"Persepolis" by Marjane Satrapi
Marji's childhood
genre and style
point of view
subversive potential of play
structural inequalities/discrimination
(class, gender, race/ethnicity)
parallelism to Mindanao's context
inquisitive, curious-driven, tumultuous political landscape (yanna)
autobiography, graphic novel (yanna)
complexities to the impact of political manipulation (yanna)
class: socio-economic divide (maid)
generational gap as seen when Marji’s parents do not allow her to join demonstrations (Bea)
gender: the veils of women (yanna)
question of political identity (yanna)
a sign of rebellion and resistance
coming-of-age narrative
shows the interplay between a child's innocence and the harsh realities of war
segregation between girls and boys within the school
impact of religion on political disputes
forced to mature at a young age (Vivienne)
class: the neighbor's son stopped seeing Mehri once he knew she was a maid
discrimination based on religion
exemplifies how everything is political
coping mechanism, showing aspiration to seek for normalcy
style almost looks like a children's book (Vivienne)
highlights how a child sees violence through the art style and narration (Vivienne).
Traumatic, at least in terms of enduring wounds that would last her a lifetime. A best instance to describe this could be Marji's personal beliefs in God being challenged because of her guilt and desire to conform to dominant norms (9).
many families were forced to rely on their children's labor to survive (Jasmin)
just like others, Marji's childhood is a coming-of-age evolutionary process, showcasing the complex establishment of her identity
a journey of personal growth, self-discovery, struggles, and resilience during war
Black-and-white comic book (highlights seriousness and contrasts)
the regression of Marji's childish dreams and strict adherence to beliefs and regulations taught at school leading her to think more critically not just about the situation in Iran but also on the general state of things around her. In the beginning, she believed wholeheartedly in whatever she was taught at school. As the story progressed, she begins to think more for herself instead of following what she grew up being made to think. (Annie)
religious conflict: the Abu Sayyaf Group being comprised of extremist Islamic members (Annie)
Has some comedic undertones despite the dark nature of its contents. Balances out the overall mood of the text so it's not too bleak for readers and at the same time, entertaining enough to keep reading. (Annie)
and defiance of the strict dress code imposed by the regime (p. 131) . (Lizeth)
difficulty of a child to understand complex matters and having only herself to depend on; she had to find ways to make herself aware of her realities on her own
there is no such thing as a war done peacefully; even if matters are settled diplomatically, there would always be an end that bleeds
use of flashbacks to contextualize events (KT)
implementation of dress code for the authorities to show control and impose ideologies (KT)
desire to be liberated from social restrictions (KT)
challenging
Fight over who has the right to valuable resources (Jasmin)
first person point of view (Jasmin)
political commentary (Jasmin)
young boys are considered to be future soldiers so they cannot leave the country after they turn 13 (Jasmin)
boys from the upper class seem to be exempted from partaking in violent warfare
Shows Marji’s struggle to reconcile fundamentalist views with her family’s progressive uprbinging on her (Luis)
Exploiting the poor by enticing them with the "greatness" of martyrdom, only to send them on the front lines where they inevitably meet their demise. (Lizeth)
challenging in what ways?
she became politically aware at such a young age (Jasmin)
how?
what traumatic experiences are these?
how?
in what ways?
how?
textual/visual evidence?
such as?
how did she navigate this tension?
How? In what ways? Could you provide further explanations for your observations?
how?
between whom?
such as?
in what ways?
what specific features, instances, dynamics?
textual/visual evidence?
which further means what?
which means that?
which serves as?
a misogynistic argument that women should wear veils to prevent rape (Basti)
which implies that?
what does this show then?
how? in what ways? could you provide some examples from the text?
Acts of rebellion against oppressive impositions such as resisting the initiation rites by a figure of authority that forces them to physically mourn the martyrs (p. 97)
Satrapi employs parallel storylines in the graphic memoir to weave personal and political narratives, illustrating their influence on upbringing and personal growth. (Lizeth)
this practice further reinforces traditional gender roles and societal expectations, contributing to the perpetuation of gender-based inequalities
Marji and her friends playing as revolutionary heroes in their garden shows how children express dissent towards authorities
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There is the notion of making sense with things that they do not understand, even in whimsical ways of imagination. Some try to break free from this new oppression, some imagine it to be something else. (Basti)
violent warfare is anti-poor
which serves as?
a first-hand experience throughout Marji's life starting from her youth as we are learning what happened through her eyes. (Basti)
which serves as what?
simplistic, yet striking in terms of describing important events (Martin)
reveals the lens in which children could question or react to volatile viewpoints by 'grown-ups' (Martin)
gets her exposed to the differing perspectives and influences propagated by society (Martin) board3
A time of curious inquiry and self-discovery through play and creative imagination (Catherine)
Assumption, identification, and negotiation of prevalent/complex social roles and identities through play (Catherine)
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they are the most vulnerable since they lack resources, authority, and power to fully resist unjust sociopolitical inflictions
Visual narration with Marji not being only a character but also the narrator (Breaking the 4th Wall) (Catherine)
How the distant war became very much real in the eyes of a largely "uninvolved" child. (MJ)
Exemplifies how what is "good" or "righteous" does not depend on any set rules. Instead it is more or less determined by collective opinion, or what is put forth by those in power. (MJ)
Marji's female perspective and how this influences her relationship with her mother and grandmother, as well as the restrictions put upon women by the Islamic Revolution. (Wil)
Minimalist style, when compared to Maus. It may communicate how children usually see in black in white, in absolutes. Children only see the world through a simple lens. (MJ)
(Image on the left is from Maus, on the right from Persepolis)
Use of middle eastern visuals and art influences to further ground Persepolis in Marji's cultural origins. (Wil)
Marji was, in her own words, forced to grow up quickly in order to acknowledge the conflict around her. Even some of her "childish" or rebellious behavior may be interpreted as a way to cope with the horrors of war (Wil).
Disillusionment with what she previously knew as she began to think for herself after Anoosh's death. (MJ)
Marji was only able to escape because of her parents' resources. Not everyone in Iran has those same type of resources. (MJ)
(Marji goes to Austria)
the forced loss of "naivety" in childhood and finding a balance between that and the maturity required to understand, navigate, and act upon such extreme life-altering experiences (Z)
creation of child soldiers and hinders/fully stops the development of a moral compass (Z)
further enforces the physical/material excuse for a chance for an abuse of power; "Well, what was she wearing?" propaganda (Z)
Historical narrative (Drey)
came from a relatively progressive and educated family as seen on how the parents would encourage Marji to value education and stand up against oppressive political regimes (Bea) Link Title
what indicators?
struggle for autonomy
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The transition from Marji's personal dream of becoming a prophet to embracing revolutionary engagement signifies a nuanced struggle for autonomy influenced by the political environment.
The central conflict of the narrative is the Islamic Revolution in Iran, which Marji personally lived through. This is a similar reality experienced by victims of the Mindanao conflicts heralded by the Abu Sayyaf.
(Annie)
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