In this paper, we study Rutu Modan’s graphic novel, The Property (Ha-Nekhes in Hebrew), as a work which engages in a double exploration. First, we show how the story of Mica and her grandmother, who travel to Poland to reclaim a property lost in the Holocaust, is used by Modan to reflect on her medium and the artistic means it offers such as colour, speech balloons and onomatopoeic icons. Second, we analyse her self-conscious use of the toolkit of the comics artist to reflect on the past and its impact on the present. We investigate her conception of the past as a multilayered story, which consists of several individual stories that complement but also contest with each other, insinuating that there is no one authoritative version of the past. Finally, we argue that beyond the individual stories there are emotionally and politically charged national conflicts, which Modan evokes without referring to them directly. Our analysis sheds light on both the uniqueness of her work and the way it relates to other media texts which deal with similar topics.

在本文中，我们研究了鲁图·莫丹 (Rutu Modan) 的图画小说《财产》 ( Ha-Nekhes在希伯来语中），作为一部进行双重探索的作品。首先，我们展示了莫丹如何使用米卡和她的祖母前往波兰夺回在大屠杀中丢失的财产的故事来反思她的媒介及其提供的艺术手段，例如颜色、对话气球和拟声图标. 其次，我们分析了她自觉地使用漫画家的工具箱来反思过去及其对现在的影响。我们调查了她将过去视为一个多层次故事的概念，该故事由几个相互补充但又相互竞争的独立故事组成，暗示过去没有一个权威版本。最后，我们认为，除了个人故事之外，还存在情感和政治上的民族冲突，莫丹在没有直接提及的情况下唤起了这些冲突。