Please note: Indentation and spacing are NOT correct on the WEB version of these examples. Consult Turabian, the Chicago Manual of Style, or the online guide for the correct bibliographic format.
EXAMPLE #1
Topic Statement: Historiographical study of changing views of Aaron Burr with respect to his motivation for actions which led to the Burr conspiracy.
Annotated Bibliography
Abernethy, Thomas P. The Burr Conspiracy. New York: Oxford University Press, 1954.
The first in a burst of books published on Burr since 1954. Abernethy incorporates previously unused primary sources in his attempts to prove that Burr did attempt to wrest Louisiana from the United States.
Beirne, Francis F. Shout Treason: The Trial of Aaron Burr. New York: Hastings House Published, 1959.
One of only a few works devoted to the trial of Burr, Beirne’s work relies heavily on Albert J. Beveridge’s account of the proceedings in his Life of John Marshall. The author sees the event as a battle between one, the Federalists and the Jeffersonian Republicans and two, the Judiciary and Executive branches of the United States government.
Burr, Aaron. The Private Journal of Aaron Burr: During His Residence of Four Years in Europe, With Selections From His Correspondence. Edited by Matthew L. Davis. New York: Harper & Bros., 1838; republished; Upper Saddle River, NJ: Literature House, 1970.
Edited by Burr’s close friend and aide, Matthew L. Davis, the text evolves from simple notes into a daily account of the author’s actions and thoughts. Davis writes that he published the journal because it shed new light on Burr, revealing how distinguished and caring the man was on a personal level.
EXAMPLE #2
Topic Statement: How historians view the military conduct of Major John Pelham as an artillerist and as the Commanding Officers often Stuart Horse Artillery.
Annotated Bibliography
Blackford, William W. War Years with Jeb Stuart. New York: Charles Scribner’s Sons, 1946.
A sympathetic and intelligent close-up of Stuart and the interesting young men around him. The author served as Chief Engineer on Stuart’s staff and observed from his commander’s side nearly all of the operations of the cavalry from June, 1986, to the end of January, 1964.
Dabney, R. L. Life and Campaigns of Lieutenant-General Thomas J. Jackson. Cape Fear, NC: Blelock & Company, 1866; reprint, Harrisonburg, Va.: Sprinkle Publications, 1983.
The first comprehensive work on the life of Jackson. It was written with the objective of portraying and vindicating his Christian character, that his countrymen may possess it as a precious example. Dabney provides excellent first-hand accounts of Jackson’s campaigns and the men who served with him.
Davis, Burke. Jeb Stuart: The Last Cavalier. New York: Rinehart & Company, Inc., 1957.
Burke provides a contemporary, easily readable narrative of Stuart and the men he served with. Among them, John Pelham stands out as one of the most beloved and invaluable.
Esposito, Vincent J., ed. The West Point Atlas of American Wars. Vol. 1, 1689 to 1900. New York: Frederick A. Praeger, Inc., 1959.
A comprehensive collection of detailed tactical battle maps accompanied by narrative descriptions of each action. The clarity of the map plates afford the student of history an opportunity to “walk the terrain” and delve into the mind of the commander.
Freeman, Douglas Southall. Lee’s Lieutenants: A Study in Command. 3 Vols. New York: Charles Scribner’s Sons, 1942-44.
EXAMPLE #3
Topic Statement: How historians have viewed Nazi art as propaganda and its effect on the German youth.
Annotated Bibliography
Adam, Peter. The Art of the Third Reich. New York: Harry N. Abrams, Inc., 1992.
Adam parallels Hitler’s racial ideologies to his artistic ideologies and attempts to prove that they are two different means to the same end: German (Aryan) superiority. He covers all mediums of art. Contains an extensive bibliography.
Baird, Jay W. The Mythical World of Nazi War Propaganda, 1939-1945. Minneapolis: University of Minnesota Press, 1974.
Barr, Alfred H. “Art in the Third Reich–Preview, 1933.” Magazine of Art 38 (October 1945): 212-22.
Braun, Emily. “Return of the Repressed.” Art in America 79 (October 1991): 116-23.
This article is a review of a 1991 exhibit at the Los Angeles County Art museum that contained many of the original art works from the “Entartete Kunst” (“Degenerate Art”) show of 1937. She also covers Nazi art theory, the layout of the exhibit and the “dangers of art censorship.”
Deitrich, Dorothea. “Allegories of Power: Markus Lupertz’s ‘German Motifs’. Art Journal 48 (Summer 1989): 164-70.
Elderfield, John. “Total and Totalitarian Art.” Studio International179 (April 1970): 149-55.
Galloway, David. “Report from Germany.” Art in America 75 (June 1987): 80-88.
This article concerns the historical reassessment of Nazi art, and what should be done with it. It also addresses the affect it had on artists then condemned and now famed.
Goggin, Mary-Margaret. “‘Docent’ vs. “Degenerate’ Art.” Art Journal50 (Winter 1991): 84-92.
Goggin provides evidence for the existence of anti-modern art sentiment, pre- Hitler. She outlines this as well as Hitler’s aesthetic preferences. Goggin briefly mentions how some artists today react to National Socialist art theory. Contains an extensive bibliography.
Gorsshans, Henry. Hitler and the Artists. New York: Holmes and Meier, 1983.
Herzstein, Robert Edwin. The War That Hitler Won. New York: G. P. Putnam’s Sons, 1978.
This book explores different types of propaganda and different aspects of those types. It also documents positive German public reaction to propaganda. Contains an extensive bibliography.
Hinz, Berthold. Art in the Third Reich. New York: Pantheon Books, 1979.
Hoelterhoff, Manuela. “Art of the Third Reich: Documents of Oppression.” Artforum 4 (December 1975): 55-62.
Hormats, Bess. “Art of the Gotterdammerung.” Artnews 74 (January 1975): 68-73.
Kirstein, Lincoln. “Art in the Third Reich–Survey, 1945.” Magazine of Art 38 (October 1945): 223-42.
Kuspit, Donald. “Diagnostic Malpractice: the Nazis on Modern Art.”Artforum 25 (November 1986): 90-8.
A multi-sided discussion of Nazi art theory, its basis and reasons for existence. Also states how the public reacted to the “Entartete Kunst” (“Degenerate Art”) exhibit.
Lichenstein, Therese. “Behind Closed Doors.” Artforum 29 (March 1991): 119-22.
Metzger, Gustavc. “Art in Germany Under National Socialism.”Studio International 191 (March 1976): 110-11.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Rempel documents the different uses of youth in Hitler’s army. He includes statistics of success and failure rates, and concludes by opining about the “HJ” (Hitler Jugend), their role and their willingness. Contains an extensive bibliography.
Schoenbaum, David. Hitler’s Social Revolution. London: Weidenfeld and Nicolson, 1966.
This book was originally Schoenbaum’s dissertation. It reviews the Third Reich and its effect on various members and aspects of society and the state. Contains an extensive bibliography.
Selz, Peter. “Degenerate Art Reconstructed.” Arts Magazine 66 (September 1991): 58-60.
Seydewitz, Max. Civil Life in Wartime Germany. New York: Viking Press, 1945.
An interesting twist on the subject because Seydewitz is a former member of the German Reichstag. It covers resistance to Hitler and the negative effects he had on the German people.
Sichrovsky, Peter. Born Guilty. New York: Basic Books, Inc., Publishers, 1988.
Steinweis, Alan E. Art, Ideology and Economics in Nazi Germany. Chapel Hill: University of North Carolina Press, 1993.
Steinweis discusses art in relationshi to the economy, society, and the state according to Nazi ideology. Although he does not discuss Nazi aesthetics, he details the “Germanizing” and mobilization of the arts. Contains an extensive bibliography.
Welch, David, ed. Nazi Propaganda. London: Croom Helm, 1983
Welch edits this collection of essays of various viewpoints on Nazi propaganda, its use and how effective it actually was. Contains an extensive bibliography.
Werner, Alfred. “‘Degenerate’ Art–A Quarter-Century After.” Arts Magazine 37 (February 1963): 26-31.
