thesis statements for persepolis

A series of writings throughout my cosmic journey…

Persepolis: An Analysis of the Role of Identity During the Iranian Revolution

Although cinema is often seen as entertainment rather than a work of art, Marjane Satrapi’s film Persepolis beautifully captures the rhetoric of the Iranian revolution in an artistic demeanour. Her comic-inspired film follows the life of Marjan, a young girl struggling for truth during an era where the lines between human sincerity and strict government policy are blurred. The aim of the movie, however, can be argued to be the unification of the Western and Eastern public ideology regarding Iran – based on the fundamental issues of assimilation. Members of the Iranian diaspora can deeply resonate with Persepolis as a whole, but more specifically relate with Marjan’s personal endeavour for meaning in a binary world of culture. In addition to this, the movie drew a deep parallel with Marjan’s struggle with truth, and the journey for the entire nation of Iran in a society of deeply rooted political conflict. Although a wide variety of the film’s themes and ideas are solely rooted from Marjan’s personal identity, it should also be noted that a wide variety of the sub themes follow the socio-political conditions in Iran, such as women’s issues, social constructs and Western intervention. Therefore, this essay aims to explore Marjan’s emphasis on self identity, in addition to the storytelling of Iranian history and conflict. I will use Saparti’s choice of animation as aid for my thesis with an emphasis on imagery juxtaposition.

         Firstly, I will trace the origins of the root of the title and meaning behind Saparti’s choice to call the film Persepolis. Beginning with the analysis of the film title, the world Persepolis quite literally means the ancient land of the Persians. The Persian Empire was found by Cyrus the Great and was renown at the time for its strong reign.[1] Once Alexander the Great took over the capital, the people were left impoverished and their country in ruins.[2] I argue that Satrapi chose the title Persepolis as a parallel to the events that occurred during the era. The merciless overthrow of the government combined with the excruciating torture that many Iranians felt at the time are both parallels with the film.  Before the war in both circumstances, it can be argued that Iran was prosperous and free-spirited. Saparti aimed to show how dictatorship can dangerously harm a society that was once so well reputable. Throughout Persepolis it was evident that the political strain can affect nearly all interpersonal levels of Iranians throughout the revolution. This is evident in the way the Iranian revolution shaped the path of Marjane’s life; from her personal relationships to her drive for life. Furthermore, the powerful state before the war was a symbol for the utopia that the Iranians thought they were going to have. For many Iranians, the revolution was meant to be an event that altered their state for the better; to free them from the chains of totalitarian regime. However, this was clearly not the case.

         I will lay out the framework to further prove that using animation in Persepolis was a tool for Saparti in order to create an artistic portrayal. The use of animation meant an acceptance of the impossibility of perfect representation of such traumatic events. In other words, it became an accessible means of dealing with difficult content of Saparti’s life. The issues that Saparti aims to explore are often ‘grey’ and not black-and-white. This allows surplus room for the viewer to self-interpret the complex emotion that Saparti aims to express. Although it can be counter argued that animation lacks a particular element of realism, it immerses the viewer in narrative and aesthetic art. In this way, the use of animation offers a medium where memory, dream, and fantasy can be intertwined; without the burden of realist depiction. In a way, the lack of clarity and realism leaves furthermore to the imagination, which allows the viewer to grapple with meaning to the point of resolution.

Saparti monochromatic palette beautifully uses the juxtaposition of light and dark in her film. The contrast aims to represent the innate emotions and experience of each character within the film, whilst outlining their inner motivations. The gloomy silhouettes represented the lives of sorrow that the Iranian people felt, while the bright lights aimed to signify the sense of hope they felt as they clung onto the memory of freedom. A beautiful example is when Marjane learns that her Uncle Anoosh was re-arrested by the regime troops, and she is seen in front of a texture-less background with no sense of depth. The outline of her black hair and clothing contrast within frame as her figure is seen hovering through a vacant, black void. This image, although animated, depicts the sense of deep isolation and resentment Marjane faced towards the revolution. Furthermore, the use of dense black frames is used during the scene of the bombing occurring in Iran. The dark silhouette of the stairs combined with the black empty screen during the bombing ignite a sense of fear and mystery within the viewer. This is used many times throughout the film, most notably when depicting the false dream that the Iranian government sold to young men embarking off to the war. Saparti was able to, once again, draw a parallel between the young men of Iran fighting in the Iraqi war (often promised the “key to paradise”), causing the viewer to ask if these young men are any different than the youth of the American wars. In this way, Saparti uses universalization to appeal to both Iranian and Western viewers.

As the film commences, it is evident from the very opening scene that Marjane is dissatisfied with her contrasting cultures. This scene was one of the very few in colour; further punctuating the film. Marjane is seen in solitude waiting at the Paris airport in a familiar flashback. She shines a look of disapproval upon putting on a head scarf before her arrival in Tehran whilst smoking a cigarette. Immediately, we see that the complex and deeply rooted themes of identity, exile and return emerge in the introduction. Throughout the movie, the recurring theme of solitude and identity emerge as thousands of Iranians left Iran during the revolution. The relocation to another country left colossal gaps in the streams of identity amongst those individuals. Furthermore, Persepolis captures the sense of loss when Marjane’s family members dwell on the question of whether they too should leave or stay behind. In this way, the film depicts the struggles of those individuals that choose to stay, whilst placing emphasis on the severed ties with those that choose to stay behind. An example is Marjan’s Uncle Anoosh, where the theme of exile is embodied in his character’s decisions. His exile to Russia and attempt to sneak into his homeland signified his deeply rooted ties to his Iranian identity. Although he was a revolutionary that fought against the ordeals of the Shah, Uncle Anoosh served as a role model for Marjane; embodying hope, strength, and passion. He shares his stories of imprisonment with Marjan, which serve as a medium for inspiration. In addition, the toy swans carved out of the prison bread serve as a symbol for hope. Upon Anoosh’s execution, the white swans are surrounded by black water – once again the use of dark and light to represent Marjan’s deep feelings of loss and hopelessness. In this way, the perceptive genius used by Saparti illustrates the anguish Marjane faces as she is also ‘exiled’ to Vienna during her youth.

Upon moving to Vienna, we see a stark contrast with the quaint depiction of Tehran. Although in Western eyes, Iran is often seen as the foregin ‘other’; in this turn around of events, Vienna was depicted in the light of “otherness”, with Viennese tams and sidewalk cafes, along with ringing church bells. In this way, the viewer was placed directly in Marjane’s perspective; engulfed in a sense of wonder and foreignism. An overarching scene in which consumerism and Western industrialism is well depicted in one where Marjane is in the bounds of a modern-day grocery store – shining with branded product. This generates a stark contrast with the poverty that many Iranians faced during the revolution, and due to this a fundamental and underlying guilt is developed in Marjane. While her family is faced with the darkness of war, Marjane is blessed with the Western opportunities and frivolous life. Unable to live with the guilt and lack of external support from her friends in Vienna, Marjane is later diagnosed with depression. There is uneasiness with her friends’ ease of philosophy and the dark realities of war that Marjane faced. This internal struggle aims to show how the revolution creates deeply embedded memories in the Iranian diaspora, in which it is carried with them throughout all their experiences. The internal struggle within Marjan also runs parallel with the struggles of Iranian across the globe, which further attributes to the universality of the film. In addition to her struggle into assimilation, Marjan also experiences various romantic relationships that also contribute to her shaping of her adolescent identity.

As the attempts to find understanding and sympathy in her friendships, the same is apparent in her strive for love. As she strives to find meaning in these relationships, Marjane loses a piece of herself. In a scene where she lies about being French from fear of being seen as a “barbaric” Iranian, Marjane imagines her grandmother following her trail and catching her in her lie. Through the act of dishonesty, it is clear that Marjane still possesses an innate dissatisfaction with her identity. Upon her return to Tehran, she also sees the socio-political effects that the revolution had on the people. As her grandmother famously quoted that “fear lulls us to sleep,” Marjane sees fear manifesting in the actions of her fellow Iranians. In a way, the revolution had normalized people to be savage and this is evident in the distinct scenes of her mother at the grocery store or swearing at other drivers. Furthermore, her decision to turn in an innocent man also shows how fear had caused everyone in Iran to resort to a “survival” and “state of nature” instinct. The Iranians became stripped of their pride, nationalism and meaning, therefore the country had evolved into a cold society, where all individuals only possessed the will to survive.

It is evident that Saparti effectively used animation as a means of portraying the harsh realities of the Iranian revolution. Saparti was able to beautifully capture the binary world of Iranian and Western culture, and the deeply rooted conflict that many individuals like Marjan felt during this era. It is also evident, however, that the Iranian diaspora today also feel disconnect when approaching the fragile world of cultural clash. Furthermore, Saparti was able to go beyond the physical bounds of Iran and travel beyond into the universal world, where her film can be applied to individuals of nearly all cultures. That is the beauty of universality that lies in the fundamental roots of Persepolis. No matter what culture one may originate from, the internal conflict with the “traditional” and modern will always persist. The outcome, however, will not always be positive. Although Marjane was able to undergo multiple external identity alterations, in the end, she was still the carefree and curious soul. Her drive for justice is evident at a young age and is manifested later in her life. This is evident when she is seen standing up for her classmates in university regarding dress code.  Marjane’s early life and her exposure to her parents’ activism instilled determination for justice and a desire for freedom.

Through the use of animation and contrasting depictions of dark and light, Saparti is able to tell the story of Marjane’s coming of age during the violent birth of the Iranian revolution. Through this, Saparti also universalizes the ideology of binary culture and sheds light on the day-to-day victims of the Iranian revolution that are often ignored in Western portrayal. Persepolis acts as a beacon of hope where cross-cultured individuals can reconnect with meaning, and a desire to discover identity through Saparti’s rich, inky black and white illustrations. Marjan’s dissatisfaction with revolutionary promise for freedom, and with totalitarian rule is manifested in her acts of defiance throughout the film. In conclusion, Saparti’s story-telling monochrome palette reveal throughout Persepolis that the deep socio-political issues it highlights are anything but black and white.

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Coming-of-Age During Revolution, Civil Unrest, and War

Satrapi draws a definitive parallel between the trajectory of her childhood and the trajectory of the Islamic Revolution, as well as the Iran-Iraq war. Her life—and her family’s history—is entwined with Iranian politics and culture. This is not solely a memoir of Satrapi’s childhood; in order to understand how she grew up, the reader must understand how the revolution, civil unrest, and war changed the world around her and affected her family. Satrapi’s story is inseparable from the story of her homeland, and the events that marked her childhood years.

For this reason, the book’s plot is not entirely linear: Satrapi’s experience of the revolution was not a perfectly linear experience. Flashing back and forth between Tehran pre- and post-revolution, as well as before she is even born to imagine her family’s experiences, Satrapi employs a semi-chronological structure. This allows for greater flexibility in storytelling, and a richer, more vibrant understanding of the forces influential to Satrapi’s upbringing.

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Free Thesis Statement On Persepolis: The Story Of A Childhood

Type of paper: Thesis Statement

Topic: Family , Parents , Literature , Youth , Teenagers , People , Women , Middle East

Words: 1100

Published: 2020/11/28

Persepolis: The Story of a Childhood is a graphic novel written by an Iranian woman by the name of Marjane Satrapi. She starts off the book with a quick summary of the history of her land going far beyond what most people know of the Iranian nation and its people, and her love for the country shines through her words. She goes on to explain that she decided to write this novel in an attempt to show that Iran is more than a nation full of fanatics and terrorists as many people have come to believe over the last several decades. Instead she portrays the nation as she saw it with her ten year old eyes; how she viewed the revolution and the Shah. What it all meant to one young girl wishing she could be a prophet or a revolutionary. The book has many pages of importance, showing changes in how she views the turmoil engulfing her world. However I am choosing to examine pages 19, 36 and 65 because I believe that they hold a special kind of significance in the changing of this young child’s world view from one of innocent purity nad morphing her into the opinionated woman she became. Page 19 has nine panels and shows a significant change in Marjanes demeanor. She goes from talking to her God about being a prophet to wanting to be a revolutionary and protest alongside her parents the next day. Each panel depicts her changing mind frame and realization that her imaginary friend is gone after she sets her mind on the evolution. However, after a single moment of looking for him she quickly refocuses on her quest and goes to convince her parents that they should let her come with them to the protest the next day. This scene can be easily overlooked but is in fact a turning point in her life; leaving fantasy to try to focus on reality. She doesn’t seem to realize what has happened as most children don’t when they start to leave childhood behind for the horrors of the real world. The left bottom panel shows her stomping down a dark hall looking determined. As if perhaps she fears they will not let her come and is resolute in her conviction to persuade them at all costs or maybe the dark hall symbolizes the very different path she has turned too. With no further ado the young Marjane opens her parent’s door and proclaims that she wants to come with them, marking a milestone in her young life and a change in her priorities even though she is very naïve about the reasons and people behind the protest. Even at ten this young girl wanted to stand up for what was right at all costs. Her Parents are blunt with her about the realities of these kinds of protests and even tell her that people get killed, but this only seems to increase her diligence. In a calm manner she insists and her eloquent line regarding rising together seems to be one that she learned from one of her many books. Nevertheless they are set in their decision. This scene truly shows Marjanes aptitude for fighting against oppression and cruelty and which eventually lead her parents to send her away from Tehran to convent where they believe she will be safe from the battles and shootings. (page 19) The second page I chose is 36 because it shows an awakening in Marjane. She realizes for the very first time what the revolution is honestly about after reading as many books as she can on the subject. She reads about young children working from the age of three to provide food for themselves and their families and being scorned for doing so. She understands why she feels guilty when riding in the father’s luxurious car and why her family has a maid at home. For the first time Marjane understands what social classes truly mean and why the people are rebelling against them. She recalls her maid being heartbroken over the discovery that the next door neighbor that she loved did not want to see her once he discovered her social class, strange considering he is portrayed wearing western attire not indicative of any class. However, the traditions are deeply ingrained in Iran and one does not may move out of his or her social class. The final page I chose was 65 because it gives the reader a better idea of what Marjane is being inundated with at home from her parents and uncle. This scene gives us an awareness of how Marjane formed her strong opinions about the revolution and the government of Iran, especially when taking into account how much she admired her uncle. Her parents do not shelter her from their political discussions. These panels show situations in which she is present for political discussions between her uncle and father. One of the panels even portrays the girl attempting to voice her own opinions on the matter of the revolution based upon what she saw on television but this view was quickly shot down as ludicrous by her father. It is apparent that her family is very one-sided in this matter even if they have varying concepts of how the people should be rallied around Marx. It seems no wonder that Marjane would become as strong-willed and opinionated as her parents and relatives. She was exposed to all aspects of the revolution from a very young age. The pages chosen for this analysis were set in the early stages of Marjanes growth and maturity as a child. These three pages in the book show the realities that Marjane is facing at the tender age of ten. The scenes depicted in the panels radiate with the love of parents and the pain of death, showing us how a young girl living in Iran in 1980 felt when the country was facing such turmoil among those with differing religious and political views. This story is unique because the author is not trying to push her views on the reader; rather she is attempting to help the reader understand what she felt. She wants others to feel the humanness innately missing from the Medias view of Iran. In these pages a ten year old girl starts to lose the innocence of her youth symbolized by her imaginary friend in the form of her own personal God and begins to develop her strong opinions on right and wrong. It is reminiscent of the future overshadowing the past and Marjane growing up and seeing the realities of her world beyond the inconvenience of having to wear a headscarf for the first time and being segregated in school. Her world is changing and she is finally seeing those changes for what they are.

Marjane, Satrapi. "Part one." Persepolis: The Story of a Childhood. London: Random House. Print.

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Imagined Identity: Representing the Stereotype of the Other in Persepolis

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Persepolis and Religion

In The Complete Persepolis by Marjane Satrapi, she highlights many ideas of self-discovery, specifically through religion. The story begins in Iran where we meet a young Marjane who is growing up through the ever-changing times of Iran falling apart. Around her, there are protests, rights being stripped from people, segregation through gender, and tension is everywhere. She grew up with her family being her main role model, encouraging her to want to see a change in the world and stand up for what she believes in. Marjane always used to consider herself religious and it was something she held closely ti her. However, the Iran government created strong ideas as to what religion had to be and how to practice it  correctly , which in turn pushed her away from religion and scared her to continue her practices.

Her struggles of finding purpose and clarity in religion are valid when looking at the ruins of the political and religious aspects of Iran. As these changes were happening, women were treated awfully, and religion was forced and shaped into only one idea. “The holy endowments were increasingly put under government control, mosque meetings and prayer sessions were infiltrated by the secret police… religious student organizations on the nation’s campuses were disbanded…” (Bill, 25). Religion was followed closely and strictly enforced. They were expected to follow all rules of religion and new laws “included requiring women to wear a veil, the banning of alcohol, and the banning of Western music.” (Colunga, 1). While these were laws, they also fell in line with religious beliefs that needed to be followed in Iran, or else you face penalties and sometimes even death. Many women did not want the hejab to become mandatory, therefore “middle-class leftist and liberal women… led protests and sit-ins.” (Moghadam, 185). These women didn’t gain much support, but they fought for change and paved the way for where woman’s rights are today.

I think the importance of this is to realize that change begins somewhere. No matter how small, anyone can make a difference. Every person deserves to express themselves and the beliefs they choose to without limitations regardless of race, gender, sexuality, etc. We should be fighting for equality every day for every one.

Bibliography

Raul Colunga, et al. “Life in Iran before and after the Revolution: How Religion Redefined a Nation.” StMU Research Scholars , 9 Dec. 2018, https://stmuscholars.org/life-in-iran-before-and-after-the-revolution/#markerref-88008-9.

Moghadam, Valentine M. “Revolution, Religion, and Gender Politics: Iran and Afghanistan Compared.” Journal of Women’s History , vol. 10, no. 4, 1999, pp. 172–195., https://doi.org/10.1353/jowh.2010.0536.

16 thoughts on “ Persepolis and Religion ”

This situation of the Iranian government is kind of similar to missionaries. Both the government and citizens feel strongly about their faith, it is a big part of their identity. However, the government is trying to force it and saying that if they do it a certain way then they are in the wrong. The missionaries are the same as they also felt strong about their faith but would use harsh and manipulative means to get people to follow them. It is shame that they both do this as with the case with Marjane, and many others, it turns people off the religion, which does more harm than good. The government’s involvement with religion seems pretty extreme considering it seems like many were faithful to their religion.

I think that especially still today, multiple different groups are fighting for equal rights. Whether that is woman’s rights, the BLM movement, etc. It is sad to see that even back then we are still dealing with some of the same issues. Seeing what Marjane has to go through is quite sad, but also empowering at the same time because even though she is only one person, she is still trying to make a different for her and her community. I feel like religion is a very big deal in Iran and if someone disobeys the rules, I feel like I am always hearing some stories of people especially woman being killed for it. The fight for certain rights are going to continue for many years to come one way or another, it is just a matter of how people respond.

I admit that I have not had time to start the book yet, but this presentation brings up an interesting point on religion – when it becomes more about following specific rules and less about cultivating your own personal relationship with it, it is often about establishing control in some way. We can see this in the way that the new rules were harsher on women and encouraged poor treatment of them. It’s not the same, but this reminds me of the recent abortion laws being brought up in some states (Texas, Florida, more?). Abortion is often contested from a religious standpoint, while it’s clear that its (mostly male) opposers actually just want to control women by restricting their rights.

I really liked how you added and concluded with “I think the importance of this is is to realize that change begins somewhere.”, it really affirms the different movements and protests that have been in the past, and as well as today. We can’t have progress unless someone takes that first initial step. Although it is not easy, we can create change, and we see that in Persepolis, Marjane Satrapi shows us her life and how she wanted to create that change.

I really enjoyed reading your post and like the stance you took on how change has to begin somewhere. Marjane, being so young, had all of these new and enforced rules placed upon not onnt her but her family as well as the people around her. At such a young age, children can handle these situations very differently. Going along with the quote you included about the government placed a madate on women wearing the veil, the banning of alcohol, and the banning of Western music, I beleive that this definitely effected a women freedom of religion as well as self expression. I also believe that many women during this time fought for what they believed in and also fought for a change for the sake of not only their lives but for future generations to come. I also agree that everyone deserves the right to express themselves in a way that provides them the equality that they deserve.

I really like how you connect this to a general need for change. I think this is especially telling when you see so many situations of people being forced or influenced into believing certain things. I immediately was reminded of the situation regarding abortion laws in Texas. Decisions are being made for people at such a high level now that it is pushing some people away from fighting back. However, as you say, it is important to remember that change always needs to start somewhere. In Marjane’s case, it is terrible to read about what she went through but is inspiring to see the resistance that was present during the time in Iran that should be an inspirational flame for other movements.

I think it’s very common that certain ideas of what religion has to be can push people away, at least in my experience. However my experiences where not as difficult as Marjane’s. I think it’s great how you ended your post with the importance of change, no matter how big or small the start is. I agree that we should be fighting for equality for everyone and people should be able to express who they truly are.

I love that you chose to write about this in your context presentation because I feel that this is an important issue. Religion has become such a broad term in today’s society. There are many depths of one’s spirituality and I think it reflects on how an individual thinks and acts in their everyday life. For Marjane, religion was more than just a path of self-discovery, it also was a struggle for her throughout her life because she was battling the idea of succumbing to the Iranian government’s rules and ideals. She did not know whether worshiping God was something she truly believed in or if it was because she was being told to do so. I also think that the society she grew up in gave her false perceptions of the value of her religion. Because of this, Marjane became distant from God because she valued independence and fighting for what she believed in. I agree with the idea that religion can cause you to question yourself and your morals. I think that this is something that many people struggle with especially when they are growing up. It can create a sense of confusion, both about your own values and beliefs, and about others.

What happened in Iran after the Iranian revolution is why I believe the idea behind separation of church and state is so important. To many people, religion is the strongest power governing their lives, and if the government were to attach themselves to a religion so much, then people’s lives become greatly restricted. Making restrictive laws under the idea that it’s what god wanted means that everyone must follow these laws or they are not only criminals, but also heretics, and therefore deserve to be punished to the fullest extent. But now that the law is tied with religion, that extent can be whatever the holy text says, and in many cases making what we perceive as minor offenses can be punishable by death. This is why individual expression is so important, because when a person loses their individuality (by making everyone dress the same, for example), they lose their power.

It is difficult to imagine living where government and religion are so closely intermingled that the two become one. Separation between church and state should exist, though this is not a reality in many countries, and is an issue that can be seen today in America. Though there has been great precedence set to not conflate the two, the lines have been blurred. People should have religious freedom that is protected by the government. In France, there has been continued controversy over an amendment passed banning girls under 18 from wearing the hijab. Those who support this do not understand that religious background behind wearing the hijab or other types of veils commonly worn by Muslims. Your post highlights some of the most important aspects of Persepolis like religion, overstepping of government, and protest. Everyone’s right to live their life in accordance to their own religious, personal, and ethical beliefs should be one of the most highly protected rights in any society, and the actions of one should not cause harm to any other.

I believe that the intensity push of religion that was created by the Iranian government had detrimental consequences on Marjane. Because she heavily identified as a religious individual before the government so strictly enforced these practices, Marjane’s identity was tied to her being religious, and the customs and practices that religion dictates. Having an oppressive regime instill fear into the whole population turned Marjane away from something that was once important to her. This could lead Marjane to question parts of her own identity, and lead her to have questions about who she is and her own personal beliefs. Anytime a concept is so tightly enforced, it will naturally lead to pushback from those who who are being forced into believing or obeying the law/custom. In the case of Persepolis, I believe that Marjane was turned off by these new laws, and lost touch with herself and her culture.

In Persepolis we can see how Iranian government is changing and with the government the religion is also changing. Things are becoming very strict, and people are losing their rights, especially women. In my opinion religion was a way for government to control the behavior of people. I agree that every person deserves to express themselves and the beliefs and should be fighting for equality every day for everyone. The main character of Persepolis tried to resist and defend her rights as much as she could, without endangering her life. For example when the policemen stop her because she was running, and “her behind makes ….obscene!” and she yelled “well then don’t look at my ass” .

This is a very strong discussion. We see in the news and media how bad Iran has gotten. The rules of religion they are requiring is going past religion, it’s forcing control on each person. The government and religion should always be two separate areas, as too much control from government into religion pushes people away from practicing. It turns them off on wanting to learn or praise. It’s very important to try and make a change, and I like that you added that in your post!

I think it is interesting to see how religion plays in to social issues. At some point in time religion becomes a question in every social issues. Some people lost their connection to their religion when seeing bigger issues. Some use their religion to form their opinions. There have been multiple instances in history of forced religion and the loss of religious identity. This changes an individual and how they see the world. I think this is evident with Marjane and how disconnected she seems to her society.

Marjane experienced a religious questioning that I think many young adults throughout the world experience when they are raised with religion. However, hers is a very extreme version of this and it really highlights the need for separation of church and state. The Iran government had basically no separation of the two and it led to much turmoil as we saw. This is a very important lesson for other countries to pay attention to because although we are lucky in the US to have a significant level of church and state separation, there are times were the line is a bit blurred.

Hello! While reading Persepolis, the readers were able to see how Marjane grew up and what situations she went through that shaped her to be who she was in the novel. Like it was mentioned, Marjane’s family was the biggest factor in Marjane’s self-discovery as they were with her through thick and thin. Her family was also the people she learned the most about the world from, ultimately shaping the way she thought as well. And while her family was such a big part of her life, Marjane learned a lot from her environment and its government. At the very beginning of the book, Marjane explained how she and her classmates were suddenly forced to wear a veil, without ever getting an explanation as to why. That is why I really liked how you mentioned that due to being forced by the Iranian government to dress and behave a certain way, just pushed Marjane farther away from the religion. Making the change is easy to say, and it is even easier to write on paper. But people all come from different backgrounds. Marjane herself said she was born into the religion. So many people are born into the religion and are taught the religion’s ways from the very beginning. It isn’t easy being surrounded by so many people who put their faith in that religion and then try to stray away from it. It happens, people lose faith and suddenly don’t know what to do with themselves since they aren’t anything without the religion they’ve known their entire life. Losing a part of your identity and then trying to find the missing piece requires a mental and spiritual journey that no one really discusses. Just take for example, how the people of the Igbo religion suffered after being colonized by the missionaries.

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Home — Essay Samples — Literature — Persepolis: The Story of a Childhood — Persepolis 1 vs Persepolis 2: Analyzing Satrapi’s Visuals

Persepolis 1 Vs Persepolis 2: Analyzing Satrapi’s Visuals

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Published: Jul 18, 2018

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Persepolis 2: The Story of a Return

Marjane satrapi, ask litcharts ai: the answer to your questions.

Marjane and Reza ’s collaborative final thesis project represents Marjane’s sense of alienation in her home country of Iran. The thesis (plans and designs for a theme park based on Iranian mythological heroes) allows Marjane to show exactly what she can do as an artist. Over the year that Marjane and Reza work on it, their marriage also improves, offering hope that they won’t end up divorcing. At first, then, it seems like the thesis will help Marjane settle in and express herself freely in Tehran. However, although the thesis is well-received by the dissertation committee and even a local government official in Tehran, the government worker makes it clear to Marjane that the theme park will never come to fruition as designed. It’s impossible, he notes, to portray women without a veil —let alone mythical creatures—in Iran’s fundamentalist culture. The thesis, then, ultimately comes to represent Marjane’s realization that she’ll never feel at home in Tehran. In order for her to pursue the life she wants and make kind of artwork she wants, she must divorce Reza and leave Iran altogether.

Marjane and Reza’s Final Thesis Symbol Timeline in Persepolis 2: The Story of a Return