Anubis Sparknotes

Okay, so this is how this is going to work… The deep book review will be split into different sections, one where I will dump a bunch of information about the storyline on the reader, another where I will rant about what makes this book deep but not good, and, finally, another about the author. The footnotes will be my way of interjecting Laszlo-esque commentary on what would normally be a more formal piece of writing without drastically altering the formality of the review.

A veil is an article of clothing that is intended to cover some part of the head, face, or physical feature that may hold some significance. It is especially associated with women and sacred objects. Not only does it conceal a person’s physical appearance, but it contributes to stifling one’s individuality. In Marjane Satrapi’s graphic novel Persepolis, Marjane, the main character, lives in Iran and is required, by fear of punishment, to wear a veil that only leaves her face uncovered. The veil becomes an important symbol and throughout the novel, the reader can see the lasting impact the veil has on Satrapi. It begins as something foreign and detestable to young Marjane; a simple piece of clothing that deprived her of her free will,

Satrapi’s graphic memoir, Persepolis focuses hugely on the loss of innocence of Marjane, which she illustrates by using several techniques such as the sizes of figures and the contrast of shades, as well as the of details, or lack thereof she includes in her drawings.

Most people would always want to look like Beauty, but some happen to end up looking like Beast. Take August for example. Though most people were afraid of him, some weren’t. Everyone eventually got used to his face, but he still had people who were kind to him and were his friends. Wonder is one of the most wonderful books that anyone could read and it teaches a very important lesson that is valuable to a teenager’s life: treat people the way you want to be treated.

In the short story, “Thank You Ma’am,” a young boy named Roger tried to steal a purse that belonged to a woman named Mrs. Luella Bates Washington Jones and got caught. She had Roger wash his face back at her house and even had him stay for dinner. Throughout the whole story, Roger learns life lessons. Some were that he shouldn’t try to steal and he should just ask. Through their time together, Roger learned that if he treats Mrs. Jones kindly, she will treat him kindly back.

Marjane Satrapi’s memoir Persepolis is considered a “coming of age” story based on her experiences growing up in Iran during the Islamic Revolution. This graphic novel explores the life she lead in Tehran which encompassed the overthrow of the Shah’s regime, the triumph of the Islamic Revolution and the devastating effects of war with Iraq. Undergoing life with such a chaotic environment, it took Satrapi courage to act and live as her “authentic self” and explore what it meant to her to be authentic. Similar to Aristotle, May and Medinas Persepolis examines the concept of courage, through the view of innocence; through Satrapi’s childhood.

The Complete Persepolis paints a descriptive and complex picture of Iranian society and its transition from a progressive and Westernized state to a new fundamentalist regime following the 1979 Islamic Revolution. The graphic novel cleverly uses a blend of images and text to tell her story from different perspectives throughout her life, exemplifying and questioning the ideologies accompanying the revolution. Specifically, Satrapi focuses on the role of the veil to challenge the new regime and its ideals of feminine oppression. Throughout the novel, Marjane Satrapi attempts to navigate through the abrupt shift of culture in her world, strategically utilizing different perspectives of the veil as both a young girl and an adult woman to do so. Readers follow Satrapi’s journey with her veil, from her initial conformation to her eventual rebellion and freedom.

The Shah’s reign came to an end, but nevertheless, a young Satrapi found dispute in the world around her. The graphics exemplify the confusion Satrapi felt as a change in leadership suddenly changed what her peers and her parent’s peers chose to follow. Common belief spread that Shah’s overthrow was a victory to the people of Iran, but as expressed on page 43, strip 7, the young Satrapi could not yet practice her faith. Regardless of what many believed, she felt that the “devil” (Satrapi, page 43), had not left yet. At a young age, Satrapi learned of prisoners that were liberated a short while after the eradication of the Shah. Satrapi describes these prisoners as “heroes”; individuals who demonstrated their bravery by protesting in favor of their beliefs. The stories they shared drove Satrapi astray from her susceptible notion of morality. Now, unsure of how to arbitrate the difference between right and wrong, the young Satrapi appears increasingly adrift (I’m trying to say she appears lost, but I don’t like the word lost either). As emphasized by, “My father was not a hero, my mother wanted to kill people… So I went to play in the street” (Satrapi, page 52). This caption, along with images portrayed, represent the isolation the young Satrapi felt and further emphasizes her internal conflict. Satrapi continues on to write of the torture games she created after learning of what the “heroes” experienced in the prisons. Furthermore, Satrapi writes, “Back at home that evening, I had the diabolical feeling of power…But it didn’t last” (Satrapi, page 53). Here, Satrapi uses her creation of images to express such turmoil her adolescent-self sensed. The change of emotions, illustrated through the graphic images, acts as a symbol of Satrapi’s internal conflict to discover her true religion as opposed to that of

Everyone is a product of past experiences, Vahan Kenderian is no different. Vahan was a  twelve-year-old child from a wealthy Armenian family living in Bitlis, Turkey during the Armenian genocide in the early 1900’s. Within a two day span, Vahan’s life begins to fall apart, his father is taken away from him, two of his brothers are killed in front of him, his grandmother is also killed, and his sister kills herself. Vahan and his older brother fortunately escape, but are forced to abandon their mother and sister. Vahan then begins his journey to flee to Constantipole. During his journey, he encounters many people along the way who teach him life lessons. Firstly, his father Sarkis Kenderian gives strength and guidance to Vahan. Secondly, Ara Sarkisian the coppersmith teaches Vahan that home is not made of materialistic things, it is a feeling and time takes away everything. Lastly, Selim Bey advises Vahan to worry about himself, and to pick and choose his friends carefully. Therefore, Sarkis, Ara and Selim teach Vahan the most through their interactions and change his character for the better.

The protagonist, Vahan Kenderian, is a spoiled naive child who loses his family in the Armenian genocide and now he must go on his own journey that will last more than three years. He will have experienced more mental and physical pain than any other child his age. Vahan will encounter new people that will change his character for the better. Therefore, the three characters that Vahan meets and influences his character the most is Sarkis Kenderian, Selim Bey, and Mustafa.

The novel “Persepolis” shows many life changes during the Islamic Revolution told through the eyes of a young girl. “Persepolis” was based on Satrapi’s childhood experience in Iran. Throughout the span of the 1970’s to the early 1980’s, Satrapi experiences many changes in her life, not only with the government, or her education, but also with herself. Although she witnessed many violent acts right in front of her eyes, these experiences helped Marji (Satrapi) grow as a young child.

Annabella teaches Kira a few things about dyeing her own threads but later dies. At the end of the story, Kira finds out that her father is actually alive, and she meets him for the first time. In this essay, you will read about the main conflict, the setting, about the characters, and some of the fantasy elements that were used.

In the Ryle reading there is a quote that states, “Even when “inner” and “outer” are construed as metaphors, the problem how a person’s mind and body influence one another is notoriously charged with theoretical difficulties.” This is a complicated quote to analyze, but I think that it is essentially saying that our mind and body, even though they are separate, they influence each other depending on the circumstance. The reading states that the mind and body are not the same and that the mind has the capacity to keep everything internal and the body, on the other hand, cannot have that luxury. The body externalizes everything. The reading even goes to such extremes as to say that the mind is essentially just borrowing the body and that when the body dies, the mind can leave the body and keep being alive. When the quote says “the problem how a person’s mind and body influence one another is notoriously charged with theoretical difficulties”, it essentially establishes that since the mind and body influence one another then they have something to do with each other one way or another. In a sense, one cannot exist without the other. The body is completely dependent of the mind to function through its daily life and the mind needs the body to take in theoretical information that it encounters.

The painting is executed only in three colors that are incredibly accurate betray the horror of the situation presented. For arrogance satyr stripped off his skin. Executioner Marsyas advocates Apollo himself, having fallen to terrible cruelty of man - he sits on his haunches with a knife in his hand, already sentenced to punishment. This is the tragedy of the story, the artist puts just punishing knife in hand of Apollo, which is on par with gross executioners administers a terrible penalty. The central figure of the picture - the once haughty satyr Marsyas - expresses the pain and suffering from the cruelty of Apollo and regret for what he did. The agonized face of Marsyas illustrates the artist’s penchant for conveying intense emotion. At the same time look attracts a figure sitting on the left of the main character - it resembles the artist who receives a strange pleasure from the observed scene.The painting depicts another satyr, who covers his face with his hands, depicting this despair and fear. But they do not play a big role, because the picture is about two characters whose life line is very

Maibime was so popular once published in Japan was because of its uniqueness. A story about a Japanese man traveled abroad to Germany to achieve better education and got a German woman pregnant during his study was quite unusual during the beginning period of modernization and westernization of Japan in the 1890s. The plot was based on the author, Mori Ogai’s personal experience, yet not exactly the same. What made me wonder through the reading was whether Ogai purely wanted to tell the Japanese readers an experience of a study abroad student (nostalgia, loneliness), or the reality of an industrialized western society (coexistence of rich and poor), or beneath those peripheral depictions, there was a hidden message? During the 1800s and 1900s,