The central thesis of this book is that Art Spiegelman's comics all identify deeply-rooted madness in post-Enlightenment society. Spiegelman maintains, in other words, that the Holocaust was not an aberration, but an inevitable consequence of modernisation. In service of this argument, Smith offers a reading of Spiegelman's comics, with a particular focus on his three main collections: Breakdowns (1977 and 2008), Maus (1980 and 1991), and In the Shadow of No Towers (2004). He draws upon a taxonomy of terms from comic book scholarship, attempts to theorize madness (including literary portrayals of trauma), and critical works on Holocaust literature.
The central thesis of this book is that Art Spiegelman's comics all identify deeply-rooted madness in post-Enlightenment society. Spiegelman maintains, in other words, that the Holocaust was not an aberration, but an inevitable consequence of modernisation. In service of this argument, Smith offers a reading of Spiegelman's comics, with a particular focus on his three main collections: Breakdowns (1977 and 2008), Maus (1980 and 1991), and In the Shadow of No Towers (2004). He draws upon a taxonomy of terms from comic book scholarship, attempts to theorize madness (including literary portrayals of trauma), and critical works on Holocaust literature.
Bachelorarbeit aus dem Jahr 2023 im Fachbereich Didaktik für das Fach Deutsch - Literatur, Werke, Note: 2, Leopold-Franzens-Universität Innsbruck (Germanistik), Sprache: Deutsch, Abstract: Im ersten...
Historisches Lernen durch Sprechblasen? Der Holocaust im Comic? Auf den ersten Blick eine seltsam anmutende Kombination. Kann der Comic ein geeignetes Medium sein, um Kindern und Jugendlichen eine so...
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