Trauma—both in its initial occurrence and later retelling—has persistently provided the foundation from which several graphic novels have stemmed. Take, for example, two separate works by Art Spiegelman and Ari Folman. Whereas Spiegelman’s Maus recounts a survivor’s story of the Holocaust, Folman’s Waltz with Bashir instead retraces a soldier’s connection to the Sabra and Shatila massacre after decades of repression. Though stylistically distinguishable in content and presentation, both texts nevertheless approach their material through the same visual medium, juxtaposing historical instances of trauma through graphic representations. In doing so, Spiegelman and Folman have purposefully illustrated their respective narratives through a comic filter, allowing readers to digest the depiction of atrocities with relative ease. The resulting spectatorial distance, however, does not remain untouched by either; rather, it is used to produce a much more profound effect upon readers when they are suddenly forced to look past …show more content…
Subsequently, the repeated image now uses the latter, linking it back to the actual event. The final depiction of this woman, however, is no longer shown through an illustration, fully integrating her back into the event of trauma. The audience must now reconcile their new relationship to the memory of the massacre, no longer able to remain as removed as they once were. While each graphic novel provides readers with a distorted reflection of traumatic events, such a dissociative technique ultimately succumbs to its frailty, as evident with examples in the texts themselves. Through sudden reminders of reality, the comic filter “cracks” in the same way the soldier’s imaginary camera did, inevitably leaving the audience exposed to a kind of horror they could not otherwise
In the history of modern western civilization, there have been few incidents of war, famine, and other calamities that severely affected the modern European society. The First World War was one such incident which served as a reflection of modern European society in its industrial age, altering mankind’s perception of war into catastrophic levels of carnage and violence. As a transition to modern warfare, the experiences of the Great War were entirely new and unfamiliar. In this anomalous environment, a range of first hand accounts have emerged, detailing the events and experiences of the authors. For instance, both the works of Ernst Junger and Erich Maria Remarque emphasize the frightening and inhumane nature of war to some degree – more explicit in Jünger’s than in Remarque’s – but the sense of glorification, heroism, and nationalism in Jünger’s The Storm of Steel is absent in Remarque’s All Quiet on the Western Front. Instead, they are replaced by psychological damage caused by the war – the internalization of loss and pain, coupled with a sense of helplessness and disconnectedness with the past and the future. As such, the accounts of Jünger and Remarque reveal the similar experiences of extreme violence and danger of World War I shared by soldiers but draw from their experiences differing ideologies and perception of war.
The victims of the Holocaust lose sight of who they are during this time and begin to live their life by playing a part they believe they were because of their race. Loman discussed the irony behind the cat-and-mouse metaphor that Spiegelman uses in his graphic novel in his article titled “’Well Intended Liberal Slop’: Allegories of Race in Spiegelman’s Maus”. In his article he states,
In the search for who is the victim in the war, there arose different opinions on whether the perpetrator can be regarded as the victim, some people believe that the perpetrators can never be a victim, because they are responsible for the killing, abusing and raping during the war. But other are hold the different idea, there is a frequently using word in the holocaust research that fits the question—the perpetrator trauma. How can we understand the perpetrator trauma? And how can we distinguish the victim and perpetrator in the war? with these questions, we look into the Folman’ animated movie Waltz with Bashir, which is a very good work for us to dig and see how the war affect the perpetrators in the post-war life, and can we see the perpetrators
Individuals everywhere grimace at war. Images of the strike of the gun, the burst of the bombs, and the clash of the soldiers all elicit a wince and a shiver. Moviegoers close their eyes during gory battle scenes and open them again only once the whine of the bullets stops rattling in their ears. War is hell, as the common aphorism goes, and the pain of war is equally hellish. Most individuals naturally accept this conclusion despite never experiencing war themselves. Without enduring the actual pain of war injuries, individuals still argue the importance war and its miseries. Individuals rely on media and entertainment for education about the suffering and evils of war. Writers provide an acute sense of a soldier’s physical and mental burdens through vivid imagery and relatable metaphors. Books can express the seemingly inexpressible pain of war through graphic descriptions. Individuals may then assess war—its how and why, its causes and effects—with greater insight. The writer may use the audience’s acquired understanding of war’s pain to address the significance of suffering. Through the clarity and horror of war descriptions, a writer may successfully convey the pain of war and his or her perspective and purpose to a general audience. Through the use of startling imagery, both Tim O’Brien in The Things They Carried and Laura Hillenbrand in Unbroken effectively recreate the pain of war for an audience which could not otherwise fathom its magnitude. However, while O’Brien uses his descriptions to criticize the evils which cause the pain, Hillenbrand employs her equally vivid images to praise the resilience which results from the pain.
John Milton, an English poet, once said, “Innocence, once lost, can never be regained; Darkness, once gazed upon, can never be lost.” This is true of many situations, but especially so in war. The sight of premature death, grotesque injuries, and unnecessary sacrifice is impossible to forget. This is illustrated clearly in Walter Dean Myer’s graphic novel, Fallen Angels, through the protagonist Richard Perry’s development from a clueless, unprepared soldier to a scarred, weather-beaten veteran, through Richie’s experiences of his comrade’s death, the struggle of right verses wrong, and the terrifying futility of war.
Though graphic novels are not recognized as literature by many literary critics, they have the distinction of communicating with pictures in a way that may not be possible with words alone. Themes that would be lost if they were merely sentences on a page are highlighted when set to a graphic novel’s illustration, and graphic novels can connect deeply with the reader through images of war and suffering, such as in the graphic novels Persepolis and Fables.
One primary contextual factor that moderated Mark’s response to trauma was his perceived responsibility for the trauma (i.e., culpability). As such, the events of the Marketplace Incident negatively impacted him because he believed he could have taken control of the situation, but he failed to do so, which resulted in innocent people losing their lives. While we are unable to know for sure if firing on the car would have stopped the Marketplace Incident from occurring, Mark believes that to be true. Therefore, part of the reason this traumatic event was the most impactful is related to Mark’s perception of controllability.
In Art Spiegelman’s Maus, the audience is led through a very emotional story of a Holocaust survivor’s life and the present day consequences that the event has placed on his relationship with the author, who is his son, and his wife. Throughout this novel, the audience constantly is reminded of how horrific the Holocaust was to the Jewish people. Nevertheless, the novel finds very effective ways to insert forms of humor in the inner story and outer story of Maus. Although the Holocaust has a heart wrenching effect on the novel as a whole, the effective use of humor allows for the story to become slightly less severe and a more tolerable read.
Director Mark Herman presents a narrative film that attests to the brutal, thought-provoking Nazi regime, in war-torn Europe. It is obvious that with Herman’s relatively clean representation of this era, he felt it was most important to resonate with the audience in a profound and philosophical manner rather than in a ruthlessness infuriating way. Despite scenes that are more graphic than others, the films objective was not to recap on the awful brutality that took place in camps such as the one in the movie. The audience’s focus was meant to be on the experience and life of a fun-loving German boy named Bruno. Surrounding this eight-year-old boy was conspicuous Nazi influences. Bruno is just an example of a young child among many others oblivious of buildings draped in flags, and Jewis...
The three narratives “Home Soil” by Irene Zabytko, “Song of Napalm” by Bruce Weigl, and “Dulce et Decorum Est” by Wilfred Owen all have the same feelings of war and memory, although not everyone experiences the same war. Zabytko, Weigl, and Owen used shifting beats, dramatic descriptions, and intense, painful images, to convince us that the horror of war far outweighs the devoted awareness of those who fantasize war and the memories that support it.
War does leave people with all kinds of trauma as illustrated in the Bao Ninh’s short story “A Marker on the Side of the Boat” and Nicola Zavaglia’s documentary film Barbed Wire and Mandolins. When comparing the effectiveness of conveying the trauma of war towards the audiences, however, the short story “A Marker on the Side of the Boat” is more effective due to its well-developed plot and the emotional responses from the readers arising from the story.
Art Spiegelman’s graphic novel Maus unfolds the story about his father Vladek Spiegleman, and his life during the WWII. Since Vladek and Art are both the narrators of the story, the story not only focuses on Vladek's survival, but also the writing process and the organization of the book itself. Through these two narrators, the book explores various themes such as identity, perspective, survival and guilt. More specifically, Maus suggests that surviving an atrocity results in survivor’s guilt, which wrecks one’s everyday life and their relationships with those around them. It accomplishes this through symbolism and through characterization of Vladek and Anja.
Pulmonary contusions are another consequence from trauma to the chest, possibly not as severe as examples prior, but still dangerous. A pulmonary contusion is usually due to a blunt trauma to the thoracic cavity; the trauma causes blood to accumulate in the lung tissues and alveoli without lacerating the lung tissues. The lungs swell with the blood in the tissues, like a contusion anywhere else on the surface of the body, hence the term, “bruised lung.” With a pulmonary contusion, the patient will present, “...Tachypnea and tachycardia; while auscultating, rales and decreased breath sounds can be heard. Wheezing, coughing, and productive blood streaked sputum can be present; hypotension and reduced cardiac output accompany. Respiratory distress
Narrative is a rhetorical structure that distorts reality in order to reveal it. This is an eminently evident actuality in John Boyne’s The Boy in the Striped Pyjamas. Through this distortion, Boyne is able to evoke the reader’s empathy, portray the horror of the Holocaust to a younger audience and convey human’s capacity for inhumanity and indifference. This is achieved by Boyne, primarily through the exaggeration of innocence throughout the novel, the content presented to the audience, and the use of a child narrator. Thus, in The Boy in the Striped Pyjamas by John Boyne, narrative is presented as a composition that distorts in order to reveal.
Trauma relates to a type of damage to the mind that comes from a severely distressing event. A traumatic event relates to an experience or repeating events that overwhelmingly precipitated in weeks, months, or decades as one tries to cope with the current situations that can cause negative consequences. People’s general reaction to these events includes intense fear, helplessness or horror. When children experience trauma, they show disorganized or agitative behavior. In addition, the trigger of traumas includes some of the following, harassment, embarrassment, abandonment, abusive relationships, rejection, co-dependence, and many others. Long-term exposure to these events, homelessness, and mild abuse general psychological