consideration of Vladek's testimony and the magnitude of the Holocaust. For the further analysis, it is essential to have an understanding of how animal characters function within this popular tradition. When Francoise picks up an African-American hitchhiker on their way back from the grocery store, Vladek can hardly contain his anger that she has let a "shvartser" into the car and spends the whole ride home watching his groceries to make sure they aren't stolen. Representing the Holocaust in a comic book is a daring enterprise; doing it with animal figures is even bolder. The use of the comic book form allows for a unique combination of the two. A post-modern feature. In a sketched conversation with his psychologist Artie states that he 'can't begin to imagine what it felt like' thereby guarding himself against being read solely as a non-fiction writer and permitting his work to be read as a fictional yet fact based reconstruction.
3.1 Synopsis Maus is a two-volume comic book in which the comic artist Art Spiegelman retells the story of his father Vladek, a Polish Jew, who survived together with his wife and Art's mother Anja the Nazi concentration camp in Auschwitz. Source: Essay UK - p, if this essay isn't quite what you're looking for, why not order your own custom English Language essay, dissertation or piece of coursework that answers your exact question? As a child, he sometimes fantasized that the showers in his house would spew gas instead of water, and he would often ask himself which parent he would save if he could have only saved one from Auschwitz (he usually picked his mother). The first chapter of Maus appeared in 1980 in Spiegelman's comic magazine Raw. It includes a synopsis of the comic's plot as well as a summary of its reception. If the animal fable "had enlightenment as its purpose either through satire or moral instruction, Maus would remain thoroughly ambiguous, if not opaque, as to the possible success of such enlightenment" (Huyssen 70). Chapter.7 provides a detailed discussion of the critique concerning the animal metaphor in Maus. George Herriman's Krazy Kat (1913) and Floyd Gottfredson's Mickey Mouse (1930) might have been the most prominent animal comics which appeared in newspaper comic strips. Animals in Literature The use of animal characters in literature is as old as recorded literature. Cartoonist and theorist Scott McCloud defines comics as "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or produce an aesthetic response McCloud 9).
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