And Edward Said has suggested that Jane Austen's novels should be interpreted against a background which is excluded from them: the exploitation of the colonies of the empire which provides the wealth to support a decorous life at home in Britain. Meaning is context bound, but the context is boundless, always open to mutations under the pressure of theoretical discussions (Culler 92)
The Campus was a busy place, a place where the remains of Augustus would have been a constant reminder of a once great emperor. The view from Augustus' Mausoleum is looking out upon the garden side of the Campus Martius, not the city side (Lanciani; 1897)
153). The area around Augustus' Mausoleum has the remains of other monuments and places dedicated to emperors and gods (Robathan, 1950)
I built the theatre which was to bear the name of my son-in-law M. Marcellus (Sear, 1998, p
The Funeral According to historian and author Beth Severy (2003), Caesar Augustus, himself, made the arrangements for his funeral. The funeral itself was meant to convey to the people, and certainly to the Roman leaders and, of course, his two main heirs, Tiberius, who would succeed him as Emperor of Rome; and Tiberius' wife, Livia, who actually inherited parts of the government through the will of Augustus (Severy, 2003)
From an aerial shot, we see that the Campus Marius is large, and that there were at one time many monuments, and that Augustus' mausoleum was probably one of the largest structures. The mausoleum, it is believed in some scholarly circles, was built about the same time as was the Temple of Apollo, next to Augustus' house (Southern, 1998)
Spiegelman responded with a letter to the editor: 'if you list were divided into literature and non-literature, I could gracefully accept the compliment as intended, but to the extent that 'fiction' indicates a work isn't factual, I feel a bit queasy. As an author, I believe I might have lopped several years off the thirteen I devoted to my two-volume project if I could have taken a novelist's license while searching for a novelist's structure' (Doherty 69)
But you have to struggle for life." (Spiegelman) The book goes at having readers comprehend the complicated nature of the Holocaust, of surviving this event, and of being able to continue to live even as a person who is related to an individual who survived the Holocaust
But, not to go- it was also no good." (Spiegelman, 19)
His admonishment of representative literature about the Holocaust is rooted in several assumptions. For one, Adorno believes that creative representations are sacrilegious in that they come too close to representing God's role in the world (Pritchard)
As potent as Adorno's view may be, silence is only one type of memorial activity. With too much silence, the risk of empowering the holocaust deniers grows (Richardson 5)
He "identifies with the Jews of the past, yet he also realizes that time and circumstance have changed him -- and the world -- as well," (Kannenberg 87). As Elmwood puts it, Spiegelman "seeks to narrow the psychological rift between himself and each one of his family members, whether deceased or still alive," (Elmwood 691)
There is also the use of the mask as a means of stressing his continued identification with Jewishness, while retaining a core identity that transcends culture and ethnicity. Although he misses the opportunity to explore the issue of identity further, Kannenberg does note that the added layer of distance created by this motif enables Spiegelman to effectively fictionalize himself "to distance himself from the narrative," (Kannenberg 86)
Maus earned Spiegelman the Pulitzer Prize in 1992. Spiegelman's work did not escape the eye of social critics, who have felt that in using the graphic novel as the medium of memorialization, the history of the Holocaust is trivialized and commercialized (Kohli)