...WebImagesVideosShoppingNewsMoreSearch tools About 474,000 results (0.59 seconds) Search Results NY Voices - Interview with Art Spiegelman - Thirteen www.thirteen.org/nyvoices/transcripts/spiegelman.html WNET ART SPIEGELMAN: No, MAUS ended up being kind of a crossover hit. ... LIFE IS BEAUTIFUL says, I guess the message of that film was something like, if you ... Maus I and Life is Beautiful Comparison Essay - Term ... www.studymode.com › Home › Geography Jul 22, 2014 - Maus I and Life is Beautiful Comparison Of all the Holocaust movies that exist, one in particular stands out. directed by Roberto Benigni in 1997 ... "Life Is Beautiful" vs. Maus Ii - College Essays - Noura41298 www.termpaperwarehouse.com › English and Literature Oct 2, 2014 - "Life Is Beautiful" vs. Maus Ii. There have been many re-tells of Holocaust survivor stories. For example, Maus II and “Life is Beautiful” are two ... Maus/Life is Beautiful Compare/Contrast rubric - RCampus https://www.rcampus.com/rubricshowc.cfm?code=S52W55&sp... iRubric S52W55: Compare/Contrast essay scoring rubric.. Free rubric builder and assessment tools. Works inspired by Maus | Analysis of Art Speigleman's ... mausgraphicmemoir.blogspot.com/2012/.../works-inspired-by-maus.htm... Jul 5, 2012 - Maus was serialized in the Raw magazine from 1980 to 1991. ... Roberto Benigni's 1997 italian film Life is Beautiful, original titled La vita è ... Analysis of Art Speigleman's Memoir MAUS mausgraphicmemoir.blogspot.com/ Jul 26, 2012 - Maus I is a memoir...
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...Maus II: A Survivor’s Tale—And Here My Troubles Began The Holocaust was one of the worst epidemics in the entire world. Many people were killed, more importantly the Jewish community, with millions dead. Families were torn and never mended. Among these families were the Spiegleman’s. Art Spiegleman was the son in the family who wrote about his father’s experience in the Holocaust. Maus I and Maus II are his two works of art that share historical information and his personal struggle. Within Maus II, Art talks about the start of his father’s struggles and what will be the beginning of a life changing event. The Holocaust affected victims just as the American Great Depression did its victims. This chapter starts out with Vladek continuously counting his pills, and then Artie and Francoise are staying with him just for a little since Mala left. Vladek keeps everything; he doesn’t want to get rid of anything, even crumbs. In chapter three, page 78 of Maus II, he is trying to give Artie a piece of fruitcake, and Artie refuses, and says he isn’t hungry. Vladek then tells Artie, “So, fine. I can pack the fruitcake in with the cereal for you to take home,” then Artie refuses to let Vladek give him the food because he doesn’t want it. Vladek then says, “I cannot forget it…ever since Hitler I don’t like to throw out even a crumb.” This shows that Vladek is still afraid to get rid of anything, because he is still in fear of the past. They begin talking more about Auschwitz, and how in...
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...Mythology is the study of myth, but how does the study of ancient myth guide today’s modern myth? Mythology has been brought to life through art, film, and theatre, but those are just a few ways myths have been transformed through time. In some cultures myths are still passed down through oral tradition, with an expectation from the listeners to be wowed and awed at the telling. This essay we will look at Terry Brooks’ The Sword of Shannara. Brooks’ work is done in the literary art form, but how does his work relate to our world view of myth? What is used in his work as mythic symbolism? Is it modern myth or old myth presented in a new light? These questions will be addressed in this essay. In the Sword of Shannara, Brooks takes the reader into world that resembles ours today, but is indeed very different. Brooks weaves a tale that could be seen as a past long forgotten or a look into the future, where mythological creatures are no longer myth, but living breathing beings that coexist in the human world. The myth in his work is not the characters he has created, but the legend and tale of an ancient sword, which symbolizes the truth that not all beings can accept about themselves. Brooks’ tale parallels the everyday life and thoughts that exist in the world today, but outside of the normal bounds that one would be used to. Common across myth throughout time and seen here again in Brooks’ work. Brooks introduces the young man who is on a quest, but with a twist...
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...Although the Holocaust took place almost half a century ago, it still leaves behind profound repercussions not only on its direct survivors, but also on their descendants – the second generation. In her book The Generation of Postmemory: Writing and Visual Culture after the Holocaust, Marianne Hirsch coins the term “postmemory” to describe how parents can pass on their traumatic memories to their children, and how these memories consequently become an integral part of their lives and their identities. Indeed, biographies and psychoanalytical research have proven that many descendants of Holocaust survivors display psychological symptoms similar to those of their parents, despite the fact that they were born many years after the Holocaust. Although many critics insist that postmemory does not qualify as actual memory because the children have not lived through the Holocaust themselves, postmemory is indeed a legitimate form of memory. Furthermore, when compared to memory, postmemory is equally traumatizing and painful. Although postmemory is a frequent theme in many works from and on the second generation, its validity is still debated. Hirsch first defines the term as the relationship between the second generation and the memories they inherit from their parents by means of stories, images and behaviors among which they grew up. Karein Goertz, in her essay “Transgenerational Representations of the Holocaust: From Memory to ‘Post-Memory’” also describes postmemory as “a hybrid...
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...Plath is a very complex poem. Sylvia Plath wrote this intense poem during her most fruitful and imaginative period. “Lady Lazarus” has been a topic of a lot of literary criticism since it was published. It is mostly understood as a collection of Plath’s thoughts, suicidal efforts and urges. (“SYLVIA LADY LAZARUS REVISITED”) The tone in this poem veers between threatening and scornful; it draws attention to itself for its use of Holocaust imagery, reading this poem anybody could figure out that the character and even Plath is not happy with her life and obviously has some deep emotional resentment that unfortunately she never got to resolve. In 1970, M. L. Rosenthal wrote an essay entitled “Sylvia Plath and Confessional Poetry” for Charles’ Newman’s collection, The Art of Sylvia Plath. In this essay Rosenthal formulated what has since become the predominant critical stance in regard to her work. He says: “Sylvia Plath’s range of technical resources was narrower than . . . that of literally committing her own predicaments in the interests of her art until one was so involved in the other that no return was possible.” (Gordon) The title of Plath’s...
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...bombing of Hiroshima by its survivors. While the collection claims that the drawings are being left "for posterity," Berger finds something more important at work here (qtd in Berger 576). Instead he argues that it is through personal narrative (and art) that latter generations can truly comprehend the horror of this action (and others like it). He likens the images to "hell" and labels the action as one of terrorism--one that can never be justified no matter what political side one supports or what aims one hopes to accomplish. Response: Based on the types of readings I have assigned for this class, I don't think it should be any surprise that I believe in the power of the personal narrative. So, on this point, I completely agree with Berger. Reading the number of those who died in the Holocaust, or lost their loved ones in Pearl Harbor, or fell with the Towers on 9/11 has a power on its own. But it is too easy to become immune to numbers. A personal narrative prevents an audience from de-humanizing an issue, and hopefully focus on what is truly important. Rhetorical Analysis: Berger makes two rhetorical choices that are especially effective. The first is that he interweaves excerpts of personal narratives into his own essay. While these narratives support his point, he does not refer to them orexplicate them in any way. Instead he lets them speak for themselves. Since his point is that the personal narrative brings history into "living consciousness," this move highlights...
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...Brett Stewart The Quest for Utopia An individual’s quest for utopia can also be described as searching for an ideal. In the search for an ideal we look for our desire and perfection in life. The quest for utopia is examined through literature to find out what the ideal is and how it’s obtained or lost. The characters analyzed in this essay strive for perfection, success, and vengeance through their obstacles. The quest for the ideal is important because it shapes imagination, creativity, and lifestyle. Henry A. Kissinger explains where an ideal can be found, when he concludes, “For other nations, utopia is a blessed past never to be recovered; for [some people] it is just beyond the horizon.” Kissinger describes that for some, their ideal is in the past and others it’s in the future. The three pieces of literature examined in this essay are analyzed through Kissinger’s theory. In literature the quest for the ideal can often result in the pursuer’s death, this is shown in “The Great Gatsby,” “Sailing to Byzantium,” and “Hamlet.” Gatsby’s ambition to turn back time and fall in love with Daisy again, ultimately leads him to his downfall. Gatsby wanted to turn time back because Daisy and him were once deeply in love, however after Gatsby left for war she was doubtful he would return. Daisy found a more secure relationship with Tom Buchanan and Gatsby’s new ideal was to fulfill the American Dream and win Daisy over. However the American Dream has no room for love and...
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...(My Struggle) by Art Spiegleman, Resurrection by Frederick Douglas and What Sacagawea Means to Me by Sherman Alexie, it is very easy to miss the point that each author is trying to get across. Although each of these stories was written for a different audience the stories being told are very similar in nature. One purpose of each story is to tell a story, which is why both authors used narration in which to do so. Narratives are usually very sequential in nature. Using narration when telling a story helps to draw people...
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...8th period English Analysis Essay for Maus We have all evolved from animals, and even though as humans we are more complex, we are also very similar. In the graphic novel Maus by Art Spiegleman, Art chooses to illustrate humans as animals. He portrays different classes and religions as different animals. This impacts the story in a positive way because it deepens the understanding of the characters and also further separates the classes and religions. By using animals instead of people there is an implied background of the nature of that animal which lets the reader have a fuller understanding of the character’s personality and traits. They also widen the gap between the groups by showing the natural hierarchy of the animals. The choice to use animals instead of humans was a positive addition to the story; animals were used in their most simplistic form so the traits that they were given during the time of the holocaust could be more easily understood. An illustration demonstrates this concept by having a Jewish family hiding in a bunker inside a garbage hole. Presented as mice, they were hiding in a hole underground that was filled with garbage, showing that they were cowards and dirty creatures. There is also another illustration where they are hiding from the Nazis, who are portrayed as cats, by crawling through a tunnel, like a mouse hole, to escape into another area. This also shows their sneaky and cowardly actions. Another way in which the...
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...COURSE DESCRIPTION Surveys the arts, literature, belief systems, and major events in the development of cultures around the globe from the European Renaissance to the contemporary period. INSTRUCTIONAL MATERIALS Required Resources Sayre, H. M. (2012). The humanities: Culture, continuity and change, Volume 2 (2nd ed.). (2011 Custom Edition). Upper Saddle River, NJ: Pearson Education. Supplemental Resources Harmon, D. E. (2002). Explorers of the South Pacific: A thousand years of exploration, from Polynesians to Captain Cook and beyond. Broomall, PA: Mason Crest Publishers. McKenzie, L. (2000). Non-western art: A brief guide (2nd ed.). Upper Saddle River, NJ: Prentice Hall. Tuchman, B. W. (1996).The proud tower: A portrait of the world before the war, 1890-1914. New York, NY: Ballantine Books. Ward, G. C., & Burns, K. (2002). Jazz: A history of America’s music. New York, NY: Knopf. Doubleday Publishing Group. COURSE LEARNING OUTCOMES 1. Explain how key social, cultural, and artistic contributions contribute to historical changes. 2. Explain the importance of situating a society’s cultural and artistic expressions within a historical context. 3. Examine the influences of intellectual, religious, political, and socio-economic forces on social, cultural, and artistic expressions. 4. Identify and describe key artistic styles in the visual arts of world cultures from the Renaissance to the contemporary period. 5. Identify and describe key...
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...of actual people makes the event less offensive in the reader’s mind. Not to mention, there is an abundance of them, increasing replaceability and the dulling of our moral radar. We feel sympathy for the mice but it’s so weak that it has little noticeable impact on our moral intuition. Often, we allow the story to progress with no emotional interruptions. With human characters, we see ourselves in them and it makes it hard not to become biased or emotionally involved with certain characters. What Art wants for Maus is to relay his father’s experiences as authentically as possible. He intends to diminish our sense of attachment to the characters by using identical looking animals as characters to help us focus on the significance of the Holocaust itself. With the minimum emotional investment on the reader’s part, individual deaths become less significant and distracting while the frequency of general homicide itself becomes more noticeable, emphasizing the tragic nature of the Holocaust. Similarly, in Aggretsuko, where the main character is constantly oppressed and bullied into doing more work than her paycheck entitles, we see the depressing theme of work-life countered by adorable animal character designs and comedic tones...
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...who died at Auschwitz at the age of thirteen and how, although her life was taken at such a young age, her memory and spirit continue to live on today. Adapted from the book of the same title by Karen Levine, HANA’S SUITCASE explores the journey of teacher and children at the Tokyo Holocaust Education Center take to find out who Hana Brady is—all from a suitcase the Center received with Hana’s name, birth date, and the word waisenkind (orphan) written on it. The children at the Center are captivated by this suitcase, and the girl who once owned it, and they begin flooding Fumiko Ishioka, the Center’s Director, with question after question about Hana. Fumiko recognizes the importance of uncovering Hana’s story for her students. This tragic event cannot be summed up in numbers or facts— it affected individuals, young and old, who each had a story, families, and hopes and dreams. As Fumiko slowly but determinedly reveals Hana’s story, she discovers that Hana was sent to live in Theresienstadt, a Jewish ghetto, and eventually died at Auschwitz. However, as devastating as this is for Fumiko and the children at the Center to find out, they also learn that Hana had an older brother who survived the Holocaust and was now living with his family in Canada. Fumiko and the children write to George Brady, asking him to share...
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...of some critics, the form of comics is a locus of the archival, a place where we can identify an archival turn. Art Spiegelman’s Maus first and perhaps most forcefully established the connection between archives and comics. His groundbreaking work documenting his father’s experience in WWII Poland, where he survived internment in Auschwitz, is a visual narrative based on oral testimony that consistently heightens our awareness of visual, written, and oral archives, and where they interact, overlap, or get transposed one into the other. Hillary Chute recounts and interprets her collaboration with Spiegelman in the process of assembling MetaMaus, a book compiling interviews and archival materials on the making of Maus. MetaMaus, argues Chute, reflects the tension between different kinds of extant archives—oral, written, photographic—and the cross-discursive work of (re)building new archives that motivates Maus. Its defining feature is that it shows the materiality of Spiegelman’s archive; it is about the embodiment of archives. The subject of Maus is the retrieval of memory and ultimately, the creation of memory…. It’s about choices being made, of finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is revealing. Those are the things that give real tensile strength to the work—putting the dead into little boxes. – Art Spiegelman (MetaMaus 73) Maus: A Survivor’s Tale is a book about archives. And the book about making Maus, MetaMaus...
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...responsible for the deaths of millions of soldiers and civilians alike who. This would mark “...the first [war] in which civilian populations became systematic, strategic targets.” (Merriman page1049) Driven by his intolerance or perhaps hatred, towards the Jewish people Hitler was able to turn a largely personal vendetta against Jews, into an issue of public policy, and ultimately one of the largest genocides ever documented[1]. How did one mans ideas, Hitler’s anti-semitism, evolve from the hurtful words of Mein Kampf to anti-Jewish laws in Nazi Germany and ultimately the biggest recorded savagery in the History of mankind? Although the blood of over 6million Jews stains his hands, Hitler was not alone in his actions; he required support. This essay examines various theories regarding the conception of Hitler’s antisemitic values and asks how Hitler was able to use social policy and propaganda to manifest support for his would be genocidal Nazi regime. Central to comprehending policy decisions made by Hitler, is an understanding of his antisemitism. There are a number of incidents, alleged to have occurred, that speculators, much like myself, use as the basis for the identifying the moment that spawned Hitler’s now infamous anti-Semitism. However, limited and subjective nature of the information on the matter can at times lead to some equally limited theories. The first theory, published by Rudolph Binion, argues that...
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...Judaism: The Jewish Religion Judaism is one of the world religions that is monotheistic, and was the first major religion to believe in one god. Today we will explain the religion, Judaism, and identify many of its main topics. Such as location and spread of the religion also founder and their life story. The next big idea is beliefs like the major ideas including sacred books, texts, art, music and many other things as well. That's not all, we will also teach you about major historical events attributed to the religion. What this means is we will explain major disasters such as war and disease that affected this religion. So by the time you're done reading this essay you would have learned the most important information about this religion....
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