Parisian newspaper

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The Pariser Zeitung ( PZ ) was a national daily newspaper that appeared from January 15, 1941 to August 16, 1944 during the German occupation of France in World War II . It was published by Europa-Verlag, a subsidiary of Franz-Eher-Verlag , managed by Rolf Rienhardt , under Max Amann and served as a mouthpiece for the occupying power.

The Pariser Zeitung was not the first German occupation newspaper on French soil: there had already been similar publications during the Franco-Prussian War and the First World War . Along with its sister paper Deutsche Zeitung in Norway, it was one of the two occupation newspapers that published articles in the local language, with the PZ following this concept most consistently with full pages in French. After a few months it was split into a German and a French edition. However, at no time was there a consistent separation by language, the French edition always contained a portion of German-language articles. Even after this division, the newspaper did not become a real competitor for the French press.

From October 1943 on, a weekly newspaper of the same name was published, which was now entirely in French and, as an entertainment paper, had a different focus. Created by the same editorial team and quickly advanced to a success, the course of the war put an early end to their existence. All editions also had French employees; in addition, there were authors from neutral countries or countries allied with the German Reich.

Foundation phase

The editorial building was on Rue Réaumur in the 2nd arrondissement

The Pariser Zeitung replaced the organ of the French section of the NSDAP / AO , the Deutsche Zeitung in France , whose target group had been Germans abroad in the country during the pre-war period. Kurt Ihlefeld , previously the Paris correspondent for the attack, and two other newspapers were responsible for the editorial management . Initially published biweekly from December 1935, it had switched to weekly publication before the war. After France declared war, the Deutsche Zeitung had to suspend its publication until it could be continued again after the victory in the western campaign on October 5, 1940. After it had appeared as a daily newspaper from November 17, 1940, it was finally discontinued on January 12, 1941 in favor of the Pariser Zeitung .

With its name, the Pariser Zeitung wanted to create a reference to a newspaper of the same name from the 1830s and to the Paris daily newspaper , which was published at the end of the 19th century, and thus refer to the tradition of a lively German cultural presence in the city. The democratically oriented newspaper Pariser Tageblatt, founded in 1933 by German journalists expelled into exile, and its quasi-successor, which traded under the name of the former Pariser daily newspaper , were not included in this view of tradition for obvious reasons. Since Heinrich Heine, Paris had been the destination of the German emigrants. After the “ Anschluss ” Austrian writers came, and the Munich Agreement drove the Czech anti-fascists and the Germans in Prague to Paris.

The first publishing director of the Pariser Zeitung was Viktor Muckel, who had previously headed the Völkischer Verlag in Düsseldorf and was one of the co-founders of the Brussels newspaper , a sister newspaper . In July 1941, Rudolf Neumann replaced Muckel, but his name had been included in the imprint with “z. Zt. Wehrmacht ”, whereupon Muckel returned to his former place of work in his old position. Theo Hansen last took over the management of the newspaper at the end of November 1943.

The first editor-in-chief was Rudolf Sparing , a friend of Rienhardt and co-founder of the Nazi flagship newspaper Das Reich , initiated by the latter . Deputy editor-in-chief was Emil Frotscher , who, like Sparing, was involved in the founding of the Reich and was most recently the first editor-in-chief of the Deutsche Zeitung in the Netherlands , also a sister of the Pariser Zeitung . Both did not stay long in their posts: Sparing only organized the immediate start-up phase and left the newspaper after just a week. In 1943 he became the second and last editor-in-chief of the Reich . Frotscher led the development of the Eastern occupation newspapers , for example the Deutsche Zeitung im Ostland and the Donauzeitung .

At the end of May 1941, the previously vacant position Sparings and also that of Frotscher were filled with Walter Trautmann and Alfred Rapp . Both were seasoned journalists and had been authors for the Pariser Zeitung from the start. According to Trautmann's testimony, he had asked Rienhardt for a job abroad because his wife was considered a “ half-Jewish ” and that caused problems; In addition, he was expelled from the NSDAP in 1939 because of “non-Aryan descent” . Ihlefeld, now at the same time Paris correspondent for the Völkischer Beobachter and the German news office , stayed with the newspaper as an employee.

Despite the already existing experience with the previous newspaper , well-equipped offices in the building of the discontinued L'Intransigeant and the considerable start-up funding ( Otto Abetz , German ambassador to France, provided several million Reichsmarks ), the start-up phase did not go smoothly: There were difficulties, technical To find staff with good German language skills; the commercial management also often perceived the French tariffs as “books with seven seals”.

In addition to the newspaper, the publisher also published books about the country and its people, including a work by Erhard Göpel on Normandy and one on the newspaper itself for its one-year anniversary.

Frequency of publication, scope and structure

In contrast to the French daily press, which has only appeared six days a week since the occupation, the daily edition of the Pariser Zeitung appeared on all days of the week with an initial four (Mondays) or eight to twelve pages (all other days). Due to the increasing paper shortage in the further course of the war, the size of the newspaper gradually decreased until last year it was only four or six pages a day. The Saturday and Sunday editions were merged into a weekend edition in May 1944, until last month only three editions per week were published. The paper was given a clear advantage over its French competition when it came to fixing the paper quotas, so in October 1942 it received a fifth of the amount allocated to the Parisian newspapers, the rest was distributed among thirteen other newspapers in the city. In addition to this advantage, the censors occasionally presented articles from the Paris newspaper to local competition as models. The weekly edition was eight pages up to mid-April 1944, then six pages.

At two francs or 20 pfennigs the price of the newspaper was usually twice that of the French press; the French newspapers had to limit themselves to just two pages per issue within a short period of time. The weekly edition cost the same price in francs or 25 pfennigs.

The format of the newspaper was brought into line with the traditional Parisian press, but with slightly fewer columns and a larger font. The font used was Antiqua instead of Fraktur , which was already specified by an arrangement for all printed matter intended for foreign countries.

The sections of the newspaper covered the usual fields such as politics, economy, culture, sport and advertisements and were more illustrated than their counterparts appearing in Germany. The cultural section often contained drawings, the last, always the most strongly illustrated page, caricatures with an almost always apolitical character. The French pages, on the other hand, were missing any images until shortly before the end, and only at the very end did the French edition get an illustrated last page that corresponded to the German edition.

Incidental expenses

French edition

Since the first edition, the editors have tried to target French readers with translated articles. These articles were initially not awarded a whole page, depending on the size, individual columns or half a page were filled with the articles. In February and May the proportion was increased so much that with the exception of Monday the newspaper always contained a whole French-language page until two editions appeared for the first time on August 1st: a French with two French-language pages and a German with a French-language page. The number of French-language pages in the French edition did not increase until 1944, but as the total number of pages decreased, the proportion increased relative to the total number and in May 1944 was half (two thirds on Saturdays) of the pages. In the German edition, however, the number of French-language articles was gradually reduced until they disappeared from the newspaper entirely in 1944.

Weekly edition

In October 1943, the Pariser Zeitung published a weekly newspaper for the first time under the same name, which was entirely in French. It appeared on Sundays and was created by the same editorial team. Deputy editor-in-chief of this edition was an employee of the daily edition, Franz von Caucig, who had been the Istanbul correspondent of several newspapers before the war , then editor-in-chief of Deutsche Nachrichten in Greece and then came to Paris for the Europa Press agency . The weekly edition took a different route than the main edition, both in terms of presentation and thematic emphasis: the photos were given more space, the categories consisted of a political section and a mixed section of culture, humor and a serialized novel, plus an economic section with an occasional smaller sporting article and a large report on the last page. In contrast to the daily edition, there were no classifieds. Articles from the daily edition were only very rarely taken over.

In its conception, the weekly newspaper was similar to the international magazine Signal . While on the one hand analyzes, portraits and comments made up part of the content, on the other hand, romantic serial novels, reports on exotic countries and photos that were supposed to radiate an ideal world (beautiful landscapes, Christmas parties and other harmonious motifs), placed on a high entertainment value, which could serve as a distraction from the war. The propaganda was more subtle than in the main edition; anti-Semitism was less pronounced. In fact, the newspaper was well received compared to the main edition and all the time had a circulation many times that of the daily French edition.

Staff and content of the Paris newspaper

Front page of the Pariser Zeitung from August 9, 1943

Editors, freelancers and guest authors

The Pariser Zeitung tried to create a cosmopolitan glamor with articles from famous personalities. Outstanding was the cultural section headed by Albert Buesche , which even without the guest authors had top-class members including Heinrich Strobel as editor and employees such as Paul Strecker , Hans Havemann , Martin Raschke , Wolf Schramm and Wolf von Niebelschütz . In the newspaper there were also names like Alexander Aljechin , Werner Egk , Wilhelm Furtwängler and Sven Hedin , as well as military men like Franz Brüninghaus and Albert Kesselring and high-ranking National Socialists like Joseph Goebbels and Otto Dietrich . While the political section had at least a number of experienced journalists as employees, the business and sports section could not come up with such prominent authors by far.

The circle of experienced journalists included, for example, former editors-in-chief of various regional newspapers such as the Danziger Vorpostens and the Kurhessische Landeszeitung as well as Peter Raunau, editor-in-chief of the social democratic press service and the Hanover press after the war . The Pariser Zeitung was able to fall back on a network of correspondents in allied or neutral states, which was also used by other newspapers.

The newspaper also employed numerous French people as freelancers, including staunch fascists and anti-Semites. Among the best known were Henri Coston and Jacques Ploncard , who had written for right-wing extremist papers before the war. Their role during the German occupation became a significant part of her biography, and they remained widely present in the post-war period. Before 1943, participation was almost always limited to non-political articles, which, however, did not apply to anti-Semitic contributions that were already to be found in the paper. In such articles, the authors referred to the specific tradition of anti-Semitic currents in their country. While personalities such as Alphonse de Châteaubriant , Georges Oltramare and Lucien Rebatet as well as a number of university professors could be won as guest authors , the regular French employees were often rather blank pages, because the selection of pro-German French journalists was limited to a small group. The involvement of French freelancers and guest authors should also be emphasized because this was a major difference to the occupation newspapers of the Reichskommissariat Ostland , which had to forego contributions by local authors due to a decree by Alfred Rosenberg .

Content and monitoring of the Paris newspaper

Even if Amann later admitted after his arrest that he had given his occupation newspapers more freedom than the German newspapers - in an article in the journal Zeitungswissenschaft zur Presse in occupied France from 1941, "considerably greater claims" were warned - this could not hide the fact that that attacks against the " Jewish world conspiracy " and Bolshevism were regularly included in the editions. Logically, according to the propaganda, supposed world Jewry also stood behind de Gaulle and attacks on French territory. In particular, a series of articles that was later replicated in the Dutch sister and German chess newspaper and entitled “Jewish and Aryan Chess” was supposed to demonstrate a “Jewish lack of courage and creative power” became known. The world chess champion Alexander Alekhine , who later denied his authorship, traded as the author. However, the articles can be assigned to him with a very high degree of probability and ensured that he was discredited after the war.

As far as the non-Jewish population was concerned, the newspaper tried to suggest a neighborly relationship for the first two years; However, this did not always apply to the Vichy regime , which was viewed critically due to its perceived lack of accommodation. In one 11 German 11 French ask. The newspaper reproduced traits from the meeting of two peoples with the following words:

“We're neighbors, and I mean, neighbors have to be understood. What do we have to do with the English? They are much stranger to us [...]. "

In 1943, however, this changed quickly: the French (not just the Vichy regime) were accused of a lack of cooperation, and there was no longer any talk of partnership, but rather of a new Europe under German rule.

The newspaper constantly evoked a close economic community between the German Empire and France and assigned the country an important role in a new Europe, not least because France was of great importance for the German war economy. This also included extensive recruitment of workers for work in the Reich, and the newspaper once had a worker report on his experiences:

“I work in a large factory in Berlin. We are very happy here […]. We have been received with open arms. The German workers have prepared a feast for us. Friendships have already been formed. "

The cultural part was pervaded by a romanticizing admiration for France as a cradle of the arts. Numerous articles described history, culture and way of life, and Paris was given a series of highly flattering articles like a kind of travel guide. There were series of articles about the great painters of France (for example Jacques-Louis David , Claude Monet or Auguste Renoir ), about world-class French novels ( Red and Black , Madame Bovary ) and portraits of composers such as François Couperin and Emmanuel Chabrier . The German cultural diplomacy, a special personal concern of the German ambassador Otto Abetz , promoted contemporary well-known French writers and painters through press conferences, lectures and exhibitions, about which the newspaper reported. In the opposite direction, however, the newspaper also tried to bring German culture closer to its French readers, for example there were articles about Clemens Brentano , Anton Bruckner and Ricarda Huch , and the weekly edition about connections between Johann Wolfgang von Goethe and Richard Wagner and France. In addition, the newspaper made a local reference through articles about the Paris premiere of the Wagner opera Tannhäuser and a retrospective of Arno Breker's . From 1943 onwards, this cultural bridging function was also given a political undertone, aimed at the question of cooperation between the two states.

The advertising section was an important mainstay for the Pariser Zeitung and was one of the reasons why, according to Rienhardt, no more subsidies were necessary for this and other occupation newspapers after the construction phase. Customers ranged from large German and French industries to retailers. The display section also included a large amusement display. The ads were in German unless the customer was French and the ad was on a French language page. The classifieds made up only a small part. The diversity of advertisers suggests that the newspaper was trying to reach a broad audience, as only part of the advertisements could be of interest to the daily edition's readership, which consisted mostly of soldiers and crew members.

The fact that the newspaper also had its French readers in view is evident from its journalistic support in recruiting French for the Wehrmacht and SS . The coverage of the formation of the French Volunteer Legion was brief and neutral. The growing need for reinforcements was reflected in increased and clearly promotional reporting from 1943 onwards. In the subsequent recruitment attempts to join the Waffen SS , the newspaper exaggerated the enthusiasm of the French, in reality it took a whole year before a division could be formed.

The Pariser Zeitung was subject to censorship by the Reich Ministry for Public Enlightenment and Propaganda under Joseph Goebbels, and as with other occupation newspapers there were interventions or complaints. According to Emil Frotscher, the author Ernst Glaeser , who is considered a “left-wing author”, was originally supposed to work as an author for the Pariser Zeitung , but this was forbidden by Goebbels. The amusement display became so extensive that the intelligence officer of the 7th Army saw it as a danger to the soldiers, as it could lead to envy or dissatisfaction. Her special status as a German newspaper, which was also supposed to compete with the French press and therefore subscribed to the news agencies in both countries, did not make life any easier for her. So she found herself in a quandary of two reports on the same thing, either bringing the German one, even if that was only possible in the next issue and the newspaper thus appeared unprofessional, or the French one before the editorial deadline, which caused her to get into trouble could bargain.

Distribution and Readership

Circulation and its distribution across the country

An Unterscharfuhrer of the Waffen SS reading the newspaper

The number of copies can only be determined indirectly from the information provided by the sales department for the “Gruppe Presse” propaganda department. According to the information available, the circulation in December 1942 was around 40,000 copies for the German and around 7,000 copies for the French edition. This was in the range of the acceptance guarantee of 30,000 to 40,000 copies, which were usually guaranteed by the Amann occupation organs. In the autumn of 1943 the German edition had a maximum value of around 50,000, while the French had fallen to around 5,000. After the circulation had moved back to the values ​​of 40,000 and 7,000 copies in early 1944, only 36,000 and 2,500 copies were given in June 1944. The weekly edition started in October 1943 with 80,000 copies and reached a high of 118,000 copies in April 1944. The last time in August 1944 was a value of 70,000 copies.

A comparison with the front newspapers (for example the soldier in the west printed in the same house and his head sheet Soldat on the Atlantic ) is difficult, as their circulation fluctuations greatly. However , over 200,000 copies of the former alone were printed in early 1941, i.e. during the founding phase of the Pariser Zeitung , and even in 1944, in the last year of occupation, the daily edition of the Pariser Zeitung made up only about a quarter of the newspapers issued to the Wehrmacht in France.

The circulation of the daily German edition was distributed 25% to Paris, 10% to the suburbs and 65% to the rest of the country (this also includes the initially unoccupied southern zone, which was also supplied from August 1941). For the French edition there were values ​​of 40, 10 and 50% according to the above order.

Distribution and Readership

The newspaper was sold both individually and through subscriptions and also delivered abroad, after lengthy discussions between Paris and the Vichy regime from July 1942 to North Africa. An oriental edition had been planned beforehand, especially for Turkey and Asia Minor , but it was not approved by Foreign Minister Ribbentrop . The concept was then changed and the Orient edition became a weekly newspaper that only contained translations of German-language articles from the main edition. The Orient edition was quickly renamed to an airmail edition and, in addition to Turkey, it was also sent to Spain , Portugal , Romania , Bulgaria , Hungary , to the German-controlled Croatia and to the occupied states of Greece and the rest of Yugoslavia (Serbia) .

Like all occupation newspapers , the daily edition of the Pariser Zeitung went mainly to the Wehrmacht and was distributed through its offices in offices, canteens and officers' messes, as well as to "several thousand men" who worked at the ten command offices of the German security police and the security service. In contrast, the newspaper reached the French population only to a limited extent. Also based on the very few known contemporary mentions in personal records, it can be assumed that this edition hardly reached or influenced the population. In view of the large number of collaborating press, there was little reason to use the Pariser Zeitung of all places; The former included, for example , Les Nouveaux temps, under the direction of Jean Luchaire (President of the Corporation nationale de la presse française ) and the literary magazine Nouvelle Revue Française, published by the writer Pierre Drieu la Rochelle . In its prime, the daily edition (German and French taken together) of the Pariser Zeitung barely reached the lowest editions of the Nouveaux temps and other smaller newspapers; it could not compete with papers like Le Petit Parisien , Paris-Soir or Le Matin .

However, the newspaper was of interest to the various opponents of the German occupation forces. It can be seen from mentions in the resistance press that the Pariser Zeitung was "studied" by members of the Resistance . The newspaper offered the opportunity to put yourself in the German perspective - in contrast to the filtered view of the rest of the French press. The readers also included the Free French Armed Forces , who thus came up with the names of collaborators who may have made up another part of the readership. The newspaper was also evaluated by the Allied Abwehr, which obtained important information about the actions and intentions of the Germans from the occupation newspapers.

The end of the paper

The last days

The advance of the Allies following the invasion of Normandy led to the rapid end of the Pariser Zeitung . The last weekly edition appeared on August 13, 1944, the last German edition the following day and the last French edition on August 16 th. On August 19th - in the last days of the occupation of the city - Jean-Daniel Jurgensen , a French journalist, took over the premises in rue Réaumur, together with other resistance fighters, to house the resistance newspapers Défense de la France , Franc-Tireur and bring out Combat . At that time there were still staff in the building who came to terms with the resistance fighters. Although it was effectively closed, the Pariser Zeitung in Sigmaringen , the seat of the Vichy regime that fled there at the end of August 1944, was only finally settled after outstanding issues such as salaries and fees had been resolved.

Employee of the Paris newspaper after the war

The majority of the leading editors of the Pariser Zeitung worked in post-war Germany in the same position. Walter Trautmann , the newspaper's second editor-in-chief, became editor-in-chief of the United Economic Services . The first deputy editor-in-chief, Emil Frotscher , became editor-in-chief of the national tabloid Abendpost for many years and was then responsible for the "Series and Biographies" section at Welt am Sonntag . His successor Alfred Rapp headed the Bonn office of the Frankfurter Allgemeine Zeitung , was President of the German Press Club and one of Konrad Adenauer's preferred journalists . The first editor-in-chief, Rudolf Sparing , however, died in 1955 while a Soviet prisoner of war.

Viktor Muckel , publishing director in the years 1941 and 1942 to 1943, also continued his work for other newspapers, he was the publishing director of the Rheinische Landeszeitung and deputy managing director (publishing director) of the FAZ. His successor Theo Hansen became the publishing director of the Nordwest-Zeitung .

List of publishing directors and editors-in-chief

Publishing Director
Viktor Muckel 1941 and 1942-1943
Rudolf Neumann 1941-1942
Theo Hansen 1943-1944
Editors-in-chief
Rudolf Sparing 1941
Walter Trautmann 1941-1944

literature

  • Andreas Laska: Presse et propaganda en France occupée: des Moniteurs officiels (1870–1871) à la Gazette des Ardennes (1914–1918) et à la Pariser Zeitung (1940–1944) . Utz , Munich 2003, ISBN 3-8316-0293-X . (French, with a German summary; also dissertation on press history using the “Cotutelle procedure”: University of Munich and University of Paris II ; 2003).

Web links

Commons : Pariser Zeitung  - collection of images, videos and audio files

Individual evidence

  1. ↑ See the sections on Moniteurs officiels and Gazette des Ardennes in: Andreas Laska: Presse et propaganda en France occupée: des Moniteurs officiels (1870–1871) à la Gazette des Ardennes (1914–1918) et à la Pariser Zeitung (1940– 1944) . Herbert Utz Verlag, Munich 2003, ISBN 3-8316-0293-X .
  2. ^ The intrusive text: Language policy and Nazi ideology in the "Deutsche Zeitung in the Netherlands" . Springer, Berlin 2013, ISBN 3-8244-4285-X (first published by Deutsches Universitätsverlag, Wiesbaden 1998. Dissertation Amsterdam 1990), p. 272, footnote 124 a. Laska 2003, p. 250. Laska's statement that the PZ was the only occupation newspaper to contain pages in the local language is therefore only correct in the exact literal sense.
  3. ↑ a b Laska 2003, p. 268.
  4. ↑ More about his Nazi spy activity in Paris before 1940 and his whereabouts after 1945 in Art. The Danzig outpost .
  5. ↑ Laska, pp. 250-251.
  6. ^ Archives for social history online, review of the book “Rechts und links der Seine. Pariser Tageblatt and Pariser Tageszeitung 1933–1940 (Studies and Texts on the Social History of Literature, Vol. 89) ” , last accessed on March 13, 2009.
  7. ↑ a b c Laska 2003, p. 271.
  8. ^ «Les philosophes face au nazisme. » Fr: Le Magazine littéraire (Février 2012).
  9. ^ Gabriele Hoffmann: Nazi propaganda in the Netherlands: organization and control of journalism . Verlag Documentation Saur: Munich-Pullach / Berlin 1972 (excursus: The German newspaper in the Netherlands , p. 87), ISBN 3-7940-4021-X .
  10. ↑ Laska 2003, p. 259.
  11. ^ Entry on Walter Trautmann in the Catalogus Professorum Halensis (accessed on March 11, 2009)
  12. ↑ a b Laska 2003, p. 252.
  13. ↑ “Six weeks of Paris newspaper . The structure and development of a new German creation ”, in: Zeitungs-Verlag , p. 83, quoted from Laska 2003, p. 257.
  14. ^ Edelgard Bühler, Hans-Eugen Bühler: The front book trade 1939-1945. Organizations, competencies, publishers, books - a documentation. Booksellers Association, Frankfurt am Main 2002, ISBN 3-7657-2500-5 , p. 67. The titles mentioned are Die Normandie (1942) and Ein Jahr Pariser Zeitung (1941).
  15. ↑ Laska 2003, p. 272.
  16. ↑ Laska 2003, p. 250.
  17. ↑ a b c d e Laska 2003, p. 254.
  18. ↑ Otto Thomae: The Propaganda Machine. Fine arts a. Public relations in the Third Reich. Mann, Berlin 1978, ISBN 3-7861-1159-6 , pp. 183-185. At the same time dissertation Berlin 1976.
  19. ↑ Laska 2003, p. 274.
  20. ↑ Laska 2003, p. 277.
  21. ↑ Laska 2003, pp. 260-261 and Footnote 892.
  22. ↑ Laska 2003, p. 262.
  23. ↑ Laurence Bertrand: L'art de la défaite 1940-1944, Paris 1993, p. 316.
  24. ↑ Laska 2003, pp. 259-260 and 406-407.
  25. ↑ Laska 2003, p. 264.
  26. ↑ Laska 2003, p. 290.
  27. ↑ Laska 2003, p. 266.
  28. ↑ a b Heinz-Werner Eckhardt: The front newspapers of the German army 1939-1945 . Wilhelm Braumüller University Publishing House, Vienna / Stuttgart 1975, p. 8.
  29. ↑ Oron J. Hale : Press in the straitjacket 1933-45. Droste, Düsseldorf 1965, p. 281.
  30. ^ Heinrich Teipel: The press in occupied France. In: Zeitungswissenschaft , issue 3/1941, quoted from Laska 2003, p. 250.
  31. ↑ De Gaulle in the edition of November 13, 1943, “Bombardungen Frankreich” in the edition of December 15, 1943, quoted in Laska 2003, p. 289.
  32. ↑ Ralf Woelk: Chess under the swastika . Promos-Verlag, Pfullingen 1996, ISBN 3-88502-017-3 , pp. 101-105, see also the article Chess Notes No. 3605, 3606, 3617 . The series appeared in the PZ in six parts from March 18 to 23, 1941.
  33. ↑ Pariser Zeitung of April 13, 1943, quoted from: Laska 2003, p. 295.
  34. ↑ Laska 2003, p. 295.
  35. ↑ Pariser Zeitung of January 24, 1941, quoted from: Laska 2003, p. 297.
  36. ↑ Romain Leick: Herren und Knechte , in: Spiegel Geschichte, 3/2010, pp. 32–39, here: p. 39.
  37. ↑ Laska 2003, pp. 297-300. Laska writes Brentano as Clemens von Brentano, not referring to the diplomat, but specifically to the poète Clemens Brentano.
  38. ↑ a b Heinz-Werner Eckhardt: The front newspapers of the German army 1939-1945 . Wilhelm Braumüller University Publishing House, Vienna / Stuttgart 1975, p. 7.
  39. ↑ Laska 2003, pp. 280-282.
  40. ↑ Laska 2003, pp. 304-305 and Footnote 1070.
  41. ↑ a b Laska 2003, p. 267.
  42. ↑ a b Oron J. Hale : Press in the straitjacket 1933–45. Droste, Düsseldorf 1965, p. 280.
  43. ↑ Heinz-Werner Eckhardt: The front newspapers of the German army 1939-1945 . Wilhelm Braumüller University Publishing House, Vienna / Stuttgart 1975, p. 52 u. 85–86 and Laska 2003, p. 268.
  44. ↑ Laska 2003, pp. 268-269.
  45. ↑ Laska 2003, p. 269.
  46. ^ Bernhard Brunner: The France Complex. The National Socialist Crimes in France and the Justice of the Federal Republic of Germany . Wallstein Verlag, Göttingen 2004, ISBN 3-89244-693-8 , p. 77.
  47. ↑ Laska 2003, pp. 269-270.
  48. ↑ Laska 2003, p. 270 and footnote 934 on this page.
  49. ↑ Oron J. Hale : Press in the straitjacket 1933-45. Droste, Düsseldorf 1965, p. 281.
  50. ^ Marie Granet: Defense de la France. Histoire d'un Mouvement de Resistance (1940-1944) , Presses Universitaires de France, Paris 1960, pp. 188-189.
  51. ↑ Laska 2003, p. 253, footnote 862.
  52. ↑ Laska 2003, p. 409.
  53. ↑ Kurt Pritzkoleit: Who owns Germany . Verlag Kurt Desch, Vienna / Munich / Basel 1957, p. 216 u. Imprint of the world on Sunday of February 18, 1968 (p. 7). The aforementioned evidence also supports the published memories of the historian Hans Preuschoff about Frotscher (magazine for the history and antiquity of Warmia, supplement 6: Hans Preuschoff. Journalist in the Third Reich , self-published by the Historisches Verein für Ermland , Münster 1987, pp. 60-63).
  54. ↑ Laska 2003, p. 406.
  55. ↑ Erika Martens: For example the realm . Verlag Wissenschaft und Politik, Cologne 1972, ISBN 3-8046-8459-9 , p. 74 u. Hans Dieter Müller (ed.): Facsimile cross section through the empire . Scherz, Bern / Munich 1964, p. 11. In his book on the occupation newspapers, Laska gives the year of death a decade too early (probably accidentally or through a misprint) (Laska 2003, p. 407).
  56. ↑ Laska 2003: p. 405 u. Kurt Pritzkoleit: Who owns Germany . Kurt Desch publishing house, Vienna / Munich / Basel 1957, p. 223.
  57. ↑ Laska 2003: p. 404 and Institute for Journalism at the Free University of Berlin (ed.): Die Deutsche Presse 1961 . Duncker and Humblot, Berlin 1961, p. 128.
  58. ↑ For the Cotutelle procedure, see here ( Memento of the original dated August 19, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . @1@ 2Template: Webachiv / IABot / www.hrk.de
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