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International Conference at the
Center for Jewish Studies Graz
Beyond MAUS
The Legacy of
Holocaust Comics
26. – 29. Mai 2019|
RESOWI-CENTER|
SZ 15.22, UniversitätsstraSSe 15/ 2.OG, Bauteil G|
8010 Graz|
www.uni-graz.atProgram
Sunday, May 26, 2019 ������������������������������������������������������������������������� 4
Monday, 27. May 2019 ������������������������������������������������������������������������ 4
Tuesday, 28. May 2019 ������������������������������������������������������������������������ 6
Wednesday, 29 May 2019 ������������������������������������������������������������������������ 7
Abstracts ������������������������������������������������������������������������������ 8
Cover picture: © Horst Rosenthal, Micky à Gurs (1942)Beyond MAUS.
The Legacy of
Holocaust Comics
Holocaust Comics Constitute a Different Kind
of Image Based Memory
Long before Art Spiegelman’s MAUS – A of the Jews of Europe? What sort of visual
Survivor’s Tale appeared, there were reflections memory do comics offer in light of a discourse
on the Holocaust to be found in comics. dominated by photography and film?
Already within the camps, early series of Which other narratives can be read here in
drawings like Mickey au Camps de Gurs (1942) comparison to the widely discussed literary
were circulated, which bear some similarities narratives? Many superhero comics, often such
to comics. And after the liberation, the with figures like the golem, devise a fictional
persecution and annihilation of European vocabulary of images, forming an aesthetics
Jewry was taken up as a central theme in and truth regarding the Holocaust, which have
comic books starting with Joe Kubert’s short been very much neglected until today. The
story Golem (1946). MAUS marked an obvious conference also asks how comics have altered
transition in the perception of the relation the discourse on the Holocaust: What future
between the Holocaust and comics, but in of the memory of Auschwitz do comics hold
contrast to Spiegelman’s intentions MAUS in store for us? All these questions shall be
was less noticed within the history of comics discussed at length on the basis of a variety
than in the history of the representation of the of examples as well as methodological and
Holocaust. At the same time MAUS enabled theoretical reflections.
numerous further representations of the
genocide in comics. Ole Frahm (Frankfurt am Main),
The conference aims at a closer examination Hans-Joachim Hahn (Aachen/Bern) and
of the relation between the historical events Markus Streb (Gießen)
of the Endlösung (“final solution”) and their
different reflections in comics. How do
series of images as well as comics position
themselves with regard to the debate on the
limitations of representing the annihilation
3Program
RESOWI-CENTER
SZ 15.22, UniversitätsstraSSe 15/ 2.OG, Bauteil G
8010 Graz
Sunday, 26. May 2019 Monday, 27. May 2019
17:00 Welcome and Introduction 9:00 Panel 1:
by the Organisers From Postwar Graphic Series
to MAUS & Beyond
18:00 Keynote Lecture Chair: Hans-Joachim Hahn (Aachen/Bern)
Chair: Markus Streb (Gießen)
Joël Kotek (Bruxelles):
Samantha Baskind (Cleveland, OH): Jews and the Shoah in Comic Strips
Beyond MAUS: from (complete) shadow to (intense) light
The Legacy of Holocaust Comics
Kathrin Hoffmann-Curtius (Berlin):
19:30 Dinner / Own arrangements Postwar Graphic Cycles
10:30 Coffee Break
11:00 Panel 2:
Early Comics and Caricatures
Chair: Susanne Korbel (Graz)
Emil Gruber (Graz):
Representations of genocide at the
border between caricature and
comic book
Pascal Lefèvre (Brussels):
A Re-Reading of Bernard Krigstein’s
Master Race
12:30 Lunch Break
414:30 Panel 3: 17:00 Panel 4:
Holocaust Comics in different Education by Holocaust Comics?
national Contexts: Chair: Gerald Lamprecht (Graz)
Israel, Poland, Japan
Chair: Hans-Joachim Hahn (Aachen/Bern) Jens R. Nielsen (Hamburg):
What’s Left to Go Untold
Kalina Kupczynska (Lodz):
The Importance of Being Subjective
The Holocaust in Recent Eastern
European Comics (Impulse) Georg Marschnig (Graz) :
Holocaust Education with Comics?
Susanne Korbel (Graz):
Qualitative Explorations among Austrian His-
The Portrayal of Children’s Expe-
tory Teachers
riences of the Holocaust in Israeli
Graphic Novels and Comics
19:30 Conference Dinner
Jaqueline Berndt (Stockholm):
Involving the Uninvolved
Manga ‘Fabrications’ of the Holocaust and
their Global Potential
16:30 Coffee Break
5Program
Tuesday, 28. May 2019
9:00 Postmemory, Gender and (Auto-) 14:30 Panel 7:
Biography Highly Contested Popular Images
Chair: Ole Frahm (Frankfurt) Chair: Olaf Terpitz (Graz)
Sarah Lightman (London): Christine Gundermann (Köln):
We Are On Our Own – an Example of Between Entertainment, History
Feminist Rape Art and Redemption
Anne Frank in Comics
Panel Discussion:
Didier Pasamonik (Ostende):
Sarah Lightman (London), Marie Schröer (Landau),
Véronique Sina (Köln), Markus Streb (Gießen) From the Dreyfus Affair to MAUS
A short history of the animalisation of the re-
10:30 Coffee Break presentation of the Jews
11:00 Panel 6: 16:30 Coffee Break
Documentaries vs. Alternative
Historical Narratives
Chair: Gerald Lamprecht (Graz)
Hans-Joachim Hahn (Aachen/Bern):
Distorted Traces of the Holocaust
in Herge’s Tintin
Kees Ribbens (Amsterdam):
Visualizing the final stage of
genocide
August Froehlich’s early representation of the
Holocaust in sequential art
12:30 Lunch Break
6Wednesday, 29 May 2019
17:00 Panel 8: 9:00 Panel 9:
The Americanization of the Shadows of the Holocaust
Holocaust and Holokitsch Chair: Ole Frahm (Frankfurt am Main)
Chair: Markus Streb (Gießen)
Dana Mihăilescu (Bukarest):
Martin Lund (Stockholm): Confronting the Shadow of the
Superheroes and the Shoah Holocaust through Transcultural
On the Hyperamericanization of the Holocaust Memory Networks
Martin Lemelman’s Mendel’s Daughter (2006)
Laurike in’t Veld (Rotterdam):
and Two Cents Plain (2010)
Holokitsch?
Nazi Perpetrators in Holocaust Comics
Jörn Ahrens (Gießen):
18:30 General Debate Hidden Atrocities
Chair: Kalina Kupczynska (Lodz) The Holocaust Framed by Calvo and Émile
Bravo
Impulse
Ole Frahm (Frankfurt am Main): Harriet Earle (Sheffield):
Depiction? Narration? Closure? Before Maus:
The Aesthetics of Comics and the Discussion Trauma Aesthetics and Visual Codes for
about the Representation of the Holocaust Holocaust Art
20:00 Dinner / Own arrangements 11:15 Final Discussion
7Abstracts
Jörn Ahrens (Gießen): Jörn Ahrens is Professor of Cultur- Jaqueline Berndt (Stockholm):
Hidden Atrocities al Sociology, Justus Liebig University Gies- Involving the Uninvolved
The Holocaust Framed by Calvo sen, Germany & Extraordinary Professor in Manga ‘Fabrications’ of the Holocaust
and Émile Bravo Social Anthropology, North West Universi- and their Global Potential
ty, South Africa. His core fields of research
Right in 1945, long before Art Spiege- are: Violence, culture, and society; popu- Taking the investigation of comics and the
lman’s Maus even became possible, lar media and culture; nature and society; Holocaust beyond MAUS implies a two-
Calvo and Dancette’s classic album La theory of culture. Recent publication about fold difference in the case of Japan, where
bete est mort was published, pictur- comics and popular culture: Überzeichnete Spiegelman’s work has been available in
ing World War II as a comic book with Spektakel. Inszenierungen von Gewalt im translation since the early 1990s. First,
anthropomorphic animals. The book Comic, Baden-Baden 2019: Nomos; co-ed- Japan appears to be a historically detached
takes the perspective of the French, itor with N. Riemer & F.Th. Brinkmann: site with regards to the Holocaust and its
drawn as rabbits, and is foremost a pa- Comics. Bilder, Stories und Sequenzen in re- memory, and precisely this distance has fa-
triotic manifesto that tries to cover ligiösen Deutungskulturen, Wiesbaden 2015: cilitated the linkage of the Jewish geno-
the world’s fight against the German Springer VS; Imagine Reality: Negotiating cide to discourses of national self-victim-
wolves—and is therefore following a Comics along David B.’s Epileptic, in: Jour- ization: on the one hand in the political
fundamentally different strategy for the nal of European Comic Art, Vol. 7 No. 2 sphere, where the facticity of the Holocaust
depiction of the acteurs as animals than (Autumn 2014; co-editor with A. Meteling: is stressed by the conservative right and not
it is the case in Spiegelman. Sometimes Comics and the City: Urban Space in Print, rarely used to highlight the alleged fabricat-
heroicised, sometimes belittled, the Picture, and Sequence, London/New York edness of atrocities committed by Japan’s
history of this struggle is nearly com- 2010: Continuum. imperial army during WWII; on the other
pletely covered. However, the subject hand in the Japanese mediascape, where
of the extinction of the European Jews popular ‘character-izations’ of Anne Frank
is nearly completely left out. Only two have contributed to feminized imagina-
panels in the whole book do hint to- tions of victimhood since the 1950s. Second,
wards the shoah without mentioning it. Jaqueline Berndt is Professor in Jap- a manga equivalent to MAUS, the epitome
When some 60 years later Émile Bravo anese Language and Culture at Stockholm of the individually authored, “socially aspi-
starts his reconstruction of Spirou as a University. From 1991 to 2016 she worked rational” graphic novel, is difficult to find.
figure set to its historical background at Japanese universities, teaching mainly In the main, manga is (gendered) genre fic-
at the eve of World War II, he choos- visual culture and media studies in Japanese tion and as such abundant in tropes, giv-
es a similar approach that, nevertheless, as well as English; eventually she served as ing preference to performative fabrications
is radically distinguished from Calvo’s Professor of Comics Theory at the Graduate over realist representation. Depending on
book. Bravo as well focuses on a nation- School of Manga, Kyoto Seika University. situation and context (and effective beyond
al story, but his interest is twofold when Holding a first degree in Japanese Studies Japanese manga), tropes hold the potential
he, firstly, reconstructs the zeitgeist (1987) and a PhD in Aesthetics/Art Theory to involve readers who regard themselves
under which the classics of European from Humboldt University Berlin (1991), her as socio-politically uninvolved. My talk in-
comics, as it is Spirou, have emerged teaching and research has been informed by troduces three recent examples: the Hor-
and, secondly, depicts how ambivalent media aesthetics and exhibition studies, and ror-like use of Holocaust symbols in vols
the perception especially of antisem- focused on graphic narratives, anime, and 22-23 of the post-apocalyptic series “Attack
itism has been in catholic Belgium at modern Japanese art. For The Japan Foun- on Titan” (2017) by Hajime Isayama; the fic-
that time. The graphic disclosure of an- dation she directed the world-traveling ex- tionalized parts of the “Anne Frank” issue
tisemitism and the holocaust in both hibition Manga Hokusai Manga: Approach- in the weekly-manga series Great Persons,
cases is unfolding a completely different ing the Master’s Compendium from the Per- rendered in overcute moe style by artist
effect. Whereas Calvo is more or less spective of Contemporary Comics (2016-). TNSK (2015); and Machiko Kyo’s 2-volume
abandoning the subject, Bravo is in- She has widely published in Japanese, Ger- fantasy “Anone,” (serialized in the women’s
troducing it repeatedly. But this is only man and English, for example, the co-edited manga magazine Elegance Eve, 2011–2013).
happening via dialogue, sparing him volume Manga’s Cultural Crossroads (2013), To acknowledge historical difference with-
the necessity to depict the phenome- and the monographs Phänomen Manga in Japan and trace the use of cartoonesque
non in an image based medium. Thus, (1995) and Manga: Medium, Art and Mate- (as tropable) devices in graphic fiction, these
Bravo is inventing a methodology to ap- rial (2015). manga shall be briefly compared to earli-
proach atrocity in the graphic medium er texts, especially Shigeru Mizuki’s Hitler
without any need for its depiction. (1971), and Osamu Tezuka’s Adolf (1983-
81983), while leaving aside non-fiction pro- Harriet Earle (Hattie) is a lecturer in Ole Frahm (Frankfurt am Main):
ductions of the educational kind. English at Sheffield Hallam University. Her Depiction? Narration? Closure?
first monograph – Comics, Trauma, and the The Aesthetics of Comics and the Dis-
New Art of War – was published in July 2017 cussion about the Representation of the
Holocaust.
by the University Press of Mississippi. It will
Harriet EH Earle (Sheffield):
be reprinted in paperback in 2019. She is the
Before Maus: Trauma Aesthetics and In the discussion about the limits of rep-
series editor of Global Perspectives in Comics resentation and the Holocaust, Lawrence L.
Visual Codes for Holocaust Art
Studies (Routledge), which launched in 2019. Langer argued convincingly against an aes-
This paper takes a step backward from Art Her research interests include American thetics of trageday as a mode of representa-
Spiegelman’s seminal work to consider Maus comics and popular culture, representations tion of survival and the destruction of the
in the wider context of visual representation of trauma, protest narratives and biopolitics. jews in camps like Auschwitz. After the
She has published extensively across the field publishing of the first volume of MAUS Ter-
of the Holocaust; I discuss how Spiegelman’s
rence Des Pres wrote his essay “Holocaust
work has cemented and popularised a ‘trauma of comics and popular culture studies. Recent
Laughter”, that misconceived the aesthet-
aesthetic’ and created a series of visual codes articles include ‘A new face for an old fight:
ical means that Spiegelman’s comic estab-
that are now used widely. Using visual and Reimagining Vietnam in Vietnamese-Amer- lished as comic. But – considering comics
comparative analyses, I situate Maus within ican graphic memoir’ in Studies in Comics, as beyond MAUS – what could be understood
the history and development of visual repre- well as editing Gender, Sexuality and Queer- as the aesthetics of Holocaust representation
sentations of the Holocaust, with special focus ness in American Horror Story: Critical Essays in comics? Three moments will shortly be
on Night and Fog (Resnais, 1955). I pose the (2019). presented for a discussion about the materi-
al presented during the conference: the de-
question, ‘How does Spiegelman build on cen-
piction (the representation of the figure), the
tral visual elements of these texts to cement
serialisation of images and the gap it pro-
his own work within the corpus of Holocaust duces, and the relation of image and text.
narrative art?’ I demonstrate that Spiegelman’s
specific visual choices are all geared towards
creating a specific traumatic affect, bringing
the reader closer to the experiences of his
father through visceral reaction to the images Ole Frahm studied German Literature
in Hamburg and Berlin and is a co-found-
presented. With reference to both contempo-
er of the Arbeitsstelle für Graphische Liter-
rary trauma theory and also theories of art
atur (ArGL) at the University of Hamburg
and affect, I suggest that the most important in the late 1980ies. Since then he published
contribution that Spiegelman makes to Ho- about the history, theory and aesthetics of
locaust representation is not the story itself comics. Books: Genealogie des Holocaust.
but the careful, nuanced style, developed Art Spiegelman’s MAUS. A Survivor’s Tale
from Resnais, that not only comes to the fore (2006); Die Sprache des Comics (2010). Es-
in Maus, but has massively influenced future says: Mickey und der Golem. Reflexionen
des Holocaust im Comic. In: Bettina Ban-
narratives of the Holocaust and of trauma,
nasch/Hans-Joachim Hahn (Hg.): Darstel-
both in the comics form and beyond.
len, Vermitteln, Aneignungen. Gegenwärtige
Reflexionen des Holocaust. Göttingen 2018,
S. 215-256; Die Gespenster der Comics. Clo-
sure. Kieler e-Journal für Comicforschung,
4.5 (2018), S.13–46. .
9Emil Gruber (Graz): Emil Gruber is a self-employed journal- Christine Gundermann (Cologne):
Representations of genocide at the ist, cultural worker and exhibition curator. A Between Entertainment, History and
border between caricature and comic special focus of research is the political car- Redemption
book icature of the 20th century. In the last years, Anne Frank in Comics
various exhibitions have been shown on this
The line between cartoons and comics is very subject: 2012 „Tarnschriften - Verborgene
fluid. In some cartoon volumes, a narration In 2017, Ari Folman and David Polansky’s
Information“, Landesbibliothek Graz, 2014
emerges that is very similar to a picture story „Keep Smiling - Humor als Waffe“, Univer- “graphic diary” of Anne Frank was pub-
in comics. As an example, three very rare salmuseum Joanneum Graz and 2015 „Risiko lished throughout Europe. Although the
works between 1933 and 1983 are presented, – Positionen des kulturellen Widerstands“, comic was promoted as a “totally new” way
which explicitly deal with the genocide in Landhaus Feuerlöscher Deutschfeistritz. Since (Fischer Verlag) to the world’s most famous
National Socialism. „Israel souviens toi“ was 2017 a documentation on Austrian political diary, it actually stands in a long tradition
published in France in 1933 and is one of the caricatures from 1930 to 1950 has been in of graphic processing of “Het Achterhuis”.
first drawn works to address the beginning of progress. Part 1 „Aufkommen des National- In my contribution I focus on the phenom-
the persecution of the Jews in the Nazi state. sozialismus und Faschismus im Spiegel ös- enon of “Anne Frank” as one of the most
„Hitleriada Macrabra“, on the other hand, is terreichischer Karikaturen zwischen 1930 bis “popular” victims of the Holocaust, an often
a ten-part portfolio of concentration camp 1934“ is available as a print-ready manuscript.
atrocities. The draughtsman Stanislav Toegel used tool of politics of history and a major
was himself a concentration camp prisoner sales argument. Emanating from the famous
and drew the cycle as early as 1945. The third diary, the various comic and graphic novel
work presented is from 1983. In „Sklaven adaptions that had been printed through
- oder eine Geschichte von Wirtschaftswun- Christine Gundermann , PhD more than 50 years around the world show
dern“ by Wolfgang Wimmer, Gabriel Nemeth (*1978), is an assistant professor for Public first of all entangled histories and memo-
draws a picture story about the exploitation of History at University of Cologne. She previ- ries, enforced by global marketing struc-
the labour of concentration camp prisoners. ously worked as research assistant and lec- tures. Although the “Diary” is widely un-
turer at the Free University of Berlin and derstood as one of the most important testi-
was also coordinator of the nationwide first monial of the Shoah, it is first and foremost
MA program in Public History there and its status as literary bestseller that was re-
got her doctor’s degree on Dutch-German sponsible for its appearing as comics.
Memories on the Second World War. Her
main research and teaching interests focus
as Public Historian on the points of contact
between contemporary history and didactics
of history. Her foci lie on popular history
cultures (especially history comics), theory
of history, memory studies and Dutch-Ger-
man history in the 20th century.
Relevant publication: Inszenierte Vergan-
genheit oder wie Geschichte im Comic
gemacht wird, in: Hans-Joachim Backe
u.a. (Hg.): Ästhetik des Gemachten. Inter-
disziplinäre Beiträge zur Animations- und
Comicforschung, Berlin 2018, S. 257-283;
Real Imagination? Holocaust Comics in Eu-
rope, in: Diana I. Popescu und Tanja Schult
(Hg): Revisiting Holocaust Representation
in the Post-Witness Era, New York 2015, S.
231-250; Jenseits von Asterix. Comics im
Geschichtsunterricht, Schriftenreihe: Meth-
oden historischen Lernens, Schwalbach Ts.
2017² (2007); Die Versöhnten Bürger. Der
Zweite Weltkrieg in deutsch-niederländis-
chen Begegnungen 1945-2000, Münster
2014.
10Hans-Joachim Hahn (Aachen/Bern): Hans-Joachim Hahn , Dr phil., is As- Kathrin Hoffmann-Curtius (Berlin):
Distorted Traces of the Holocaust in sociate Professor (‘Privatdozent’) at the In- Postwar Graphic Cycles
Herge’s Tintin stitute for German and Comparative Liter-
ature at the RWTH Aachen and guest lec- My part in the conference will be to ex-
Tintin as one of the most influential and turer at the Institute for German Studies amine series of images which don’t count
successful comic series stretching almost at the University of Bern, Switzerland. In as comics but like those tried to formulate
over 50 years (1929–1976), addresses a. o. 2017 he received his Venia legendi for Mod- the memory of the Holocaust. What do the
questions of extreme catastrophes and glob- ern German Literature. His research inter- media have in common and what are the
al power relations while also implement- ests and publications focus on German lan- basic differences between them? Do the dif-
ing antisemitic and racial stereotypes. In- guage Jewish Literature, Modern German ferences have any influence on the recep-
stead of following the suggestion that Hergé Literature, Research on Antisemitism, Hol- tion?
wrote ‘Comics for Nazis’, as the Swiss jour- ocaust Studies as well as Cultural and Pop- To answer these questions I will take a look
nalist Claude Cueni recently stated, an anal- ular Studies. In 2018 (Spring Term) he was at three series from the 1940 produced by
ysis of the series itself shows more ambiva- Kurt-David-Brühl-Visiting Professor for authors with different fates during the NS:
lent results. Although L’étoile mystérieuse Jewish Studies at Karl-Franzens-Universi- The non-Jewish artist Jerzy Zielezinski from
(1941/42), which started in Le Soir only ty of Graz. Among his recent publications Poland was interned in the Warsaw Ghet-
shortly after the genocide of the Jews of Eu- is the collected volume Representing, Medi- to, and later on at Auschwitz, Flossenbürg
rope was initiated, connects the story of a ating, Acquiring – Current Reflections on and Dachau. The German Communist Lea
possible end of the world uncannily with the Holocaust (edited together with Bettina Grundig had escaped to Palestine and Edu-
antisemitic images and the desire to ‘un- Bannasch, Göttingen 2018) (in German). ard Winkler took part in the Russian Cam-
mask’ the villain in this story as ‘Jew’, it has paign as official war painter. Their series
been convincingly argued that the panels at were published already during the war or
the same time disperse the antisemitic pro- shortly after liberation, though they got
jection. considerable public attention first, they were
almost forgotten soon. Only Grundig could
Drawing on Michael Rothberg’s concept of Kathrin Hoffmann-Curtius , Dr exhibit some of her drawings in the follow-
‘multidirectional memory’ as well as on re- phil, freelance art historian, deputy profes- ing years.
cent debates on ‘alternate historical narra- sorships in Hamburg and Vienna, lectures
tives’, I will argue that the apparent absence at different universities, fellowships by the
of the Holocaust in Tintin has to do with states of Baden-Württemberg and Branden-
the antisemitic imagery in some of Hergé’s burg, visiting guest at the ifk in Vienna, ex-
narratives and the question of how to deal pert member of the Colloquium for the Me-
with it afterwards. This is revealed by some morial of murdered Jews of Europe et al.
distorted traces, which shall be discussed in Publications include: Judenmord. Art and
the talk. the Holocaust in Post-war Germany, Lon-
don, 2018. Re-Rezipierte Erinnerung an den
NS in Comicsequenzen von Art Spiegel-
man und Volker Reiche, in: Bartl, Angeli-
ka, Mühr, Patricia und Wienand, Kea (ed):
Bilder – Wissen – Sehen. ReSaVoir. Das
Visuelle im Spanungsfeld von Kultur, Politik
und Erinnerung. Bielefeld: transcript 2011,
pp. 75-97. Deutsche Denkmalpolitiken nach
1945, in: Figge, Maja u.a. (ed): Scham und
Schuld. Geschlechter(sub)texte der Shoah.
Bielefeld: transcript 2010, pp. 121-146. Ter-
ror in Germany 1918/19: Visual Commen-
taries on Rosa Luxemburg`s Assassination,
in: Sarah Colvin, Helen Watanabe -O’Kelly
(ed):’Women and Death: Warlike Women’.
Rochester NY: Camden House 2009, pp.
127–166.
11Susanne Korbel (Graz): Susanne Korbel is an FWF-fund- Joël Kotek (Brussels):
The Portrayal of Children’s ed researcher and lecturer at the Center for Jews and the Shoah in Comic Strip,
Experiences of the Holocaust in Is- Jewish Studies at the University of Graz from (complete) shadow to (intense)
raeli Graphic Novels and Comics specializing in Cultural Studies, Migration light
Studies, and Jewish history. Currently, she is
Comics and graphic novels published in Is- working on a project on new, non-exclusive This paper aims to discuss how the Europe-
rael have dealt with the Holocaust and par- narratives of the history of Jews in Vienna an and American comics totally ignored the
ticularly the experiences of children in var- around 1900 based on everyday life encoun- Jewish fate and the Holocaust until the turn
ious ways, yet they predominantly pursue ters and relations aiming to overcome narra- of Maus and now integrated not only the
an educational approach rather than illus- tives of particularity. She is about to publish Holocaust but most of the other genocides
trating the historical facts of persecution, her first book, entitled Jews, Mobility and of the 20th century.
expulsion, and extermination (e.g. Ref- Sex: Popular Entertainment between Vien-
uge from the Gestapo “)“קנארפ הנא התוא. In na, Budapest and New York around 1900.
an alternative version of the diary of Anne She has held fellowships with the OeAD and
Frank, the illustrators and writers Folman the David-Herzog-Fonds in Jerusalem, New
and Polonski penned an alternative ending York, Tübingen, and Vilnius and taught as
to Anne Frank’s life story (“קנרפ הנא, ןמויה visiting faculty at the Andrássy University
)”יפרגה, thereby introducing fantasy to the Budapest and University of Haifa. Joël Kotek teaches at the Free Uni-
canon of Holocaust comics and graphic nov- versity of Brussels (ULB) and the Institut
els in Israel. d’Etudes Politiques de Paris. He was the
In the 151-page graphic novel, approxi- head of the formation Department at the
mately 1000 illustrations reassemble Anne Mémorial de la Shoah/Centre de Documen-
Frank’s life story. These illustrations draw tation juive contemporaine in Paris (2003-
from illustrations style of the early twentieth 2006) and is, since, 2003, the Belgian cor-
century and were published with a French respondent of the Moshe Cantor Center on
text almost simultaneously to the one in Anti-Semitism and Racism and hold in the
Hebrew. The pictures are painful realistic Free University of Brussels (ULB) a course
and refer to the book burnings equally as to on European History, East and Central Eu-
Anne Frank witnessing the Gestapo arrest- ropean history and Holocaust and genocides
ing and picking up a Jewish woman from in the 20th Century. Dr Kotek has authored
her home. Likewise, the illustrations include a number of important publications, includ-
a fictional version of her life – they create a ing:
narrative layer that reveals imaginations and - La Shoah dans la Bande dessinée, Denoël,
a life Anne Frank would have wished for. Paris 2017
Hence, Folman and Polonski create an im- - Mickey à Gurs, les cahiers de Horst Rosen-
pressive composition between discourses of thal, Calmann-Lévy, Paris, 2014, with D.
historiography and approaches of Holocaust Pasamonik.
education and bridge to questions strongly - Dictionnaire de la Shoah, Larousse, Paris
discussed in the Israeli society today, such 2009, with G. Bensoussan, J-M. Dreyfus, E.
as how could the Holocaust become an iden- Husson
tification of young Israeli generations. - Cartoon and Extremism, The Jews and Is-
In this contribution, I examine examples of rael in the contemporary Arab and West-
Hebrew graphic novels that deal with child- ern caricature, Vallentine Mitchell, London,
hood and the Holocaust and that were pub- 2008 with the help of the EJC, the ADL.
lished in Israel. I delve into the example of Preface by Antony Julius, Alan Dershowitz.
the bestselling alternative diary of Anne - La carte postale antisémite de l’affaire
Frank by Folman and Polonski. Based on Dreyfus à la Shoah, Berg international,
approaches from cultural studies, I ask how Paris, 2006, with G. Silvain
images illustrate the “un-illustratable” in - Au nom de l’Antisionisme. Le Juif et Is-
order to meaningfully address young Israe- raël dans la caricature arabe depuis la sec-
lis. onde intifada, Complexe, Bruxelles, 2003
and 2005.
12Laurike in ‘t Veld (Rotterdam): Laurike in ‘t Veld is a lecturer at the Pascal Lefèvre (Brussels):
Holokitsch? Erasmus School of History, Culture and A Re-Reading of Bernard Krigstein’s
Nazi Perpetrators in Holocaust Comics Communication and a research associate at Master Race
the Centre for Historical Culture, Erasmus
The character of the ‘evil Nazi’ is a recur- University Rotterdam. She is the author of Master Race, a short story of 8 pages by Al
ring figure in popular cultural depictions The Representation of Genocide in Graphic Feldstein and Bernie Krigstein (both of Jew-
of the Holocaust. Monstrous, sadistic, and Novels: Considering the Role of Kitsch (Pal- ish antecendent), was one of the first comics
morally detached, these figures are clear- grave Macmillan, 2019). that dealt explicitly with the Holocaust at a
ly depraved, but through their aestheticised time when this topic was seldom represent-
appearance and limitless power they can ed in American culture (Medoff 2018: 14).
also become appealing. In this paper I ex- At the time of its publication, in March 1955
plore some of these evil Nazi perpetrators in (in the first issue of a new comic book se-
contemporary Holocaust comics, including ries of EC, called Impact), it was hardly no-
Pascal Croci’s Auschwitz (2002), through ticed (Sadowski 2002: 191). A few years later
the lens of kitsch. I examine the interac- Krigstein would stop working in the comics
tion between excess and simplification that industry. Two decades later in the EC-fan-
underlies the construction of these charac- Pascal Lefèvre (PhD in Social Scienc- zine Squa Tront, John Benson, David Kask-
ters. In contrast, I demonstrate that many es) is Special Guest Professor in the Arts at ove and Art Spiegelman published a detailed
comics, like Reinhard Kleist’s The Boxer LUCA School of Arts (campus Sint-Lukas formal analysis of Master Race, which was
(2014), offer a more nuanced depiction that Brussels, Belgium). The last twenty years later republished and translated. Togeth-
works against the Manichean tendencies of has published widely on visual culture and er with republications of Krigstein’s comics
Holokitsch. These comics complicate the foremost on graphic narratives. In 2018 he and the monograph by Sadowski, the artist
model of the fetishised evil Nazi through has contributed to books like Drawn from became canonized as one of greatest of the
various visual and narrative strategies, in- Life. Issues and Themes in Animated Docu- field. It is especially Master Race that is con-
cluding anonymising the perpetrators and mentary, (À SUIVRE) Archives d’une revue sidered as his magnus opus and whose orig-
offering a more comprehensive view of dif- culte, and Empirical Comics Research. Digi- inal art was sold recently for $600,000 to
ferent perpetrator positions and issues tal, Multimodal, and Cognitive Methods. the Boon Foundation for Narrative Graph-
around complicity. ic Arts in Belgium.Though the analysis in
Squa Tront is already considerably detailed,
I believe that there are still other aspects to
pay attention to: I will propose another per-
spective (the cinematic 180-degree rule) to
explain some of the main effects of Krig-
stein’s visualization of Feldstein’s narrative.
13Sarah Lightman (London): Sarah Lightman is an artist, writer and Martin Lund (Stockholm):
We Are On Our Own – an Example of curator. Her first graphic novel is her recently Superheroes and the Shoah
Feminist Rape Art published autobiography, The Book of Sarah On the “Hyper-Americanization” of the
(Myriad Editions/ Penn State University Press
Holocaust
Today I will focus on the mass rape scene in 2019). She studied at The Slade School of Art
We Are On Our Own (Drawn and Quarterly for her BA and MFA, and the University of
2006), a graphic novel by Miriam Katin. Glasgow for her PhD, and she is currently The Holocaust is today a frequent concern
In contrast to the heroic and romanticised an Honorary Research Fellow at Birkbeck, of comics creators and audiences alike and
portrayals of rape in the paintings of Nicolas University of London. Sarah was co-curator will likely remain so. As such, it is important
Poussin, in these pages Katin has produced of “Graphic Details: Confessional Comics to consider what this interest means from a
important feminist art about rape and I by Jewish Women” (2010-2016), an interna- larger, cultural perspective. This paper looks
place Katin’s work in conversation with the tionally touring exhibition that opened in at Magneto and the series Chutz-Pow! Super-
prints of German artist Käthe Kollowitz. In nine museums in four continents. She edited heroes of the Holocaust, published in three
Kollwitz: Woman and Artist, Martha Kearns Graphic Details: Jewish Women’s Confessional volumes by the Holocuast Center of Pitts-
argues Kollwitz’s print Raped (1907) “is one Comics in Essays and Interviews (McFarland burgh and focused on “The Upstanders,” “In-
of the earliest pictures in Western art to 2014) that was awarded the 2015 Will Eisner
ternational Heroes,” and “The Young Survi-
depict a female victim of sexual violence sym- Award for Best Scholarly/Academic Book,
vors.” In both cases, the rhetorical intersec-
pathetically and from a woman’s point of view The 2015 Susan Koppelman Award for Best
[…]” (1976: 104). I conclude by reflecting on Feminist Anthology, and An Honorable Men- tions of Holocaust and superhero are mo-
how my academic research into Katin’s work tion for Jordan Schnitzer Book Award (Jews mentary, fleeting: comics featuring Magneto
inspired my own contribution to Drawing and The Arts). Sarah is co-editing Bodies and have over the past decade increasingly used
Power: Women’s Stories of Sexual Violence, Borders in Jewish Women’s Comics (Syracuse Holocaust references as a dramatic rhetorical
Harassment, and Survival edited by Diane University Press 2020). bludgeon with little or no substance or con-
Noomin (Abrams 2019). www.sarahlightman.com nection to the histories they claim; Chutz-
Pow! uses a language of superheroism as a
thin scrim over historical stories in order to
make claims about what we can learn from
Martin Lund , is a Senior lecturer of re- the Holocaust. Using these examples, this
ligion at the Department of society, culture, paper argues that we might be seeing a form
and identity at Malmö university in Malmö, of “hyper-Americanization” of the Holocaust
Sweden. He holds a PhD in Jewish studies in certain superhero fictions.
form Lund university. His research focus-
es on the intersections of religion, identi-
ty, place and place, or ideology and comics.
Recent and upcoming publications include
Re-Constructing the Man of Steel: Super-
man 1938–1941, Jewish American Histo-
ry, and the Invention of the Jewish–Comics
Connection (Palgrave 2016), Muslim Super-
heroes: Comics, Islam, and Representation
(Harvard University Press/ILEX Founda-
tion; co-edited with A. David Lewis); and
Unstable Masks: Whiteness and the Amer-
ican Superhero (forthcoming from Ohio
State University Press; co-edited with Sean
Guynes). He is also co-editor of the book se-
ries Panel by Panel: Critical Comics Studies
(University of Nebraska Press).
14Georg Marschnig (Graz): quirements of the new school curriculum on Dana Mihăilescu (Bucharest):
Holocaust Education with Comics? the one hand, with the opinions of school ex- Confronting the Shadow of the
Qualitative Explorations among perts on the other in order to further explore Holocaust through Transcultural
Austrian History Teachers. the entanglements of Holocaust Education, Memory Networks
Comics and Historical Learning. Martin Lemelman’s Mendel’s Daughter
Despite the growing interest of historical re- (2006) and Two Cents Plain (2010)
search and the increasing attention of the
history-didactic community, comics have not Georg Marschnig is Senior Lectur- My paper examines two graphic memoirs by
really arrived in everyday history lessons, yet. er for the Didactics of History (Universi- Martin Lemelman that bring together two
In any case, this suggests a cursory review of ty of Graz, since 2012). Currently, he holds different points of view about the Holocaust
the Austrian history textbook landscape. Al- a scholarship of the Habilitation Forum for and Jewish identity: Mendel’s Daughter
though this is likely to change as a result of Subject Didactics and Teaching Research at (2006) focuses on the Holocaust from the
the recent curriculum novella, which explic- the University of Graz and works on the en- perspective of the author’s mother, a Hol-
itly demands working with comics (though tanglements of historical learning, multiper- ocaust survivor, as passed down to the son
limited to the ancient world), little is known spectivity and language skills. A secondary born after the end of World War II; its fol-
about the attitudes of history educators to- school teacher from 2009 to 2018, he col- low-up, Two Cents Plain: My Brooklyn Boy-
wards the use of comics in history lessons. lected profound experiences in Holocaust hood (2010), continues the story of Lemel-
Since Jürgen Pandel's first didactic approach- Education concerning diverse methodical man’s family through the author’s Brooklyn
es to the comic genre in 1993, an ever-grow- and didactical approaches. He has published boyhood. This new book references back the
ing number of publications on historical on several issues of History Didactics and role of the Holocaust in the author’s early
learning with comic books can be identi- Memory Studies. years by drawing on memories, artifacts and
fied, which for the most part express them- recordings of his mother, father and other
selves very positively on the comic-generated family members, especially the mother’s
historical learning effects. Additionally, due being haunted by the Holocaust and shtetl
to the great popularity of the graphic novel superstitions and the father pining for the
genre, a huge stock of productions has been good old days in Stalin’s army. It also high-
created, dealing with historical contexts. lights the second generation’s malaise in
Consequently, there is an inevitable need for the escalading anti-Semitic atmosphere of
history lessons to respond to this "new" me- Dana Mihailescu is associate profes- 1950s-1960s U.S. I consider the two graph-
dium in the negotiation of history. Howev- sor of English/American Studies at the Uni- ic narratives in view of examining how the
er, how do history teachers react on this new versity of Bucharest, Romania. Her main entanglements of transcultural memories of
challenge? Is there a willingness to deal with research interests include Jewish Ameri- the Holocaust deployed therein illuminate
the new medium in the classroom? Are they can Studies, Holocaust (survivor) testimo- an awareness of multi-layered World War II
able to deal with comics professionally? nies, trauma, ethics and memory. She is experiences and their lingering legacies in
The submitted contribution would like to in- the author of articles in Shofar (forthcom- second-generation narratives.
vestigate these questions by discussing expert ing), Journal of Modern Jewish Studies, East
interviews with teachers at Graz secondary European Jewish Affairs, French Cultural
schools. The teachers are asked about their Studies, American Imago, Studies in Comics
experiences with comics and historical learn- and, most recently, of the monograph East-
ing and are invited to give their opinion on ern European Jewish American Narratives,
the potentials of comics in Holocaust Educa- 1890-1930: Struggles for Recognition (Lex-
tion. Based on the presentation of some ex- ington, 2018).
amples (such as Die Flucht, Maus, Auschwitz
and Anne Frank), the teachers should evalu-
ate the possibilities of teaching the Holocaust
with it and estimate the expected student re-
actions. Finally, they are confronted with the-
ses of history didactics research on learning
with comics and asked to comment on them.
Thus, an attempt is being made to confront
the rather positive statements of didactical
research on working with comics and the re-
15Jens Rasmus Nielsen (Hamburg): path. So, as soon as there won’t be any con- Didier Pasamonik (Paris):
What’s Left to Go Untold temporary witnesses available any longer as From the Dreyfus Affair to Maus, a
The Importance of Being Subjective guides, there will be no “human factor” to short history of the animalisation of
serve as an intermediary any more; the “his- the representation of the Jews
Two assumptions: torical facts” and the “individual self” will
1.) “Given the fact that ‘graphic literature’ no longer connect that easily. And the no- Animalization is old as the fable. How does
should always – among its other achieve- tion that novels, movies, or comics may be- it affect the image of the Jews and how this
ments – also entertain [‘arouse curiosity’; come substitutes for contemporary witness- representation is structured, from its rac-
‘guide and instruct’; ‘provide an enlight- es might lead astray, at least wherever its ist and antisemitic phase to its memorial di-
ening thrill’], the most ‘interesting’ mate- authors aim mainly at the imparting of his- mension in the Maus of Art Spiegelman.
rial for visual storytellers probably still re- torical facts. One has to take into account
mains unearthed, somewhat buried among the needs of a young audience as well – and
the reports from contemporary witnesses those needs might very often have, in a
preserved in the archives of concentration world where information usually is just one
camp memorials.” – Why’s that? Because click away, to do with “escapism”.
those ‘interesting’ reports often don’t apply
to the scientific rule, or guideline, that every So, the question if [and, if “yes”, how] the
statement has to be verified by a second wit- Holocaust is “representable” within the nar-
ness, or another unrelated source; wherefore rative form we call “comic” should always Didier Pasamonik is a Belgian pub-
they would not get included into the pub- be discussed with the human basic need for lisher, journalist and curator. He is a well-
lications of historians and archivists work- “telling stories” in mind – and for the other known expert in comics, who contributes
ing and researching in said institutions. But need, the need for “getting stories told”, as to a variety of magazines and newspapers.
even if what is told in those reports may well. Pasamonik is the author of several essays
never achieve verification by means of sci- about caricature, comics and popular cul-
ence, there’s still one question that shouldn’t ture. In addition to being the CEO of Actu-
be overlooked: “How, why, to what purpose aBD.com, the first website of reference on
and under which circumstances have such Jens R. Nielsen studied German phi- comics in France, he also teaches at the Hol-
often deeply personal-tinted reports been lology, philosophy, and classical archeology ocaust Memorial in Paris.
put down on paper?” This question might at Hamburg University. In 1989 he was one
gain importance when, within the next one of the founding members of Arbeitsstelle für
or two decades, the Holocaust is at risk to Graphische Literatur (ArGL; research center
become a “cold” historical fact – something for visual storytelling at Hamburg Univer-
we may know a lot about, without being sity). He worked in various roles (from in-
emotially involved any longer. betweener to line-producer) for quite a few
studios within the animation industry (do-
2.) “If you want today’s youth – pupils and mestic and abroad), was lecturing „De-
students – to develop an interest in the Hol- sign“ and „Visual Storytelling“ at Animation
ocaust, you should be prepared to answer School Hamburg (from 1998 until 2015),
the question how such a ‘historic’ subject and has teaching assignments for various
relies to their own lives and actual experi- German colleges and Universities of Applied
ences.” – During the run of a teaching unit Sciences (f.i. Münster, Braunschweig, Flens-
with an advanced course in arts at a gram- burg). Nielsen still illustrates occasional-
mar school in Hamburg a couple of years ly, he translates („Usagi Yojimbo“, „Sláine“),
ago I have been able to observe how human and he writes on manga, movies, and about
beings develop a distaste against any given genres. His latest publication is „Comics
subject – as soon as they believe that it has gegen Nazis? Geht das?“ (mpz Hamburg
been imposed upon them against their will. 2017, co-edited with Gerhard Brockmann).
To make them accept such a subject they Since 2013 Nielsen is member of the board
have to have an opportunity to find an ap- of speakers of Deutscher Kulturrat repre-
proach of their own. And usually it isn’t senting the German society of illustrators,
enough to just provide them with informa- Illustratoren Organisation (IO), which he
tion and let them search in the dark for a co-founded in 2002.
16Kees Ribbens (Amsterdam): Kees Ribbens is senior researcher at Sarah Lightman (London), Marie Schröer
Visualizing the final stage of geno- NIOD Institute for War, Holocaust and (Landau), Véronique Sina (Cologne), Mark-
cide. August Froehlich’s early rep- Genocide Studies in Amsterdam and en- us Streb (Gießen):
resentation of the Holocaust in se- dowed professor of Popular historical cul- Panel Discussion: Postmemory,
quential art ture & War at Erasmus University Rotter- Gender and (Auto-)Biography
dam. He studied Modern History at Rad-
Maus, Art Spiegelman’s monumental work, boud University Nijmegen and obtained his As a matter of fact, only very few comics
is often not only considered to be the most PhD at Utrecht University in 2001 after de- have been created by or in close collabora-
canonical comic strip about the Holocaust, fending his dissertation on popular histor- tion with survivors of the Shoah. Howev-
but it is also regularly considered to be the ical consciousness in the Netherlands. Rib- er, since the early 2000s there is a growing
oldest comic on the destruction of Euro- bens worked as a researcher and lecturer at number of (auto-)biographical comics, many
pean Jewry. Research in recent years has Utrecht University, Radboud University Ni- of which were done by members of the sec-
shown that comics on this subject were al- jmegen and Erasmus University Rotterdam. ond and third generation. Such comics are
ready produced during the Nazi era, both in He was managing editor of the journal Tijd- obviously influenced by Art Spiegelman’s
countries that were directly confronted with schrift voor Geschiedenis and is member of MAUS. A Survivor’s Tale (1986/1991) but
the reality of National Socialist ideology as the editorial board of European Comic Art. can furthermore be read in the context of
well as in other, non-occupied nations. To Popular historical culture and public history drawings and image series from the camps
what extent we now have a complete picture in the broadest sense of the term are among and ghettos.
of all comic strips that, to a substantial ex- his key interests. His interest includes both We will shortly present and discuss art by
tent, refer to the Holocaust is still very much the history of WWII and the memories and Charlotte Salomon, Joe Kubert’s Yossel,
the question. Relevant comic strips that ap- representations of war and mass violence in April 19, 1943: A Story of the Warsaw Ghet-
peared in book form (such as the albums the twentieth and twenty-first century. He to Uprising (2003), Miriam Katin’s We are
in the Franco-Belgian comics context) are has published widely on the representation on our own (2006), Michel Kichka’s Deux-
probably the easiest to identify, while short- of war in comics / graphic novels. ième Génération. Ce que je n’ai pas dis à
er or serialized comic strips in magazines mon père (2012), Ari Folman and David Po-
are generally much less easy to oversee. In lonsky’s Anne Frank’s Diary: The Graph-
addition, comics have also appeared in pub- ic Adaptation (2017) as well as Nora Krug’s
lications that are less obvious (or less famil- Belonging (2018). Our session addresses the
iar) from the point of view of contemporary interrelations and intersections between
comics studies. An example of this is the Marie Schröer is a research assistant postmemory, (auto-)biography and gender.
work of August Froehlich, an American art- and lecturer (French literary and cultural We will discuss the popularity of (auto-)bio-
ist who not only worked as an illustrator in studies) at the University of Koblenz-Lan- graphical comics about the Shoah, their po-
the film industry but also earned his spurs dau. Her publications focus on contempo- tential and limits concerning the concept of
as an author of realistic and fictional Amer- rary French literature (auto-fiction and au- postmemory as well as the gendered impli-
ican comic books. In 1944, somehow linked tobiography), cultural semiotics and com- cations they have to offer.
to this, he created the first documentary se- ics/bande dessinée. She has earned a PhD
quential narrative about the final phase of from Potsdam University for her disserta-
the Holocaust as part of a political brochure tion on autobiographical comics (Terrain
aimed at a US audience. In my presentation, de Je – Zum Wechselspiel zwischen Comic,
I will discuss this forgotten work and aim to Autobiografie und Bildungsroman), co-
reflect on these more hybrid manifestations hosts the Berlin Comic-Kolloquium (www.
of comic art, in particular in the early dec- comic-kolloquium.de), writes comic reviews
ades when the recognizable forms of comic for the German newspaper Tagesspiegel,
strips was less standardized than in later and is a member of various comic-related
decades. jurys (Comic-Stipendium des Berliner Sen-
ats, Lion-Feuchtwanger-Stipendium, Gin-
co-Award) and of the German Society of
Comics Studies (ComFor).
17Samantha Baskind , Professor of Art Gerald Lamprecht (PhD Univer- Markus Streb earned the first Staats-
History at Cleveland State University, is the sity of Graz) is professor for Jewish Histo- examen for teaching English and Politics &
author of five books, including The War- ry and Contemporary History and head of Economy in Gießen in 2014. Subsequent-
saw Ghetto in American Art and Culture the Center for Jewish Studies f the Univer- ly, he continued his studies in Marburg and
(2018), Jewish Artists and the Bible in Twen- sity of Graz. His research interests include Bochum. In 2015, he started his doctor-
tieth-Century America (2014), Jewish Art: Jewish history in the 19th and 20th centu- al thesis on gender constructions in comics
A Modern History (2011), Encyclopedia of ry in Central Europe, history of the Jewish about the Shoah, which he is still working
Jewish American Artists (2007), and Raph- soldiers in World War I, national socialism on. His research is funded by Hans-Böck-
ael Soyer and the Search for Modern Jew- and the persecution of the Jews and Mem- ler-Foundation. He is member of the Com-
ish Art (2004). She is also co-editor of The ory Studies. Amongst others he is co-editor mittee for Comics Studies at the German
Jewish Graphic Novel: Critical Approaches of the volumes Jewish Soldiers in the Collec- Society for Media Studies (GfM) as well as
(2008), the foundational volume in the field. tive Memory of Central Europe. The Remem- a member of the German Society of Comics
Dr. Baskind has published over 100 arti- brance of World War I from a Jewish Per- Studies (ComFor).
cles and reviews in encyclopedias, academic spective, Böhlau: Vienna-Cologne-Weimar He is also doing research on popular cul-
journals, museum catalogues, and the pop- 2019. (with Eleonore Lappin-Eppel, Ulrich ture, Jewish life in rural Hessen in the late
ular press. She served as editor for U.S. art Wyrwa) 19th and first half of the 20th century,
for the 22-volume revised edition of the En- media reflections of anti-Semitism, as well
cyclopaedia Judaica and is currently series Véronique Sina is a Research Asso- as the role of women in the far-right in Ger-
editor of Dimyonot: Jews and the Cultural ciate at the Department of Media Culture many.
Imagination, published by Penn State Uni- and Theatre (Institut für Medienkultur und
versity Press. Theater) at the University of Cologne. She Olaf Terpitz (PhD University of Leip-
obtained her PhD in Media Studies at the zig, Habilitation University of Vienna)
University of Bochum with her dissertation: teaches Jewish literatures at the Center for
Comic – Film – Gender. Zur (Re-)Medialis- Jewish Studies at the University of Graz.
Kalina Kupczynska is Research As- ierung von Geschlecht im Comicfilm (tran- His research interests include Comparative
sociate at the University of Lodz, Institute script 2016). As a postdoctoral researcher literature studies, Jewish cultures in East-
for German Philology. She was DAAD-, she is working in the realm of Gender and ern and Central Europe, European-Slav-
Franz-Werfel- and Alexander-von-Hum- Queer Studies, Media Studies, Visual Stud- ic-Jewish encounters, translation and trans-
boldt-Fellow at the University of Frankfurt/ ies, Holocaust Studies and Jewish Cultural formation. He has published widely in the
Main, Vienna and Berlin (FU). She is co-ed- Studies. Since October 2017 she is an Asso- field of European-Jewish literature studies.
itor of Comic in Polen, Polen im Comic. ciate Member (Postdoc) of the DFG Grad- Amongst others he is co-editor of the vol-
Berlin: Ch. A. Bachmann 2016 and of Au- uate Research Group "Das Dokumenta- umes Jüdische Räume und Topographien in
tobiografie intermedial. Fallstudien zur Lit- rische. Exzess und Entzug" (“Documenta- Ost(mittel)europa. Konstruktionen in Liter-
eratur und zum Comic. Bielefeld: Aisthe- ry Practices: Excess and Privation”). She is atur und Kultur (with Klavdia Smola, 2014),
sis 2019, among others. She is currently the co-founder and the spokesperson of the Ivan Franko und die jüdische Frage in Gali-
working on her book (Habilitationsschrift) Committee for Comics Studies at the Ger- zien (with Alois Woldan, 2016), Concepts of
Wahre / Maskeraden. Autobiografische man Society for Media Studies (GfM) and Translation (with Marianne Windsperger, In
Schreibweisen in Comics und Graphic Nov- the vice president of the German Society of geveb. A Journal of Yiddish Studies, [to ap-
els (tentative title). Since 2019 she is co-ed- Comics Studies (ComFor) as well as a mem- pear 2019]), as well as co-editor of the book
iting, with Renata Makarska, Handbuch ber of the Comics Studies Society (CSS). series of the Center for Jewish Studies Graz
der polnischen Comickulturen nach 1989, a and of the book series Wiener Galizien-Stu-
compendium of the Polish Comics Culture dien.
after 1989 (to be published November/De-
cember 2020).
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