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Teaching Graphic Novels: Practical Strategies for the Secondary ELA Classroom.

"The Story of my Death: Night, Maus, Shoah and the Image of the Speaking Corpse".

Because of the complexity of Maus, the defining example of this politically invested aesthetic form, graphic narratives are now part of a postmodern cartography, with new work such as Marjane Satrapi's Persepolis charting childhood in revolutionary Iran, and Joe Sacco's Palestine and Safe Area Gorazde mapping the frontlines of Palestine and Bosnia.

By the time Maus began serialization, the "Big Two" comics publishers, and , dominated the industry with mostly titles.

Spiegelman documented himself thoroughly about the time period and Auschwitz, even visiting the camp twice in 1979 and 1987.

He spent the rest of the 1970s building his reputation making short comics.

Breaking the Frame: Metalepsis and the Construction of the Subject.

This connection emphasizes the extraction implied in Spiegelman's father "bleeding history" for his son's medium.

More than 20 years later he illustrated a 1994 reprint of the 1923 poem 'The Wild Party' by Joseph Moncure March.

Form, Function, Fiction: Text and Image in the Comics Narratives of Winsor McCay, Art Spiegelman, and Chris Ware.

Kois, Dan December 2, 2011.

The artist even shows his own manipulative behavior, as he has less interest in his father's needs and more in finding out the rest of his Holocaust past.