Analysis Of Discipline And Punishment And Persepolis

Given that western clothes and icons were outlawed in conservative Iran, Marjane’s dressing up in jeans, denim jacket, and Nike shoes is an attempt to express her modern outlooks, Satrapi conveys the importance throughout the text reinforcing the conflict between Eastern values and Western values. In this scene, Satrapi embraces both cultures. She wears modern with a Michael Jackson button and Nike, and says ‘of course, my headscarf’. This displays Satrapi’s multiple personal identities: following middle eastern customs while sharing western values. A portrait image of Marjane is illustrated to show that she is proud of who she is and her posture and body language of her standing tall like she wants to show off her personality. But this doesn’t last long when she meets two guardians of the revolution that arrest women who are improperly arrested. When Marjane is caught, expressionism is used when Marjane is bawling her eyes out. The eyes look ghost-like representing the whole idea swapping personalities so that she could fit the government's likings. Marjane is not being able to fully express herself by wearing the clothes she wanted, doing her hair how she wanted, or listening to the music she wanted. From a young age is prevented Marjane from finding her identity and making her feel trapped. The revolution brought back Islamic ideals and customs, which were welcomed initially but soon became overbearing and restrictive and eventually totalitarian.

The Iranian government forced its control on children by forcing segregating the schools and making girls wear the Iranian headscarf. Wearing the scarf represents the concealment of childhood in Iran for Marjane and her friends. Reformation in Iran comes with the protests, violence and eventually war which disguise the chance of childhood for the youth of the country. Marjane says, “we found ourselves veiled and separated from our friends” (4). Concealing these children from the childhood they deserved left them to deal with fear, anger, loss and death. Her story highlights the lack of stability children need to grow into responsible adults. Marjane’s story represents the thousands of children in Iran who are lacking the proper elements for child development because of the revolution.

One of these incidents occurs when Marjane is in art school. When the students were told that they needed to wear longer headscarves, Satrapi immediately responded that “as a student of art…I need to move freely to be able to draw.” She further questions “why is it that I, as a woman, am expected to feel nothing when watching these men with their clothes sculpted on but they, as men, can get excited by two-inches less of my head scarf?” here Marjane questions the restrictiveness of the veil and comments on the injustice in Muslim society and the gender inequality. The veil represent the repressions and the gender injustices in Iran. By revolting against the veil Marjane is able to protest the repressions. On hearing Marjanes complaint, the school administrators asked Satrapi to design her own veil. Marjane accepts this offer while still in the confines of the veil. Marjane designs the veil to suit the needs of the students and

The historical background of Iran is the most important idea that influences Marjane 's novel. Mohammad Reza Shah was the leader of Iran from 1941 to 1979. During his reign, Iran was living a westernized life. He initiated a revolution called the White Revolution, which included permitting women to vote, the abolition of illiteracy, land rehabilitation and distribution of oil. Basically, everyone in Iran, including Marjane’s family, was living a westernized live during Shah’s regime. As Satrapi’s mentioned, she used to go to a non-religious French school, in which boys and girls were mixed. On the other side, there was a

Persepolis: The Story of a Childhood by Marjane Satrapi is a graphic novel that provides insight into a young girl living in Iran during the hardship of war. Persepolis takes place during the childhood of Marjane Satrapi. It gives a background of the Islamic Revolution and the war in Iran. Satrapi attempts to guide herself in a corrupted world filled with propaganda. She tries to develop her own morality concerning religion, politics, and humanity. Satrapi was blessed enough to have high class status and parents who had an open mindset about the world around them. Thanks to her slightly alternative lifestyle, she is able to reconstruct gender norms that society has set by depicting the different ways women resist them. “Do Muslim Women Really Need Saving? Anthropological Reflections on Cultural Relativism and Its Others” by Lila Abu-Lughod is an essay detailing the misconceptions surrounding the veil. Through this essay we can see how colonial feminism, the form of feminism in which western women push for a western way of living on their third world counterparts, has shined a negative light on cultures all around the world - particularly Islamic women. The essay shows how women who don’t conform to American societal structures are labeled as women who urgently require saving. Through this essay one can develop a thorough understanding of the veil itself and the many representations it holds to different entities. Although in Persepolis: The Story of a Childhood Satrapi

One of the most controversial topics concerning Muslim women’s rights is the idea of the veil. It is believed by some Muslims that the veil is an Islamic obligation that all Muslim women must adhere to. But nowadays, the veil can have different meanings that are not necessarily religious. In her article “Reinventing the Veil,” Leila Ahmed addresses some of the different meanings that the veil can have. Marjane Satrapi explores one of those meanings in her animated autobiography Persepolis (2008). In Persepolis, Marjane tells the story of her rebellion against the Iranian Islamist regime that takes over Iran, oppresses women, and forces them to wear the veil. What was interesting to me was seeing Marjane wear the veil without being oppressed, although she does not believe in it, and is being forced to wear it. In Persepolis, Marjane Satrapi escapes being a subject to the Iranian Islamist ideology by establishing her individual identity through transforming the veil from a means of oppression into a means of feminist rebellion.

On pages 3 and 4, Marjane gives us the years for, when the revolution began, when children were required to wear a veil and her date of birth. The dates, enable the reader to get a sense the time period and the historical background of Iran. Timelines are imperative to understanding her life story. Next, Satrapi demonstrates pathos through illustrations and the speech bubbles. The emotions of the characters can be shown through their facial expressions and actions they take.

Amazing, intriguing, and unimaginable are just a few words to describe how I felt about Persepolis while I read this true life story of Marjane Satrapi. This book has helped me to see all the life struggles, good times, and adversities that Marji faced between the ages of nine to thirteen. The Islamic Revolution had such a daunting effect in the Middle East, especially in the county of Iran where Marji and her family resided.

When she sends Marjane away from Iran, she assures her: “I know how I brought you up. Above all, I trust your education” (147). Marjane’s mother doesn’t want her daughter to live in such an oppressive time. When the veils become mandatory, Marjane’s mother wishes to take her to an opposition demonstration: “She should start learning to defend her rights as a woman right now!” (76) In growing up with such strong female role models, Marjane learns to express her opinion and always stand by her beliefs. They taught her to stand up for herself as a woman, and in doing so, introduced her to a feminist perspective on life.

Another historical event that we see is the rise and effects of the Islamic regime in Marjane’s life. This event is arguably the central issue that affects Marjane during her upbringing in Iran. Marjane shows how the regime begins to control schools, and how this affects her life by separating her from her friends (4, 3-4). We also see how the regime decides to close universities as they “educate future imperialists.” (73, 1-3) This demonstrates the negative effects that the regime has on society, as they prioritize Islamic values over education. The Islamic leaders portrayal shows them as upset and bored, and are given much different facial expressions than those that Marjane sees as intellectual (such as Uncle Anoosh (54/3) or Marjane’s grandfather (23/8)). This imagery communicates the backwards-thinking of these leaders, and as such, also effectively communicate Marjane’s opinion of the leaders without needing to discuss it with text. Additionally, we see both of Marjane’s views: Marjane not understanding the veiling and separation (3/5) as well as Marjane’s depression over the closing of the universities (73/7). The text here illustrates her opinions on the situations that she experiences, and the imagery allows us to see a visual representation of her basic thoughts and emotions, which are well communicated. A final example of the regime’s changes is the difference between the fundamentalist and modern women

In addition, the author recalls the Iranian government closing down all bilingual schools or any other symbols of “capitalism” and “decadence”. These became symbols of regression in the eyes of the Ayatollah and everyone must conform. The author struggles with the very idea of politics and religion during this period as laws of forced veiling and oppression came into conflict with her preconceptions of religion. The author cites an instances where the police locked the outside doors of an Iranian cinema, set it on fire, and prohibited people from rescuing those inside. According to the text, “The BBC said there were 400 victims. The shah said that a group of religious fanatics perpetrated the massacre. But the people knew that it was the Shah’s fault.” The secular Iranian perspective of the injustices being committed by the newly formed Islamic Republic was troubling. A release was sought by this group of people, the only problem was enjoying life and not getting caught.

In The Complete Persepolis by Marjane Satrapi, the genre choice of the graphic novel vividly portrays the life-experience that Satrapi herself gone through as a youth growing up in Iran back in the 1980s. Satrapi utilizes a unique drawing style to emphasize the influence that the Islamic Republic has brought to her. The recurring action of teachers implanting Islamic values in children throughout Marjane’s education in Iran is demonstrated through a set of related images, which implicitly reflect on the destruction of childhood that is caused by a totalitarian regime. For instance, the teachers force the girls to wear veils on page1 and tells the parents that “either [girls] obey the law, or [they are] expelled” (Satrapi, 98) later on. Also, the background of these images takes place where Iran is involved in both revolution and war; it contributes to children’ miserable situation even more.

The film is a sappy recounting of Marjane Satrapis's early childhood, adolescence and young adulthood living in and out of Tehran in the years following Ayatollah Khomeini’s 1979 Iranian Revolution. Marjane

Michel Foucault is a very famous French intellectual who practiced the knowledge of sociology. Foucault analyzed how knowledge related to social structures, in particular the concept of punishment within the penal system. His theory through, Discipline and Punish: The Birth of the Prison, is a detailed outline of the disciplinary society; in which organizes populations, their relations to power formations, and the corresponding conceptions of the subjects themselves. Previously, this type of punishment focused on torture and dismemberment, in which was applied directly to bodies. Foucault mentions through his literary piece, “the soul is the effect and instrument of a political anatomy: the soul is the prison of the body (p.30). However, today, the notion of punishment involves public appearances in a court and much more humane sentences. However, it is important to note and to understand the idea of power and knowledge; it is fundamental to understand the social system as a whole.

Foucault looks at public torture as the outcome "of a certain mechanism of power" that views crime in a military schema. Crime and rebellion are akin to a declaration of war. The sovereign was not concerned with demonstrating the ground for the enforcement of its laws, but of identifying enemies and attacking them, the power of which was renewed by the ritual of investigation and the ceremony of public torture.[5]