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Abstract

The narrative construction of the Shoah continues generating controversy about the possible limits of its representation, especially in relation to the use of humor. This paper aims to reflect on the possible existence of more (or less) appropriate genres to represent this genocide. It also expands on humor as a mode of representation to eventually draw attention upon the use of comics and graphic humour— two genres which a priori are presumed to be humorous. Some frames (understood as controversial cases in dispute in the new narrative of the 21^st century) were analysed, focusing on their conventional genre characteristics as well as the stylistic resources of each artist, which constitute themselves as mediums to materialize meaning. The data collected give rise to a preliminary hypothesis regarding the negative impact caused by both the use of extreme humor as well as the explicit manifestation of certain signs (both verbal and graphic) associated with the grotesque.