Where can I download a PDF copy of Persepolis: The Story of a Childhood ( Pantheon Wise, funny, and heartbreaking, Persepolis is Marjane Satrapi's graphic. lnternational Journal of Persian Literature Chrrte, Hillary, "T'he Texture of Retracing in Marjane Satrapi's Persepolis!' WSQ: Wamen s Sfudies Quarterly 36, . Marjane Satrapi-The Complete Persepolis-Pantheon ().epub. Download Marjane Satrapi-The Complete Persepolis-Pantheon ().epub ( MB).
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This is why writing Persepolis was so important to me. I believe that an entire nation should not be can forgive but one should never forget. Marjane Satrapi. Satrapi, Persepolis 1 English - Free ebook download as PDF File .pdf) or read book online for free. Supervision of translation: Marjane Satrapi and Carol Bernstein. Lettering: Eve Deluze This is why writing Persepolis was so important to me. I believe that an .
Persepolis through the Lens af Persian Historiography 93 perpetrated by the protagonist , and permitted the inclusion of ficlional narratives, poelic admonishments, and lilerary embel- lishments that contributed to the narrative's tnoral intent. Persepolis through the Lens of Persion Historiography l? The lJance of the Rose and the Nightingale: Two Children of the Revollitir: There are so many people have been read this book. Syracuse University Fress, This online book is made in simple word.
T'he sheer" number of these images confirms the importance of the raised-hand gesture in the iconography of the Ayatollah in lran. According to Peter Cheikowski and Hamid Dabashi, the revolution of tglg was a broad popular movement to which "three major ideological claims were laid: Persepolis is told from the viewpoint of the secular intellectuals and since the secularist viewpoint is that of Satrapi's tar: Aulhors iike Salrapi, r,vho have in- vested heavily in cultural translation, must take into accounl both their readers' thirst for authentic insight into the orher cultr-rre, of- fered by an informed insider and the limits of human empathy with "the others," inhabiting an alien environment.
A number of scholars have addressed the strategies Satrapi employs in her efforts to ne- gotiate the Easl-Wesl divide, and to defuse the image problem that lran and diasporic lranians were encountering in the West afler the revolution. Two studies in parlicular have been helpful in defining the perim- eter of my own invesLigation: A Case Study of Mar: The question of culturaltranslation is also addressed in the second articie, which examines Persepohs from lhe perspeclive of diasporic cultural studies.
This article tests this pr"emise on the micro level, analyzirTg the function of specific features of the narrative in simuitaneously addressing both indigenous and diasporic audiences. The book is named after aworld-famous archaeological site. Undoubtedly, for Weslerners and lranians alike, this title is a re- minder that ancient Persia, the great multiethnic empire founded by the Achaemenids in the sixth century BCE, has a glorious past, implicitly juxtaposed lo Iran's problemalic present standing in Western public opinion.
For Iranians from the pcst-World War Two generation, il would call to ruincl an encyclopedia pub- lished in the s by the Pahlavi Foundation under the auspices of the UNESC0 National Commission in lran, which comprises ar- ticles on Persian history and cullure through lhe ages. Satrapi's concerns wilh reaching Western audiences,ee and her stated goai ofexorcising negative stereotypes about the people of her native country, firrd expression in many interviews with the author. Amy Malek has alr"eady pointed out the pedagogical palhos of Satrapi's memoir, and her effective strategy of bridging the cultural divide by "fdepicting] surroundings that are simultaner: Persepolis through the Lens of Persion Historiography Iranian historical buildings.
Even the burial-chamber of Cyrus the Great r. N Figure 5.
Marjane Satrapi, "He even went ta lhe grave of Cyms the Great, who ruled over the ancient worldl' Source: Chapter 4: Pantheon, zoo3 , zB. Figure 6. Wikimedia Commons: Tomb, Cyrus the Great, iran, Library of Congress, https: C ross-c u ltu rs I i d e ntifi cati on This is achieved through the technique of "cartooning," or stripping down an image of its realistic details to Lurn it into an "icon," Lhus amplifying its "essential 'meaning.
Here is his ex- planation for how abstraction works: Lhe shoes of those who populate it, forgetting that they are tourisLs. Utilizing a visual language that reeds no interpretaLion and offers no distractions, the author makes allo-identification easier, ensuring maximum empathy fcrr her lranian characters.
Islamic ciolhing is one cf the most potent among them. Thus, the increase in veiled figures in Persepolis marks nr: Given the numerical imbalance between f"ull beards and black chadors on the one hand, and clean-shaven facesf covered heads cn Lhe otheq the viewer is ieft with the impression that in the world sketched tnPersepoli. In the panel, the spotlight is on a group of bearded "fundametrlalisLs," drawn in stark black and while, while all around them, in the shadows, sketchy silhouettes love, laugh, dance, and carry on a full, though clandestine, existence.
The "fundamentalists" occupy center sLage, but by another yardstick they are also completely surrounded by Lhose who r: The caption on the panel reads "The more lime passed, the more I became conscious of the contrast between the officialrepresentation of my country, and the real life of Lhe people, the one lhat wenl on behind the walls.
She is also a cannily chosen avatar for the adult Satrapi, as the girl's irrepressible candor and seemingly innocuous queries punclure large holes in the prelences, affectations, and selfl delusions of the adulls around her. Marji's "specific story" also func- tions like a parable of the human condition, using Iranian content Lo broach broader moral and ethical issues, and here are three of those: Should the sins of the fathers be visited uFron the sons?
Swept on a wave o1'righleousness and revolutionary fervor like triumphant revolutionaries in general , young Marji in Chapter 6: Where do cads come from?
In Chapter Faced by the possibility of arrest and detention fbr wear: Simidchieva , Persepolis through the Lens of Persion Historiogrophy r19 3. Should an 6. Desperate lo fit ir, with her Austrian classmates, and ashamed of lran's image as "the epitome of evil," in Chapter Once again, her grandmother's admonish- ment "be true to yourself"tl6 helps her sland tall, and find her station in her new environment without denying her roots.
PersistenL anti-semitism, expressed in lhe denial of the Holocaust by some Islamist circles;and the shari'a penal code, which exacts severe punishment for hornosexual acLs, are two issues that have deeply tarnished lran's image jn Western eyes. Do ordinary Iranians share these attiludes? Should they be tarreci with the same brush? Satrapi's answer comes not through protestations, but through two autobiographic episodes that show another side of Iranian reality. The first one features Marji's reaction lo lhe tragic loss of herJewish friend Neda;the second is an encoun- ter beLween Marji's mother and her daughler's eight Austrian room- mates, who happen to be gay men.
True,Jews have been living in Persia since antiquity, and Cyrus the Great's berrevolenl trealment of the Babylonian exiles earned him an honorabie mention in lhe Holy Writ. Apart from conveying her personal history, her horror and grief at the loss of her friend Neda have an additional point to make. On the concluding panel of the episode, she is seen teaching one of the men how to say "i love you" in Persian to his lranian icve interest. Conclusion lnPersepolis Satrapi adapts effectively some of the strategies of the Fersian historiographic tradition to a new alien genre and achieves her didactic objectives.
The book provides enough accurate references to the Iranian social and cultr-tralcontext to open a meaningful discr-rssion on the tectoiric shifts, which reshaped the region in the lale s and early s.
It also uses "the liminal space" between culLures as a shared gr"ound from which non-Iranians can gain a native perspective on the Iran! One of Salrapi's most remarkable achievemenLs is that her comments on both societies are equaily honest, forthright, and unsentimental. Their banner is inscribed with the motto of Marji's indomitabie grandma: N OTES 1. Marshall G. Hodgson,TheVenture of Islarn: Conscience andHistory in a warldcivilizafion,vol.
The University of Chicago Press, j, Cambridge, MA: Harvard University Press, Latlfi, Afschinel'r. Even After AllTlisTime: Harper Perennial, Mackenzie, D, N, "Eran, Erandahr. Columbia University. Malek, Amy. Mazur, Dan, and Alexauder Danner. A Globnl History, ta rhe Present.
Thames and Hudson Lld. McCloud, Scott.
Understanding Carnics: The Invisible Arf. HarperCollins Pr"rblishers, 4. Meisami,Julie Scotl. PersianHistariograp'hy, edited by Charles Melville, T'auris, Edinburgh University Press, Melville, Charles. L B, Tauris, Perslan Historiography, edited by Charles Melville, xxv-lv. Taurls, -. Moaveni, Azadeh. Lipstick Jihad: Public Affairs, Mottahedeh, Negar, "Cff the Grid: Reading lranian lvlemoirs in Our Tirne of Total War. A Memoir in Books. Ratrdom House, Nanquette, Letita. Orientalism versus ccidentalism: International tibrary ofCultural Studies.
Pahlavi, Farah. An Endurfug Love: My Life with the Shah-sMemoir. Marjane Satrapi on Writing Persepolis. Poster of Khomeini after the Viclory of the Revolutiotr. Ranrazani, Nesta. The lJance of the Rose and the Nightingale: Life between lran and America: Gender, Cttlture, and Poiirrcs in the Mi. Syracuse University Fress, Satrapi, Marjane. The CompletePersepalis" New York: Parltheon, Persepolis 1: The itory of tt Childhaod.
The Stary of aReturn. Pantheon, Slrahbazi, A.
CotLrmbi a Univers ity. Spiegelman, Art, lt4aus I: A Survivor's Tttle: My Fsther Bleeds History.
Pantheon Books, Maus II: A Survivor's Tale: And Here My Troublss Began. Tagavi, Jiman, "The lran-Iraq War: Internal Dynamics, Regional Conflict. Columbia University Press, Wolk, Douglas. Reading Con'Lics: Cambridge, MA, and New York: Da Capo Press, Yarslrater, Ehsan. Cambridge University Press, Persepolis through the Lens of Persisn Historiogrophy 3. See, e. A Novel of lran,trarTs. Susan Massotty fdinburgh: Canongate Books, i , originally wri tten in Dutch; or the numerous autobiographical and memoiristic works from the ts and the first decade of the iwenty-firsi century rvritten in English by Iranian American women authors, On lilerature bv Iranian authors written in French, see Letilia Nanquelte, Orientalism versus Occidentalism: Tauris, , 4.
Amir Kabir", f SZO. Meisami, P erslan Histor iagrttphy. Melville, "lntroductionl' in A llistory of Persittn Literature X: Charles P er siqn h'ille London: Tauris, 20 1 2 , Hisr orio gr aphy, ed.
The term "graphic novel" is used to designate "apotential'higher' form of comics,.
Da Capo Press, , Thor-rgh gaining in currency, it has nol vet soiidified either as a designation of a specific type of comic book, or as applied to Marjane Satrerpi's work. Chute calls Persepolis a "graphic narrative" rather than "a graphic novel," tlrus emphasizing its historicity.
Similarly, "The Complete Review's Review" argues tlrat Persepolis is not a graphic novel, but an ar-rtobiographical comic strip bande dessind,e , thus placing Satrapi's work firmlv into the Franco-Belgian tradition of sequentialart. June-September Chute, "Texture of Retracing," tOS. VanessaJones, "Life in Graphic Detail: HarperCollins Publishers, , 5, 7, Art Spiegelman, Mausl: See "PanLhean Graphic Novels: David 8.
Kim Thompson New York: Panlheon Books, See also Naghibi and o'tltalley, "Estrariging the Familiar: Azar Naflsi, Reading Lalita in Telran: A Memoir in Books New York: For comparisotrs belween Persepalis and Reading Lolita, see, e. Two Children of the Revollitir: According to Anty Malek, memoirs of lranian womell writers sLarled appearingin the United States in particular in the late s, gaining recognitir-rn tc'rward lhe end of the next decade, See Amy Malek, "Memoir as Iranian Exile Cultural Produr: A Life in lran and Amtrictt I.
A LIfe between lran antl America Boston: Beacon Press, ; I.
Random House, 20a4 ;Marjane Satrapi, Persepolis l: Story of a Clildhood ttew- Yor: Farideh Goidin, Wedding Song: Persepolis through the Lens af Persian Histariography r Bran dei s Un ivers Satrapi, Persepol[s 2: Story of a Return New York: Miramax Books, ; Azadeh Moaveni, Lipstick-lihad: Harper Peretrnial, Lett out of the comparisr: Chrite, "The Texture of Relracing: Boatright, "Graphic-lourneys: Danzak, "Defining Identities Through Mul teracies: Magibi and O'Haaiiey, "Estranging the Familiar," 22s Ihute, "Texture of Retracing: A Global Htstory, to the Present London: Ar-rtobiographical comics like rersepolis were another signature product of LAssociacion, a feature lhat Mazttr and Danner attribule to the lnfluence of Art Spiegeirrtan's Mnus, which recounts tlre experiences of a Polish -few and Holocaust survivor.
These features are clearly expressed in Salrapi's work too. For example, lhe stylized lulip c-rn the covers of the books of the boxed set, the friezes of Persepolis in the i: Shahbazi, "Historiography ii: On the irrfluence of Sasanian historiographic tradi- tions on Arabic and Early Persian tristory writing, see ;rlso Meisami, Persian Histori. Ancienl Persian lnscriptions. D, Reiilel Puhlishing Company, , Pre-lslamic Period.
Charies Melville, "lntroduc: Pers[an Hlstortogrttphy, ed. Charles Melville t-ondon and New York: Tauris, , xxviii. Persian Historiograplry, ed. Charles Meiville l-ondon and New York: Tauris, , Gthb quoted in Meisaml, Persian Htstoriograplry, 1.
Persian Htstoriography, ed. Charles Melville t,ondon and New York: Tauris, , Daniel, "T'he Rise and Development," "1. See als o Melville, "lntroduction," 50, Meisami , Persian Histoiagraphy,2S3. Melville, "lntroduction," xxvii.
Meisami,PersianHistariogropllV, 1. Cambridge University Press, ,, rvirereby the latter identifies similar features in Sasanian his, toriography, which was a]so centered on dynastic eras, and was meant to function as "educational instrument of social stability and cohesion," and to "promote the national and moral ideal of the stale.
Meisanri , Persian Hfstortography, Persepolis through the Lens of Persion Historiography r25 Salo n. Naghibi and O'Malley, "Estranging the Farniliar ' , Satrapi, chap. Eskandari, when not in direct quotation frorn sources, is tr: Accordiirg to Mairoutchehr Eskandari-Qajar, who maintains the site, "Yahya Mirza was botlr the inspi- ration for fhis nephew] Soleyrnan Mirza's activism and for that of his owri son, Iradj Mirza fmember of lranian Parliament, lounding member and later secretary-general of the Tudeh Party of tran]J' See "Yahya Mirzai' Qajarpages,http: According to Katouzian, Solaiman Mirza was initially the leader of the radical llemocrat Party whose "programme included 'the cornplete separa- tion of the politicalfrom religious power','distribution of land among the peasantry' and 'oppositjon to Senate.
FIe was also a fbunder of the Socialist Party, but never a communist, even though he was a founding mernber of Tudeh, the party of lranian communists. The finer points of Solaiman Mirza's poiitical affiliation in the last years of his life can perhaps be understood hetter if we take into accormt the shifts in the ideological orientation of Tudeh itself. Katouzian points out that: ILs symbolic founder and tituiar head, Solaim an Mirza fskandari -an old democrat turned socialist-could hardly be described as a Communist of the new breed.
Its leadership, unlil I, was rnixed, although the Marxists still had more than their fair share of it because of the heroism with which the group of Fifty-three were associated. According to Abrahamian, the founders of Tudeh were Marrisls, but they "gave the party chairman- ship to Sulayman Iskandari, the highly respected radical prince," who had a long and distiirguished record as a leader of leftist and liberal movements.
According lo Abrahamian, from "r: Abraharn ian, Iran Betw een T w o Rev olutians, 1 3 9. See also Kristin Anderson's commetrts on tlie efTectiveness of Satrapi's strategy to use a "naive" child's perspective to filter "political evenLs thrcugh day-to- day happenstance," thus creatjng "a seemingiy immediate and unmediated narrative.
As an lratilan who has lived more than half of my life in Iran, I know lhat this iruage is far from the truth. I believe that an entlre nation should not be judged by the wrongdoings of a few extremists"" Satrapi focusses much more on the smaller everyday occurrences that stand or: Indeed, the account is very sketchy, and most readers surely would be very interested irt more details about her family and background.
Scme are very effective as such, as lnosl af the horrors don't need to be dealt with in detail to be understood for the horrors they were. Persepolls through the Lens of Persion Historiogrophy l feels like it is far too little, and too light.
It also aliows the book to be used in variety of pedagogical contexts, for an instructor ofgender sludies can priorilize a different sel of talklng points than an instructor using the book as a vehicle for discussion of ttllddle Eastern history. S atrapi, "lntroductio n l' The Complete P er s ep olts, n,p. We can see that frorn her master- fuluse trf the irony of scale irrFigure S Chap,4: Satrapi's comment is clear: No matter how hard the last Persian monarch aspires to the mantle of the first, he just does not measure up.
In his exposition on the beginnings of the revoiution of , Ervand Abrahamiari notes that the spark for the revolution is ofLen sougirt irr a slanderous arlicle against Khomeini, published in a major rrational lrews paper on Jan vary 7 , That attempt set 10, students marching in the streets. The mass unrests in Tehran slarted l: Said Amir Arjomand,T'he 7'urban for the Crown: Oxford University Press, , Internal Dynamits, Regional Confhct, and the Superpawers, ed.
Barry M. Harvard Uriiversity Press, , The area in which feminists posed the clearest challenge during the revolutionary movement was in the women's clathing. Feminists ivho resisled this symbolic associatiotr with the Isiamists were made increasingly uncotnfortable al oppositional events. Al a large marclt inJanuary , awoman protesting fagainst the Shah] without hijab was attacked and [: Simply occupying pub- lic space without hiiab made one subjecL to cetrsure, as one woman found when lslamists shouted angrily at her as she waited for a taxi irt Tehran.
Regarding the vioiently suppressed demonstrations in March I, she adds: Ramazani New York: Palgrave, , Gieling, "lraq: Syracuse University Press, , Satrapi, cbap.
Persepolls through the Lens of Persian Historiagraphy 1? Satrapi,l, chap. Meisarni, Persian H istoriography, Ray quoted in ibid. Pertinenl exampies are the Shah's teievised "mistakes were macle" address to the nation from November in 1, chap.
Anderson, "l'rom Prophesy to Punk. The crowll, the robe, and the ermine collar are distinctrve markei: In one panel only-tlie drawing thal dc'picts the Shah's departure from lran-the robe is gorre, and Lhe crorvn is iucked under his arm, but the ermine collar stili remains in place.
The mixed message of the royalattributes reflects accurately the monarch's ambiguous status; de facto Mohamnrad Reza Pahlavi was no longer Shalr, but dejure he had not abdicated, nor renounced his claim to the throue. That is why women should cover their hair! The first-emulated by Satrapi-which features the eight shrouded corpses, was dislributed by the secular Writers'Association see Appendix, The second, presenting a streel sign fcr Zhala Square set on a brick wall, features a picture of Khomeini taped to the sign, a bioody harrdprint over it, and an inscription readirrg "God is Great.
The Martyrs of the rzth of Shahrivar":: Doctrinal objections to tlre direct role of clerics into the political structrres were expressed by Grand Ayatollahs Khu'i, Qumi, and Shari'at-Madari. The views of the religious opposition within the clerical establishment were largely suppressed by Heavily indoctrinatect, it comprises a parallel structure to the naljonal ar"rny. Amir Arjomand, The Turban for the Crown, June 3, ,http: June 5,, http: Poster of Khomeini after the viclory of tlre revoluti an, https: Nagliibi and O'Malley, "Estranging the Familiarl' See also the section "Reception and Reaction: Intended v.
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