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An Analysis of Satrapi’s Persepolis

Persepolis presents the Islamic Revolution in Iran by way of the point of view of a kid who questions the most fundamental practices and assumptions of Islam. Growing in a family that frowns upon the dictates of Islamic fundamentalism at a time when there is a growing presence of Islamic fundamentalists, the point of view within the graphic book provides a special look into the local Islamic motion in Iran. Through that perspective, my understanding is that the motion placed the people throughout the limits of a non secular fence that does not give room for questions.

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Challenging the dictates of the Islamic establishment can additionally be seen as a problem to the religion itself, which in flip explains why those who overtly opposed the motion were physically harmed by the advocates of the Islamic Revolution. My understanding of the influence of the Islamic Revolution in Iran is that it caused individuals like Marjane Satrapi’s baby character in Persepolis to develop an angle that tries to withstand the forces of the movement.

At least when it comes to forming a family conduct deviating from the principles put forward by the movement, the child is ready to question her environment and find the answers to fulfill her need to be fully conscious of what is taking place around her. In basic, I see the Islamic Revolution as a double-edged sword—while it rebuilds and strengthens the piety of the Muslims to their faith and its edicts, it additionally threatens to lose the devotion of those who are towards a few of the ideas advocated by the motion.

Unfortunately, the movement creates a wide hole between those who are for the motion and those that are towards it, dividing the believers into two extreme opposites which defeat the essence of faith. Some of the cultural and political points raised by Satrapi’s narrative include the negative response of Islam towards the Western societies, the battle between fundamentalism and the altering developments in the trendy world, and the problem of sacrificing or repressing individual liberty in exchange for following stringent spiritual doctrines.

In the narrative, the dad and mom of the kid try to expose their youngster to the Western culture right in the midst of the battle in Iran. They gave her posters of Iron Maiden and Kim Wilde and they drink wine in their home even though their religion forbids them to achieve this. Her dad and mom are Marxists and so they try to train her concerning the obvious evils of the Iranian regime. These things point out that Iran at that time was a country the place there is no stability when it comes to politics and tradition.

The proven reality that the Islamic fundamentalists at the moment tried to repress those that had been towards their rules suggests the obvious battle that creates the impression of turmoil. There was a battle and it was one that was far from being over. The conflict between fundamentalism and the Western world current in Iran is finest seen by means of the attempt of the Islamic fundamentalists to do the alternative of what most democratic Western societies follow.

While most democratic Western societies encourage their residents to apply social liberty and freedom of expression, Islamic Iran underneath the clutches of the fundamentalists try to “veil” their society, in a manner of speaking, from the affect of the Western societies. In a way, the fundamentalists do not solely discourage the Iranians from replicating the beliefs and practices of the Western societies; additionally they give sanctions to those who attempt to turn into spiritual subversives.

Satrapi’s graphic novel comments on these issues by presenting the conflicts in Iran from the life of a little woman who, despite being a child, sees her Iranian society as a crumbling society, whose ideas don’t promote the interests of the individuals however somewhat promote the pursuits of the faith. The strip additionally injects a bit of humor on the difficulty, utilizing language that invokes comedy along with the horror of some of the pictures in the strips.

The use of humor signifies that the load of the problems involved within the Islamic Revolution is so heavy that it leaves no house for the lighter side of life. Instead, the movement rejects all assumptions of gaiety in religion and tradition simply because it sees those two issues as completely serious issues that require even the most harassing and physically daunting sanctions to those that stand in opposition to its way.

Islamic fundamentalists are portrayed in the strip as extraordinarily violent individuals who are greater than prepared to inflict hurt to their fellow Muslims if only to additional the targets of the movement. They are portrayed in a adverse mild exactly as a end result of they are seen as agents of conservative religious ideas that fail to recognize the value of individuals. They oppose those who oppose them as a lot as the purpose of assaulting them if solely to silence their opposition or to place an finish to those that confront the movement with questions and arguments.

I think that the portrayal of the Islamic fundamentalists in the graphic novel is nearer to the truth than one can begin to think about. I suppose that it’s also sincere portrayal though I am by some means tempted to consider that a variety of the illustrations of the fundamentalists usually are not fair on their part. For one, it is a incontrovertible reality that violence has been a half of the Islamic fundamentalist movement up to now. In reality, spiritual jihad is an integral part of the Islamic faith, selling violence for the name of Allah and so as to quash the presumed enemies of the faith.

Violence in protests in opposition to the religion arises due to the intolerance of the fundamentalists in the course of those that oppose them. I perceive that, maybe, the graphic descriptions of the fundamentalists within the strips were solely a half of the observations of Satrapi in her life. However, I do suppose that there’s a deep cause as to why these fundamentalists act the way they do. I imagine that their violent actions are outcomes of their deep ties with their religion and these strong ties can’t be opposed or deposed by those who assume in any other case.

The nature of the antagonists in Satrapi’s graphic novel is fierce and violent whereas the character of the antagonists in Lorrie Moore’s “How to Become a Writer” is one that adheres to conference. In a way, the antagonists in Persepolis—the Islamic fundamentalists—do not allow deviance from the established order or from the custom. Instead, these antagonists strongly advocate the follow of the old and conventional religious habits. They promote intolerance in order that the challenges to their beliefs will not displace what they see as the correct way of living beneath Islamic tenets.

On the other hand, the antagonists in Moore’s article exhibit standard behaviors. They seek to affect the protagonist to observe the accepted conventions of writing as a result of they see the protagonist’s literary type as inappropriate and technically inefficient. In forcing the protagonist to stay to the rules and conference as an alternative of deviating from them, the antagonists restrict the event of the protagonist as a writer who is not solely unconventional but is also one who is a master of the freedom of expression.

To a sure diploma, the antagonists in Moore’s article and in Satrapi’s novel share the same characters of intolerance and conservative perspective. They do not subscribe to the thought of changing the status quo or of allowing others to deviate from the convention as a end result of they don’t discover it appropriate to what they’re espousing.

Works Cited

Moore, Lorrie. “How to Become a Writer. ” Self-Help. New York: Knopf, 1985. Satrapi, Marjane. “The Trip. ” Persepolis: The Story of a Childhood. New York: Pantheon, 2003.

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