Holocaust Graphic Narratives Generation Trauma And Memory
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Holocaust Graphic Narratives
Author: Victoria Aarons
language: en
Publisher: Rutgers University Press
Release Date: 2019-12-19
In Holocaust Graphic Narratives, Victoria Aarons demonstrates the range and fluidity of this richly figured genre. Employing memory as her controlling trope, Aarons analyzes the work of the graphic novelists and illustrators, making clear how they extend the traumatic narrative of the Holocaust into the present and, in doing so, give voice to survival in the wake of unrecoverable loss. In recreating moments of traumatic rupture, dislocation, and disequilibrium, these graphic narratives contribute to the evolving field of Holocaust representation and establish a new canon of visual memory. The intergenerational dialogue established by Aarons’ reading of these narratives speaks to the on-going obligation to bear witness to the Holocaust. Examined together, these intergenerational works bridge the erosions created by time and distance. As a genre of witnessing, these graphic stories, in retracing the traumatic tracks of memory, inscribe the weight of history on generations that follow.
Holocaust Graphic Narratives
Author: Victoria Aarons
language: en
Publisher: Rutgers University Press
Release Date: 2019-12-19
In Holocaust Graphic Narratives, Victoria Aarons demonstrates the range and fluidity of this richly figured genre. Employing memory as her controlling trope, Aarons analyzes the work of the graphic novelists and illustrators, making clear how they extend the traumatic narrative of the Holocaust into the present and, in doing so, give voice to survival in the wake of unrecoverable loss. In recreating moments of traumatic rupture, dislocation, and disequilibrium, these graphic narratives contribute to the evolving field of Holocaust representation and establish a new canon of visual memory. The intergenerational dialogue established by Aarons’ reading of these narratives speaks to the on-going obligation to bear witness to the Holocaust. Examined together, these intergenerational works bridge the erosions created by time and distance. As a genre of witnessing, these graphic stories, in retracing the traumatic tracks of memory, inscribe the weight of history on generations that follow.
German Graphic Narratives and Trauma
This volume explores the representation of political, racial, sexual, and environmental trauma in German-language graphic narratives, which has thus far received little scholarly attention.In recent decades, as graphic novels have exploded in popularity and have increasingly been engaged with by scholarship, there has been a marked increase in comics that deal with traumatic experiences. These experiences arise variously from warfare, genocide, terrorism, racism, sexual violence, domestic violence, illness, disability, migration, natural disasters, or climate-change, among other causes. Indeed, scholars including Hillary Chute and Gillian Whitlock have argued that graphic narratives are particularly well-suited to portraying traumatic experiences through the lens of individual memories.This edited volume builds on the emergent body of work on the representation of trauma in graphic narratives, but focuses exclusively on German-language graphic narratives, whose exploration of trauma has so far received little scholarly attention. Essays dealing with theoretical and conceptual concerns are joined by analyses of individual creators of graphic narratives, including Olivia Vieweg and Volker Reiche. In addition, there are transcribed conversations among the contributors to the graphic story compilation But I Live, Miriam Libicki, Gilad Seliktar, and Barbara Yelin, and between Birgit Weyhe, creator of the graphic narratives Madgermanes and Rude Girl, and the Germanist Priscilla Layne, who is the model for the main character in the latter book. A final essay looks back further with a critical appraisal of the poet Rolf-Dieter Brinkmann''s sampling of comics in his late 1960s Popliteratur works. scholarly attention. Essays dealing with theoretical and conceptual concerns are joined by analyses of individual creators of graphic narratives, including Olivia Vieweg and Volker Reiche. In addition, there are transcribed conversations among the contributors to the graphic story compilation But I Live, Miriam Libicki, Gilad Seliktar, and Barbara Yelin, and between Birgit Weyhe, creator of the graphic narratives Madgermanes and Rude Girl, and the Germanist Priscilla Layne, who is the model for the main character in the latter book. A final essay looks back further with a critical appraisal of the poet Rolf-Dieter Brinkmann''s sampling of comics in his late 1960s Popliteratur works. scholarly attention. Essays dealing with theoretical and conceptual concerns are joined by analyses of individual creators of graphic narratives, including Olivia Vieweg and Volker Reiche. In addition, there are transcribed conversations among the contributors to the graphic story compilation But I Live, Miriam Libicki, Gilad Seliktar, and Barbara Yelin, and between Birgit Weyhe, creator of the graphic narratives Madgermanes and Rude Girl, and the Germanist Priscilla Layne, who is the model for the main character in the latter book. A final essay looks back further with a critical appraisal of the poet Rolf-Dieter Brinkmann''s sampling of comics in his late 1960s Popliteratur works. scholarly attention. Essays dealing with theoretical and conceptual concerns are joined by analyses of individual creators of graphic narratives, including Olivia Vieweg and Volker Reiche. In addition, there are transcribed conversations among the contributors to the graphic story compilation But I Live, Miriam Libicki, Gilad Seliktar, and Barbara Yelin, and between Birgit Weyhe, creator of the graphic narratives Madgermanes and Rude Girl, and the Germanist Priscilla Layne, who is the model for the main character in the latter book. A final essay looks back further with a critical appraisal of the poet Rolf-Dieter Brinkmann''s sampling of comics in his late 1960s Popliteratur works.ktar, and Barbara Yelin, and between Birgit Weyhe, creator of the graphic narratives Madgermanes and Rude Girl, and the Germanist Priscilla Layne, who is the model for the main character in the latter book. A final essay looks back further with a critical appraisal of the poet Rolf-Dieter Brinkmann''s sampling of comics in his late 1960s Popliteratur works.