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Books by Ole Frahm
Beyond MAUS is a collection of essays about Holocaust Comics, firstly presented on a conference a... more Beyond MAUS is a collection of essays about Holocaust Comics, firstly presented on a conference at the Center for Jewish Studies, Graz 2019.
This book contains texts of the group Ligna, that invented the so-called Radioballet and develope... more This book contains texts of the group Ligna, that invented the so-called Radioballet and developed a certain performative radio listening. Here is the content and the article Hört die anderen Wellen!
The book explores the aesthetics of comics, reading them as 'structural parodies' of referentiali... more The book explores the aesthetics of comics, reading them as 'structural parodies' of referentiality. Works discussed include Yellow Kid, Old Doc Yak, Krazy Kat, Tintin, Entertaining Comics, Mickey Mouse, Nick der Weltraumfahrer, Digedags and by Atak, Robert Crumb, Julie Doucet, Jacques Tardi.
Chapters:
Introduction
Part one: Elements of a parodic aesthetic
Figure
Gutter
Line
Panel
Part two: Politics of a parodic aesthetic
History
Myth
Stereotype
Decapitation
Reprise
Too much is too much.
A close reading of Art Spiegelman's seminal graphic novel 'MAUS - A Survivor's Tale', giving a br... more A close reading of Art Spiegelman's seminal graphic novel 'MAUS - A Survivor's Tale', giving a broader context concerning the discussion of the representation of the Holocaust. Topics like the mouse masks, autobiography, the testimony, the mediality of the comic book and how to remember the Holocaust are discussed.
Chapters
Introduction.
1. Identity
2. History
3. Remebrance
Papers by Ole Frahm
DIAPHANES eBooks, Apr 22, 2015
transcript Verlag eBooks, Dec 31, 2011
transcript Verlag eBooks, Dec 31, 2009
The book collects different perspectives on representations of the Holocaust in serial images, es... more The book collects different perspectives on representations of the Holocaust in serial images, especially comics from 1940 to today.
MEDIENwissenschaft: Rezensionen | Reviews, Mar 28, 2019
Illustrations: David Polosky, 2023
An article mainly about the aesthetics of David Polonsky's Graphic Novel The Diary of Anne Frank.
Frauen Kunst Wissenschaft. Festschrift für Kathrin Hoffmann-Curtius, 1997
Ausgehend von Judith Butlers Excitable Speech the article provides a reading of Art Spiegelman's ... more Ausgehend von Judith Butlers Excitable Speech the article provides a reading of Art Spiegelman's works
Superman and Golem. Comics as a Medium of Jewish Rememberance., 2008
A short exploration about the Aesthetics of MAUS. A Survivor's Tale by Art Spiegelman, discussing... more A short exploration about the Aesthetics of MAUS. A Survivor's Tale by Art Spiegelman, discussing it in the context of other works.
Closure 6.5 , 2020
Ole Frahm (Frankfurt a. M.) Aufsatztitel Differenz und Wiederholung der autobiografischen Comicf... more Ole Frahm (Frankfurt a. M.) Aufsatztitel Differenz und Wiederholung der autobiografischen Comicfigur in den gemeinsamen Arbeiten von Aline Kominsky-Crumb und Robert Crumb Journal Closure. Kieler e-Journal für Comicforschung #6.5 (2020)-www.closure.uni-kiel.de Empfohlene Zitierweise Ole Frahm: »How could anyone say that our work is repetitious.« »I yam what I yam an' thass al I yam…«. Differenz und Wiederholung der autobiografischen Comicfigur in den gemeinsamen Arbeiten von Aline Kominsky-Crumb und Robert Crumb. In: Closure.
Closure, 2018
An exploration of the self-referentiality of comics with examples like The Heap, Batman, Jaques T... more An exploration of the self-referentiality of comics with examples like The Heap, Batman, Jaques Tardie.
Künstlerische Forschung. Ein Handbuch
'Holocaust'-Fiktion, 2015
Beyond MAUS is a collection of essays about Holocaust Comics, firstly presented on a conference a... more Beyond MAUS is a collection of essays about Holocaust Comics, firstly presented on a conference at the Center for Jewish Studies, Graz 2019.
This book contains texts of the group Ligna, that invented the so-called Radioballet and develope... more This book contains texts of the group Ligna, that invented the so-called Radioballet and developed a certain performative radio listening. Here is the content and the article Hört die anderen Wellen!
The book explores the aesthetics of comics, reading them as 'structural parodies' of referentiali... more The book explores the aesthetics of comics, reading them as 'structural parodies' of referentiality. Works discussed include Yellow Kid, Old Doc Yak, Krazy Kat, Tintin, Entertaining Comics, Mickey Mouse, Nick der Weltraumfahrer, Digedags and by Atak, Robert Crumb, Julie Doucet, Jacques Tardi.
Chapters:
Introduction
Part one: Elements of a parodic aesthetic
Figure
Gutter
Line
Panel
Part two: Politics of a parodic aesthetic
History
Myth
Stereotype
Decapitation
Reprise
Too much is too much.
A close reading of Art Spiegelman's seminal graphic novel 'MAUS - A Survivor's Tale', giving a br... more A close reading of Art Spiegelman's seminal graphic novel 'MAUS - A Survivor's Tale', giving a broader context concerning the discussion of the representation of the Holocaust. Topics like the mouse masks, autobiography, the testimony, the mediality of the comic book and how to remember the Holocaust are discussed.
Chapters
Introduction.
1. Identity
2. History
3. Remebrance
DIAPHANES eBooks, Apr 22, 2015
transcript Verlag eBooks, Dec 31, 2011
transcript Verlag eBooks, Dec 31, 2009
The book collects different perspectives on representations of the Holocaust in serial images, es... more The book collects different perspectives on representations of the Holocaust in serial images, especially comics from 1940 to today.
MEDIENwissenschaft: Rezensionen | Reviews, Mar 28, 2019
Illustrations: David Polosky, 2023
An article mainly about the aesthetics of David Polonsky's Graphic Novel The Diary of Anne Frank.
Frauen Kunst Wissenschaft. Festschrift für Kathrin Hoffmann-Curtius, 1997
Ausgehend von Judith Butlers Excitable Speech the article provides a reading of Art Spiegelman's ... more Ausgehend von Judith Butlers Excitable Speech the article provides a reading of Art Spiegelman's works
Superman and Golem. Comics as a Medium of Jewish Rememberance., 2008
A short exploration about the Aesthetics of MAUS. A Survivor's Tale by Art Spiegelman, discussing... more A short exploration about the Aesthetics of MAUS. A Survivor's Tale by Art Spiegelman, discussing it in the context of other works.
Closure 6.5 , 2020
Ole Frahm (Frankfurt a. M.) Aufsatztitel Differenz und Wiederholung der autobiografischen Comicf... more Ole Frahm (Frankfurt a. M.) Aufsatztitel Differenz und Wiederholung der autobiografischen Comicfigur in den gemeinsamen Arbeiten von Aline Kominsky-Crumb und Robert Crumb Journal Closure. Kieler e-Journal für Comicforschung #6.5 (2020)-www.closure.uni-kiel.de Empfohlene Zitierweise Ole Frahm: »How could anyone say that our work is repetitious.« »I yam what I yam an' thass al I yam…«. Differenz und Wiederholung der autobiografischen Comicfigur in den gemeinsamen Arbeiten von Aline Kominsky-Crumb und Robert Crumb. In: Closure.
Closure, 2018
An exploration of the self-referentiality of comics with examples like The Heap, Batman, Jaques T... more An exploration of the self-referentiality of comics with examples like The Heap, Batman, Jaques Tardie.
Künstlerische Forschung. Ein Handbuch
'Holocaust'-Fiktion, 2015
The Journal of Holocaust Research, 2020
This article traces figures of the Muselmann in comics and graphic novels from 1942 to the presen... more This article traces figures of the Muselmann in comics and graphic novels from 1942 to the present. The first observation is that depictions of the Muselmann in comics are rather rare. As in the arts, literature, and theory, they are often metaphorically supplemented by figures like the golem. Especially in comic books before MAUS-A Survivor's Tale by Art Spiegelman (1986, 1991), genre conventions seem to prohibit the explicit mention of Muselmänner. But with the golem-like mud monster the Heap, we identify an early and disturbing reflection of the Muselmann. In action and war comics like '7 Doomed Men' by Stan Lee and Jack Kirby, the Muselmann appears as an atmospheric figure that contours the male heroes by pronouncing dichotomies like weak/strong or active/passive. MAUS eventually establishes a much more nuanced representation of the prisoner societies and the food situation in the concentration camps. Since then, the graphic novel, rather free of strict genre conventions, has enabled other renderings of the Muselmann, visible in publications like Aurélien Ducoudray and Eddy Vaccaro's Young: Tunis 1911-Auschwitz 1945 or in the series Episodes of Auschwitz. These comics provide a differentiated description of prisoner societies, their modes of functioning and their inherent hierarchies. The article argues that there are different genre conventions at work here. In the early comics, they enable a rather indirect perspective on the Muselmann, while newer approaches refer to more common conventions of Holocaust representation and offer more nuanced depictions.
Comics und Graphic Novels, 2016
Wo liegen die Besonderheiten der Comics hinsichtlich ihrer Produktion, ihrer Distribution und ihr... more Wo liegen die Besonderheiten der Comics hinsichtlich ihrer Produktion, ihrer Distribution und ihrer Rezeption? Was sind die Eigenheiten der grafschen Literatur hinsichtlich ihrer Produktion, Distribution und Rezeption? Zwischen diesen beiden Fragen deutet sich eine historische Entwicklung an, die grosso modo in den letzten vierzig Jahren in den USA und Europa stattgefunden hat. Denn zum einen bezog sich vor vierzig Jahren der Begriff graphic literature weniger auf Geschichten mit Bildern, sondern wurde meist im Hinblick auf drastische, plastische, eben bildhafte Literatur verwendet (in diesem Sinne noch Kaplan 2001). Und zum anderen verstanden sich Comics 1975 gerade nicht im Sinne eines Phanomens der ›Hochkultur‹ als grafsche Literatur, sondern betonten als comix oder commix ihr subversives und anarchisches Potenzial im Unterschied zum etablierten kulturellen Mainstream — wobei das ›x‹ in der abweichenden Schreibweise fur ›x-rated‹, also ›nicht jugendfrei‹ stand (vgl. Kap. 1). Fur die in den 1950ern aufgewachsenen Zeichner und Autoren waren Comics gerade deshalb attraktiv, weil sie der repressiven Gesellschaft ihrer Jugend und Adoleszenz entkommen wollten (einen Uberblick daruber bietet Rosenkranz 2002). Comics brachten etwas Unbewusstes der Gesellschaft auf die banale Oberfa-che ihrer Seiten, indem sie das Schematische der Gesellschaft selbst ganz direkt und unverblumt mitteilten (Doetinchem/Hartung 1974). Gerade als Schmuddelliteratur eroffneten sie einen Raum, in dem die Verhaltnisse der burgerlichen Gesellschaft re-fektiert und parodiert werden konnten.
Geschichte Und Gesellschaft, 2011
H-Soz-Kult, 2023
Review for H-Soz-Kult
Closure - Kieler E-Journal für Comicforschung, 2023
Review of Rebirth of the English Comic Strip. A Kaleidoscope 1847–1870 by David Kunzle, Jackson:... more Review of
Rebirth of the English Comic Strip. A Kaleidoscope 1847–1870 by David Kunzle, Jackson: Mississippi University Press, 2021