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MAUS: GRAFİK ROMAN VE EDEBİYAT

Year 2015, Volume: 55 Issue: 2, 251 - 270, 01.01.2015

Abstract

Çizgi roman Amerikan Kültürü’nde başlangıcından bu güne hep popüler bir sanat dalı olmuştur. Ancak muhafazakâr baskılar yüzünden 1950’lerden 1970’lere kadar düşüşe geçmiş ve grafik romanın yaygınlaşmasıyla yeniden popülerlik kazanmıştır. Grafik roman edebiyatla işbirliği yaparak çizgi romanı türünü hem canlandırmış hem de ona saygınlık kazandırmıştır. Grafik romanın başat yapıtlarından olan Maus bu gelişimde önemli bir paya sahiptir. Eserin yazarı ve çizeri Art Spiegelman, İkinci Dünya Savaşı’nı yaşamış ve Auschwitz’den sağ kurtulmayı başaran bir Yahudi olan babasının öyküsünü anlatırken roman geleneğinden de faydalandığı için, Maus grafik romanın edebiyatla yaptığı işbirliğinin en açık örneklerindendir.

References

  • Chute, Hillary. “Literal Forms: Narrative Structures in Maus.” Indy Magazine. Kış 2005. <http://web.archive.org/...r_2005/chute/index.html>
  • --.”History and Graphis Representation in Maus”. A Comics Studies Reader. Eds. Jeet Heer and Kent Worcester. Jackson: University Pres of Mississippi. 2009. 340-362.
  • Duncan, Randy and Matthew J. Smith. The Power of Comics. New York: Continuum. 2009.
  • Gabiliyet, Jean-Paul. Of Comics and Men: A Cultural History of American Comic Book. Çev. Bart Beaty ve Nick Nguyen. Jackson: University Press of Mississippi. 2010.
  • Gardner, Jared. “Autography’s Biography, 1972-2007”. Biography. Sayı 31, No 1(2008): 1-26.
  • Gordon, Ian. “Commodification through Superman: Return to Krypton.” Critical Approaches to Comics:Themes and Methods. Yay. Haz. Matthew J. Smith ve Randy Duncan. New York: Routledge. 2012. 157-166.
  • Hastings, A. Walker. "Art Spiegelman". 20.04.2004. Northern State University.
  • Hatfield, Charles. Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi. 2005.
  • Hutcheon, Linda. “ ‘The Pastime of Past Time’: Fiction, History, Historiographic Metafiction”. Postmodern Genres. Ed. Marjorie Perloff. Oklahoma: University of Oklahoma Press. 1989. 54-74.
  • Jones, T. Matthew. “Construction of Social Memory through Strategies of Reflexivity: A Case Study in Three Texts by Art Spiegelman.” IJOCA. Cilt 9. No 2 (2007): 373-395.
  • Lent, John. Introduction. Pulp Demons: International Dimensions of the Postwar Anti-Comics Campaign. Ed. John Lent. Madison: Associated University Presses, 1999a. 9-41.
  • --. Appendix. Pulp Demons: International Dimensions of the Postwar Anti-Comics Campaign. Ed. John Lent. Madison: Associated University Presses, 1999b. 269-279.
  • Leventhal, S. Robert. “Art Spiegelman's MAUS: Working-Through the Trauma of the Holocaust”.20.04.2004.Virginia University <http://jefferson. village.virginia.edu/ holocaust/spiegelman.html
  • Lodge, David. The Art of Fiction. London: Penguin Books, 1992.
  • Nabizadeh, Golnar. “The After-Life of Images: Archieves and Intergenerational Trauma in Autographic Comics”. Mapping Generations of Traumatic Memory in American Narratives. Eds. Dana Mihailescu, Roxana Oltean ve Mihaela Precup. New Castle upon Tyne: Cambridge Scholars Publishing, 2014. 171-191
  • Nyberg, Amy Kiste. “Comic Book Censorship in the United States” Pulp Demons: International Dimensions of the Postwar Anti-Comics Campaign. Ed. John Lent. Madison: Associated University Presses, 1999. 42-68.
  • Park, Hyu Su. “Art Spiegelman’s Maus: A Survivor’s Tale: A Bibliographic Essay”. Shofar: An Interdisciplinary Journal of Jewish Studies. Cilt 29, No 2 (2011):146-164.
  • Sabin, Roger. Adult Comics: An Introduction. New York: Routledge, 1993.
  • --. Comics, Comix and Graphic Novels: A History of Comic Art. London: Phaidon. 2005.
  • Smith, Sidone ve Julia Watson. Reading Autobiography: A Guide for Interpreting Life Narratives. Minneapolis: University of Minnesota Press, 2010.
  • Spiegelman, Art. Maus:Hayatta Kalanın Öyküsü. Çev. Ali Cevat Akkoyunlu. İstanbul: Gözlem Gazetecilik Basın ve Yayın A. Ş. 2004. Pantheon Books.1986.
  • --. “Chris Goffard Talks to Art Spiegelman”. Yiddish Book Center. 20.05.2015.
  • Watson, Julia. “Autographic Disclosures and Genealogies of Desire in Alison Bechdel’s Fun House. Biography. Cilt 31, No 1 (2008): 27-58.
  • Wertham, Fredric. “Excerpt from Seduction of the Innocent”. A Comics Studies Reader. Eds. Jeet Heer and Kent Worcester. Jackson: University Pres of Mississippi. 2009. 53-57.
  • Whitlock, Gillian. Soft Weapons: Autobiography in Transit. Chicago: The University of Chicago Press, 2007.
  • Witek, Joseph. Comic Books as History. Mississippi: University Press of Mississippi, 1989.
  • Yang, Gene. “Comics in Education.” Humble Comics. 19.05.2015. http://www.humblecomics.com/comicsedu/

Maus: Graphic Novel And Literature

Year 2015, Volume: 55 Issue: 2, 251 - 270, 01.01.2015

Abstract

Comics has always been a popular form of art in American Culture. However, it experienced a decline due to conservative oppressions of the conservative parts of the society. Comics gained its popularity back with the birth of graphic novel. Graphic novel both revived and provided comics with respectability by collaborating with fiction. Maus, a prominent work of graphic novel, has an important role in this development. Because its creator Art Spiegelman benefits from the tradition of fiction while recounting the story of his father who survives not only through the World War II but also Auschwitz, Maus is a very explicit example of the collaboration between graphic novel and literature.

References

  • Chute, Hillary. “Literal Forms: Narrative Structures in Maus.” Indy Magazine. Kış 2005. <http://web.archive.org/...r_2005/chute/index.html>
  • --.”History and Graphis Representation in Maus”. A Comics Studies Reader. Eds. Jeet Heer and Kent Worcester. Jackson: University Pres of Mississippi. 2009. 340-362.
  • Duncan, Randy and Matthew J. Smith. The Power of Comics. New York: Continuum. 2009.
  • Gabiliyet, Jean-Paul. Of Comics and Men: A Cultural History of American Comic Book. Çev. Bart Beaty ve Nick Nguyen. Jackson: University Press of Mississippi. 2010.
  • Gardner, Jared. “Autography’s Biography, 1972-2007”. Biography. Sayı 31, No 1(2008): 1-26.
  • Gordon, Ian. “Commodification through Superman: Return to Krypton.” Critical Approaches to Comics:Themes and Methods. Yay. Haz. Matthew J. Smith ve Randy Duncan. New York: Routledge. 2012. 157-166.
  • Hastings, A. Walker. "Art Spiegelman". 20.04.2004. Northern State University.
  • Hatfield, Charles. Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi. 2005.
  • Hutcheon, Linda. “ ‘The Pastime of Past Time’: Fiction, History, Historiographic Metafiction”. Postmodern Genres. Ed. Marjorie Perloff. Oklahoma: University of Oklahoma Press. 1989. 54-74.
  • Jones, T. Matthew. “Construction of Social Memory through Strategies of Reflexivity: A Case Study in Three Texts by Art Spiegelman.” IJOCA. Cilt 9. No 2 (2007): 373-395.
  • Lent, John. Introduction. Pulp Demons: International Dimensions of the Postwar Anti-Comics Campaign. Ed. John Lent. Madison: Associated University Presses, 1999a. 9-41.
  • --. Appendix. Pulp Demons: International Dimensions of the Postwar Anti-Comics Campaign. Ed. John Lent. Madison: Associated University Presses, 1999b. 269-279.
  • Leventhal, S. Robert. “Art Spiegelman's MAUS: Working-Through the Trauma of the Holocaust”.20.04.2004.Virginia University <http://jefferson. village.virginia.edu/ holocaust/spiegelman.html
  • Lodge, David. The Art of Fiction. London: Penguin Books, 1992.
  • Nabizadeh, Golnar. “The After-Life of Images: Archieves and Intergenerational Trauma in Autographic Comics”. Mapping Generations of Traumatic Memory in American Narratives. Eds. Dana Mihailescu, Roxana Oltean ve Mihaela Precup. New Castle upon Tyne: Cambridge Scholars Publishing, 2014. 171-191
  • Nyberg, Amy Kiste. “Comic Book Censorship in the United States” Pulp Demons: International Dimensions of the Postwar Anti-Comics Campaign. Ed. John Lent. Madison: Associated University Presses, 1999. 42-68.
  • Park, Hyu Su. “Art Spiegelman’s Maus: A Survivor’s Tale: A Bibliographic Essay”. Shofar: An Interdisciplinary Journal of Jewish Studies. Cilt 29, No 2 (2011):146-164.
  • Sabin, Roger. Adult Comics: An Introduction. New York: Routledge, 1993.
  • --. Comics, Comix and Graphic Novels: A History of Comic Art. London: Phaidon. 2005.
  • Smith, Sidone ve Julia Watson. Reading Autobiography: A Guide for Interpreting Life Narratives. Minneapolis: University of Minnesota Press, 2010.
  • Spiegelman, Art. Maus:Hayatta Kalanın Öyküsü. Çev. Ali Cevat Akkoyunlu. İstanbul: Gözlem Gazetecilik Basın ve Yayın A. Ş. 2004. Pantheon Books.1986.
  • --. “Chris Goffard Talks to Art Spiegelman”. Yiddish Book Center. 20.05.2015.
  • Watson, Julia. “Autographic Disclosures and Genealogies of Desire in Alison Bechdel’s Fun House. Biography. Cilt 31, No 1 (2008): 27-58.
  • Wertham, Fredric. “Excerpt from Seduction of the Innocent”. A Comics Studies Reader. Eds. Jeet Heer and Kent Worcester. Jackson: University Pres of Mississippi. 2009. 53-57.
  • Whitlock, Gillian. Soft Weapons: Autobiography in Transit. Chicago: The University of Chicago Press, 2007.
  • Witek, Joseph. Comic Books as History. Mississippi: University Press of Mississippi, 1989.
  • Yang, Gene. “Comics in Education.” Humble Comics. 19.05.2015. http://www.humblecomics.com/comicsedu/
There are 27 citations in total.

Details

Primary Language Turkish
Journal Section Research Article
Authors

Şenol Bezci This is me

Publication Date January 1, 2015
Published in Issue Year 2015 Volume: 55 Issue: 2

Cite

APA Bezci, Ş. (2015). MAUS: GRAFİK ROMAN VE EDEBİYAT. Ankara Üniversitesi Dil Ve Tarih-Coğrafya Fakültesi Dergisi, 55(2), 251-270.

Ankara University Journal of the Faculty of Languages and History-Geography

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