The Holocaust represents an immense historical as well as a cultural trauma. The following thesis talks about the trauma symptoms and the behavior of Holocaust victims, including a broad selection of scholarly research on the Holocaust aftermath.
Afterwards, features of postgeneration art will be presented in detail, as second generation literature and art mirrors the depression and horrid state of the mind of survivors. By analyzing Art Spiegelmann’s “The Complete Maus” and Helen Fremont's "After Long Silence" this thesis aims at portraying the degree of traumatization as well as the extent to which the second generation is affected by the traumatic experiences of the parents´ lives.
Contents:
- Symptoms of psychological trauma and behavior,
- Recovery and the Necessity of a Story,
- Direct and Indirect Trauma,
- The Concept of Postmemory: Familial Transmission of Trauma,
- The Silence of the First Generation.
Table of Contents
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
Objectives & Research Focus
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.
- Psychological mechanisms of trauma and PTSD in Holocaust survivors.
- The role of graphic narratives and memoirs in representing transgenerational trauma.
- Marianne Hirsch’s theoretical framework of "postmemory" as a means of connecting generations.
- The comparative analysis of Art Spiegelman’s The Complete Maus and Helen Fremont’s After Long Silence.
- The therapeutic potential of storytelling for second-generation trauma resolution.
Excerpt from the Book
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).
Summary of Chapters
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.
Keywords
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
Frequently Asked Questions
What is the primary subject of this book?
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.
What are the key thematic areas?
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.
What is the primary research goal?
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.
Which scientific methods are applied?
The author utilizes literary and psychological analysis, drawing on trauma theory, psychoanalytic perspectives, and cultural studies to investigate the works of Spiegelman and Fremont.
What does the main body focus on?
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.
Which keywords best describe this study?
Key terms include postmemory, transgenerational trauma, survivor children, Holocaust literature, and psychological narration.
How does Art Spiegelman depict trauma in "Maus"?
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.
What role does silence play in the families described?
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.
- Citation du texte
- BA Kinga Gmiat (Auteur), 2015, Trauma and Postmemory in Art Spiegelman's "The Complete Maus" and Helen Fremont's "After Long Silence", Munich, GRIN Verlag, https://www.grin.com/document/317822
