Lachende Maus

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Lachende Maus

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Earth Moving Machines. Green energy. Vladek's English is broken in contrast with that of Art's more fluent therapist, Paul Pavel, who is also an immigrant and Holocaust survivor.

He also uses it to befriend a Frenchman, and continues to correspond with him in English after the war. His recounting of the Holocaust, first to American soldiers, then to his son, is never in his mother tongue, [] and English becomes his daily language when he moves to America.

I was very religious, and it wasn't else to do". This unidiomatic expression was used as the subtitle of the second volume. The German word Maus is cognate to the English word "mouse", [] and also reminiscent of the German verb mauscheln , which means "to speak like a Jew" [] and refers to the way Jews from Eastern Europe spoke German [] —a word not etymologically related to Maus , but distantly to Moses.

Spiegelman's perceived audacity in using the Holocaust as his subject was compounded by his telling the story in comics. The prevailing view in the English-speaking world held comics as inherently trivial, [] thus degrading Spiegelman's subject matter, especially as he used animal heads in place of recognizably human ones.

Ostensibly about the Holocaust, the story entwines with the frame tale of Art interviewing and interacting with his father.

Art's "Prisoner on the Hell Planet" is also encompassed by the frame, and stands in visual and thematical contrast with the rest of the book as the characters are in human form [53] in a surreal , German Expressionist woodcut style inspired by Lynd Ward.

Spiegelman blurs the line between the frame and the world, such as when neurotically trying to deal with what Maus is becoming for him, he says to his wife, "In real life you'd never have let me talk this long without interrupting.

Spiegelman started taking down his interviews with Vladek on paper, but quickly switched to a tape recorder, [] face-to-face or over the phone.

Spiegelman worried about the effect that his organizing of Vladek's story would have on its authenticity. In the end, he eschewed a Joycean approach and settled on a linear narrative he thought would be better at "getting things across".

The story is text-driven, with few wordless panels [4] in its 1, black-and-white panels. There is little gray in the shading. Spiegelman rendered the original three-page "Maus" and "Prisoner on the Hell Planet" in highly detailed, expressive styles.

Spiegelman planned to draw Maus in such a manner, but after initial sketches he decided to use a pared-down style, one little removed from his pencil sketches, which he found more direct and immediate.

Characters are rendered in a minimalist way: animal heads with dots for eyes and slashes for eyebrows and mouths, sitting on humanoid bodies.

Spiegelman wanted the artwork to have a diary feel to it, and so drew the pages on stationery with a fountain pen and typewriter correction fluid.

It was reproduced at the same size it was drawn, unlike his other work, which was usually drawn larger and shrunk down, which hides defects in the art.

Spiegelman has published articles promoting a greater knowledge of his medium's history. Chief among his early influences were Harvey Kurtzman , Will Eisner , [] and Bernard Krigstein 's " Master Race ".

Spiegelman stated, "without Binky Brown , there would be no Maus ". Spiegelman's work as cartoonist and editor had long been known and respected in the comics community, but the media attention after the first volume's publication in was unexpected.

Maus proved difficult to classify to a genre, [] and has been called biography, fiction, autobiography, history, and memoir.

An editor responded, "Let's go out to Spiegelman's house and if a giant mouse answers the door, we'll move it to the nonfiction side of the list!

Maus ranked highly on comics and literature lists. The Comics Journal called it the fourth greatest comics work of the 20th century, [4] and Wizard placed it first on their list of Greatest Graphic Novels.

Early installments of Maus that appeared in Raw inspired the young Chris Ware to "try to do comics that had a 'serious' tone to them".

In , cartoonist Ted Rall had an article published in The Village Voice criticizing Spiegelman's prominence and influence in the New York cartooning community.

Hellman followed up by posting fake responses from New York magazine editors and art directors. A cottage industry of academic research has built up around Maus , [] and schools have frequently used it as course material in a range of fields: history, dysfunctional family psychology, [2] language arts, and social studies.

Marianne Hirsch wrote an influential essay on post-memory called "Family Pictures: Maus , Mourning, and Post-Memory", later expanded into a book called Family Frames: Photography, Narrative, and Postmemory.

Academics far outside the field of comics such as Dominick LaCapra , Linda Hutcheon , and Terrence Des Pres took part in the discourse.

Few approached Maus who were familiar with comics, largely because of the lack of an academic comics tradition— Maus tended to be approached as Holocaust history or from a film or literary perspective.

In , Deborah Geis edited a collection of essays on Maus called Considering Maus : Approaches to Art Spiegelman's "Survivor's Tale" of the Holocaust.

According to writer Arie Kaplan, some Holocaust survivors objected to Spiegelman making a comic book out of their tragedy.

Harvey argued that Spiegelman's animal metaphor threatened "to erode [ Maus ' s] moral underpinnings", [] and played "directly into [the Nazis'] racist vision".

Commentators such as Peter Obst and Lawrence Weschler expressed concern over the Poles' depiction as pigs, [] which reviewer Marek Kohn saw as an ethnic slur [] and The Norton Anthology of American Literature called "a calculated insult".

Literary critic Walter Ben Michaels found Spiegelman's racial divisions "counterfactual". To Michaels, Maus seems to gloss over the racial inequality that has plagued the history of the U.

Other critics, such as Bart Beaty, objected to what they saw as the work's fatalism. Scholar Paul Buhle asserted, "More than a few readers have described [ Maus ] as the most compelling of any [Holocaust] depiction, perhaps because only the caricatured quality of comic art is equal to the seeming unreality of an experience beyond all reason.

The book reproduced every page and line of dialogue from the French translation of Maus. Spiegelman's French publisher, Flammarion , had the Belgian publisher destroy all copies under charges of copyright violation.

Moss, Joshua Louis Why Harry Met Sally: Subversive Jewishness, Anglo-Christian Power, and the Rhetoric of Modern Love. University of Texas Press.

From Wikipedia, the free encyclopedia. This article is about the graphic novel. For other uses, see Maus disambiguation.

Anthropomorphism Birds' Head Haggadah Ethnic stereotypes in comics Mickey au Camp de Gurs Stereotypes of Jews in literature.

Comics portal Judaism portal Novels portal Poland portal World War II portal. This spelling was chosen for Maus as it was deemed the easiest spelling for English speakers to pronounce correctly.

The German version of his name was "Wilhelm" or "Wolf" for short , and he became William when he moved to the U. Her name became Anna when she and Vladek arrived in the U.

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Walter de Gruyter. The Art of the Comic Book: An Aesthetic History. Alternative Comics: An Emerging Literature.

In the Studio: Visits With Contemporary Cartoonists. Yale University Press. Family Frames: Photography, Narrative, and Postmemory.

Harvard University Press. In Shatzky, Joel; Taub, Michael eds. Contemporary Jewish-American Novelists: A Bio-Critical Sourcebook. Greenwood Publishing Group.

The Holocaust of Texts: Genocide, Literature, and Personification. University of Chicago Press. In Baetens, Jan ed. The Graphic Novel. Leuven University Press.

Masters of the Comic Book Universe Revealed! Chicago Review Press. From Krakow to Krypton: Jews and Comic Books. Jewish Publication Society.

The Norton Anthology of American Literature. History and Memory After Auschwitz. Cornell University Press. The Belated Witness: Literature, Testimony, and the Question of Holocaust Survival.

Stanford University Press. Trespassing Through Shadows: Memory, Photography, and the Holocaust. In Williams, Paul; Lyons, James eds.

The Rise of the American Comics Artist: Creators and Contexts. Against the Unspeakable: Complicity, the Holocaust, and Slavery in America.

University of Virginia Press. Second-Generation Holocaust Literature: Legacies of Survival and Perpetration. Camden House Publishing.

Monnin, Katie Teaching Graphic Novels: Practical Strategies for the Secondary ELA Classroom. Maupin House Publishing, Inc. Ethical Diversions: The Post-Holocaust Narratives of Pynchon, Abish, DeLillo, and Spiegelman.

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University of Nebraska Press. Traumatic Realism: The Demands of Holocaust Representation. In Ndalianis, Angela ed. The Contemporary Comic Book Superhero.

Adult Comics: An Introduction. In Royal, Derek Parker ed. Unfinalized Moments: Essays in the Development of Contemporary Jewish American Narrative.

Purdue University Press. Haunting Legacies: Violent Histories and Transgenerational Trauma. Chute, Hillary ed.

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