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Writing of survivors of the holocaust
The mental effects of the Holocaust
Holocaust survivors and their stories
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Recommended: Writing of survivors of the holocaust
Polarization and Unification of Identity in The Complete Maus
Trauma and recovery both have cycles in which an individual must pass through to heal. For those having lived through the Holocaust, these stages were well defined and could be addressed. However, when addressed, they only address the individual, not the group nor those affected in a secondary way. This creates a dichotomy between those experiencing an internal conflict, survivor or otherwise, and those who had experienced the physical external conflict of the Holocaust. Thus, I will argue that internal conflict is more damaging to the individual because it is polarizing both in a mental way but also with the relationships formed with others while external conflict actually serves as a bonding agent for a group by creating a common, albeit, negative experience. I am going to prove my thesis through the use of The Complete Maus by Art Spiegelman. Specifically, I will examine the visual polarization between Art and his father, Vladek, in graphic elements and how it connects to Arts internal conflict. Following this, I will continue analyzing the graphic element of Maus focusing on the external conflict and how the use of visual symbolism and linkage creates a sense of unity and identity. Moving on to the literary aspect of the novel, I will explore Anja’s internal conflict with life and how it not only polarized her own mind but separated her from her son physically and mentally. Anticipating the counterargument of Mala’s and Vladek’s strained relationship I will briefly discuss the subtext of their interactions and use that to transition into the unity Vladek expresses with others experiencing the war and survivors after the war to fully expand the idea of polarizatio...
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...l are unity of identity, and polarization. These themes are seen in the external conflict of the Holocaust and with the internal conflict of guilt and will to live respectively. The unity of identity stems from a common experience and social support. Both of these are steps in the recovery process, a process in which all the Holocaust victims had to go through together. Yet, those affected secondarily or afflicted internally had to suffer alone, moving to constriction, a stage in trauma in which one withdraws from themselves and others. In this novel, it illustrates the importance of recovery at both a personal and group level. This importance of recovery is not restricted to those of massive trauma, it is of importance to even those who simply suffer from guilt. One small trauma, such as a scolding by one’s father at a young age, can make a lifetime of difference.
Imagine being trapped in a ghetto, seeing communities leaving in trains, families being split up, never to see each other again.. The emotions that each and every Holocaust survivor must’ve gone through is overwhelming. Some things that are taken for granted, will never be seen again. While reading the two texts, Night by Elie Wiesel and “I Never Saw Another Butterfly” by Pavel Friedman, The two predominant emotions that prevailed most to Holocaust victims and survivors were hope and fear.
Elizer’s personal account of the holocaust does not merely highlight the facts of the holocaust: millions suffered and the event was politically and religiously motivated, but provides an in depth investigation to what a person endured mentally, physically, and emotionally. Beginning as a teenager, Elizer thought highly of God and of his own beliefs, however, that quickly diminished when he was put into a system of sorting and killing people. During the holocaust, Elizer was not the only person to change; almost everyone suffered and changed differently. The stressful and harsh times affected Elizer just as they affected the person working next to him in the factory. Elizer quickly began to question everything “I pinched myself: Was I still alive? Was I awake? How was it possible that men, women, and children were being burned and that the world kept silent?” (Wiesel 32). Although Elizer forms this mentality, he also finds the will to survive, to protect his father, and to not turn into the people that were aro...
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.
In his memoir “Night”, Elie Wiesel recalls his experience leading up to, in the middle of, and immediately following his forced servitude during the Holocaust. One of the most remarkable parts of Wiesel’s story is the dehumanization that occurs over the course of his imprisonment. In a system built to take away the identity of its subjects, Elie constantly grapples with his sense of self during the Holocaust and even finds himself lost by the end of the book. This loss of innocence and selfhood is a key element of Elie’s physical, emotional, and spiritual journey throughout the story.
By means of comic illustration and parody, Art Spiegelman wrote a graphic novel about the lives of his parents, Vladek and Anja, before and during the Holocaust. Spiegelman’s Maus Volumes I and II delves into the emotional struggle he faced as a result of his father’s failure to recover from the trauma he suffered during the Holocaust. In the novel, Vladek’s inability to cope with the horrors he faced while imprisoned, along with his wife’s tragic death, causes him to become emotionally detached from his son, Art. Consequently, Vladek hinders Art’s emotional growth. However, Art overcomes the emotional trauma his father instilled in him through his writing.
The Holocaust is one of the most horrific and gruesome events in world history. It took a great toll on millions of lives in one way or another. One person in particular is Vladek Spiegelman, a Holocaust survivor. Maus, by Art Spiegelman, consists of two main narratives. One narrative occurs during World War II in Poland, and the other begins in the late 1970s in New York. In relation to each other these two narratives portray the past and present.Throughout the novel, we often see Art Spiegelman questioning why his father acts the way he does. Although the war is over, the events of the Holocaust continue to influence the life of Vladek. Why do we allow the past to effect the present? Vladek's personality is largely influenced by his Holocaust experience. In Maus I and II, Vladek was stubborn, selfish, and cheap because of his experiences in the Holocaust.
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 poem “The action in the ghetto of Rohatyn, March 1942” by Alexander Kimel is an amazing literary work which makes the reader understand the time period of the Holocaust providing vivid details. Kimel lived in an “unclean” area called the ghetto, where people were kept away from German civilians. The poet describes and questions himself using repetition and rhetorical questions. He uses literary devices such as repetition, comparisons, similes and metaphors to illustrate the traumatizing atmosphere he was living in March 1942.
The victims of the Holocaust lose sight of who they are during this time and begin to live their life by playing a part they believe they were because of their race. Loman discussed the irony behind the cat-and-mouse metaphor that Spiegelman uses in his graphic novel in his article titled “’Well Intended Liberal Slop’: Allegories of Race in Spiegelman’s Maus”. In his article he states,
Although our past is a part of who we are nowadays, we will never be happy if we can never let go of the painful feeling attached to our suffering. In addition, “suffering pulls us farther away from other human beings. It builds a wall made of cries and contempt to separate us” (Wiesel 96). We should not be afraid to let go of our haunting past and grow closer to others because “man carries his fiercest enemy within himself. Hell isn’t others. It’s ourselves” (Wiesel 15). The wise advice this book gives its audience is one reason it won a Nobel Peace Prize. The books are also part of a very famous Holocaust trilogy, which is one reason it has been so widely read. In addition, it blends everyday stories with Holocaust stories.Therefore, readers are very compassionate towards the narrator and readers create a bond with this character due to his hardships and the similarities he shares with us. Lastly, Day speaks to the needs of the human spirit by intertwining a love story. Readers wonder if his girlfriend will change his attitude towards life because he tells the doctor, “I love Kathleen. I love her with all my heart. And how can one love if at the same time one doesn’t care about life” (Wiesel
The delineation of human life is perceiving existence through resolute contrasts. The difference between day and night is defined by an absolute line of division. For the Jewish culture in the twentieth century, the dissimilarity between life and death is bisected by a definitive line - the Holocaust. Accounts of life during the genocide of the Jewish culture emerged from within the considerable array of Holocaust survivors, among of which are Elie Wiesel’s Night and Simon Wiesenthal’s The Sunflower. Both accounts of the Holocaust diverge in the main concepts in each work; Wiesel and Wiesenthal focus on different aspects of their survivals. Aside from the themes, various aspects, including perception, structure, organization, and flow of arguments in each work, also contrast from one another. Although both Night and The Sunflower are recollections of the persistence of life during the Holocaust, Elie Wiesel and Simon Wiesenthal focus on different aspects of their existence during the atrocity in their corresponding works.
In the years after the Holocaust the survivors from the concentration camps tried to cope with the horrors of the camps and what they went through and their children tried to understand not only what happened to their parents. In the story of Maus, these horrors are written down by the son of a Holocaust survivor, Vladek. Maus is not only a story of the horrors of the concentration camps, but of a son, Artie, working through his issues with his father, Vladek. These issues are shown from beginning to end and in many instances show the complexity of the father-son relationship that was affected from the Holocaust. Maus not only shows these matters of contentions, but that the Holocaust survivors constantly put their children’s experiences to unreasonable standards of the parent’s Holocaust experiences.
In the search for who is the victim in the war, there arose different opinions on whether the perpetrator can be regarded as the victim, some people believe that the perpetrators can never be a victim, because they are responsible for the killing, abusing and raping during the war. But other are hold the different idea, there is a frequently using word in the holocaust research that fits the question—the perpetrator trauma. How can we understand the perpetrator trauma? And how can we distinguish the victim and perpetrator in the war? with these questions, we look into the Folman’ animated movie Waltz with Bashir, which is a very good work for us to dig and see how the war affect the perpetrators in the post-war life, and can we see the perpetrators
Using lines and basic shapes to emphasize shading and detail and then teamed with such a complex theme, Art’s story and graphics join together in a complimentary marriage. With the nearly childlike drawings and the intense mature storyline, there is a message that this is being written by the child telling the story of the parent. The story emphasizes his father’s inability to grow and repair from his past but even without the words you can almost see that Art has never truly be able to move past his the trauma of growing up with his parents. Using his frustrations and the need to explore the history of his father’s idiosyncrasies, Art creates a poignant story not only about the tragedy of the holocaust, but of the realities of being a child growing up with survivor parents.
If This Is a Man or Survival in Auschwitz), stops to exist; the meanings and applications of words such as “good,” “evil,” “just,” and “unjust” begin to merge and the differences between these opposites turn vague. Continued existence in Auschwitz demanded abolition of one’s self-respect and human dignity. Vulnerability to unending dehumanization certainly directs one to be dehumanized, thrusting one to resort to mental, physical, and social adaptation to be able to preserve one’s life and personality. It is in this adaptation that the line distinguishing right and wrong starts to deform. Primo Levi, a survivor, gives account of his incarceration in the Monowitz- Buna concentration camp.