Maus I: A Survivor's Tale and Maus II - the complete story of Vladek Spiegelman and his wife, living and surviving in Hitler's Europe. By addressing the horror of the Holocaust through cartoons, the author captures the everyday reality of fear and is able to explore the guilt, relief and extraordinary sensation of survival - and how the children of survivors are in their own way affected by the trials of their parents. A contemporary classic of immeasurable significance.

Elastomers and rubberlike materials form a critical component in diverse applications that range from tyres to biomimetics and are used in chemical, biomedical, mechanical and electrical engineering. This updated and expanded edition provides an elementary introduction to the physical and molecular concepts governing elastic behaviour, with a particular focus on elastomers. The coverage of fundamental principles has been greatly extended and fully revised, with analogies to more familiar systems such as gases, producing an engaging approach to these phenomena. Dedicated chapters on novel uses of elastomers, covering bioelastomers, filled elastomers and liquid crystalline elastomers, illustrate the established and emerging applications at the forefront of physical science. With a list of experiments and demonstrations, problem sets and solutions, this is a self-contained introduction to the topic for graduate students, researchers and industrialists working in the applied fields of physics and chemistry, polymer science and engineering.

In a comic-book-style tale of the author's parents, Vladek and Anja, Vladek survives Auschwitz, is reunited with Anja, and sires young Art.

In a comic-book-style tale of the author's parents, Vladek and Anja, Vladek survives Auschwitz, is reunited with Anja, and sires young Art

On the occasion of the twenty-fifth anniversary of its first publication, here is the definitive edition of the book acclaimed as "the most affecting and successful narrative ever done about the Holocaust" (Wall Street Journal) and "the first masterpiece in comic book history" (The New Yorker). The Pulitzer Prize-winning Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist coming to terms with his father's story. Maus approaches the unspeakable through the diminutive. Its form, the cartoon (the Nazis are cats, the Jews mice), shocks us out of any lingering sense of familiarity and succeeds in "drawing us closer to the bleak heart of the Holocaust" (The New York Times). Maus is a haunting tale within a tale. Vladek's harrowing story of survival is woven into the author's account of his tortured relationship with his aging father. Against the backdrop of guilt brought by survival, they stage a normal life of small arguments and unhappy visits. This astonishing retelling of our century's grisliest news is a story of survival, not only of Vladek but of the children who survive even the survivors. Maus studies the bloody pawprints of history and tracks its meaning for all of us.

The author-illustrator traces his father's imprisonment in a Nazi concentration camp through a series of disarming and unusual cartoons arranged to tell the story as a novel.

A New Yorker contributor and co-founder of RAW traces the creative process that went into his Pulitzer Prize-winning classic, revealing the inspirations for his work while providing on an accompanying DVD a reference copy of The Complete Maus and audio interviews with his father.

A riveting true-life tale of newspaper noir and Japanese organized crime from an American investigative journalist who "pulls the curtain back on ... [an] element of Japanese society that few Westerners ever see" (San Francisco Examiner). Now a Max Original Series on HBO Max Jake Adelstein is the only American journalist ever to have been admitted to the insular Tokyo Metropolitan Police Press Club, where for twelve years he covered the dark side of Japan: extortion, murder, human trafficking, fiscal corruption, and of course, the yakuza. But when his final scoop exposed a scandal that reverberated all the way from the neon soaked streets of Tokyo to the polished Halls of the FBI and resulted in a death threat for him and his family, Adelstein decided to step down. Then, he fought back. In Tokyo Vice he delivers an unprecedented look at Japanese culture and searing memoir about his rise from cub reporter to seasoned journalist with a price on his head.

The continuation of Spiegelman's story of his father's life as a concentration camp survivor. Winner of the Pulitzer Prize, Spiegelman balances flashbacks of his father's harrowing Holocaust experiences with scenes of the present.

"Examines the implications of conflating texts with people in a broad range of texts: Art Spiegelman's Maus, Ray Bradbury's Fahrenheit 451, the poetry of Sylvia Plath, Binjamin Wilkomirski's fake Holocaust memoir Fragments, and the fiction of Saul Bellow, Philip Roth, and Don Delillo."--Jacket.

The author-illustrator traces his father's imprisonment in a Nazi concentration camp through a series of disarming and unusual cartoons arranged to tell the story as a novel.

Examines the effects of leaving oneÕs native culture or experiencing the imposition of a colonizing culture.

This book analyzes the relation of public memory to history, forgetting, and selective memory in three late-twentieth-century cities that have confronted major social or political traumas—Berlin, Buenos Aires, and New York.

Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'. Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit. The volume features illustrations from the works discussed and an extensive annotated bibliography. Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.

The super-heavy tanks of World War II are heirs to the siege machine tradition – a means of breaking the deadlock of ground combat. As a class of fighting vehicle, they began with the World War I concept of the search for a 'breakthrough' tank, designed to cross enemy lines. It is not surprising that the breakthrough tank projects of the period prior to World War II took place in the armies that suffered the most casualties of the Great War (Russia, France, Germany). All of the principal Axis and Allied nations eventually initiated super-heavy development projects, with increasingly heavy armor and armament. Much as the casualties of World War I prompted the original breakthrough tank developments, as Germany found itself on the defensive, with diminishing operational prospects and an increasingly desperate leadership, so too did its focus turn to the super-heavy tanks that could turn the tide back in their favor.

Seminar paper from the year 2018 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Würzburg, language: English, abstract: This paper will concentrate on the function of the portrayal of Jews as mice in the graphic novel "Maus" by Art Spiegelman as they represent the main characters and, thus, form the focus of the novel. The author proposes that with the depiction of Jews as mice, Spiegelman provides the reader with a more direct way to the material. Moreover, by creating a paradox, he disapproves Hitler’s statement, which is printed in the epigraph of the novel, that "Jews are undoubtedly a race, but they are not human" and by using masks to modify the character’s identity Spiegelman criticizes the Nazi’s racial logic that specific populations have an unchanging character The graphic novel "Maus" by Art Spiegelman has been one of the most popular and deeply discussed comics of the last decades. Being the first graphic novel about the Holocaust, it arose much attention but was also often criticized of not dealing with the topic with enough respect.

"Published 1997 by the President and Fellows of Harvard College. Reissued by the author, 2012."-- T.p. verso.

Seminar paper from the year 2019 in the subject American Studies - Literature, grade: 1,3, University of Wuppertal (Geistes- und Kulturwissenschaften), course: The Holocaust in Eastern Europe in History and American Literature, language: English, abstract: 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.

Focusing on a diversely rich selection of writers, the pieces featured in Unfinalized Moments: Essays in the Development of Contemporary Jewish American Fiction explore the community of Jewish American writers who published their first book after the mid-1980s. It is the first book-length collection of essays on this subject matter with contributions from the leading scholars in the field. The manuscript does not attempt to foreground any one critical agenda, such as Holocaust writing. Instead, it celebrates the presence of a newly robust, diverse, and ever-evolving body of Jewish American fiction. This literature has taken a variety of forms with its negotiations of orthodoxy, its representations of a post-Holocaust world, its reassertion of folkloric tradition, its engagements with postmodernity, its reevaluations of Jewishness, and its alternative delineations of ethnic identity. Discussing the work of authors such as Allegra Goodman, Michael Chabon, and Tova Mirvis, the fifteen contributors in this collection assert the ongoing vitality and ever-growing relevancy of Jewish American fiction.