

Reviewed by Jan Boesten

Gabriele Mueller and James M. Skidmore, eds. Cinema and Social Change in Germany and Austria(Waterloo: Wilfrid Laurier University Press, 2012).

Reviewed by Sabine von Mering

Christopher J. Fischer, Alsace to the Alsatians? Visions and Divisions of Alsatian Regionalism, 1870-1939(New York: Berghahn Books, 2010)

Reviewed by Jennifer A. Yoder

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The Other and the Ordinary

Demystifying and Demusealising the Jew

Oliver Lubrich

The German public's perception of Jews is problematic in more than one way: besides an aggressive and latent anti-Semitism, less malicious clichés and even well-meaning efforts to relate to Jewish topics often fail to grasp the reality of Jewish life. Jews are predominantly associated with the Shoah, and thus with National-Socialism. They appear in research projects, documentary films, political debates and historical museums. If Judaism is portrayed as a contemporary culture at all, it is exoticised through visual topoi such as synagogues and kippot, Torah scrolls and paeyes, and transformed into a mysterious and obscure religion. Germans’ imagination of their Jewish fellow-citizens have little in common with the reality of Jewish life in Germany today.

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Gail Finney

Where better to begin talking about Viennese identity in the late twentieth century than in the work of Elfriede Jelinek and Thomas Bernhard—specifically, in two plays whose titles immediately evoke the city as well as pregnant moments in its history: Jelinek's Burgtheater (published 1982; premiered 1985 in Bonn) and Bernhard's Heldenplatz (premiered 1988 in Vienna's Burgtheater). Insofar as the two plays dramatize the extent to which National Socialism took hold and persisted in Austria, they epitomize both authors' perennial roles as keen observers and harsh critics of Austrian society. Burgtheater and the scandal it generated established Jelinek's function as "Nestbeschmutzerin," whereas Heldenplatz, appearing the year before Bernhard's death, can be regarded as the capstone of his career as a critic of Austrian mores and politics.

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David Meskill, Optimizing the German Workforce: Labor Administration from Bismarck to the Economic Miracle (New York: Berghahn Books, 2010) Reviewed by Gregory Baldi;

Jan-Werner Müller, Contesting Democracy: Political Ideas in Twentieth-Century Europe (New Haven: Yale University Press, 2011) Reviewed by John Bendix;

Douglas B. Klusmeyer and Demetrios G. Papademetriou, Immigration Policy in the Federal Republic of Germany (New York: Berghahn Books, 2009) Reviewed by Suzanna M. Crage;

Derek Hastings, Catholicism & the Roots of Nazism: Religious Identity and National Socialism (Oxford: Oxford University Press, 2010) Reviewed by Robert P. Ericksen;

Review of Pertti Ahonen, Death at the Berlin Wall (Oxford: Oxford University Press, 2010) Reviewed by Hope M. Harrison;

Wolfgang Scholz, The Social Budget of Germany: Keeping the Welfare State in Perspective (Berlin: edition sigma, 2009) Reviewed by John Bendix;

Philip Broadbent and Sabine Hake, eds., Berlin. Divided City, 1945-1989(New York: Berghahn Books, 2010) Reviewed by Helge F. Jani;

Timothy Snyder, Bloodlands: Europe Between Hitler and Stalin (New York: Basic Books, 2010) Reviewed by Larson Powell

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Unsere Mütter, Unsere Väter

War, Genocide and “Condensed Reality”

David Wildermuth

Allgemeine Zeitung , credited the film with ushering in “a new phase of the cinematic-historic treatment of National Socialism,” specifically praising Nico Hofmann, the film’s producer, for his “seriousness, attention to detail, and uncompromising” approach

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Mirko M. Hall

. Drawing upon Germanic and Celtic paganism, völkisch mysticism, and antimodernist imagery including National Socialism, neofolk is perhaps most noted for its (supposed) association with a nebulous web of right-wing ideologies. According to its many

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Renaissance of the New Right in Germany?

A Discussion of New Right Elements in German Right-wing Extremism Today

Samuel Salzborn

retrospect as the ideological forerunners and precursors to National Socialism, while also being intellectually superior to it. Therefore, the intellectual and historical sources referenced within the New Right are the same intellectuals of the Weimar period

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Cyrus Shahan

a German identity liberated from National Socialism alongside the dystopic, violent aesthetics in Brinkmann’s attempt to bring forth Germany’s ultimate demise. The return to Kraftwerk’s technological means of representation and their simultaneous

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Richard Bessel

national socialism glorified violence and when in power made their violent ideologies real in campaigns of aggressive war and mass murder. Violence has long been regarded as “a fundamental ingredient,” “the actual substance” of Italian fascism. 39 As Paul

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Spatial Relations and the Struggle for Space

Friedrich Ratzel’s Impact on German Education from the Wilhelmine Empire to the Third Reich

Troy Paddock

Germany from the late Wilhelmine Empire to the Third Reich while striving to explain how Ratzel’s thought could be misappropriated by National Socialism. Although there were few explicit references to Ratzel in textbooks, his influence on German geography