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World war ii literature
World War Two effect on literature
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The past and present are two completely different moments, separated by a constantly growing space of time. Though they’re quite different from each other and separated in many ways, there are still apparent connections between the two. In Art Spiegelman’s graphic novels Maus I: My Father Bleeds History and Maus II: And Here My Troubles Begin, Spiegelman integrates the concept of past versus present, most apparent in his relationship with his father. As Artie’s relationship with Vladek improves as Vladek recites his history, the present time and the past begin to blend into each other. At the beginning of Maus I, Artie is oblivious to his father’s rough experience in the holocaust, disconnected from his father and without a solid relationship. However, as Vladek recites his history, Art’s relationship with him begins to improve little by little and the lines between the past and present dissolve. By the end of the story, Vladek and Artie’s relationship has improved greatly and the lines between the past and present are completely dissolved.
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...
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...e fuse of past and present, something which has developed throughout Maus 1 and Maus 2.
By the end of Spiegelman’s novels, his relationship with his father has improved greatly, leading to an amalgamation of past and present. The two aren’t separated as they were before, much like how Vladek and Artie were separated before the retelling of his father’s history. By the end of Art’s experience with retelling all this history that he hadn’t experienced himself, he understands that the past isn’t to stay in the past, but it effects everything in present time, whether its his father’s well being or his fame. The past does mean something, and no matter what it may seem like, the past plays an active role in the present time. The past cannot be forgotten or erased, cannot be ignored or bypassed, and will always be relevant in the present, as well as the inevitable future.
In late July of 1944, the Soviet Red Army comes upon the first Nazi war camp in Poland known as Majdanek that was discovered by the allies. After liberating the people there, they move further west in an attempt to invade Germany". On their conquest to the German homeland, the Soviets liberate hundreds of work camps that ranged from small prisons all the way to full-fledged concentration camps. The Soviet Union, along with other allied powers such as the United States, liberated thousands of people from Nazi rule. For many, the sight of the allied powers signaled a renewed freedom and a better life to come, just as it did for Vladek Spiegelman in his son’s book Maus. Maus is the story of Vladek Spiegelman's life. The book focuses on the time
Man must not only remember his past, but also choose to remember it as it really happened—for, to again quote Eliot, “What might have been is an abstraction" (175). Fantasizing about an abstract, idealized past will never give success i...
Art Spiegelman's Maus II is a book that tells more than the story of one family's struggle to live thought the Holocaust. It gives us a look into the psyche of a survivor's child and how the Holocaust affected him and many other generations of people who were never there at all. Maus II gives the reader a peek into the psyche of Art Spiegelman and the affects of having two parents that survived the Holocaust had on him. Spiegelman demonstrates the affects of being a survivor's child in many ways throughout the book. Examining some of these will give us a better understanding of what it was like to be a part of the Holocaust.
Throughout Maus, Art carries with him a bag, or luggage. This baggage is both literal and nonliteral, each meaning as important as the next. In the first panel of Chapter 3, Art carries a bag, and the caption says that he started to visit his father more often to get information about his past. Vladek’s past also weighs heavily on Art. He has grown closer with his father, and as he learns more about him, the more Art must physically and emotionally carry the baggage tied with his father’s history. Furthermore, the baggage represents how Vladek too carries around the past, and how it never truly leaves him. The emotional baggage of his experience influences him daily. This knowledge builds and builds into a large, heavy suitcase that everyone
Spiegelman, Art. Maus II: a Survivor’s Tale : And Here my Troubles Began. New York:
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.
Whether it is miniscule things like Tom’s character and Daisy’s sobriety or larger scale things like buying a house or throwing extravagant parties, the past and the experiences it holds are a major component in people’s present and future lives. Considering all this, I think it’s appropriate to consider what this realization can mean and how one can use it for the better. If it’s so evident that the past affects one future, there must be ways to use this positively and take advantage of the phenomenon. In The Great Gatsby, after all drama had been completed, Nick Carraway ends his narration by deciding to take what has happened and try to move on. Nick affirms, “So we beat on, boats against the current, borne back ceaselessly into the past” (Fitzgerald
As the young boy grew, he began to have a love for art and wanted to become an artist, but his father, however, did not have a care of his son’s dreams, but instead wanted him to grow up, following in his footsteps; in which Adolf rebelled against.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
He was stuck in the past like Willy, still trying to gain back the love they had once shared. "Can 't repeat the past?" he cried incredulously. "Why of course you can" (Fitzgerald 116).
The only practical purpose of the past is to provide knowledge for the future and yet there are some uncertainties that don't gain knowledge that are still thought about. Most of the time people are able to brush these off quickly like leaves on a shoulder, but sometimes they stick. When a past trouble stays on one's mind, no benefit is gained. The photo taken by Alex Webb symbolically depicts that Often people may deal with uncertainties in the past by simply dwelling on them to the point where the world around them becomes irrelevant in their consciousness. If a person deals with these ambiguities like this for too long they may end up trapped in a circle of immobility.
At the first glimpse of Art and Vladek, there is a sharp view of Art’s childhood. Crying over b...
Art Spiegelman’s Maus is a novel about the Vladek and his experience as a Polish Jew during the Holocaust. It narrates the reality of the Holocaust wherein millions and millions of Jews were systematically killed by the Nazi regime. One of the themes in the story is racism which is evident in the employment of animal characters and its relationship with one another.
... over time – and the viewer’s personal experience, essentially her history. This gets very near to a common sense perspective – what we look at, and what we think about what we see has much to do with who we are and what we have experienced in life. Thus, art may be described as an interaction between the viewer, influenced by her experiences, with the work of art, inclusive of its history and the stories built up around it over time. When we look at art, we must acknowledge that the image is temporally stretched – there is more to it than meets the eye at present. What we learn from Didi-Huberman’s approach is to give this temporal ‘tension’ its due. Didi-Huberman describes and defends the importance of of how we look at artistic works: images that represent something determinate, while always remaining open to the presentation of something new and different.
As Berger says, “the art of the past is being mystified because a privileged minority is striving to invent a history which can retrospectively justify the role of the ruling classes, and such a justification can no longer make sense in modern terms” (157). The upper class mystifies us to stay in control; without being able to see things in our own way, we are being deprived from our right to understanding ourselves and placing ourselves in a role of society.