Interview with Clyde Funk, physician and U.S. Army Air Corps veteran, concerning his experiences as a prisoner-of-war of the Germans after being shot down over Nazi-occupied France during World War II. Funk discusses the Normandy invasion (1944), the shooting down of his bomber and his capture in France on October 12, 1944, his interrogation at Dalag Luft, Wetzlar, Germany, Oberursel, Stalag Luft 3-A, Sagan, Stalag Luft 7-A, Moosburg, forced marches, and his liberation by American troops.

This work attempts to examine the relationship shared by two ideologically opposed groups during the post-World War I period in Germany. The officer corps is viewed as a relic of the traditional imperial state while the socialists represented the harbinger of the modern, democratic, industrialized state. Although it should seem evident that these two factions of society would be natural enemies, the chaos of World War I pushed these ideological, opposites into the same corner.

This interpretative study attempts to ascertain why the Nazi movement gained the support of German voters by examining its persuasive strategies. The growth of the movement was divided into three periods. In each period, the verbal and non-verbal rhetorical strategies were explored. It was found that the movement's success stemmed largely from the display of party unity, the display of power through the Storm Troopers' use of violent street rhetoric, and the spread of Nazi ideals through speeches at meetings, on tours, and especially at the Nuremberg Party Rallies. Their communication capitalized skillfully on the conditions in Germany between 1919 and 1933. Hopefully, the findings of this study add to our knowledge of the role of rhetoric in creating mass movements.

The purpose of this study is to compare the staging of the Passion Play of Oberammergau, Germany, with the staging of The Great Passion Play on Mount Oberammergau, Eureka Springs, Arkansas. Source material includes literary writings of the century concerning Passion plays, interview with the directors of both productions, and eyewitness accounts of the 1970 producation in Germany and the 1970, 1971 producations in Eureka Springs, Arkansas, U.S.A. Photographs of actors and scenes from both productions are used throughout the thesis.