Ch. 1: Introduction: A Destruction without Adequate Precedent. Ch. 2: Rupture and the Holy Ideal: Redemption in the Hebrew Bible. Ch. 3: Giving the Sense: The Rise of Commentary. Ch. 4: Rabbi Eliezer’s Silence. Ch. 5: Gold and Glass: Ethical Rupture in Mystical Union? Ch. 6: Our Impossible Victory.

Ch. 1: Introduction: A Destruction without Adequate Precedent. Ch. 2: Rupture and the Holy Ideal: Redemption in the Hebrew Bible. Ch. 3: Giving the Sense: The Rise of Commentary. Ch. 4: Rabbi Eliezer’s Silence. Ch. 5: Gold and Glass: Ethical Rupture in Mystical Union? Ch. 6: Our Impossible Victory.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012 / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2012-04-18T14:08:53Z No. of bitstreams: 1 2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5) / Approved for entry into archive by Leila Fernandes (leilabiblio@yahoo.com.br) on 2012-04-18T17:29:22Z (GMT) No. of bitstreams: 1 2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5) / Made available in DSpace on 2012-04-18T17:29:22Z (GMT). No. of bitstreams: 1 2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5) / Esta dissertação tem por objetivo evidenciar a expansão das possibilidades representativas que ocorre na literatura sobre o Holocausto. Para tanto, analisam-se dois livros – a obra Maus, escrita por Art Spiegelman, um romance gráfico no qual há uma inexorável interação entre imagem e texto, e o romance Os emigrantes, de W. G. Sebald, no qual também existe um diálogo entre fotografias selecionadas pelo autor e prosa literária – procurando-se investigar como esses textos ultrapassam aqueles discursos padronizados, o lugar-comum, que rondam as representações do Holocausto. Apesar de reconhecer e, ainda, de analisar os discursos que ressaltam os aspectos irrepresentáveis do evento em questão, este trabalho caminha em sentido contrário ao assinalar as novas possibilidades de representação do tema que surgem com a atualização dos meios de comunicação e das mídias na sociedade ocidental contemporânea. Essas mudanças notórias, como a ascensão da imagem como uma forma de expressão que antecipa o declínio da leitura linear da escrita, acontecem desde o imediato pós-guerra (meados de 1940), e isso se reflete na expressão da literatura que tem o Holocausto como objeto de representação. Graças a este estudo, pode-se notar que a ampliação das formas de representação do Holocausto se dá de forma mais evidente a partir da inclusão da imagem junto ao texto literário. É importante compreender também que, assim como se deu a expansão da forma literária, com a inserção de imagens, seu conteúdo, ou seja, a referência a sentimentos, tempos, espaços e vítimas do Holocausto, sofreu, igualmente, evidente ampliação. No que se refere às obras estudadas, Maus e Os emigrantes demonstram que o Holocausto ultrapassa o período da Segunda Guerra Mundial, de 1939-1945. Além disso, elas põem em evidência outros lugares em que a repressão nazista esteve presente que não só os campos de concentração, como também ressaltam a existência de inusitadas vítimas, por exemplo, emigrantes que fugiram da perseguição hitlerista. ____________________________________________________________________________ ABSTRACT / This work aims to evidence the expansion of representative possibilities that occurs in the literature about the Holocaust. For this, two books will be analyzed – the book Maus, written by Art Spiegelman, a graphic novel in which there is an inevitable interaction between image and text, and the novel The emigrants, written by W. G. Sebald, in which there is also a dialogue between photographs selected by the author and literary prose – seeking to investigate how these texts beyond those standardized discourse, the commonplace, that surround the representations of the Holocaust. Despite of recognize and, also, analyze the discourses that highlight aspects unrepresentable of the Holocaust, this work is moving in the opposite direction to signal the new possibilities of representation of the theme that come with the update of media of the contemporary occidental society. These remarkable changes, as the rise of the image as a form of expression that anticipates the decline of reading linear writing, have been held since the immediate post-war (Mid 1940), and this reflects in the expression of literature that has the Holocaust as representation object. Thanks to this study, it may be noted that the expansion of forms of representation of the Holocaust takes more evident from the inclusion of the image with the literary text. It is also important to understand that just as the expansion of the literary form with the inclusion of the image, the content, namely, the reference to feelings, time, space and Holocaust victims, suffered equally clear magnification. With regard to the works studied, Maus and The emigrants show that the Holocaust exceeded the period of World War II, of 1939-1945. Moreover, they highlight other places where the Nazi repression was present that not only the concentration camps, they also show the existence of unexpected victims, for example, immigrants who fled Hitler persecution.

This dissertation examines the role the medium of comics plays in the construction and subversion of anti-Arab and Islamophobic discourse. It seeks to address the following questions in particular: how does the medium of comics interpellate subjects regarding the Western discursive formation that conflates Arab, Muslim, and terrorist? What does the medium of comics afford creators in subverting dominant discourses that dehumanize Arabs and Muslims? I argue that as a hypermedium in which text and repeated images are in continual tension, comics challenge the sort of foundational notion of truth necessary for dominant discourse. I use a Foucauldian lens to examine several comics in relation to larger discursive formations. In Chapter 1, I explain the problem, my methods, and my theory in more detail. In Chapter 2, I apply this theory as a lens to examine the rhetorical work the medium plays in subverting dominant discourse in Palestine, a nonfiction piece of comics journalism. I use Chapter 3 to problematize the assertions made in the first two chapters by looking at an instance where comics are used to reinscribe dominant discourse. Specifically, I analyze the graphic adaptation of The 9/11 Report. Chapter 4 acts as something of a retort to Chapter 3; it examines In the Shadow of No Towers to interrogate the ways in which Art Spiegelman explicitly addresses not only the issues he grappled with as a New Yorker during and after 9/11, but the complex relations of representation that arose from the event. Chapter 5 I examine how subversion works when a hypermedium is further remediated by analyzing Didier LeFevre's The Photographer: Into War-Torn Afghanistan with Doctors without Borders. The Conclusion is devoted to discussing the implications of this study, both in terms of pedagogy and in terms of theorizing the relationship and differences between image and text. I argue that comics demonstrate the productive ideological tensions that exist between modes of signification (such as verbal and visual). An understanding of this ideological tension is key for scholars of visual rhetoric and hegemonic discourse. / Ph. D.

This study has analyzed the relationship between trauma and otherness in two autobiographical graphic narratives. The study suggests that autobiographical graphic narratives are better equipped to represent the effects, mainly that of otherness, on the self as a result of trauma. In the ten volume manga series Barefoot Gen, Keiji Nakazawa details his childhood survival of the atomic bombing of Hiroshima during World War II. As he rebuilds his life, fellow survivals that look like his deceased family members recall his trauma of the bombing. Like we see in Nakazawa’s Barefoot Gen, Art Spiegelman also uses repetitious imagery and a fragmentary form of comic narration to represent the experience of trauma throughout In the Shadow of No Towers. However, while Nakazawa repeats specific imagery of the atomic bombing throughout Barefoot Gen based on his eyewitness testimony, Spiegelman manipulates imagery of the September 11, 2001, terrorist attacks to reject the notion that only one specific set of images can represent a traumatic event. Thus, by the end of the second section of In the Shadow of No Towers, Spiegelman creates a multiplicity of images to reenact the trauma of 9/11. / Access to thesis permanently restricted to Ball State community only.

No description available.

The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society’s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre. My primary focus is on Chris Ware, whom I introduce in chapter three, a brilliant creator who has garnered widespread recognition and respect. His magnum opus is Jimmy Corrigan: The Smartest Kid on Earth, the story of four generations of Corrigan men, most of whom have been negligent in raising their children. Jimmy Corrigan, as a result, is an introverted, insecure thirty–something–year–old man. Among comics creators Ware is unusual in that his story does not address socio–political issues, like most of his peers, which I discuss in chapter four. Jimmy Corrigan is an isolated tale with a very specific focus. Ware’s narrative is somewhat like those of William Faulkner, whose stories have a narrow focus, revolving around the lives of the inhabitants of Yoknapatawpha county, rather than encompassing the vast landscape of national socio–political concerns. Also, in chapter five I explore the intriguing combination of realist and Gothic elements––normally at opposite ends of the generic continuum––that Ware merges in Jimmy Corrigan. This feature is especially interesting because it is another way that his work explores aspects of hybridity. Finally, in my conclusion I examine the current state of comics in American culture and its future prospects for development and success, as well as the potential for future comics criticism.