MAUS: A Bibliography of Materials in the UC Berkeley Libraries

MAUS:
A Bibliography of Materials in the UC Berkeley Library












Software Reviews:

Klein, Reva.
"Maus Code for Nazis." (CD-ROM) Times Educational Supplement, n4092 (Dec 2, 1994):R7.

Reid, Calvin.
"A 'Maus' that Roars; Spiegelman's Classic Comes Alive in Multimedia Format." (Art Spiegelman's 'The Complete Maus') Publishers Weekly v241, n5 (Jan 31, 1994):26 (2 pages).

Books

"Art Spiegelman"
In: Holocaust novelists / edited by Efraim Sicher. Detroit : Gale, c2004. Dictionary of literary biography ; v. 299
--Doe Refe PS129.D5 v.299

Banner, Gillian
Holocaust literature : Schulz, Levi, Spiegelman and the memory of the offence London ; Portland, OR : Vallentine Mitchell, 2000.
--MORR: PG7158.S294 B36 2000

Berger, Alan L.
"Ashes and Hope: the Holocaust in Second Generation American Literature." In: Reflections of the Holocaust in Art and Literature / edited by Randolph L. Braham. pp: 97-116. Boulder : Social Science Monographs; New York: The Csengeri Institute for Holocaust Studies of the Graduate School and University Center of the City University of New York: Distributed by Columbia University Press, 1990.Holocaust studies series.
--Main Stack PN56.H55.R44 1990

Cioffi, Frank L.
"Disturbing Comics: The Disjunction of Word and Image in the Comics of Andrzej Mleczko, Ben Katchor, R. Crumb, and Art Spiegelman." In: The language of comics : word and image / edited by Robin Varnum and Christina T. Gibbons. Jackson : University Press of Mississippi, c2001.
--Main Stack NC1355.L36 2001

Considering Maus : approaches to Art Spiegelman's "Survivor's tale" of the Holocaust / edited by Deborah R. Geis. Tuscaloosa, Ala. : University of Alabama Press, c2003.
--Main D810.J4 C665 2003; View current status of this item
--Table of contents http://www.loc.gov/catdir/toc/ecip041/2003005507.html

Delannoy, Pierre Alban.
Maus d'Art Spiegelman : bande dessinee et shoah Paris : Harmattan, c2002.
--MAIN: PN6727.S7 Z6 2002

Ewert, Jeanne
"Art Spiegelman's Maus and the Graphic Narrative." In: Narrative across media : the languages of storytelling / edited by Marie-Laure Ryan. Lincoln : University of Nebraska Press, c2004. Frontiers of narrative
--Main Stack PN212.N3727 2004
--Table of contents http://www.loc.gov/catdir/toc/ecip046/2003015225.html

Goldstein, Judith L.
"Realism without a Human Face." In: Spectacles of Realism: Body, Gender, Genre / Margaret Cohen and Christopher Prendergast, editors (for the Social Text ...pp: 66-89. Minneapolis: University of Minnesota Press, c1995. Cultural politics (Minneapolis, Minn.); v. 10.
--Main Stack HQ1190.R435 1995
--Moffitt HQ1190.R435 1995

Hungerford, Amy
"Surviving Rego Park : Holocaust theory from Art Spiegelman to Berel Lang." In: The Americanization of the Holocaust / edited by Hilene Flanzbaum. Baltimore : Johns Hopkins University Press, 1999.
--Main Stack D804.45.U55.A49 1999

Huyssen, Andreas.
"Of mice and mimesis : reading Spiegelman with Adorno." In: Present pasts : urban palimpsests and the politics of memory / Andreas Huyssen. Stanford, Calif. : Stanford University Press, 2003.
--Main Stack BD181.7.H89 2003

LaCapra, Dominick
History and Memory After Auschwitz / Dominick LaCapra. Ithaca, N.Y.: Cornell University Press, 1998.
--Main Stack D804.348.L33 1998
--Moffitt D804.348.L33 1998

Langer, Lawrence L.
"Two Holocaust voices : Cynthia Ozick and Art Spiegelman." In: Literature of the Holocaust / edited and with an introduction by Harold Bloom. Philadelphia : Chelsea House, c2004. Bloom's period studies
--Main Stack PN56.H55.L575 2004

Ribiere, Mireille
"Maus: A Survivor's Tale by Art Spiegelman: A Second-Hand Narrative in Comic-Book Form." In: Time, narrative & the fixed image = temps, narration & image fixe / edited by = sous la direction de Mireille Ribi`ere, Jan Baetens. Amsterdam ; Atlanta, GA : Rodopi, 2001.
--Main Stack N7475.T65 2001

Rosen, Alan
"The Specter of Eloquence: Reading the Survivor's Voice." In: Celebrating Elie Wiesel: Stories, Essays, Reflections / edited by Alan Rosen. pp: 41-56. Notre Dame, Ind.: University of Notre Dame Press, c1998.
--Main Stack PN56.H55.C45 1998

Witek, Joseph.
Comic books as History: The Narrative Art of Jack Jackson, Art Spiegelman, and Harvey Pekar / Joseph Witek. Jackson: University Press of Mississippi, c1989. Studies in popular culture (Jackson, Miss.)
--Main Stack PN6725.W58 1989
--Bancroft pPN6725.W58 1989

Articles

Berman, Avis.
"The Maus That Roared; Art Spiegelman" (Spotlight) (Cover Story) ARTnews v92, n5 (May, 1993):63 (2 pages).

Boler, M.
"The Risks of Empathy: Interrogating Multiculturalism's Gaze." Cultural Studies, 11: (2) 253-273 May 1997
Empathy is widely embraced as a means of educating the social imagination; from John Dewey to Martha Nussbaum, Cornel West to hell hooks, we find empathy advocated as the foundation for democracy and social change. In this article I examine how students' readings of Art Spiegelman's MAUS, a comic-book genre depiction of his father's survival of Nazi Germany, produces the Aristotelian version of empathy advocated by Nussbaum. This 'passive empathy', I argue, falls far short of assuring any basis for social change, and reinscribes a 'consumptive' mode of identification with the other. I invoke a 'semiotics of empathy', which emphasizes the power and social hierarchies which complicate the relationship between reader/listener and text/speaker. I argue that educators need to encourage what I shall define as 'testimonial reading' which requires the reader's responsibility.

Bosmajian H
"The Orphaned Voice in Art Spiegelman's 'Maus' I & II." Literature and Psychology, 44: (1-2) 1-22 1998
What it means to be the child of a survivor of the Holocaust comes out inthe two-volume comic-genre 'Maus' by Art Spiegelman. The relationship of a father and son are shown as well as the father's, Vladek Spiegelman's, story of survival. Animal imaging intensifies the horror of the Holocaust and of family tensions. All faces of Jews are mouse faces, and those of Germans are cat faces. Poles are seen as pigs.

Budick, Emily Miller
"Forced Confessions: The Case of Art Spiegelman's Maus." Prooftexts: A Journal of Jewish Literary History, vol. 21, no. 3, pp. 379-98, Fall 2001.

Cory, Mark.
"Comedic Distance in Holocaust Literature."Journal of American Culture vol. 18 no. 1. 1995 Spring. pp: 35-40.

De Angelis, Richard"Of Mice and Vermin: Animals as Absent Referent in Art Spiegelman's Maus." International Journal of Comic Art, vol. 7, no. 1, pp. 230-49, Spring 2005.

Charlson, Joshua L.
"Framing the Past: Postmodernism and the Making of Reflective Memory in Art Spiegelman's Maus." Arizona Quarterly: A Journal of American Literature, Culture, and Theory, vol. 57, no. 3, pp. 91-120, Fall 2001.

Doherty, Thomas.
"Art Spiegelman's 'Maus': Graphic Art and the Holocaust."(Write Now: American Literature in the 1980s and 1990s) American Literature v68, n1 (March, 1996):69 (16 pages).
'Maus,' a comic book by Art Spiegelman focusing on the horrors of the holocaust with cartoon type illustrations remains a puzzle for critics in terms of placing the work into an established genre. The Pulitzer Prize committee presented a special award to Art Spiegelman for 'Maus,' owing to the same confusion. It is a touching and revealing portrayal of the afflicters and the afflicted. Nazis are depicted as fierce cats, Jews as dejected mice, and the Poles as stupid pigs. The New York Times Book Review had earlier classified it as fiction, but changed it to non-fiction following protest from the author.

Elmwood, Victoria A.
"'Happy, Happy Ever After': The Transformation of Trauma between the Generations in Art Spiegelman's Maus: A Survivor's Tale." Biography: An Interdisciplinary Quarterly, vol. 27, no. 4, pp. 691-720, Fall 2004.

Hirsch, Marianne.
"Family Pictures: Maus, Mourning, and Post-Memory." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 15 no. 2. 1992-1993 Winter. pp: 3-29.

Iadonisi, R.
"Bleeding History and Owning His (Father's) Story - 'Maus' and Collaborative Autobiography" CEA Critic, 1994 Fall, V57 N1:41-56.

Landsberg, Alison.
"America, the Holocaust, and the Mass Culture of Memory: Toward a Radical Politics of Empathy." New German Critique, vol. 71. 1997 Spring-Summer. pp: 63-86.

Laub D., Podell D.
"Art and Trauma." International Journal of Psycho-analysis, 76: 991-1005, Part 5 Oct. 1995
The authors of this paper attempt to show that 'the art of trauma', because of its indirect, unaestheticised and dialogic nature, may be the only possible medium for effective representations of trauma. The real witnessing presence created in the art of trauma can act as an antidote to the annihilation of the internal 'other' that occurs in the traumatic experience and to the resulting absence, which both constitutes the core of trauma and precludes its representation Important elements of the art of trauma are illustrated using the work of Paul Celan, Anselm Kiefer, Claude Lanzmann, Art Spiegelman, and Anne-Marie Levine and texts by Aharon Appelfeld. Examining more closely what Holocaust survivors say in their testimonies, the authors contend that survival itself should be considered as a type of art of trauma when it is made possible by a creative comprehension of reality analogous to that which characterises more conventional forms of the art of trauma. The authors proceed to explore both the possible limits to the extent that trauma may be represented and the continuous struggle involved in attempting to 'know' trauma. They also discuss how art dealing with trauma may circumscribe a double locus: one of witnessing as well as one of emptiness or execution.

Lehmann S
"And Here Their Troubles Began": The Legacy of the Holocaust in the Writing of Cynthia Ozick, Art Spiegelman and Philip Roth." CLIO 28: (1) 29-52 Fall 1998

Loewenstein, Andrea Freud.
"Confronting Stereotypes: 'Maus' in Crown Heights." (teaching 'Maus: A Survivor's Tale' by Art Spiegelman) College English v60, n4 (April, 1998):396 (25 pages).
A Jewish teacher relates experiences of teaching freshman composition using 'Maus: A Survivor's Tale' by Art Spiegelman in the second semester at Medgar Evers College in Crown Heights, New York City. Crown Heights is a working-class, largely Caribbean New York neighborhood that is also the location of the headquarters of the Lubavitcher sect of Hasidic Jews, many of whom live nearby. There is conflict and mistrust between the Jewish and Black communities. 'Maus' is useful in confronting stereotypes. It is in comic strip form and the subject is mostly experience of Spiegelman's father in Nazi-governed Poland and in Auschwitz.

Lubow, Arthur.
"Crawling into the Brain of Art Spiegelman." Graphis v54, n315 (May-June, 1998):40 (8 pages).
Art Spiegelman finds comic strips create a sense of intimacy by baring their author's personality. His 'Maus' tells two stories at the same time: an evolving son-father relationship and his parents' concentration camp ordeal in Poland. Spiegelman finds the combination of writing and drawing many times more difficult than doing either alone.

Lysak, Tomasz
"An Autobiography of an Autobiography: Art Spiegelman's Maus." American Studies, vol. 20, pp. 69-89, 2003.

McGlothlin, Erin
"No Time Like the Present: Narrative and Time in Art Spiegelman's Maus." Narrative, vol. 11, no. 2, pp. 177-98, May 2003.

Mindra, Mihai
"Storytelling as Tikun Ulam with Elie Wiesel and Art Spiegelman." B. A. S.: British and American Studies/Revista de Studii Britanice si Americane, vol. 10, pp. 217-22, 2004.

Morrison, Kevin A.
"Satirical Irony in Art Spiegelman's Maus: A Survivor's Tale." Popular Culture Review, vol. 16, no. 2, pp. 59-68, Summer 2005.

Orvell, Miles.
"Writing Posthistorically' Krazy Kat, Maus and the Contemporary Fiction Cartoon." American Literary History, vol. 4 no. 1. 1992 Spring. pp: 110-28.

Rosen, Alan
"The Language of Survival - English as Metaphor in 'Maus'" Prooftexts--A Journal of Jewish Literary History, 1995 Sept, V15 N3:249-262.

Rothberg, Michael.
"We Were Talking Jewish": Art Spiegelman's 'Maus' as "Holocaust" Production." Contemporary Literature v35, n4 (Winter, 1994):661 (27 pages).
Art Spiegelman forces a visual confrontation with the experiences of a Holocaust survivor in his comic book 'Maus' through a modern, secular Jewish perspective. He explores the commoditization of Holocaust stories while not sentimentalizing the survivor. 'Maus' confronts the Holocaust from an internal perspective, drawing the reader into the experience while accepting the limits on representation imposed by the Holocaust itself.

Schuldiner, Michael
"Writer's Block and the Metaleptic Event in Art Spiegelman's Graphic Novel, Maus." Studies in American Jewish Literature, vol. 21, pp. 108-15, 2002.

Shannon, Edward A.
'It's No More to Speak': Genre, the Insufficiency of Language, and the Improbability of Definition in Art Spiegelman's Maus." The Mid-Atlantic Almanac: The Journal of the Mid-Atlantic Popular/American Culture Association, vol. 4. 1995. pp: 4-17.

Silverblatt, Michael.
"The Cultural Relief of Art Spiegelman: A Conversation with Michael Silverblatt." Tampa Review: Literary Journal of the University of Tampa, vol. 5. 1992 Fall. pp: 31-36.

Spiegelman, Art.
Current Biography v55, n3 (March, 1994): 47 (4 pages).
Art Spiegelman is an underground cartoonist who became famous with the publication of the 'Maus: A Survivor's Tale' books that portrayed life in Nazi-occupied Poland and the concentration camps. His life and career are

Staub, Michael E.
"The Shoah Goes On and On: Remembrance and Representation in Art Spiegelman's 'Maus.'" MELUS v20, n3 (Fall, 1995):33 (14 pages).

Storr, Robert.
"Art Spiegelman's Making of Maus." Tampa Review, vol. 5. 1992 Fall. pp: 27-30.

Tabachnick S.
"Of 'Maus' And Memory, The Structure Of Art Spiegelman Graphic Novel Of The Holocaust." Word & Image, 1993 Apr-Jun, V9 N2:154-162.

Tabachnick, Stephen E.
"The Religious Meaning of Art Spiegelman's Maus." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 22, no. 4, pp. 1-13, Summer 2004.

Wilner A.F.
"'Happy,-Happy-Ever-After': Story and History in Art Spiegelman's 'Maus'." Journal of Narrative Technique, 27: (2) 171-189 Spring 1997

Witek, Joseph
"Imagetext, or, Why Art Spiegelman Doesn't Draw Comics." ImageTexT: Interdisciplinary Comics Studies, vol. 1, no. 1, pp. [no pagination], Spring 2004.

Young J.E.
"The Holocaust as Vicarious Past: Art Spiegelman's 'Maus' and the Afterimages of History." Critical Inquiry, 24: (3) 666-699 Spring 1998
Cartoonist Art Spiegelman's 'Maus' may be seen as a model for "received history," or a hybrid narrative that examines events of the Holocaust as well as ways they are transmitted. Spiegelman relies on the memories of the Holocaust passed to him through survivors that have become linked to his cultural identity. The medium Spiegelman chose shows how the truth of an event is tied to the truth of how it is remembered.

The Holocaust as Vicarious Past: Art Spiegelman's Maus and the Afterimages of History Young, James E., Bernard-Donals, Michael (ed.); Glejzer, Richard (ed.). (2003). Witnessing the Disaster: Essays on Representation and the Holocaust.

Book Reviews

Beniger, James R.
"Maus: A Survivor's Tale, vol. 2, And Here My Troubles Began." Communication Research v19, n3 (June, 1992):398.

Brown, Joshua.
"Maus: A Survivor's Tale, Part 2, And Here My Troubles Began." Journal of American History v79, n4 (March, 1993):1668B (3 pages).

Brown, Joshua.
"Maus: A Survivor's Tale, Part I. My Father Bleeds History." Journal of American History v79, n4 (March, 1993):1668 (3 pages).

Buhle, Paul.
"Maus, A Survivor's Tale II: And Here My Troubles Began." (book reviews) Tikkun v7, n2 (March-April, 1992):9A (8 pages).

Finn, Molly.
"Maus: A Survivor's Tale, 2 vols." (book reviews) Commonweal v119, n4 (Feb 28, 1992):23 (2 pages).

Halkin, Hillel.
"Maus II: A Survivor's Tale. And How My Troubles Began." (book reviews) Commentary v93, n2 (Feb, 1992):55 (2 pages).

Jones B.
"Maus, Vol 1, And Vol 2." American Book Review, 1993 Feb-Mar, V14 N6:6-7.

Langer, L.
'Maus, A Survivors Tale', Pt 2, 'and Here My Troubles Began' New York Times Book Review, 1991 Nov 3, Nov:1+.

"Maus."(Review) Whole Earth (Spring, 1998):27.

"Maus: A Survivor's Tale, II: And Here My Troubles Began." (book reviews) Publishers Weekly v238, n43 (Sept 27, 1991):47 (2 pages).

Mordden, Ethan.
"Maus." (book reviews) New Yorker v68, n7 (April 6, 1992):90 (7 pages).

Stone, Laurie.
"Maus II: A Survivor's Tale. And How My Troubles Began." (book reviews) Nation v254, n1 (Jan 6, 1992):28 (2 pages).

Totten, Samuel.
"Maus II: A Survivor's Tale - Here My Troubles Began." (book reviews) Social Education v57, n6 (Oct, 1993):338.



Copyright (C) 1996 by the Library, University of California, Berkeley. All rights reserved.
Document maintained on server: http://www.lib.berkeley.edu/ by
Gary Handman, Head, Media Resources Center.
Last update 02/03/06.(gh)

MRC web graphics by Mary Scott, Graphics Office, The Teaching Library