How and Why Is a Social Group Represented in a Particular Way? Persepolis

Satrapi describes many other women throughout the novel who had an influence on her life and character as well. When she was young her maid, Mehri, fell in love with a neighbor but because she was not in his social class, the love was “impossible” as Marji’s father put it (37). This causes Marji to realize the despair social classes bring which leads Marji to her first demonstration and major act of rebellion (34-39). Marjane

Marji’s hatred towards the new Islamic government due to the oppression her loved ones have had to endure, causes her to act out and rebel against the law. There are many instances of Marji’s defiance against the government and religion. One example of her rebellious nature is exemplified when she and her maid, Mehri, decide that “tomorrow [they] are going to demonstrate” (Satrapi, 38). She makes this decision after discovering the truth on social hierarchy and the government in Iran. She wants to support the Iranian citizens in fighting against the rules and religion to make Iran a free country again. Another example

At the same time, Marjane feels tension between her parents' political actions. Their belief in equality for the working class

Unbeknownst to some people, a graphic novel can be a very powerful vehicle for communicating a message of great seriousness and importance. In France in 2003, the Iranian-born writer and illustrator, Marjane Satrapi, published her internationally acclaimed autobiographical comic, “Persepolis.” The novel chronicles her childhood in Tehran from ages six to fourteen, years that were overshadowed by the displacement of the Shah’s regime, the Islamic Revolution, and war with Iraq. The French contemporary graphic novel explores, from Satrapi’s standpoint, the ways in which Iranian politics of that time disrupted everyday-life and instigated a time of tribulation and suppression for the people of Iran. By using a minimal amount of text in a

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

Another historical event that we see is the rise and effects of the Islamic regime in Marjane’s life. This event is arguably the central issue that affects Marjane during her upbringing in Iran. Marjane shows how the regime begins to control schools, and how this affects her life by separating her from her friends (4, 3-4). We also see how the regime decides to close universities as they “educate future imperialists.” (73, 1-3) This demonstrates the negative effects that the regime has on society, as they prioritize Islamic values over education. The Islamic leaders portrayal shows them as upset and bored, and are given much different facial expressions than those that Marjane sees as intellectual (such as Uncle Anoosh (54/3) or Marjane’s grandfather (23/8)). This imagery communicates the backwards-thinking of these leaders, and as such, also effectively communicate Marjane’s opinion of the leaders without needing to discuss it with text. Additionally, we see both of Marjane’s views: Marjane not understanding the veiling and separation (3/5) as well as Marjane’s depression over the closing of the universities (73/7). The text here illustrates her opinions on the situations that she experiences, and the imagery allows us to see a visual representation of her basic thoughts and emotions, which are well communicated. A final example of the regime’s changes is the difference between the fundamentalist and modern women

Marjane Satrapi’s Persepolis recounts the conflicts and disillusionment as a result of living through the tyrannies of the Shah’s and the Islamic regimes. Her main motive was to keep alive the spirit of those Iranians who lost their lives in wars fought for freedom, suffered under repressive regimes or who were forced to leave their families. It highlights the daily conflict between tradition and modernity, West and East, dictatorship and individual freedom. Marjane has used several motifs, such as the veil, the mirror, background panels to emphasize on the situation in Iran and this essay focuses on how the veil becomes the dominant motif for portraying the suppression of individual freedom, knowledge

The alternative book cover features Marjane Satrapi at four different stages of her life. The pictures represent a transition and provide an overview of Satrapi’s life from her childhood to her return in Iran. It depicts Satrapi’s personal life as well as the social and political progress towards liberalism in Iran in the span of her departure and her return, which is few if any at all. The first picture is Satrapi during her childhood in Iran, just after the Iranian Revolution, which deposed the Shah and allow Ayatollah Khomeini to rise to power. Ayatollah Khomeini began by reforming many aspects of life in Iran, shutting down schools in order to reform education policies, and requiring all women to wear hijabs and wear long robes that

During Satrapi’s early childhood, the traditions and history of Iran had been going through drastic changes. The Iranian Revolution was when Iran’s monarchy under Shah Mohammad Reza Pahlavi was overthrown and replaced with an Islamic republic under Ayatollah Ruhollah Khomeini who led the revolution. ii

Over the following four years, Marji learned of how her grandparents were left poor because of the Shah, the leader of the Iranian government. Shah was well known for robing men and women of everything they had worked for and leaving them with nothing. Nevertheless, Marji was schooled on the different levels of society in Iran, which left her to consider her family as rich because her Dad drove a Cadillac. Despite being a child, Marji accused her dad of being anti-social towards a class that could not read and write. To clarify Marji helped out a friend with the writing of some love letters. Mehi was the family maid that could not read or write. Mehi fell in love with the boy

However, some may argue that the extent to which Satrapi can challenge conventional beliefs about Iran is limited by her perspective. Satrapi writes from the first-person point-of-view and a child’s nonetheless. Those same people might argue that when Satrapi is challenging generalizations by using personal examples she is manipulating fact, confusing them with opinion, and asserting her bias in a persuasive manner. Historically writing of this kind is often discarded for more specific and omniscient information. However, Satrapi never hides from her bias and desire to introduce the West to her version of Iran. In any persuasive writing a bias is implied and one might influence just as to which examples they choose include to support their argument, this essay for example. She may be employing a persuasive tone, but the extent to which she accomplishes her goal is not altered by such beliefs.

A veil is not only a religious article of clothing required for women in Iran, but also represents the barrier that divides the time of Marji’s childhood innocence and her darker years. In “The Veil”, Marji is introduced right after the wearing of the veil was imposed on the women of Iran. The panels at the beginning of the chapter are filled with ample amounts of graphic weight when showing the sorrow-filled faces of the girls at Marji’s school. By utilizing how dark or thick she makes her lines, Satrapi creates a clear line between when Marji has a flashback to when she was “born with religion”(6) and the darkness that takes over Marji and her friends when the veil is a part of their lives. Before, Marji was able to go to a non-religious, French, boys and girls school.

On pages 3 and 4, Marjane gives us the years for, when the revolution began, when children were required to wear a veil and her date of birth. The dates, enable the reader to get a sense the time period and the historical background of Iran. Timelines are imperative to understanding her life story. Next, Satrapi demonstrates pathos through illustrations and the speech bubbles. The emotions of the characters can be shown through their facial expressions and actions they take.

The novel “Persepolis” shows many life changes during the Islamic Revolution told through the eyes of a young girl. “Persepolis” was based on Satrapi’s childhood experience in Iran. Throughout the span of the 1970’s to the early 1980’s, Satrapi experiences many changes in her life, not only with the government, or her education, but also with herself. Although she witnessed many violent acts right in front of her eyes, these experiences helped Marji (Satrapi) grow as a young child.

Marjane, or ‘Marji’ and her family deeply value the freedom of expression, and go to great lengths to retain this freedom when it is jeopardized after the revolution. In the