Maus vols. I and II
Maus: The 'cat and mouse' game of Art Spiegelman's Maus
One of the most striking aspects of the graphic novel Maus by Art Spiegelman by is the way in which it uses animal cartoon characters to illustrate one of the most tragic periods of human history. The animals create a visual expectation of playfulness that is undercut by the horrors the book chronicles. The victims of the Holocaust are mice while the Nazi perpetrators are cats. This strikingly illustrates the vulnerability of Jews: it also stresses the Nazi's perception of Jews as vermin. However, the Jewish characters, although all mice, are strikingly and powerfully drawn in very unique ways -- Artie, for example, has a very different personality than his father.
Given that the 'real' Nazis often pictured the Jews as uniformly rodent-like, the choice of the cartoon image of a mouse also suggests a certain degree of self-hatred on the part of the Jewish teller of the story. It should be noted that Artie is a character in the cartoon and very self-consciously frames the tale as a subjective recollection of his father and himself, not as factual historical narrative. The choice to portray the Jews as mice is very...
Maus and its sequel Maus II are among the most significant graphic novels to ever be published. They are semi-autobiographical tales about the author and his father, a Holocaust survivor. Art Spiegelman attempts to capture the psychic and physical horrors of the Holocaust in a way that transcends documentary evidence as well as mere fictionalization. Desensitization to the issues of mass murder has permeated popular culture, to the point where
The problem occurred with the New York Times Book Review as well, criss-crossing the Fiction and the Non-Fiction Best Seller Lists (69). Spiegelman responded with a letter to the editor: 'if you list were divided into literature and non-literature, I could gracefully accept the compliment as intended, but to the extent that 'fiction' indicates a work isn't factual, I feel a bit queasy. As an author, I believe I might
Maus 1, Maus Art Speigelman's works Maus 1 and Maus 2 serve as an exploration of the father and son bond after an traumatic event, the Holocaust and how it influences relationships. These works act as a way to explore such stereotypes about Jews and the aftermath of the Holocaust especially exploring how it affects the next generation. Such a situation creates many dilemmas for the offspring of the survivors such as
Before they and their families are sent to Auschwitz, Art's father is a practical young businessman, who is set up with his own factory by his prosperous and generous father-in-law. Elie's father is less practical and more of a dreamer. He is a spiritual leader of his community before the Holocaust, and as such, he often seems more concerned about his community than even his family or himself. Art's father,
As similarly suggested by Wally Hastings (1998), in his online article about Maus, By distancing the reader from the experience, the talking animals enable us to bear the horror implicit in the Holocaust memory." Art Spiegelman made use of different animals to depict the different nationalities in the story because he perhaps found that the use of animals is the easiest and simplest way to characterize the people in the Holocaust.
The United Kenya Club was founded in 1946 and was the first multi-racial social organization in Kenya; the organization sponsored concerts and cultural events open to all ethnicities (if you could afford a ticket price). The liberal paternalists pressed for programs that would introduce "profit-making crafts to landless laborers," would "encourage the growth of a prosperous rural elite" and also would encourage progressive agricultural practices among poor peasants. Moreover,
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