Cultural Imperialism And Iranian Art

Throughout the Iranian Revolution, many events and changes took place that largely affected the views of Iranians by other nations. The graphic novel, The Complete Persepolis, written by Marjane Satrapi (Satrapi, 2003), conveys many of these events and changes through the eyes of a child growing up in the 1980s in Iran. Satrapi’s main purpose for this book is to describe how the Iranian government was corrupt, causing foreign nations to have a tainted view of all Iranian citizens. The Complete Persepolis does so by presenting major events and changes in a manner that is directed towards audiences that are willing to have an open mind about ethnicity and false stereotypes, and an audience that is young and can relate to the “coming of age” aspect of this novel. By exhibiting a credible first hand account of how Satrapi and many others were affected by the events that took place during the Iranian Revolution, The Complete Persepolis can effectively persuade a reader to eliminate the “Islamic extremist” stereotype that the corrupt Islamic Republic gave all Iranian citizens.

Chapter 1: In the first chapter, we are introduced to Jean Louise Finch. She is very often called Scout and she has an older brother named Jem. We discover the past of her family in the chapter.

Women's rights in the Middle East have always been a controversial issue. Although the rights of women have changed over the years, they have never really been equal to the rights of a man. This poses a threat on Iran because women have very limited options when it comes to labor, marriage and other aspects of their culture. I believe that equal treatment for women and men is a fundamental principal of international human rights standards. Yet, in some places like Iran, discriminatory practices against women are not only prevalent, but in some cases, required by law. In this essay I will explain to you the every day life of an every day Islamic woman living in Iran. You will be astonished by what these women have endured through the

Abayas, shailas, burkas, and chadors: all are forms of veiling in the Middle East, and all are perceived as symbols of oppression and patriarchy by the West. The veil worn by a Middle Eastern woman is striking and beautiful in its simplicity and elegance. The hijab, the most common form of veiling, leaves only the face visible with the neck and hair completely covered. Onlookers are in awe at the mystery and symbolism associated with the many veils created out of fine, exotic silk. But such notions of oppression and patriarchy often associated with veiling are not only inherently biased and ironic – it would be interesting to explore the symbolism behind a mini-skirt or a pair of five-inch heels, no? – but they are also inaccurate. Although veiling has most definitely been used in the Middle East as a “mechanism in the service of patriarchy, a means of regulating and controlling women’s lives” (Hoodfar, 5), it has also been used as a mode for rebellion and self-expression. Marjane Satrapi, an Iranian woman who grew up during the Islamic revolution, resisted the regime and the universalizing nature of the veil in the hope that she could maintain her individual identity whilst communicating her political ideologies. By examining the way in which the veil is represented in Satrapi’s graphic memoir, Persepolis, while also considering the history of veiling in Iran, it will become evident that the veil is not just a political tool used by male chauvinists; it also presents an

The graphic novel Persepolis by Marjane Satrapi is a political and personal account of a young girl’s growth to maturity. The novel serves as an autobiography of the author’s childhood in Tehren, Iran. It describes what it was like to grow up during the 1979 Islamic Revolution, the end of the Shah’s regime, and the war with Iraq. One of the most prominent themes in the novel is the clash between modernity and fundamentalism. The reader can observe this conflict through Iran's internal oppositions, the Satrapi’s modernity, and Marji’s western soci-political beliefs. This aspect of the novel is important because it shows the ideological diversity within Iran and the consequences faced by those in the opposition.

As Michael Axworthy states on the back cover of his book, A History of Iran: Empire of the Mind, Iran is a “land of contradictions”. As this is true these contradictions is what makes Iran, Iran. Iran today is looked as the pinnacle of the Islamic faith in the form of a Government structure. Since 1979, Iran has been known as the Islamic Republic of Iran and Iran will continue being an Islamic Republic for centuries to come. Iran has a rich history of intellectuals and scholars. Iran is known for its vibrant culture that dates back longer than the Western Ideals were even conceived. However Axworthy asks a question about Iran and its impact on the world’s history and the current events that we see in Iran today, Axworthy asks “Is Iran an aggressive power, or a victim?” This statement is a true paradox, can Iran be the next Nazi Germany, the next Soviet Union or the next Great Islamic Caliphate or is Iran just fighting to keep its culture alive from a vast array of attacks from foreign entities and internal struggles.

Persepolis: The Story of a Childhood by Marjane Satrapi is a graphic novel that provides insight into a young girl living in Iran during the hardship of war. Persepolis takes place during the childhood of Marjane Satrapi. It gives a background of the Islamic Revolution and the war in Iran. Satrapi attempts to guide herself in a corrupted world filled with propaganda. She tries to develop her own morality concerning religion, politics, and humanity. Satrapi was blessed enough to have high class status and parents who had an open mindset about the world around them. Thanks to her slightly alternative lifestyle, she is able to reconstruct gender norms that society has set by depicting the different ways women resist them. “Do Muslim Women Really Need Saving? Anthropological Reflections on Cultural Relativism and Its Others” by Lila Abu-Lughod is an essay detailing the misconceptions surrounding the veil. Through this essay we can see how colonial feminism, the form of feminism in which western women push for a western way of living on their third world counterparts, has shined a negative light on cultures all around the world - particularly Islamic women. The essay shows how women who don’t conform to American societal structures are labeled as women who urgently require saving. Through this essay one can develop a thorough understanding of the veil itself and the many representations it holds to different entities. Although in Persepolis: The Story of a Childhood Satrapi

Persepolis by Marjane Satrapi is a graphic memoir that reveals the life of a woman growing up in pre and post Iran, as well as her experiences in Western countries. In this book, Marjane utilizes historical events that affect her life during her upbringing in Iran. These include the oppression of the Shah, as well as the rise and effects of the regime. These events’ integration into the story showcase how they affect Marjane and the other citizens of her country. Additionally, these events are important for the context and understanding that they grant readers unfamiliar with the text.

One of these incidents occurs when Marjane is in art school. When the students were told that they needed to wear longer headscarves, Satrapi immediately responded that “as a student of art…I need to move freely to be able to draw.” She further questions “why is it that I, as a woman, am expected to feel nothing when watching these men with their clothes sculpted on but they, as men, can get excited by two-inches less of my head scarf?” here Marjane questions the restrictiveness of the veil and comments on the injustice in Muslim society and the gender inequality. The veil represent the repressions and the gender injustices in Iran. By revolting against the veil Marjane is able to protest the repressions. On hearing Marjanes complaint, the school administrators asked Satrapi to design her own veil. Marjane accepts this offer while still in the confines of the veil. Marjane designs the veil to suit the needs of the students and

In addition, the author recalls the Iranian government closing down all bilingual schools or any other symbols of “capitalism” and “decadence”. These became symbols of regression in the eyes of the Ayatollah and everyone must conform. The author struggles with the very idea of politics and religion during this period as laws of forced veiling and oppression came into conflict with her preconceptions of religion. The author cites an instances where the police locked the outside doors of an Iranian cinema, set it on fire, and prohibited people from rescuing those inside. According to the text, “The BBC said there were 400 victims. The shah said that a group of religious fanatics perpetrated the massacre. But the people knew that it was the Shah’s fault.” The secular Iranian perspective of the injustices being committed by the newly formed Islamic Republic was troubling. A release was sought by this group of people, the only problem was enjoying life and not getting caught.

Women’s rights in Iran or the Middle East has always been an arguable issue. Although there rights have been changed throughout the centuries they were never really compared equal to men or noone really accepted them. Specially for women in Iran, they barely had any rights in culture, marriage or other aspects of their lives. In the following essay you will read about the everday lives of Middle Eastern women.

Women’s rights in the Middle East have always been a controversial issue. Although the rights of women have changed over the years, they have never really been equal to the rights of a man. This poses a threat on Iran because women have very limited options when it comes to labor, marriage and other aspects of their culture. I believe that equal treatment for women and men is a fundamental principal of international human rights standards. Yet, in some places like Iran, discriminatory practices against women are not only prevalent, but in some cases, required by law. In this essay I will explain to you the every day life of an every day Islamic woman living in Iran. You will be astonished by what these women

This book, “Iran Awakening”, is a novel written by Nobel laureate Shirin Ebadi. Ebadi weaves the story of her life in a very personal and unique way, telling the account of the overthrow of the shah and the establishment of a new, religious fundamentalist regime in which opposition to the government are imprisoned, tortured, and murdered. By simply reading the Prologue, one can see the love Ebadi has for Iran and her people. This love that Ebadi has for the oppressed of Iran is a theme that appears throughout the book and seems to be a large factor behind her drive to stand up for those who cannot stand up for

Taking place in the late 1970’s, Marjane Satrapi’s “Persepolis” exemplifies a profound illustration of the county of Iran, including aspects of its people and political structure. Unlike a conventional composed novel, the story of Persepolis is expressed through both textual and visual representation; otherwise known as a graphic novel. Through the experiences of the ten-year old character Marjane, the reader is exposed to historical events, movements, crises, and motives that occurred within Iran. Furthermore, the novel has gained much praise in its portrayal of emotions that occurred through the people of Iran. Although there has been tremendous support of the account of Marjane, there have been a few critics of the novel, attacking its overall literary value. For instance, New York’s Ithaca College student paper called The Ithacan, slammed the role Persepolis had on the literary society. In fact, they went as far to say that the novel “...is worth broaching but its literary value, in terms of building vocabulary and furthering comprehension, falls short.” An absurd statement, to say the least. Not only is Persepolis of literary value, it is a glimpse into the past. It allows the reader to understand the various conflicts that the people of Iran were facing. Through the account of Marjane, the audience is exposed to elements of Iranian history, gender roles, religion, and political fluctuation.

Throughout history many artistic works have been deemed "great" and many individuals have been labeled "masters" of the discipline. The question of who creates art and how is it to be classified as great or greater than another has commonly been addressed by scholars and historians. The last quarter of the 20th century has reexamined these questions based on the assertions that no women artists have ever created or been appreciated to the level of "greatness" that perpetually befalls their male counterparts. The position that society has institutionalized on women as unable to be anything but subordinate and unexpressive is a major contributor to this claim. Giving a brief history of gender discrimination in the art