A Survivor's Tale And Maus II: An Analysis

As an Israeli artist, his work can relate a lot to the experience of Jews and the Holocaust. This was a horrific event. This event showed us how the beauty of the human body can

There is a part where we watch as humans are so ugly that it is hard for us to imagine that what they had done is possible. Liesel is playing soccer in the park and all of a sudden all the kids stop because of a noise they hear coming down the street. They think it could be a herd of cattle, but that not what it is. It is a group of Jewish people being led, or forced, to the death camps by German soldiers. On there way we watch a man die “He was dead. The man was dead. Just give him five minutes and he would surely fall into the German gutter and die. They would all let him, and they would all watch”(Zusak 393). This is talking about how when a Jewish person would die, the Germans wouldn’t do anything. They wouldn’t care that a man died right in front of them. While the Jews are walking Hans, Liesel adopted father, gives them bread. While Hans is giving this man bread a German soldier notices what is going on. He walks over to the man and, “The Jew was whipped six times. On his back, his heart, and

The poem is rich in the images of the senses which aid the reader to imagine this terrible massacre. By employing an auditory image in “Babies wailing from hunger” (8), Kimel evokes sympathy. The Nazis even tortured those innocent babies who needed nothing but tenderness. He also uses an organic image in “Fathers shaken with helpless rage” (10), which depicts the complete sense of loss of control, fear and rage that the Jews suffered from.

In chapter one of book II Art reveals that he feels extremely guilty about not having to go through the Holocaust like his father did and says "Somehow, I wish I had been in Auschwitz with my parents so I could really know what they lived through! …I guess it's some form of guilt about having had an easier life than they did"(Spiegelman, MausII,16).

The author uses these dramatic pictures to warn people of the dangers of indifference. In paragraph 5, the author give a clear picture of what life for the victims looked like, “ During the darkest of times, inside the ghettos and death camps…” It's hard to imagine that just doing nothing can cause such harm, but by not standing up to the aggressors, it's not preventing them from continuing the harm. Elie Wiesel describes the night of Kristallnacht in paragraph eight, “the first state sponsored pogrom, with hundreds of Jewish shops destroyed, synagogues burned, thousands of people put in concentration camps…” Even though this was only the first state sponsored program, the effects were still devastating and that is what Wiesel is describing here through the imagery. It conveys the tone of being cautionary because the large effects were still present and could've been prevented if people who chose to turn their backs had not. Finally, paragraph six does an excellent job of demonstrating the cautionary ton through the use of imagery. Wiesel explains how Auschwitz prisoners thought that it was such a closely guarded secret and portrays that here, “If they knew, we thought, surely those leaders would have moved heaven and earth to intervene.” The author cautions other world leaders here without even directly saying so by talking about the US government as if they were completely naive.

Many characters’ lives are enveloped by a mental issue and they are a representation for these issues. Art covers these multiple issues. The Holocaust affected millions of people and of these millions, Vladek, Anja, and Mala all were left with

One image that demonstrates the horrific things that went on during the holocaust was when Elie and his father were being moved to the barracks. They were being forced to walk by the pits that were filled with fire in which babies and little toddlers were being thrown into. “Never shall I forget the small faces of the children whose bodies I saw transformed into smoke under a silent sky. Never shall I forget those flames that consumed my faith forever” (34). It was this experience that shook up Elie’s faith and introduced him to the awful things he would witness and have to go through in the near future. This made it so hard for him to continue on and not just give up and throw himself on the barbed

This traumatizing image symbolizes the horror of being in a concentration camp. Furthermore the image conveys heavily on his language related to decay. Wiesel “succeeded in digging a hole in [the] wall of dead and dying people”(Wiesel 94) to get too fresh air. This horrifying image symbolizes the constant fight for survival in the concentration camp. Wiesel is living in the concentration camp, with people dying around him as he is trying to not meet the same fate as them.

where he comments that it is “some form of guilt about having an easier life than they did" (Spiegelman II, 14). This form of guilt stems from never having to live through the Holocaust. Moreover, Art is not

None of the attention is what Spiegelman wants and he displays this with himself drawing on top of the dead Holocaust victims (Spiegelman II, 41). The past will always be a part of Art and there is nothing else he can do but accept the fact the Holocaust happened and learn to control his depression. According to McGlothlin, the Holocaust’s past and present coexist in Artie (McGlothlin187). Spiegelman spent his whole life trying to be happy and trying to find his place in the world. Unfortunately for Spiegelman, his past and present continue to mix in a never ending cycle, and he lives with the trauma the Holocaust caused, even though he was born twenty plus years after it

The cinematography of the film gives the audience striking images which expose the taboos of Holocaust film-making, but this gives authenticity to the film itself. The cinematography utilizes accurate content such as dead bodies, nudity, and defamation to show the harsh truths of the Holocaust. For example, there was a pile of the dead jews shown in the beginning of the film shown after they entered the gas chamber. The pile was shown in the background of the main character within the initial 30 minutes of the movie.This was a daily occurrence in many extermination camps. However, one child seemed to survive the gassing, but he was suffocated by a nazi doctor on the table. The main character on the table took him away, because he

A powerful and provocative graphic novel, Maus, generates a Jewish individual’s life of grotesque and horror. With its ability of perception and interpretation, it tackles the main points of the ominous Holocaust and delivers a spooky aura to the absorbed audience. In comparison to Schindler’s List, the graphic novel shines brightly than the pale movie due to its realism and humor that is constantly present throughout the storyline. The novel has the ability to connect to the audience; thus, it gives an in-depth look and overall comprehension of the massacre that Spiegelman is trying to communicate. The graphic novel, Maus by Art Spiegelman, brings an honest account of the Holocaust to a wide audience because of its historical truth and intriguing viewpoints and characters that shows the effect and process of the genocide.

Art and Vladek’s atypical relationship showcase the division created by the holocaust various different ways. Art immediately paints a picture of a; weak, frail, old man, who had

Let’s not forget the centuries of anti-semitism” (11 Spiegelman). I think he’s trying to tell the reader about the various countries involved and furthermore label them by their role in the holocaust, as according to Vladek. In chapter two when Art represents the various people with mask on as opposed to animals, he is taking a moment to remind the reader that everyone in the story is indeed a person. This is complemented by the fact that we see Art struggling with a very human problem as he struggles with depression while making

Art, in essence, is one of the most crucial pieces of cultural history. It transcends language, emanates emotion, provokes thought, and stimulates imagination. In other words, art is of monumental value in its scope of what befalls under its umbrella. It was no wonder why during the Nazi regime from 1933 - 1945 that the Nazis would thieve some of Europe’s most treasured works but also those deemed “degenerate.” Egon Schiele’s Portrait of Wally is a perfect example as to what “degenerate” art would be considered and what the Nazis would have been interested in seizing, but why?