Spaces of Conflict in The Graphic Novels of Art Spiegelman Sajad Malik Marjane Satrapi and Joe Sacco

Abstract

The thesis titled Spaces of Conflict in The Graphic Novels of Art Spiegelman, Sajad newlineMalik, Marjane Satrapi, and Joe Sacco examines the nature of graphic novels as a newlinemedium of narration and frequent draws parallel and comparison between the effect newlineof narration in conventional narration (written in conventional prose), and the newlinenarration done using graphic content. It further more explores how a graphic novel newline newlinewhich could easily be dismissed as a mere comic is also a potent from of narration employing a grammar not only of language but also that of graphic narrative techniques/art. Furthermore, the thesis investigates the idea of Space and conflict as considered conventionally and as employed on a page in a graphic novel with an awareness of the challenge of representing a three-dimensional world in two dimensions using art. The exploration then examines what space might mean in beyond the Cartesian notion of a space-time continuum and considers the consciousness of a reader as the critical space with which an author/author-consciousness interfaces in order to help reader construct meaning. In continuation of examining the notion of space , the thesis considers conflict from the perspective of the graphic novel in consideration. Though conflict may be internal or external withfurtherramificationsof self-vs-self , self-vs-Other , self-vs-environment ,etc, it manifests in different ways in the chosen graphic novels. Conflict in Art Spiegelman s Maus manifests as trauma of a Holocaust survivor, a survivor s guilt, and conflict between the survivor father and a critical son; in Satrapi s Persepolis conflict manifests in the form of oppression of women in the name of religion apart from political conflict arising due to ideological changes in governance; Sajad Malik s Munnu and Joe Sacco s Palestine showcase the aspect of conflict through the notion of deterritorialization as perceived by respective authors. In each graphic novel, there is a strong undercurrent of trauma, portrayal of atrocity