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Frahm, Ole, Hans-Joachim Hahn, and Markus Streb, eds. Beyond MAUS: The legacy of holocaust comics. Schriften des Centrums für Jüdische Studien. Köln, Weimar, Wien: Böhlau, 2021. 
Added by: joachim (09/08/2021, 10:58)   Last edited by: joachim (20/10/2022, 11:46)
Resource type: Book
Language: en: English
ID no. (ISBN etc.): 978-3-205-21065-8
BibTeX citation key: Frahm2021
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 Categories: General
Keywords: Collection of essays, Holocaust
Creators: Frahm, Hahn, Streb
Publisher: Böhlau (Köln, Weimar, Wien)		 Views: 6/1846
Attachments   Table of Contents [0/165]
Abstract
Beyond MAUS. The Legacy of Holocaust Comics collects 16 contributions that shed new light on the representation of the Holocaust. While MAUS by Art Spiegelman has changed the perspectives, other comics and series of drawings, some produced while the Holocaust happened, are often not recognised by a wider public. A plethora of works still waits to be discovered, like early caricatures and comics referring to the extermination of the Jews, graphic series by survivors or horror stories from 1950s comic books. The volume provides overviews about the depictions of Jews as animals, the representation of prisoner societies in comics as well as in depth studies about distorted traces of the Holocaust in Hergé’s Tintin and in Spirou, the Holocaust in Mangas, and Holocaust comics in Poland and Israel, recent graphic novels and the use of these comics in schools. With contributions from different disciplines, the volume also grants new perspectives on comic scholarship.

Table of Contents

Sarah Lightman: Forward (And Backwords) (7)
Ole Frahm, Hans-Joachim Hahn and Markus Streb: Introduction (11)
Ole Frahm: Ghosts, Golems, Angels: The Medial Specificity of Comics Representing the Holocaust (33)

I.
Kathrin Hoffmann-Curtius: Post-war Graphic Cycles (65)
Emil Gruber: Israël Souviens Toi! Early Representations of the Holocaust Between Caricature and Comic Book (81)

II.
Markus Streb: Early Representations of Concentration Camps in Golden Age Comic Books. Graphic Narratives, American Society, and the Holocaust (103)
Didier Pasamonik: From the Dreyfus Affair to MAUS. A Short History of the Animalization of the Representation of the Jews (125)
Kees Ribbens: The Invisible Jews in August Froehlich’s “Nazi Death Parade” (1944). An Early American Sequential Narrative Attempt to Visualize the Final Stages of the Holocaust (133)

III.
Jaqueline Berndt: Collapsing Boundaries. Mangaesque Paths Beyond MAUS (169)
Susanne Korbel: The Portrayal of Children’s Experiences of the Holocaust in Israeli Graphic Novels and Comics (193)
Kalina Kupczyńska: Haunted But Not Healed. The Holocaust in Recent Polish Comics (209)

IV.
Hans-Joachim Hahn: Distorted Traces of the Holocaust in Hergé’s Tintin (239)
Jörn Ahrens: Hidden Atrocities. The Holocaust Framed by Edmond-François Calvo and Émile Bravo (261)

V.
Georg Marschnig: “Students like it, it’s still their genre.” A Qualitative Approach to Teacher’s Views on Holocaust Education with Comics (289)
Jeff McLaughlin: Graphic Novels and the Holocaust: “Just” Comics ? (305)

VI.
Nina Eckhoff-Heindl and Véronique Sina: Second Generation Comics. On the Construction of (Post-)Memory in Art Spiegelman’s MAUS and Michel Kichka’s Deuxième Génération (333)
Dana Mihăilescu: “Shot in the heart on Valentine’s day”. Monsters, Sexuality, the Holocaust and Late 1960s American Culture in Emil Ferris’s My Favorite Thing Is Monsters. Book I (2017) (353)
Dennis Bock: “Inside Concentration Camps”. Social Life and Prisoner Societies in Comic Books and Graphic Novels (381)

List of Figures (403)
Contributors (410)
Index (417)


  
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