The Virtuous Wehrmacht explores the myth of the German armed forces' innocence during World War II by reconstructing the moral world of German soldiers on the Eastern Front. How did they avoid feelings of guilt about the many atrocities their side committed? David A. Harrisville compellingly demonstrates that this myth of innocence was created during the course of the war itself—and did not arise as a postwar whitewashing of events. In 1941 three million Wehrmacht troops overran the border between German- and Soviet-occupied Poland, racing toward the USSR in the largest military operation in modern history. Over the next four years, they embarked on a campaign of wanton brutality, murdering countless civilians, systemically starving millions of Soviet prisoners of war, and actively participating in the genocide of Eastern European Jews. After the war, however, German servicemen insisted that they had fought honorably and that their institution had never involved itself in Nazi crimes. Drawing on more than two thousand letters from German soldiers, contextualized by operational and home front documents, Harrisville shows that this myth was the culmination of long-running efforts by the army to preserve an illusion of respectability in the midst of a criminal operation. The primary authors of this fabrication were ordinary soldiers cultivating a decent self-image and developing moral arguments to explain their behavior by drawing on a constellation of values that long preceded Nazism. The Virtuous Wehrmacht explains how the army encouraged troops to view themselves as honorable representatives of a civilized nation, not only racially but morally superior to others.

Supplements accompany some numbers; annual supplement issued 1944-46 during suspension of main publication.

With nearly three thousand new entries, the revised edition of Operas in German: A Dictionary is the most current encyclopedic treatment of operas written specifically to a German text from the seventeenth century through 2016. Musicologist Margaret Ross Griffel details the operas’ composers, scores, librettos, first performances, and bibliographic sources. Four appendixes then list composers, librettists, authors whose works inspired or were adapted for the opera librettos, and a chronological listing of the entries in the A–Z section. The bibliography details other dictionaries and encyclopedias, performance studies, collections of plot summaries, general studies on operas, sources on locales where opera premieres took place, works on the history of operas in German, and selective volumes on individual opera composers, librettists, producers, directors, and designers. Finally, two indexes list the main characters in each opera and the names of singers, conductors, producers, composers, directors, choreographers, and arrangers. The revised edition of Operas in German provides opera historians, musicologists, performers, and opera lovers with an invaluable resource for continued study and enjoyment. As the most current encyclopedic collection of German opera from the seventeenth century through the twenty-first, Operas in German is an invaluable resource for opera historians, musicologists, performers, and opera lovers.

This book is divided into two parts. The first focuses on middle and upper class German women and the second on working class women. The book addresses a range of important topics including growing up female in 19th century Germany, the impact of agrarian change on women's work and child care, female political opposition in pre-1849 Germany, women's role in working class families in the 1890s, women's education and reading habits, and Jewish women and assimilation.

"Collection of incunabula and early medical prints in the library of the Surgeon-general's office, U.S. Army": Ser. 3, v. 10, p. 1415-1436.