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Themes in Holocaust literature
Papers on the holocaust
Papers on the holocaust
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The beginning of chapter two in Maus II starts off with a monologue by Art regarding the publishing of Maus I and creation of Maus II, short tidbits of conversations between him and various reporters, and a visit to his therapist, Pavel. While coming across as unrelated to the novel’s overall focus of the recording and recounting of Vladek’s experiences during the Holocaust, this section of the novel reveals Art’s intentions behind publishing Maus and how it personally connects to his own life. First of all, Art states, “I’ve gotten 4 serious offers to turn my book into a TV-special or movie. (I don’t wanna)” (Spiegelman 41). This shows that, from the very beginning, Art had no intentions of gaining considerable fame or fortune by publishing the project. In fact, he felt that he had a responsibility to provide readers with a true account of a survivor’s experiences during the Holocaust and nothing more. Specifically, this can be seen Art admits that, “I never thought of reducing it to a message. I mean, I wasn’t trying to convince anybody of anything” (Spiegelman 42), when asked what message he wanted Maus to convey to readers.
In Maus: A Survivor’s Tale, Art Spiegelman presents his father’s Holocaust narrative alongside his own personal narrative, especially with regards to his relationship with Vladek. In Maus, Vladek is dependent on his skills and even his flaws to survive. He comes to make these traits a part of him for the rest of his life as he strives to survive no matter what. While these flaws helped him survive as a young man but these same traits estrange him with those that care about him such as his son. In a way there are two Vladeks in Maus, the one in the past that he speaks about and the one that is actually present.
What does the work consist of? Who authored it, and how? What is it based on, and how does it relate? What is it, and what will become of it? The answers to these questions, collectively, form an important response to a bigger question: What is art? What does it mean to describe a piece as “a work of art”?
In the beginning of Maus the reader is thrown into a scenario of the Author, Art's, many visits to his
At the beginning of the Spiegelman’s narrative, Vladek and Art are completely disconnected from each other. They lack the conventional relationship between a father and son. There is no sense of understanding between the two, as if they had been strangers for their whole lives. Even from his childhood, Art experienced a sort of brutality and lack of understanding from his father, displayed in the small cartoon before Maus 1 begins. In this small comic, Art recreates a moment in his childhood when his father yelled at him for crying about his friends leaving him, shouting, “Friends? Your Friends? If you lock them together in a room with no food for a week then you could see what it is, friends...
The format of "Maus" is an effective way of telling a Holocaust narrative because it gives Art Spiegelman the chance to expresses his father's story without disrespecting him at the same time. It shows this through its comic book style drawings on a topic that is difficult to explain. With the illustrations throughout the story, it shows the true meaning of a picture is worth a thousand words. Compared to any other type of Holocaust book, it would be hard for a person who did not go through the Holocaust to understand what was taking place during that time.
MAUS begins in 1936, and spans all the way until the end of the war in 1945. This means it teaches and discusses all major events revolving around the systematic German takeover. For example, it mentions things such as “It was the beginning of 1938.... here was the first time I saw, with my own eyes, the swastika.” (Spiegelman, 32) and “At the end of 1941 the Germans came up with something new....all 12 of our household were given now to live in 2 1/2 rooms” (Spiegelman, 82). These facts are both educational and help move the story along. In comparison to this, Night really only shows the last year or so of the war. This causes a great deal of the historical facts to be lost. The idea of this is touched upon with the “veterans” of the concentration camps commenting on the fact that Elie and his father haven’t been there for too long. The “veterans” say things like “Now you’ll experience a real winter.” (Wiesel, 84), referring to their notion that Elie and his father haven 't truly had a difficult time in the concentration camp yet. A story told in the point of view of one of these “veterans”, such as that of Vladek Spiegelman allows for more actual facts to be
All of Camus' writings may be viewed as a quest for meaningful values in a world of spiritual aridity and emptiness. He begins with man's despair, estrangement, fear, suffering and hopelessness in a world where is neither God nor the promise that He will come- the fundamental absurdity of existence- but ultimately affirms the power of man to achieve spiritual regeneration and the measure of salvation possible in an absurd universe. This radical repudiation of despair and nihilism is closely bound up with his concept of an artist. Camus conceives of art as a way of embracing a consciousness of the absurdity of man's existential plight. But art becomes a means of negating that absurdity because the artist reconstructs the reality, endowing it with unity, endurance and perfection. By taking elements from reality that confirms the absurd existence, an artist attempts to correct the world by words and redistribution. Thus the artist never provides a radical transformation of reality but a fundamental reinterpretation of what already exists. He provides a new angle of vision of perceiving reality. That is why, for Camus, an artist is a recreator of myth. He teaches humanity that contemporary man must abandon the old myths that have become otiose, though once defined his existence. The artist liberates man to live in his world by redefining both man and the condition in which he exists. In this regard, it is important to point out that, for Camus, the traditional opposition between art and philosophy is arbitrary. It is because they together become most effective to create the redefinition: the philosophy awakens the consciousness and the art, propelled by such a radical discovery, ...
From Hitler throughout the Holocaust, Maus the graphic novel has brought a story of a survivor, Vladek Spiegelman, a Polish Jew. Vladek has been there when the Swastika was a symbol of well-being and the goods. From the start of World War II and sustained until the war ended. Vladek survived the war because of luckiness, after that, being resourceful was the reason he lived. Lost his first born son in the process, moved to the United States. Lost his wife and lived with a fear it might happen all over again, he is a survivor of the Holocaust.
The Maus series of books tell a very powerful story about one man’s experience in the Holocaust. They do not tell the story in the conventional novel fashion. Instead, the books take on an approach that uses comic windows as a method of conveying the story. One of the most controversial aspects of this method was the use of animals to portray different races of people. The use of animals as human races shows the reader the ideas of the Holocaust a lot more forcefully than simply using humans as the characters.
Opening Line. Comics and cartoons have been using anthropomorphism as a literary device for decades. The Warner Brothers, Hanna-Barbera, and Disney have all produced numerous print and television media filled with walking, talking animals. While these colorful works are usually intended for children, anthropomorphism has made its way into the culture of comics, invading the adult-oriented publications, as well. Comic artist Art Spiegelman is known for creating one of the most famous examples of serious anthropomorphism in the history of comics: a Pulitzer prize-winning graphic novel entitled Maus, wherein a firsthand account of the Holocaust is told by Spiegelman’s father, Vladek, and illustrated within a metaphor of Jews as mice, Nazis as cats, Poles as pigs, and Americans as dogs. Art Spiegelman’s use of pictorial symbolism in Maus
Spiegelman, Art. Maus II: A Survivor's Tale: And Here My Troubles Began. New York City:
During 1925, Mein Kampf was published by the Nazi Leader Adolf Hitler. In this autobiography, where Nazi racist ideas originated, he depicted his struggle with the Jews in Germany. These ideas sparked World War 2 and the Genocide of the Jews. The tragedy of the Holocaust inspired authors, such as Art Spiegelman who produced a Graphic novel, where both the text and images helped him convey his own ideas and messages. In fact, Art Spiegelman’s graphic novel Maus is an effective medium for telling a Holocaust narrative and specifically his father’s story of survival. Through this medium, he is able to captivate the readers while providing interesting insight into the tragedy of the Holocaust by using the symbols of animals, the contrast between realism and cartoon imagery and the various basic elements of a graphic novel.
When reading a traditional book, it is up to the reader to imagine the faces and landscapes that are described within. A well written story will describe the images clearly so that you can easily picture the details. In Art Spiegelman’s The Complete Maus, the use of the animals in place of the humans offers a rather comical view in its simplistic relation to the subject and at the same time develops a cryptic mood within the story. His drawings of living conditions in Auschwitz; expressions on the faces of people enduring torture, starvation, and despair; his experience with the mental institution and his mother’s suicide; and occasional snapshots of certain individuals, create a new dynamic between book and reader. By using the form of the graphic novel, Art Spiegelman created a narrative accompanied by pictures instead of needing to use immense worded detail.
Art Spiegelman’s graphic novel Maus unfolds the story about his father Vladek Spiegleman, and his life during the WWII. Since Vladek and Art are both the narrators of the story, the story not only focuses on Vladek's survival, but also the writing process and the organization of the book itself. Through these two narrators, the book explores various themes such as identity, perspective, survival and guilt. More specifically, Maus suggests that surviving an atrocity results in survivor’s guilt, which wrecks one’s everyday life and their relationships with those around them. It accomplishes this through symbolism and through characterization of Vladek and Anja.
The books Maus I and Maus II, written by Art Spiegelman over a thirteen-year period from 1978-1991, are books that on the surface are written about the Holocaust. The books specifically relate to the author’s father’s experiences pre and post-war as well as his experiences in Auschwitz. The book also explores the author’s very complex relationship between himself and his father, and how the Holocaust further complicates this relationship. On a deeper level the book also dances around the idea of victims, perpetrators, and bystanders. The two books are presented in a very interesting way; they are shown in comic form, which provides the ability for Spiegelman to incorporate numerous ideas and complexities to his work.