Maus, le graphisme du désastre

Maus, le graphisme du désastre

“Disaster is my muse”, is his motto. Through his own parents’ tragic past as survivors of the Shoah, History laid the foundations of his graphic and narrative masterpiece, Maus, to which he dedicated thirteen years of his life.If as a child, with the support of his mother, his passion for comics mo...

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Auteur principal: Théophilakis-Bendahan, Marie
Format: Article ou chapitre numérique
Langue:Français
Publié: 2009
Accès en ligne:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
id cairn-RHSHO_191_0265
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spelling cairn-RHSHO_191_0265RHSHORevue d’Histoire de la Shoah https://shs.cairn.info/revue-d-histoire-de-la-shoah-2009-2-page-265?lang=fr https://doi.org/10.3917/rhsho.191.0265 Maus, le graphisme du désastre Théophilakis-Bendahan, Marie2009 fre Revue d’Histoire de la Shoah | 191 | 2 | 2009-10-14 | p. 265-292 | 2111-885X RHSHO_19141 “Disaster is my muse”, is his motto. Through his own parents’ tragic past as survivors of the Shoah, History laid the foundations of his graphic and narrative masterpiece, Maus, to which he dedicated thirteen years of his life.If as a child, with the support of his mother, his passion for comics momentarily helped him cope with his abyssal inner pain due to the weight of his parents’ traumatic experience and his strained relationship with his father, Art Spiegelman fell into depression at the age of sixteen. In the late 1960s he then moved to San Fransisco, became one of the most innovative “underground” counter-culture comics artists, co-founded and collaborated to experimental “comix” magazines in which were published the graphic “Avant-Textes” of Maus – “Prisoner of the Hell Planet” (1972), a cathartic creation designed four years after his mother’s suicide, and the first three-page version of Maus. These short works constituted the major steps in the long creative process towards the final two-volume version of Maus. Thus having reached the distance necessary to shape the testimony of his father into a narrative, graphics was for him the only medium to represent his own family’s past, and History and its after-devastating effects. That is how he could honour the memory of his mother and his brother, and express his own suffering and guilt as a child of survivors in order to work through the transmission of trauma.Cairn free access
language Français
format Article ou chapitre numérique
building 0/Bibliothèque numérique/
1/Bibliothèque numérique/Cairn/
description “Disaster is my muse”, is his motto. Through his own parents’ tragic past as survivors of the Shoah, History laid the foundations of his graphic and narrative masterpiece, Maus, to which he dedicated thirteen years of his life.If as a child, with the support of his mother, his passion for comics momentarily helped him cope with his abyssal inner pain due to the weight of his parents’ traumatic experience and his strained relationship with his father, Art Spiegelman fell into depression at the age of sixteen. In the late 1960s he then moved to San Fransisco, became one of the most innovative “underground” counter-culture comics artists, co-founded and collaborated to experimental “comix” magazines in which were published the graphic “Avant-Textes” of Maus – “Prisoner of the Hell Planet” (1972), a cathartic creation designed four years after his mother’s suicide, and the first three-page version of Maus. These short works constituted the major steps in the long creative process towards the final two-volume version of Maus. Thus having reached the distance necessary to shape the testimony of his father into a narrative, graphics was for him the only medium to represent his own family’s past, and History and its after-devastating effects. That is how he could honour the memory of his mother and his brother, and express his own suffering and guilt as a child of survivors in order to work through the transmission of trauma.
author Théophilakis-Bendahan, Marie
spellingShingle Théophilakis-Bendahan, Marie
Maus, le graphisme du désastre
author_facet Théophilakis-Bendahan, Marie
author_sort Théophilakis-Bendahan, Marie
title Maus, le graphisme du désastre
title_short Maus, le graphisme du désastre
title_full Maus, le graphisme du désastre
title_fullStr Maus, le graphisme du désastre
title_full_unstemmed Maus, le graphisme du désastre
title_sort maus, le graphisme du désastre
publishDate 2009
container_title
container_issue
url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-d-histoire-de-la-shoah-2009-2-page-265?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rhsho.191.0265
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