Chapters in this book

1. Frontmatter i
2. Contents vii
3. List of Illustrations ix
4. Acknowledgments xi
5. Introduction: Finding the “Good German” 1
6. 1: Re-Presenting the Good German: Philosophical Reflections 16
7. 2: “Görings glorreichste Günstlinge”: The Portrayal of Wilhelm Furtwängler and Gustaf Gründgens as Good Germans in the West German Media since 1945 29
8. 3: From Hitler’s Champion to German of the Century: On the Representation and Reinvention of Max Schmeling 50
9. 4: Wilhelm Krützfeld and Other “Good” Constables in Police Station 16 in Hackescher Markt, Berlin 66
10. 5: The “Good German” between Silence and Artistic Deconstruction of an Inhumane World: Johannes Bobrowski’s “Mäusefest” and “Der Tänzer Malige” 85
11. 6: Saints and Sinners: The Good German and Her Others in Heinrich Böll’s Gruppenbild mit Dame 98
12. 7: Being Human: Good Germans in Postwar German Film 111
13. 8: “The Banality of Good”? Good Nazis in Contemporary German Film 138
14. 9: Memories of Good and Evil in Sophie Scholl — Die letzten Tage 151
15. 10: Deconstructing the “Good German” in French Best Sellers Published in the Aftermath of the Second World War 170
16. 11: Macbeth, Not Henry V: Shakespearean Allegory in the Construction of Vercors’s “Good German” 184
17. 12: A Good Irish German: In Praise of Hugo Hamilton’s Mother 197
18. 13: Shades of Gray: The Beginnings of the Postwar Moral Compromise in Joseph Kanon’s The Good German 212
19. Works Cited 227
20. Filmography 247
21. Notes on the Contributors 249
22. Index 253