Hi folks--just a few quick citations here for those of you who are using the PDFs I uploaded to the resources folder on elearning. Blogging function won't let me indent the second line of each indentation (for those of you who are as anal as I am about citation format).
Gessner, Ingrid. "Liberating Dachau: Transnational Discourses of Holocaust Memory." Transnational American Memories. Ed. Udo Hebel. New York: Walter de Gruyter, 2009.
Ginsberg, Terri. "Towards a Critique of Holocaust Cinematic Culture." Holocaust Film: The Political Aesthetics of Ideology. Newcastle: Cambridge Scholars Publishing, 2007.
Monday, April 19, 2010
Thursday, April 15, 2010
Reading Guide to "Of Mice and Mimesis"
Andreas Huyssen's "Of Mice and Mimesis" is an undeniably dense article, so take your time establishing what it is he argues, and be sure to summarize in your own words before Tuesday's class, as it will help you during class discussion as well as in understanding the overview I will provide during class.
First things first, in order to fully understand Huyssen's argument, we need to establish the concept of mimesis. Mimesis, from the Greek word meaning imitation, is a term used to describe the function of art in imitating (read: representing) the truth or reality of the world. All art is representation at its most fundamental level, and thus can be viewed as interpretations of the truth. The Holocaust is very often an event said to defy representation, as it exists outside the realm of human reason. For example, so many of the works we've read claim that their experiences are beyond human comprehension, and they often point out that their survival was based on luck. Upon viewing/reading representations, we task ourselves with comprehending a reality that isn't available even to the survivors.
All that being said, Huyssen contends that Maus is a successful example of an "image-text" (a narrative that combines the visual with the textual) because of its multifaceted approach to engaging mimesis. While comic books have largely been considered mainstream and mindless, and elevated forms of literature and poetry have always held an esteemed place opposite that of the mainstream comic book, Spiegelman succeeds in proving that a genre need not be wholly condemned, and that "mainstream" art can still invite a challenging, complicated interpretation.
To sum up Huyssen's argument about the success of Maus, note his statement on page 70:
"Rather than providing us with an enlightened moral or with a happy reconciliation between high and low, human and animal, trauma and memory, the aesthetic and emotional effect of Maus remains jarring throughout. This jarring, irritating effect on the reader results from a variety of pictorial and verbal strategies that have their common vanishing point in mimesis, both in its insidious and in its salutory aspects which, as Adorno would have it, can never be entirely separated from each other."
*******************************************************************************
Some questions to ponder as you read through the article:
What is at the root of Huyssen's praise for this image-text?
What examples does Huyssen provide to support his argument that the jarring effects of Maus are specifically tied to the concept of mimesis (both as he describes it and in the simplified explanation above)?
Since Huyssen claims that whether or not to represent the Holocaust is no longer a relevant question, what do you ascertain he means by the "how" of representation? (Note: The first page sets up the how/why argument, and his subsequent interpretations of specific scenes in Maus should help you understand how he views representing (through mimesis) the events of the Holocaust)
First things first, in order to fully understand Huyssen's argument, we need to establish the concept of mimesis. Mimesis, from the Greek word meaning imitation, is a term used to describe the function of art in imitating (read: representing) the truth or reality of the world. All art is representation at its most fundamental level, and thus can be viewed as interpretations of the truth. The Holocaust is very often an event said to defy representation, as it exists outside the realm of human reason. For example, so many of the works we've read claim that their experiences are beyond human comprehension, and they often point out that their survival was based on luck. Upon viewing/reading representations, we task ourselves with comprehending a reality that isn't available even to the survivors.
All that being said, Huyssen contends that Maus is a successful example of an "image-text" (a narrative that combines the visual with the textual) because of its multifaceted approach to engaging mimesis. While comic books have largely been considered mainstream and mindless, and elevated forms of literature and poetry have always held an esteemed place opposite that of the mainstream comic book, Spiegelman succeeds in proving that a genre need not be wholly condemned, and that "mainstream" art can still invite a challenging, complicated interpretation.
To sum up Huyssen's argument about the success of Maus, note his statement on page 70:
"Rather than providing us with an enlightened moral or with a happy reconciliation between high and low, human and animal, trauma and memory, the aesthetic and emotional effect of Maus remains jarring throughout. This jarring, irritating effect on the reader results from a variety of pictorial and verbal strategies that have their common vanishing point in mimesis, both in its insidious and in its salutory aspects which, as Adorno would have it, can never be entirely separated from each other."
*******************************************************************************
Some questions to ponder as you read through the article:
What is at the root of Huyssen's praise for this image-text?
What examples does Huyssen provide to support his argument that the jarring effects of Maus are specifically tied to the concept of mimesis (both as he describes it and in the simplified explanation above)?
Since Huyssen claims that whether or not to represent the Holocaust is no longer a relevant question, what do you ascertain he means by the "how" of representation? (Note: The first page sets up the how/why argument, and his subsequent interpretations of specific scenes in Maus should help you understand how he views representing (through mimesis) the events of the Holocaust)
Final Research Project Links
Hi folks,
I've stumbled upon some interesting links recently that may be of use to you as you research your final projects.
Cheers,
EM Clark
Teaching Maus:
http://dev.lagcc.cuny.edu/maus/teachmaus.htm
Holocaust/Japanese American Internment Overlap:
http://www.npr.org/templates/story/story.php?storyId=126000274
http://www.tellingstories.org/
I've stumbled upon some interesting links recently that may be of use to you as you research your final projects.
Cheers,
EM Clark
Teaching Maus:
http://dev.lagcc.cuny.edu/maus/teachmaus.htm
Holocaust/Japanese American Internment Overlap:
http://www.npr.org/templates/story/story.php?storyId=126000274
http://www.tellingstories.org/
Maus Reading Response Prompt Questions
Final reading responses are due Tuesday 20 April in class or in Avery 475 by 5 PM. Choose one of the following prompts and develop a thesis in an essay of 2-3 pages:
1. Spiegelman's depiction of humans as animals is of central importance to Maus. How does this representation approach depicting the realities of the camps? What benefits and drawbacks are there to be had from depicting animals as humans?
2. Maus is a graphic novel that is both wholly focused on and entirely distant from the events of the Holocaust. What role does the Holocaust play in the text? For Artie? For Vladek?
3. Maus is often considered a work of second generation Holocaust narrative; what evidence do you see that supports this conclusion?
1. Spiegelman's depiction of humans as animals is of central importance to Maus. How does this representation approach depicting the realities of the camps? What benefits and drawbacks are there to be had from depicting animals as humans?
2. Maus is a graphic novel that is both wholly focused on and entirely distant from the events of the Holocaust. What role does the Holocaust play in the text? For Artie? For Vladek?
3. Maus is often considered a work of second generation Holocaust narrative; what evidence do you see that supports this conclusion?
Tuesday, April 13, 2010
Maus, Volume II Discussion Questions
Otis Redding Jr.-Jr. thanks you for your patience in waiting for the discussion questions. Below are the questions for Thursday's class:1. Now that you have read the full text, how might you classify Maus? Is it fiction? Nonfiction? Memoir? A hybrid of classification? How does the comic book genre factor into your classification?
2. How do you interpret Vladek's racist response when Francoise picks up a hitchhiker?
3. Vladek's memory of his experiences at Auschwitz (both arrival and the duration) is both similar and dissimilar to other texts we have read. What main overlaps or departures do you notice in his narration of events?
4. Spiegelman inserts a somewhat cheeky (but quite astute) question on page 43, the frame in which Art is depicted entering his psychiatrist's office that is "overrun with stray dogs and cats." Spiegelman interjects, "Can I mention this, or does it completely louse up my metaphor?" How do you understand the meaning of this interjection? What hidden meanings or interpretations can you ascertain? How does this differ from Delbo's narrative interjection?
5. The economy of the camps plays a significant role in representing camp life in a couple of texts we have read for the course, namely, Levi's Survival in Auschwitz and Sara Nomberg-Przytyk's Auschwitz: True Tales from a Grotesque Land. In Volume II of Maus, Art Spiegelman illustrates (pg. 64) the trade-off Vladek contemplates for bringing Anja near his barracks. How does this visual depiction differ from the texts we have read?
6. Chapter Three is entitled "And Here My Troubles Began..." Besides Vladek's memories, what does this title suggest? How does it relate to Vladek's racist outburst to Francoise after she picks up an African American hitchhiker?
7. What is the role of the American troops in the frames depicting/narrating liberation? What praise as well as critiques do you interpret in these frames?
8. How do you interpret the closing of the volume? Is anything resolved? Are there questions left unanswered? How might you characterize the sense of "closure" Art sought in gathering/representing his father's experiences?
Thursday, April 8, 2010
Discussion Questions for Maus
1. Maus assigns different animals to nationalities and "races." How do you interpret the use of animals as stand-ins for ethnic and national identity? What are the metaphorical/symbolic interpretations of each animal representation? How might the graphic novel be different if Spiegelman had used human characters?
2. At one point, early on in Volume I, Vladek asks Artie not to write about the personal details of his courtship and marriage of Anna--why do you suppose we are provided with the anecdotes that Vladek wishes to keep private? How do you interpret Spiegelman's betrayal of his father's wishes?
3. In class, we discussed some of the characteristics of second generation Holocaust narration; which of the factors we discussed do you see as important to understanding Maus?
4. How is the graphic novel genre different from other Holocaust novels and cinematic representations we have studied? What advantages and limitations do you note that influence your comprehension of the text?
5. Spiegelman has described comics as “a vital and expressive language that talks with its hands.” How does this quote call attention to "handwriting" as a theme in Maus?
6. How do you interpret the difference in tone/coloring of the meta-narrative, "Prisoner of Hell Planet," the short "case history" of Art's mother's suicide? How do you interpret the case history's meaning in relation to the rest of the text? To Art's relationship with Vladek?
2. At one point, early on in Volume I, Vladek asks Artie not to write about the personal details of his courtship and marriage of Anna--why do you suppose we are provided with the anecdotes that Vladek wishes to keep private? How do you interpret Spiegelman's betrayal of his father's wishes?
3. In class, we discussed some of the characteristics of second generation Holocaust narration; which of the factors we discussed do you see as important to understanding Maus?
4. How is the graphic novel genre different from other Holocaust novels and cinematic representations we have studied? What advantages and limitations do you note that influence your comprehension of the text?
5. Spiegelman has described comics as “a vital and expressive language that talks with its hands.” How does this quote call attention to "handwriting" as a theme in Maus?
6. How do you interpret the difference in tone/coloring of the meta-narrative, "Prisoner of Hell Planet," the short "case history" of Art's mother's suicide? How do you interpret the case history's meaning in relation to the rest of the text? To Art's relationship with Vladek?
Everything is Illuminated Reading Response Prompt Questions
Choose one of the following questions and develop an essay of 2-3 pages, due Tuesday 13 April:
1. Alex's linguistic idiosyncrasies play a dual role in the film, providing both humor and ambiguity. Given our constant theme in this course, analyzing the role of language in transmitting experience, develop an essay that "illuminates" the role of language in the film, Everything is Illuminated.
2. What role does collection play in the film? Both Jonathan and Lista collect ephemera that many of us might consider to be useless material. Why do they collect, what purpose does ephemera serve, and how do you interpret the coincidence that both Jonathan and Lista are collectors?
3. Since everything in the film is eventually "illuminated," how do you interpret the grandfather's role? Why does he pretend to be blind, and why does he eventually commit suicide? What is illuminated, both physically and metaphorically, about the grandfather?
As always, have a wonderful weekend, and remember: "Everything is illuminated in the light of the past."
1. Alex's linguistic idiosyncrasies play a dual role in the film, providing both humor and ambiguity. Given our constant theme in this course, analyzing the role of language in transmitting experience, develop an essay that "illuminates" the role of language in the film, Everything is Illuminated.
2. What role does collection play in the film? Both Jonathan and Lista collect ephemera that many of us might consider to be useless material. Why do they collect, what purpose does ephemera serve, and how do you interpret the coincidence that both Jonathan and Lista are collectors?
3. Since everything in the film is eventually "illuminated," how do you interpret the grandfather's role? Why does he pretend to be blind, and why does he eventually commit suicide? What is illuminated, both physically and metaphorically, about the grandfather?
As always, have a wonderful weekend, and remember: "Everything is illuminated in the light of the past."
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