Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
comic book history and influence
superheroes and comics effect on society
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: comic book history and influence
The super-genre of what collectively can be called ‘comics’ represents a cultural phenomenon which has exploded in the last fifty-plus years onto the public scene. Evolving from newspaper strip comics to superhero stories in paperback periodicals, the world of comics spread further and further into public appeal. With the publication of Art Spiegelman’s Maus, however, comics opened the door onto a world of possibilities. After Maus received high acclaim, despite its academic taboo as a medium, many more historical-commentary graphic novels found their way into the public eye: Marjane Satrapi’s Persepolis, Alison Bechdel’s Fun Home, Keiji Nakazawa’s Barefoot Gen, and a legion of others. Taken together, this new sub-genre of the super-genre provides a personal glimpse into many historically tragic, enlightening, or revolutionary events. These historic-autobiographic stories can effectively introduce people, whether students in a classroom or a curious independent reader searching for truth, to history, because of the format, the popularity of the historical events they encircle, the relatable personal perspective, and the groundbreaking, attention-amassing approval they enjoy.
While graphic novels such as Maus, Persepolis, Fun Home, and Barefoot Gen may differ greatly in content, the format of conveying a story of novel-length complexity through sequential art consolidates all these titles into one sub-genre. These graphic novels would effectively represent history in a classroom setting (besides a personal, individual enjoyment) due to the changed demographic of students in high schools and colleges in the United States (if not throughout the world). With the advent of the Internet and the popularity of the television and video...
... middle of paper ...
...tting within significant historical periods, and relatable, personal point of view, historic-autobiographic novels effectively represent historical events. The next step toward gaining academic respect requires proving their efficacy to scholars both of history and of literature. Once these works secure an educational following similar to the public fanbase, perhaps history classes and interdisciplinary venues may begin incorporating the graphic novel into their reading lists. Until then, the usefulness of Maus or Barefoot Gen as commentaries on World War II, Fun Home on homosexuality and the Sexual Revolution, and Persepolis on the Iranian revolution must be enjoyed purely from an individual standpoint.
Works Cited
"Your Right-Brained Visual Learner." Time 4 Learning. Time 4 Learning, Web. 6 Oct 2009. .
In the history of literature, perhaps the most explored genre is the historical novel. From the Epic of Gilgamesh to the present day, authors have taken historical facts and interpreted them novelistically. When no facts are available, the author may extrapolate missing parts of the story from two sources -- either through the interpretation of the existing scholarly data or through the author's imagination. These two approaches to 'filling in the gaps' of a historical novel can either appease the historian and displease the literary critic or please the literary critic and upset the historian. Very few novelists can produce a historically accurate novel that is also pleasing to a literary critic; to do so would be very difficult because the novelistic plot structure hardly ever follows the structure of truthful historic events. A novelistic writing about a battle in World War Two would be bound to either an accurate portrayal of the events around the main character or a convincing depiction of the people involved. If the author chose to write about turrets, casualty statistics, and troop movements, he would surely sacrifice much of the artistic content of the novel. If the author chose to focus on character and plot, then the writer couldn't portray the event with the specificity it requires. However, the exception to these guidelines appears when a novelist chooses to write a historical novel about a time or a person when large portions of the historical picture is still either unknown or up for scholarly debate. This condition presents itself infrequently to the historical novelist, in circumstances where few people witnessed or spoke about the event, or through an event so ancient tha...
Spiegelman, Art. Maus I: a Survivor’s Tale: My Father Bleeds History. New York: Pantheon Books,
The graphic essay “Show and Tell” by Scott McCloud is written in the form of a comic book as he explains the importance of words and images, and how to effectively use the two components when creating a comic. “Show and Tell” explains to the reader how creating a successful comic does not occur easily, as numerous components must be used in the right way and amount in order to create a product that is worthwhile to its readers. This insightful graphic essay portrays to the reader how in a comic, words and images can successfully be used in numerous ways if they are kept in balance with one another. Society traditionally believes that in a piece of literature words and images should be kept apart, whereas McCloud opposes this
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.
When you think of comic books, what do you think of? If you were to ask your parents they would probably tell you Superman or Spiderman, maybe even Batman or Wonder Woman. Some might mention something more, something that appears to be a comic book, but once opened is revealed to be a work of literary genius; a comic such as Watchmen, or perhaps even V for Vendetta. An author and artist of renowned recognition and admiration wrote both masterpieces.
If I took the text and images as separate elements, I might not have realized the levels of emotional Satrapi portrays or the significance of the larger context of the Iranian Revolution. It is only after reading several graphic narratives that I have realized the multitude of elements that must be acknowledged and understood while reading such texts. This mixture of unique image and text creates a versatile platform that can be an expressive form of art for marginalized persons who feel that they are trapped by the normative literary cannon. As Michael Pagliaro argues in Is a Picture Worth a Thousand Words?, graphic novels are useful as people from different backgrounds “can find their experiences authentically and respectfully portrayed” (35). I would further contend that people who occupy privileged positions can also, through graphic narratives, understand representations of marginalized persons who may appear separate or unlike them, as I was able to through Persepolis. Thus, graphic narratives foster a form of expression and understanding that is prime for working to debunk stereotypes, exploring authentic diversity in writing, and ultimately “writing against the
Art Spiegelman's Maus is a renowned comic book that won a Pulitzer Prize. The book was published in two parts, Volume I: "My Father Bleeds History," in 1986, and Volume II: "And Here My Troubles Began," in 1991. It was later integrated into one single volume. The book told Spiegelman's desire to write about his father's experiences during the Holocaust, as well as the experiences themselves. There had been numbers of Holocaust books over the decades, but Maus is different among all. After reading numerous Holocaust books, they become repetitive, because most people are aware of the tragic event. Maus offers not only the tale of the Holocaust, but stories about its victims, and the next generation as well. Its distinction was already displayed through Spiegelman's use of animals for nationalities. This method was perhaps Spiegelman's way to show readers the race hierarchy. Also, this comic book is not of a typical Holocaust story, because it is a legacy of the event. The comic has stories within stories, Vladek Spiegelman's (Art's father), and Art's himself. The comic tells how the Holocaust affected Vladek's life after, and as Vladek told his experiences to Art, it showed how their relationship was affected as well. As Art took in everything his father told him throughout the book, he tried to understand his father. What Art had to make of his father was through the stories during the Holocaust, while he tried to relate to him. All these notions that the comic has makes it distinctive among all other Holocaust books.
Satrapi, Marjane. “Why I wrote Persepolis: a graphical novel memoir: writer Marjane Satrapi faced the challenges of life in post-revolutionary Iran. She used the graphic novel format to tell her unique story.” Marjane Satrapi. Writing!, Nov-Dec, 2003, Vol.. 26(3), p. 9(5) Cengage Learning Inc.
Persepolis, a graphic novel by Marjane Satrapi, is not a run-of-the-mill comic book. It is written with purpose. Satrapi wrote and illustrated this book to show Americans that their perspective of her home country, Iran, is askew. She believes Americans are too focused on the “fundamentalism, fanaticism, and terrorism” (Satrapi ii), of the nation and that they forget to notice the normality and humanness of it. Since these two perspectives have vast differences, Satrapi wants to change their minds. Thus, it is crucial that she effectively communicate this humanness of Iran to the literary audience in America. Since the literary devices in a work are needed to correctly convey a message, she found it necessary to include these and manipulate them in her favor. Satrapi uses the innocence of a child along with morals in her pictures and a relation of cultures to effectively communicate her message. It is necessary to examine how she manipulates such literary devices in order to gain a full understanding of the text.
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 graphic novels Maus and Maus II by Art Spiegelman possess the power to make the reader understand the pain and suffering that takes place during the Holocaust. Spiegelman uses animals instead of humans in his graphic novels to represent the different races of people. The use of visual mediums in Art Spiegelman’s Maus enhances the reading of the narrative. The graphics throughout the novel help the reader fully understand everything that is happening.
Every child has fantasy's of being a super hero and leaping tall buildings in a single bound or staring death in the face everyday and somehow finding a way to escape. All of these imaginative thoughts have been derived from the past literary works by the great writers of the early American literary period. These early writers entered society into a world of action and adventure, where one can see spectacular events unfolding through the eyes of a notorious man of courage and feel as though they are defending there country or saving the woman they love. Though the modern heroes are much more
There are many times when problems in a country affect one's life. Persepolis by Majarne Satrapi recounts the coming-of-age of a girl during a period of war. Utilizing a graphic novel to illustrate, Marjane recalls the struggles of her family and herself living in warfare. For instance, in Persepolis, Marjane's external conflict result in her internal conflict.
Picture books. Everyone has read one as a child, and that is exactly what they are: books for children. Or are they? Picture books, comic book, and graphic novel tend to be grouped together and all tend to be stereotyped as books for children, but recently the idea of using graphic novels as a source of education for teens in high school and even for adults in college has popped up. The book Maus II by Art Spiegelman is a graphic novel in which the reader follows Art’s father Vladek through Nazi Camps. The fact that Art used a graphic novel format was ground breaking and the idea that it was a historical reference made it even more unique. There are some comics that do show the
Most people believe that graphic novels are just an art book with minimal text. They believe it is just for entertainment for kids or young adults. They think that graphic novels are just like comics. But to get to the point, graphic novels are just like all the other novels. They are a piece of literature that tells a story and pulls out the reader’s imagination, so that they feel that they are a part of the story or can even relate to the story. Graphic novels have changed and developed into such remarkable pieces of literature and should be accepted by all scholars to be placed in that category. According to John Ridley, “There are still some people out there who believe comic books are nothing more than, well, comic books. But the true cognoscenti know graphic novels are-at their best-an amazing blend of art, literature and the theater of the mind”.