Im Buch
Ergebnisse 1-3 von 24
Seite 16
convention changes : the section called “ Prisoner on the Hell Planet " in Maus and the two photos in Maus II . These three moments protrude from the narrative like unassimilated and unassimilable memories . In Maus , for example ...
convention changes : the section called “ Prisoner on the Hell Planet " in Maus and the two photos in Maus II . These three moments protrude from the narrative like unassimilated and unassimilable memories . In Maus , for example ...
Seite 19
a ing , this segment merely exacerbates what occurs at every level of Maus ; Art's stay at the mental institution in “ Hell Planet ” is merely a more pronounced version of the insanity he lives through every day of his post - memory ...
a ing , this segment merely exacerbates what occurs at every level of Maus ; Art's stay at the mental institution in “ Hell Planet ” is merely a more pronounced version of the insanity he lives through every day of his post - memory ...
Seite 28
But the Pulitzer Prize committee invented a special category for Maus , suggesting the impossibility of categorizing it as either " fiction " or “ non - fiction . ” As Lawrence Langer says in his review of Maus II : “ It resists ...
But the Pulitzer Prize committee invented a special category for Maus , suggesting the impossibility of categorizing it as either " fiction " or “ non - fiction . ” As Lawrence Langer says in his review of Maus II : “ It resists ...
Was andere dazu sagen - Rezension schreiben
Es wurden keine Rezensionen gefunden.
Inhalt
Maus Mourning and PostMemoryPR 14 | 3 |
The Politics of Form and Subjectivity | 30 |
An Interview with Nancy K Miller | 51 |
Urheberrecht | |
11 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
American analysis appears argues attempt Auschwitz authority become beginning body camera characters cinema claims constituted context critical critical pedagogy culture death desire discourse discussion distinction dominant drawing effect emotion essay example experience face fact feeling feminine feminist figure film Forster's frame French gaze gender grief human identity individual interest issue jazz kind later lives look male Maus meaning memory mother mourning move narrative never object once organization Passion pedagogy performance photograph picture political position possible postmodern practices present produced provides question racial reference relation representation represents scene seems sense sexual shame shows social space specific story studies suggests swing taken theory things tion University violence vision voice woman women writing York