{"id":{"repo_id":"calgary","oai_identifier":"oai:ucalgary.scholaris.ca:11023/2640"},"canonical_url":"https://search.dev.ndltd.org/etd/calgary/oai:ucalgary.scholaris.ca:11023/2640","repository":{"repo_id":"calgary","name":"University of Calgary","base_url":"https://ucalgary.scholaris.ca/server/oai/request"},"display":{"title":"Traumatic Appropriation in Maus and In The Shadow of No Towers","abstract":"There are immense ethical concerns surrounding depicting another’s trauma and turning another’s trauma into a commodity for sale in the marketplace. Of these problems, competition and the denigration of the narratives of trauma sufferers are two of the most pervasive problems. Though comics are often considered low art – unfit for serious themes – through an examination of Art Spiegelman’s In the Shadow of No Towers and Maus, this thesis explores how one can utilize structural qualities of comics to create a moral depiction of trauma by embracing intertextuality and duplicating the structures of trauma. Intertextuality can allow an artist to deploy the cultural capital of certain traumatic events towards the recognition of other traumatic events.","abstract_html":"There are immense ethical concerns surrounding depicting another’s trauma and turning another’s trauma into a commodity for sale in the marketplace. Of these problems, competition and the denigration of the narratives of trauma sufferers are two of the most pervasive problems. Though comics are often considered low art – unfit for serious themes – through an examination of Art Spiegelman’s In the Shadow of No Towers and Maus, this thesis explores how one can utilize structural qualities of comics to create a moral depiction of trauma by embracing intertextuality and duplicating the structures of trauma. Intertextuality can allow an artist to deploy the cultural capital of certain traumatic events towards the recognition of other traumatic events.","abstract_has_math":false,"creators":["Nolan, Liam"],"institution":"Graduate Studies","degree_name":"Master of Arts (MA)","degree_level":null,"degree_discipline":"English","degree_department":null,"school":null,"contributors":[],"advisors":["Beaty, Bart"],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-11-18","date_published":"2015-11-18","updated_at":"2026-07-24T01:30:29Z","subjects":["Literature--Comparative"],"languages":["eng"],"rights":["University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier.doi","label":"DOI","values":["http://dx.doi.org/10.11575/PRISM/28520"],"render_values":[{"text":"http://dx.doi.org/10.11575/PRISM/28520","href":"http://dx.doi.org/10.11575/PRISM/28520","code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/11023/2640","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Beaty, Bart"]},{"key":"dc:creator","label":"Author","values":["Nolan, Liam"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2015-11-18T18:20:08Z"]},{"key":"dc:date.issued","label":"Date","values":["2015-11-18"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Calgary"]},{"key":"dc:type","label":"Dc Type","values":["master thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (MA)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Calgary"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Literature--Comparative"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.doi","label":"DOI","values":["http://dx.doi.org/10.11575/PRISM/28520"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11023/2640"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["There are immense ethical concerns surrounding depicting another’s trauma and turning another’s trauma into a commodity for sale in the marketplace. Of these problems, competition and the denigration of the narratives of trauma sufferers are two of the most pervasive problems. Though comics are often considered low art – unfit for serious themes – through an examination of Art Spiegelman’s In the Shadow of No Towers and Maus, this thesis explores how one can utilize structural qualities of comics to create a moral depiction of trauma by embracing intertextuality and duplicating the structures of trauma. Intertextuality can allow an artist to deploy the cultural capital of certain traumatic events towards the recognition of other traumatic events."]},{"key":"dc:title","label":"Title","values":["Traumatic Appropriation in Maus and In The Shadow of No Towers"]}]}],"canonical_facts":{"dc:contributor.advisor":["Beaty, Bart"],"dc:creator":["Nolan, Liam"],"dc:date.accessioned":["2015-11-18T18:20:08Z"],"dc:date.issued":["2015-11-18"],"dc:description.abstract":["There are immense ethical concerns surrounding depicting another’s trauma and turning another’s trauma into a commodity for sale in the marketplace. Of these problems, competition and the denigration of the narratives of trauma sufferers are two of the most pervasive problems. Though comics are often considered low art – unfit for serious themes – through an examination of Art Spiegelman’s In the Shadow of No Towers and Maus, this thesis explores how one can utilize structural qualities of comics to create a moral depiction of trauma by embracing intertextuality and duplicating the structures of trauma. Intertextuality can allow an artist to deploy the cultural capital of certain traumatic events towards the recognition of other traumatic events."],"dc:identifier.doi":["http://dx.doi.org/10.11575/PRISM/28520"],"dc:identifier.uri":["http://hdl.handle.net/11023/2640"],"dc:language.iso":["eng"],"dc:publisher.institution":["University of Calgary"],"dc:rights":["University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission."],"dc:subject":["Literature--Comparative"],"dc:title":["Traumatic Appropriation in Maus and In The Shadow of No Towers"],"dc:type":["master thesis"],"thesis:degree_discipline":["English"],"thesis:degree_name":["Master of Arts (MA)"],"thesis:institution_name":["University of Calgary"]},"updated_at":"2026-07-24T01:30:29Z"}