Abstract

The contemporary tendency in United States culture to substitute a discourse of psychology for political and social analysis is especially evident in treatments of the Shoah. Drawing on postmodernist techniques, Art Spiegelman's“Holocaust commix”, Maus, dramatizes not historical reality but the effort of representing the memory of trauma. In the absence of symbolic authority, suffering from rivalry with his father and haunted by the real of the father's voice, the son becomes the subject of the narration. Like Maus, the Holocaust Museum in Washington, D.C. and the criticism of Dominick LaCapra focus on the psychological processes of the private individual