This term paper aims to examine the function of the animal masks in Art Spiegelman’s graphic novel "Maus" with the question in mind whether it trivializes the Holocaust or not. The paper will begin with an introduction to the different types of animal heads and the possible reasons for the choice of the artist by giving some historical background. The main part will discuss the use of the animal masks and its functions by analyzing significant panels from "MAUS". Finally, the paper will also contain a conclusion in which the results will be summarized.
"MAUS" is an autobiographically written graphic novel by Art Spiegelman which consists of two parts, "Maus I" (1986) and "Maus II" (1992), and tells the story of the artist’s parents, Anja and Vladek, who survived the Holocaust and the reader also gets a view on the afterlife of Vladek and his relationship with his son "Artie".
Art Spiegelman received a lot of praise and was celebrated in the press for his work. Amongst other achievements, he was honored with the Pulitzer Prize for "MAUS" in 1992. However, his graphic novel was also criticized for the use of animal masks for the characters. To elaborate on this, Spiegelman chose to depict the affiliation to a religion or culture of characters by using animal make in the past and present time of the graphic novel. For example, cats for Germans, mice for Jews and pigs for Poles. Especially the representation of Jews as mice and Poles as pigs caused many negative critiques from Jewish and Polish people themselves. Furthermore, Spiegelman’s presentation method was criticized for naturalizing something unnatural, which means it was perceived as trivializing the Holocaust and by that insulting the victims. Even though the use of animal masks was criticized for in a way trivializing the Holocaust, one could also argue that the animal heads function as a medium to demonstrate the racist ideology of the Nazis and the hierarchies during that time. In addition, one could also argue that the presence of the animal heads in the present time of the graphic novel indicate the effects and consequences for the persons related after the Holocaust. These different perspectives on this topic raised the question of whether the graphic novel really trivializes the Holocaust or not.
Table of Contents
1. Introduction
2. The Animal Masks in Art Spiegelman’s Maus
2.1. Function and Effect of Cat, Mice, Pigs and other Animal Masks
2.2. The Masks in Past and Present Time in Maus
3. Conclusion
Objectives and Research Themes
This paper examines the usage of animal masks in Art Spiegelman's graphic novel Maus to determine whether this stylistic choice trivializes the historical reality of the Holocaust or serves a deeper analytical function regarding ideology and trauma.
- The function of animal metaphors in representing national and cultural identities.
- Analysis of the hierarchy between "cats" (Germans) and "mice" (Jews) as a reflection of Nazi racial ideology.
- The distinction between "dead" and "living" masks in past and present timelines.
- The role of the masks in visualizing intergenerational trauma and the psychological aftermath of the Holocaust.
Excerpt from the Book
2.1. Function and Effect of Cat, Mice, Pigs and other Animal Masks
So, how can the previously discussed historical facts be related to the graphic novel? Starting with one of the most criticized subjects in Art Spiegelman’s work, which was the cat-mice illustration of the German and Jewish characters, an interesting observation which could lead to an answer is the way of how the faces were illustrated. The faces of the Jews are portrayed in an abstract way, they are virtually without expression (cf. Hescher 37). The only details on their faces are the mice ears, dotted eyes and a pointed chin which is hinting for there to be the mouth of the mice. The mouths of the Jewish characters are not visible on many panels. The only panels showing them is when the characters scream or cry (cf. Spiegelman Metamaus 145). These phenomena can be observed on a passage in the second part of the graphic novel. In which Vladek is being beaten up by a guard (Spiegelman Maus II 217/7). Thereby, the guard makes him count the blows and the reader observes this scene from worm’s-eye view which shows him screaming the numbers. Another significant panel allowing the reader to see the mouth of the mice is towards the end of the graphic novel. That panel shows the joy of the survivors about the war being over (Spiegelmann Maus II 265/4). The presence of the mouth of mice only when they feel joy or pain, two contrastive extremes, these can be interpreted as them not having the ability to express any other feelings than the ones which can’t be necessarily hidden. One also senses them being taken away or being limited of the ability to express themselves as they would like to.
Summary of Chapters
1. Introduction: This chapter provides an overview of Art Spiegelman's Maus and outlines the critical debate regarding the use of animal masks, setting the stage for the analysis of whether this representation trivializes the Holocaust.
2. The Animal Masks in Art Spiegelman’s Maus: This section details the historical context of the Nazi era and analyzes how different animal species serve as symbols for national and religious identities to enforce hierarchies.
2.1. Function and Effect of Cat, Mice, Pigs and other Animal Masks: This chapter focuses on the visual representation of characters, specifically the contrast between the abstract, dehumanized "mice" and the humanlike "cats," to reflect the racist ideologies of the time.
2.2. The Masks in Past and Present Time in Maus: This chapter explores the psychological dimension of the masks, differentiating between "dead" and "living" masks to illustrate how trauma persists across generations.
3. Conclusion: This final chapter synthesizes the research findings, confirming that the animal masks are a justified literary tool for conveying historical trauma rather than a means of trivialization.
Keywords
Art Spiegelman, Maus, Holocaust, Graphic Novel, Animal Masks, Racial Ideology, Dehumanization, Trauma, Memory, Nazism, Identity, Jewish-German Relations, Secondary Witnessing, Literature, Metaphor.
Frequently Asked Questions
What is the core focus of this research paper?
The paper focuses on the controversial use of animal masks in Art Spiegelman’s graphic novel Maus and evaluates whether this artistic choice diminishes the gravity of the Holocaust.
What are the primary themes discussed in the work?
The primary themes include Nazi racial ideology, the hierarchy between different national groups, the dehumanization of victims, and the long-term psychological impact of the Holocaust on survivors and their descendants.
What is the main research question?
The central question is whether the use of animal metaphors for different ethnicities and religions trivializes the Holocaust or if it serves as a meaningful medium to represent historical facts and trauma.
Which methodology is employed in the analysis?
The author uses a qualitative approach, analyzing significant panels from both Maus I and Maus II in combination with historical context and secondary literary theory regarding the concepts of masks.
What is examined in the main part of the paper?
The main part analyzes the specific functions of animal masks, the visual hierarchy between species, and the transition of these masks between the historical past and the narrative present.
How are the characters in Maus categorized through animals?
Characters are assigned animals based on their nationality and perceived cultural status, such as mice for Jews, cats for Germans, pigs for Poles, and dogs for Americans.
Why does the author differentiate between "dead" and "living" masks?
Drawing on the philosophy of Theodor W. Adorno, the author uses these categories to show how "dead" masks represent victims frozen by fear, while "living" masks illustrate the concealment of identity or the ongoing trauma experienced in the present day.
How does the author interpret the presence of masks in the present timeline?
The masks in the present are interpreted as symbols of the "shadow of the past," suggesting that intergenerational trauma and the persistence of racist ideology remain relevant in modern society.
- Quote paper
- Özlem Arslan (Author), 2019, On the Animal Masks in the Autobiographical Graphic Novel "MAUS" by Art Spiegelman, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/495728
