Just about every individual has two sides, the one they show to the world and the one that they keep to themselves, their immediate family, and their closest friends. While the extent of the difference may vary from one person to another, there is that change or that bit of contrast in almost everyone. The most common difference is someone who is more reserved and more properly behaved in public while more open and more comfortable going against the grain within the privacy of their own home or with familia company. This can often cause internal along with external issues with one’s identity as individuals feel as though their “true selves” are not being represented to the world.
Both Persepolis and Death and the Maiden address the topic of
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For over ten years, Paulina had internalized these problems, putting on the face of a composed and normal woman. When the suspected man, Roberto, was staying overnight at Paulina’s house, she practically assaulted him ordering that she and her husband get a confession out of him. However, when she got her husband to go out and get his flat fixed she put on the persona of a calm, collected, and under-control individual. While we do not get an outsider’s perspective, as these are the only three characters in the play, it is suggested that were there others, they would not expect anything close to this from her, they would not think of her as the type to tie a stranger to a chair in the middle of the night and gag him with her panties (Page 19, Dorfman). Paulina is characterized as being insane and crazy, however some may argue that she is simply looking for closure when it comes to her past trauma as she says that all she wants from Roberto is a confession. Obviously it is not enough to say that any assumptions we make are what Dorfman intended as much is left open to interpretation, and maybe that is how he wanted it. We do not know if it was Roberto who raped Paulina, nor do we know the true extent of what happened to Paulina while she was help captive. The one thing that …show more content…
Half the Sky by Kristof and WuDunn took a more pathos based approach using emotion and true anecdotes to address the issues of women’s oppression around the world. One such story was about a girl that was kidnapped and forced to be a sex slave for a brothel only to escape and get to the police but then be jailed and sold as a sex slave to another brothel. While this is obviously not a common occurrence, it happens and people do not address it nearly as much as they should. These things are happening around the world, sex trafficking occurs in all nations, including the U.S., and for people to deny its existence or its important is pure negligence. These women are forced to fear their owners and have to put up a show in public acting as though nothing is going on as there is usually the threat of personal or family harm from the brothel owner. In private these women can break down and hate themselves but when with clients they have to again put up an act. How is this different than what society forces people to do in that they are having to put on an act in public and only being genuine when they are in private? Obviously sex trafficking is a much more despicable thing but that is not to say that the stereotypes society puts on each gender is not awful too. The implication that women’s bodies are designed and created for the sole purpose of
To Kill A Mockingbird and Persepolis both provide an intricate exploration into the significant impact of the external world upon an individual's sense of self. Lee's prose novel and Satrapi's graphic novel both, despite their disparate textual forms, offer an intricate portrayal of a dissimilar society and the impressions of its influential ideologies upon an individual. The two texts depict their main characters, Scout and Marji, growing up in their respective 1930's racially segregated Alabama and 1980's post revolutionary Iran, incorporating the discriminatory values of their communities into their own perception of the world. The authors demonstrate the interaction between the personal and public worlds through an investigation of the
On the other hand, ideally one should be true to one’s heart, if Disney’s Mulan is to be believed. But these are neither solid pieces of advice nor wise counsel; they are at best hand-wavy, wishy-washy statements that offer no guidance on traveling the minefield that is remaining true to oneself. In fact, given the wide swath of human experiences, it is difficult to imagine a panacea effective for each and every trial and tribulation people may encounter in maintaining the integrity of their identities; personally, I don't think one exists. Just as there are myriad events, emotions, and memories from which one’s identity develops, it surely follows that there are just as many ways social norms act to compromise one’s individuality, ostensibly for the worse. Therefore, it seems that an indirect solution would best serve individuals filled and bombarded with doubt about who they really are; namely, the unwavering support of a community would allow individuals to resolve, on their own terms, their inner conflicts stemming from outward
Throughout history, many ancient cultures created stories involving great heroes and gods to explain certain aspects of their daily lives. These stories would form an important part of the culture’s religion and are referred to today as mythology. One great hero from ancient Greek mythology is Perseus. According to both ancient standards and today’s standards, Perseus would be seen as a great hero. The many actions that Perseus is said to have done in his adventures prove his heroism.
We cannot deny the imperfection of the world today; poverty, violence, lack of education, and the general overwhelming deficiency of basic daily necessities are among some of the most troubling issues on the agenda. By carefully selecting our critical lens, we can gather that there are many aspects of today’s issues where we can focus our attention and begin the quest for solutions to these pervasive problems. Authors Nicholas Kristof and Sheryl WuDunn (2009) utilize their book Half the Sky: Turning Oppression into Opportunity for Women Worldwide to emphasize the particular struggle of women in the world today and how by addressing three particular abuses of sex trafficking and forced prostitution, gender-based violence (including honor killings and mass rape), and maternal mortality, we may begin “unlocking an incipient women’s movement to emancipate women and fight global poverty” (p. xxii). However, we must first understand the difficulty of addressing such complex issues by a proposing a “one-size fits all” solution and take into consideration the varying feminist perspectives that currently contemplate the oppression of women in societies around the world. To be able to critically digest Kristof and WuDunn’s book we must explore the types of stories and evidence included and how they’re presented, and the generalized theories behind the insight and solutions regarding the women in need around the world. The authors alienate their audience by ignoring the complexity of building a singular feminist movement. Kristof and WuDunn’s book Half the Sky further contributes to the oppression of women because they objectify Third World women by portraying them as victims in need of outside rescue and suggest that an overarching solution...
In the graphic novel, Persepolis, the main character, Marjane, faces many coming of age moments. Each one of these change her in a way that impacts her view on the world around her as her and her family strive for a better life amongst a war that hinders their ability to follow their beliefs. Marjane learns to forgive, experiences pain and suffering, and changes her opinions on God and her own views on religion forever. Marjane’s life has been filled with hard times, but also glorious moments as well.
Orientalism is a way of viewing the world as divided into two unequal halves: the Occident and the Orient. Occidental means Western Hemisphere, and Oriental means Eastern Hemisphere. These ideas of orientalism are challenged in Satrapi's Persepolis. A book about a young girl Marji who lived in Iran in the 1980’s, and therefore is placed in the beginning years of political and religious turmoil in Iran. Satrapi Juxtaposes the western view of Iran to Iran by showing similarities between America and Iran through Marji’s youth and adventures throughout the book.
In general, my sister and I are both loud goofballs who make jokes out of everything and find the simplest things to entertain us when we are with each other. When we are together, we are both able to have a deeper sense of our “coherent identity” and do not have to wear a mask for each other because we are not trying to seek approval from each other. However, even though we know who we are, we still have to wear a mask when we leave our house because we do not want others to know who we really are. For example, when we are around our parent’s friends, we always have to put on a smile and talk very soft and polite, even though we are having a bad day and in general are loud people because we cannot make our parents look bad or give off the impression that my sister and I were not raised correctly by our parents. Another example would be the different masks that I have when I’m in class and when I’m not in class. While in class, I am quite and do not participate in talking because growing up I was told by my elders that it was always better to listen to what others had to say in order to gain knowledge and insight instead of talking and that I should only speak up when I was confused.On the other hand, when I am outside of the classroom, I become this whole different person and start to talk more. I feel that I have gotten use to being quiet in the classroom and conformed to putting on my mask everyday that it is hard for me to not wear the mask in class because if I do not wear it, I feel that I am loosing a part of who I am. All in all, this shows how when we are not seeking approval, we are able to take off our masks and our “self-presentations [becomes] much different in character” (Gergen
It is said in Greek mythology that when Persephone lives with Hades in the underworld as his bride, Persephone’s mother Demeter the Goddess of Seasons, goes into mourning and the earth experiences winter. When Persephone returns to the upper world, Demeter rejoices and the earth experiences Summer.
Persepolis is a coming of age story written by Marjane Satrapi in 20001. Depicting a young girl growing up during the religious revolts in Iran. Throughout the story the main character loses her innocence. The author uses the appeals of genre, ethos, pathos, and logos, historical context, and illustration to depict the loss of innocence in the main character.
In Marjane Satrapi’s Persepolis and in Ishmael Beah’s A Long Way Gone, both authors commentate on the romanticism of violence that is often associated with war. Because of this, the authors are able to dispel misconceptions surrounding war. Furthermore, the memoirs allow the authors reflect upon their own experiences of war during their childhoods, as well as examine how cultural shifts perpetuated by both war and the increased influence of western culture that took place within their cultures shaped who they became. Through their memoirs, the authors portray the reality of war and violence through cultural experiences.
When writing any sort of narrative, be it novel or poem, fiction or non-fiction, scholarly or frivolous, an author must take into account the most effective manner in which to effectively convey the message to their audience. Choosing the wrong form, or method of speaking to the reader, could lead to a drastic misunderstanding of the meaning within an author’s content, or what precisely the author wants to say (Baldick 69). Even though there are quite a bit fewer words in a graphic novel than in the average novel, an author can convey just as much content and meaning through their images as they could through 60,000 words. In order to do that though, their usage of form must be thoughtfully considered and controlled. Marjane Satrapi, author of the graphic memoir The Complete Persepolis, took great pains in the creation of her panels in order to reinforce and emphasize her narrative, much like a novelist utilizes punctuation and paragraph breaks. Through her portrayal of darkness and lightness, Satrapi demonstrates that literary content influences, and is primary to, the form.
...ially in the play we had seen how Paulina would use short sentences while Gerardo would be the one doing the talking; but ever since Paulina got the possession of the gun, her helplessness seems to have disappeared, as if she is using that gun and pointing it at Doctor Miranda in an attempt to get rid of her memory. Paulina uses this situation as if recreating it from her own memory, but changing the variables; she is changing herself into Doctor Miranda and Doctor Miranda takes the place of Paulina in this altered version of her memory. Now, instead of Doctor Miranda, Paulina is in power. And this is just because of her possession of the gun.
During our class discussions, the issue of identity in Marjane Satrapi’s novel, Persepolis (2004), became a contentious issue. The question was asked whether Persepolis might be understood to being in-dialogue with western ways of seeing and did the effects of modernization influence the identity of Marjane’s protagonist in Persepolis. How does the novel involve the issue of identity? I will extend the argument and, through the exploration of Marji’s changing ideologies, I will attempt to prove that Marji is caught between the traditional eastern culture and western modernization.
As the realization of women as an exploited group increases, the similarity of their position to that of racial and ethnic groups becomes more apparent. Women are born into their sexual identity and are easily distinguished by physical and cultural characteristics. In addition, women now identify that they are all sufferers of an ideology (sexism) that tries to justify their inferior treatment.
Persepolis 2: The Story of Return is anchored around how Marji is affected by the social injustice that occurred during the Islamic Revolution. Growing up as “a westerner in Iran and an Iranian in the West,” (Satrapi 274) changes and molds her into the young woman she is at the end of her journey. In this second chapter of Satrapis life she moves away from the comfort of Iran and finds a life in Vienna. Marji desires to find her purpose and identity during her brief time here and faces many battles with language barriers, people and herself. Marjis past from Iran haunts her and instills the idea that she needs to make something of herself while in Austria. Finding that Austria took her down a darker path where the light was scarcer and the