Magisterarbeit, 2015
123 Seiten, Note: 1,3
1. Introduction
2. Psychological Trauma
2.1 Symptoms and Behavior
2.2 Prolonged Trauma and Captivity
2.3 Recovery and the Necessity of a Story
3. Trauma in Art Spiegelman's The Complete Maus
3.1 Reading Comics
3.2 Direct and Indirect Trauma
3.3 The Parallelism between Graphic Narrative and Trauma
4. The Concept of Postmemory
4.1 Familial Transmission of Trauma
4.2 The Postgeneration
4.3 Second Generation Art
5. Postmemory in Art Spiegelman's The Complete Maus
5.1 Possession by History and Antagonistic Behavior
5.2 Forming a Version of the Past
6. Trauma and Postmemory in Helen Fremont's After Long Silence
6.1 The Permanent Silence of the First Generation
6.2 A Hindered Quest for an Unknown Past
6.3 Breaking the Silence
7. Conclusion
This thesis examines the long-term psychological impacts of the Holocaust on survivors and their descendants, specifically investigating the concept of "postmemory" and the intergenerational transmission of trauma. The central research questions address how survivor children navigate their own identities while burdened by the transmitted, yet unexperienced, traumatic memories of their parents, and how they utilize creative works to process this inherited history.
3.1 Reading Comics
The reputation of comics has been associated with poor literacy and restricted intellectual achievements for a long time since comics can be read easily and quickly.
Due to its form, comics were seen as a threat to literacy although its existence can be traced back to the era before film, television or the internet. The acceptance of this medium was thus very hesitant for a long time. In the years between 1967 and 1990 comics began to import literary contents and autobiographies, social protests as well as history were discussed, which increased the general readership. At the beginning of the 1990s, comics became more present in the Western culture (cf. Eisner 2008, pp. xv-xvi).
These days, comics are used in various cultural sectors of life as in entertainment, education, publicity and information. The reading of comics is prevalent in these different areas, which shows that a lot of people make use of the same act of perception. They learn important things about culture by reading comics, as they do for instance with the help of Third World Comics in educational institutions (cf. Silbermann: The Way Toward a Visual Culture: Comics and Comic Films. In: Comics and Visual Culture. Research Studies from ten Countries. 1986, pp. 22-23).
Comics exist among other things in newspapers, television, books, on packaging, in advertising or on different products sold in stores. Having spread across media, they persist in our world and represent a special mode of communication (cf. Wigand: Toward a more Visual Culture Through Comics. In: Comics and Visual Culture. Research Studies from ten Countries. 1986, p. 28).
While cartoons can be defined as pictorial representations or caricatures of an idea or a person that as a whole have an influence on the public opinion, comics can be seen as a form of cartooning. They imply a sequence of nearly related drawings whose task it is to educate or entertain (cf. ibid., p. 29).
1. Introduction: Outlines the historical context of the Holocaust and introduces the concept of intergenerational trauma and postmemory.
2. Psychological Trauma: Examines the symptoms of trauma, focusing on prolonged abuse, PTSD, and the necessity of narrative for recovery.
3. Trauma in Art Spiegelman's The Complete Maus: Explores the unique aesthetic and narrative functions of comics in representing complex trauma.
4. The Concept of Postmemory: Defines the theoretical framework of postmemory and how trauma is transmitted within familial spaces.
5. Postmemory in Art Spiegelman's The Complete Maus: Analyzes how the protagonist Art struggles with his father's history and his own identity construction.
6. Trauma and Postmemory in Helen Fremont's After Long Silence: Investigates the themes of silence, denial, and the quest for hidden identity in a memoir.
7. Conclusion: Synthesizes the findings, confirming how second-generation authors use literature to bridge the gap between their own lives and the past.
Holocaust, Trauma, Postmemory, Art Spiegelman, Helen Fremont, The Complete Maus, After Long Silence, Second Generation, Intergenerational Transmission, PTSD, Graphic Narrative, Memoir, Identity, Survivor Guilt, Narrative Psychology
The book explores the psychological and narrative consequences of Holocaust trauma, specifically how it affects the children of survivors who did not personally experience the events.
The central themes include the psychological manifestation of trauma, the concept of postmemory, the transmission of silence in survivor families, and how second-generation individuals reclaim their own identities through artistic creation.
The goal is to analyze how the intergenerational transmission of memory functions and how the "generation after" uses art and literature to bridge the distance between their lives and the traumatic history of their parents.
The author utilizes literary and psychological analysis, drawing on trauma theory, psychoanalytic perspectives, and cultural studies to investigate the works of Spiegelman and Fremont.
The main body focuses on defining trauma symptoms in the first generation, establishing the theory of postmemory, and applying these to a detailed comparative analysis of two literary genres: the graphic novel and the memoir.
Key terms include postmemory, transgenerational trauma, survivor children, Holocaust literature, and psychological narration.
Spiegelman utilizes the medium of the graphic novel to juxtapose different time levels, employing animal metaphors and visual storytelling to mirror the fragmented and often unspeakable nature of traumatic memory.
Silence serves as both a defensive mechanism used by the first generation to repress traumatic experiences and a significant barrier to identity formation for the second generation, who must eventually break this silence to find their own sense of self.
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