What does the word shame mean? According to Merriam-Webster’s dictionary shame is defined as “a painful feeling of humiliation or distress caused by the consciousness of wrong or foolish behavior”. Shame for the Indian boarding students and me is physical pain. To the speaker of “Daddy”, shame is an internal hatred. Finally, shame to Marji in “Persepolis” is knowing your position with a sad or angry attitude. It was February of 2016, my robotics team “ERX” was at the state championship. That day was the first year the seniors had left the team, so we had to carry on their legacy. In a finals match I was driving in the manual control period. The timer hit 30 seconds and end game started. The coach said to go and hang the robot for 60 points. Last match we could not get the robot to hand since the mechanism was not reliable. I ignored him and went and scored 4 blocks for 30 points. After the score was added up, we lost…by 10 points. After the match, the entire team was disappointed, but the mentor pulled me outside and started yelling. He said as a driver I am required to follow the coaches orders and should have went to hang, which would have won us …show more content…
They were forced from their home and were being wiped out of their culture. The runaways are the people stuck in a cycle. They know they cannot escape, but they keep trying because they have hope. They take the humiliation for the very small chance they will be free. Every time they get caught, they know the cycle; “ All runaways wear dresses, long green ones, the color you would think shame was. We scrub the sidewalks down because it’s shameful work.” (190). Knowing their position as being the bottom, the low, embarrasses them. They are forced to wear green clothes, and do dirty work in front of all the other students. This along with their culture trying to be smothered is why the natives feel
In book IX of Homer's Odyssey, Odysseus ventures into the isle of the Kyklopes. Here he encounters a loutish and cannibalistic Kyklops named Polyphemos. The events that occur as a result of this encounter reveal much about Odysseus's heroic characteristics. Odysseus possesses composure in the face of danger, prowess in devising clever plans of action, and the ability to lead others in the execution of his well-conceived plans of action; all of which appear in direct opposition to Polyphemos's simplistic and brutish nature. In these events, Odysseus is not only contrasted with Polyphemos but also with his crew. Odysseus's desire for glory separates him from his crew whose chief desire is a safe return home. In the end, his prideful quest for grandeur dulls the greatness of his deeds and causes the downfall of him and his crew.
The great Saint Augustine once said, “It was pride that changed angels into devils; it is humility that makes men as angels” (Enchiridion of Augustine chap. 27). Hubris “a great or foolish amount of pride or confidence”. This is a very important word in the play and for the characters. It is displayed in the play because it makes it more interesting in so many ways. Many of the conflicts are caused because of hubris. In a way it is good to have pride, but an excessive amount of pride can be harmful. In the play Antigone, Creon is the one that has the most pride.
Education is an important part in the development of young woman’s life. In the novel’s The Complete Persepolis and A Woman’s Story, the culture of the young woman affects the education they receive, allowing for a strong emphasis on self-education, which helps shape the relationship between mother and daughter. In A Woman’s Story education is the key component to social development, while in The Complete Persepolis education is imperative for enlightenment. This social development through education in A Woman’s Story helps establish the importance of self-education between mother and daughter.
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.
The myth is a rather interesting one, as it starts off with the King of Argos, Acrisius, travels to the Oracle of Delphi and is told that his daughter will have a son who is destined to kill him. He takes extreme measures to make sure that doesn’t come true and locks his daughter, Danae, inside a tower so that she has no way to conceive. It is almost like an overprotective father in current times, where they never let their daughters go anywhere or be anywhere near boys. However, just like an overprotective father, you can’t always keep your eye on your daughter 24/7, so of course chaos erupts. Zeus, who has been unfaithful to his wife Hera for quite a while now, is unfaithful again when he spots Danae through a portal of her ceiling. He transforms into a shower of gold (again we see the color gold incorporated in a Greek myth) and has sex with her, and thus, Perseus is conceived. Eventually Acrisius finds out about the baby, and locks both Danae and Perseus in a chest and throws it into the sea.
History is a science, like all sciences and it has precise rules and formulas. Lack of attention to historical writings, will make fake stories; but an expert with simple analysis will find out that he can’t use those fake stories as resources or knowledge of history.
Persepolis: The Story of a Childhood is a graphic novel written by Marjane Satrapi that illustrates the issues with growing up an Iranian child during times of conflict and political unrest. Following the childhood life of Satrapi, a first-hand view of unrest is given to the audience in a simple art form and well-paced story that is easy to follow and stay interested in. Persepolis: The Story of a Childhood is a prime example of why the genre of graphic novel functions well as a vessel to convey the issues in the Middle East while still telling an entertaining story of Satrapi’s childhood. The importance of graphic novels as a genre is often lost in the association with comic books, although graphic novels offer a much more comprehensive view
Shame is like a dark shadow that follows us around, making us second guess what we are about to do, and always something we refuse to talk about. As Brown puts it, shame “derives its power from being unspeakable.” If we recognize our shame and speak about it, it’s like shining a flashlight on it; it dies. This is why vulnerability and shame go hand in hand. We must embrace our vulnerability in order to talk about shame, and once we talk about shame and release ourselves from its bonds, we can fully feel vulnerable and use that vulnerability to find courage and dare greatly. In order to reach this level of wholeheartedness, we must “mind the gap,” as Brown says, between where we are and where we want to end up. We must be conscious of our practiced values and the space between those and our aspirational values, what Brown calls the “disengagement divide.” We have to keep our aspirations achievable, or disengagement is inevitable. Minding this gap is quite a daring strategy, and one that requires us to embrace our own vulnerability as well as cultivate shame resilience. Accomplishing our goals is not impossible if we simply cultivate the courage to dare to take action. We can’t let this culture of “never enough” get in our way, and we have to use our vulnerability and shame resilience to take that step over the
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
According to Aristotle, the protagonist in a tragedy must have a tragic flaw that ultimately becomes the cause of his ruin. Oedipus in Oedipus the King by Sophocles tragic flaw that caused his downfall was his pride. Three examples of when Oedipus’ pride got the better of him were: when he left his adopted parents in Cornith, the second is when he goes against Creon, and the third is when Oedipus is demanding that the messenger tell him all he knows about who his real parents are.
There are many times when problems in a country affect one's life. Persepolis by Majarne Satrapi recounts the coming-of-age of a girl during a period of war. Utilizing a graphic novel to illustrate, Marjane recalls the struggles of her family and herself living in warfare. For instance, in Persepolis, Marjane's external conflict result in her internal conflict.
In neo-classical works of literature, the themes are often based on reason and passion. The two factors of influence collide in a struggle that an individual character or group of characters must overcome and decide which to follow, and this conflict usually leads to suffering, guilt, and shame. In Racine's classic, Phaedra, the title character is influenced by her overwhelming passion, which leads to her commit her crimes by the power of guilt and shame.
Shame is one of the most devastating emotions a human can experience. It limits your ability to achieve your full potential in all areas of life. His head is down, not looking anyone in the eye, because, “If you really knew me, you wouldn’t love or accept me.” (p. 55) Shame carries the belief that they are a bad person. It is not that bad things happened to them or they did bad things, but that they are a bad person. He might hear voices in his head telling him how bad he is. “Such sexual disgrace connects to the very core of the masculine soul.” (p. 56) The author discuses three types of sexual shame.