- We will send in 10–14 business days.
/images/books/5819358/9781138956766.jpg)
- Author: Philip Smith
- Publisher: Routledge
- Year: 2015
- Pages: 148
- ISBN-10: 1138956767
- ISBN-13: 9781138956766
- Format: 15.8 x 23.4 x 2 cm, hardcover
- Language: English
- SAVE -10% with code: EXTRA
Reviews
Description
The horror of the Holocaust lies not only in its brutality but in its scale and logistics; it depended upon the machinery and logic of a rational, industrialised, and empirically organised modern society. The central thesis of this book is that Art Spiegelman's comics all identify deeply-rooted madness in post-Enlightenment society. Spiegelman maintains, in other words, that the Holocaust was not an aberration, but an inevitable consequence of modernisation. In service of this argument, Smith offers a reading of Spiegelman's comics, with a particular focus on his three main collections: Breakdowns (1977 and 2008), Maus (1980 and 1991), and In the Shadow of No Towers (2004). He draws upon a taxonomy of terms from comic book scholarship, attempts to theorize madness (including literary portrayals of trauma), and critical works on Holocaust literature.
EXTRA 10 % discount with code: EXTRA
The promotion ends in 20d.07:26:11
The discount code is valid when purchasing from 10 €. Discounts do not stack.
- Author: Philip Smith
- Publisher: Routledge
- Year: 2015
- Pages: 148
- ISBN-10: 1138956767
- ISBN-13: 9781138956766
- Format: 15.8 x 23.4 x 2 cm, hardcover
- Language: English English
The horror of the Holocaust lies not only in its brutality but in its scale and logistics; it depended upon the machinery and logic of a rational, industrialised, and empirically organised modern society. The central thesis of this book is that Art Spiegelman's comics all identify deeply-rooted madness in post-Enlightenment society. Spiegelman maintains, in other words, that the Holocaust was not an aberration, but an inevitable consequence of modernisation. In service of this argument, Smith offers a reading of Spiegelman's comics, with a particular focus on his three main collections: Breakdowns (1977 and 2008), Maus (1980 and 1991), and In the Shadow of No Towers (2004). He draws upon a taxonomy of terms from comic book scholarship, attempts to theorize madness (including literary portrayals of trauma), and critical works on Holocaust literature.
Reviews