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Doctoral Thesis
DOI
Document
Author
Full name
Carolina Sieja Bertin
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Izarra, Laura Patricia Zuntini de (President)
Bolfarine, Mariana
Carneiro, Maria Luiza Tucci
Vergueiro, Waldomiro de Castro Santos
Title in Portuguese
A posmemória em Maus, de Art Spiegelman
Keywords in Portuguese
Dinâmica tridimensional
Shoá
Transformação transgeracional
Trauma
Abstract in Portuguese
O presente trabalho investiga a maneira segundo a qual a produção cultural das gerações pós-Shoá concilia a sensação de irrealidade do genocídio e as memórias que o circundam. É a partir daí que partimos para a análise de Maus a survivors tale (publicação completa em 1991), obra de Art Spiegelman que se dedica a arquitetar o discurso de seu pai, Vladek Spiegelman, sobrevivente da Shoá. Além do testemunho e de uma série de referências históricas - fotografias, panfletos, livros e depoimentos de outros sobreviventes, Art mescla as memórias pública e privada e também lança mão de outros mecanismos de representação que quebram a barreira da incompreensibilidade da Shoá, tal como ilustrações que justapõem o passado e presente. A medida em que investigamos outros trabalhos teóricos que abordam a Shoá - inclusive o outro trabalho de Spiegelman, denominado Metamaus (2011) - verificamos como as propostas culturais das gerações posteriores ao genocídio oferecem novos olhares e, consequentemente, novas perspectivas ao estudo de tamanha situação traumática. A hipótese do presente trabalho é de que o autor de Maus cria uma dinâmica tridimensional na transformação transgeracional da realidade do passado por meio de sua ressignificação simbólica.
Title in English
The postmemory in Maus, by Art Spiegelman
Keywords in English
Shoah
Three-dimensional dynamics
Transgenerational transformation
Trauma
Abstract in English
This work investigates the way in which the cultural production of post-Shoah generations reconciles the unreality of the genocide and the memories that surround it. It is from this point that we begin with the analysis of Maus a survivor's tale (final edition in 1991), Art Spiegelman's main work through which he represents his father's life narrative as a war survivor of the Shoah. Armed with his story, as well as with a series of historical references, such as photographs, pamphlets, books and stories from other survivors, Art merges the public and private memories by using other mechanisms of representation that break the barrier of the incomprehensibility of Shoah, such as illustrations that juxtapose past and present. As we investigate other theoretical works that address the Shoah - including Spiegelman's other work called Metamaus (2011) - we see how the cultural proposals of post-genocide generations offer new insights and consequently new perspectives for the study of such traumatic situation. Our hypothesis is that the author of Maus creates a three-dimensional dynamics in the transgenerational transformation of the reality of the past by means of its symbolic resignification.
 
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Publishing Date
2019-10-07
 
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