Comparing Maus And Persepolis

The tone and mood of each memoir are very different from each other. In “Museum Indians” the tone of the story is supposed

On the other hand, Miller successfully argues that fake memoirs are meant to “highlight the problematic nature of authenticity” and capitalism has changed the idea of what we think is real and what is not. By citing Baudrillard, Miller states that our idea of real is only a series of representations that we think are real. In fact, all our ideas of reality are fabrications because memory is not factual. The discovery of these fake memoirs can cause society to realize that all memoirs are, in fact, fabrications. With that in mind, this article contradicts the idea that the public can understand trauma through experiencing art. Overall, “Stylised Configurations of Trauma” contributes to the art, trauma, and memory theme through proving that the study of fraudulent memoirs can help explain “the strange expectation that literature is able to provide access to something

When humanity commits atrocious acts, it is the job of the survivors to ensure that these events are remembered and the victims honored. The construction of memory through various methods of remembrance – whether it be memoirs, films or museums – is a delicate art as perceptions can be easily skewed. A biased perspective has the capacity to completely alter the way an event is viewed. The War Remnants Museum in Ho Chi Minh about the Vietnam War for example is more propaganda than history and dishonors the memory of the brutal time. Likewise, when constructing the memory of the Cambodian Genocide, one must strive to portray an honest representation and approach it from many sides. Only by receiving a story from various sources can such an important

“Satrapi’s Persepolis appeared, significantly, at a time when memoirs have been experiencing a great surge of popularity.” (Malek, 2006: 8) The time of the publication of the memoir deemed critical to its success. It was published around the time where graphic novels were coined “the most important narrative mode of our contemporary culture.” (Miller, 2000: 421) It shared the lime light with other graphic novels, the likes of Craig Thompson’s “Blankets” and Joe Sacco’s “The Fixer”. (Time, 2003) Satrapi chose the perfect time to debut her graphic memoir as she was able to ride ‘the literary high’ comics were experiencing at that point in time. A

First of all, Elkins heavily relies on victim testimonies and memoirs as primary resources. This approach makes his work an exemplary case to exam the historical usage of individual life-stories. In particular, Elkins introduced his way of dealing with testimonies and memoirs the last part of the book, “Note on Methods.” Based on historians skepticism of the value of life-stories as reliable historical recourses, Elkins points out two ways to guarantee their historical validity.

In a modern world of communication and media, misconceptions are plentiful. It is often that surroundings, culture, and rumors have the ability to skew the true image of a person or a situation. In the autobiographical graphic novel, Persepolis: The Story of a Childhood by Marjane Satrapi, readers are able to focus on the honesty and emotion of stories to capture their own opinion on Iranians rather than previous assumptions. During the time of the novel, Marjane weaves through childhood in an environment that is full of war and political conflict. Slowly Iran turns into a physical and mental prison, and, like many other Iranians, Marjane struggles between finding herself and absorbing the negative activity around her. With accounts of fearful warfare mixed with stories of growing up and coping in a destructive Iran, Marjane Satrapi is able to create a relatable perspective and demonstrate that despite the culture and history of Iran, Iranians are similar to those that live in other countries of the world.

We can all agree that there is no lack of historical information when it comes to World War II. Between the abundant documentaries, books, movies and museum exhibitions on the Second World War, Art Spiegelman’s graphic memoir of the Holocaust in The Complete Maus: A Survivors Tale is the most distinctive work of art out there. Brilliant on his part, in so many ways, Art Spiegelman uses the creative form of comics and the traditional medium of history to re-enact the story of the Holocaust. I was assigned for my Graphic Novel class to read the first volume of Spiegelman’s Maus. It was one of the most exceptional books I had ever had the pleasure of reading and ultimately read the complete series. The following essay will be a graphic review

Throughout Literature the reader often finds themselves thrust into the world of its author, this world relies heavily upon imagery to assist in the formation of this world. In saying this, however, a significant amount of this literary world derived from text is lost due to it being written from the point of view of the recorder, this is even more true in regards to history. Narrowing down the notion of historical point of view, the reader must often times seek out information from both sides to get a pure account of the past and are scarcely ever given a completely unbiased historical account due to the primary ascender being given free reign as to what will be recorded. This idea of the victorious being the recorders of history connects

War. That is a word many adults and children in America have a picture of but have not lived through. America has been in a great deal of wars especially in the last hundred years but none of those wars were on American soil, with exception to pearl harbor. Marjane Satrapi has has grown up and lived through revolutionary Iran. The Complete Persepolis by Marjane Satrapi is a memoir discussing Marjane’s life during the Islamic Revolution.

In the movie, “Clash of the Titans,” Perseus is caught in the middle of a war between the gods and humans; he is determined to beat Hades and save mankind. Long ago, Greeks passed down a story about Perseus, who was a hero destined to kill several monsters, along with saving a kingdom and a princess. Between the Greeks’ story and the movie, these two variations compare and contrast in many ways.

Despite the discrepancy between the construction time of the two settlements, Hattusas and Persepolis, there are certain differences and similarities that can be found when analysing the two cities. The city of Hattusas (1360 B.C.), capital of Hittite empire, was placed on a mountain slope, on about 300 acres and framed by a four mile stone based wall. Its location facilitated it’s defence tactics also making it harder to be attacked. The main wall varies in shape from rectangular to polygonal thus outlining the asymmetrical shape of the city.

Lejuene defines autobiography as a “retrospective prose narrative written by a real person concerning his own existence, where the focus is his individual life, in particular the story of his personality” (4). Here, in this definition, Lejuene places emphasis on the idea of a “real person”, as the writer of any autobiographical text. It is this “real person” that represents the ‘I’ in writing that readers can relate to. This ‘I’, as Eakin puts it, “performs actions, possesses qualities and tells the story of one’s own existence” (3). It is the experience of this ‘I’ and its actions, qualities, feelings and emotions, that gives the autobiography its ultimate creditability, authority and truth. Lejeune’s concept of the autobiographical

It may be fair to say that most autobiographies are written using a linear literary technique. In fact, by it's very nature the autobiographical style of writing seems to demand a specific chronological re-telling that in most cases takes its point of origin from the beginning. However, I have chosen to deviate from the conventional mold. In order to tell my story in a succinct and relatable manner, I believe it may prove most prudent to begin with the present and work our way

Although storytelling, narrative memory, and autobiographical/narrative identity appear in nearly every human community, (and though no exceptions come to mind, I use the word “nearly” to leave open the possibility), the narrative patterns and focus of the remembered event vary from culture to culture and from person to person within each culture. Individual variation, particularly in the complexity of life stories and the variety of plot types employed may be linked to Loevinger’s concept of ego development (Loevinger 1976). According to McAdams (McAdams 2003), Loevinger discovered that people with greater ego development applied more nuanced explanations to assign meaning to their experiences while those with lower levels of ego development

Persepolis is structured as a graphic novel because Marjane Satrapi was able to use graphic weight, emanata and the organization of panels, to benefit her story. On the page that I chose to take a deeper analysis of Marji’s uncle Anoosh is allowed his last visit with Marji before he is sent to execution. Marji goes to visit him, and they both know that he is being put to death but Anoosh is the only one who speaks and tries to tell Marji that it's going to be okay because he was fighting for something that he really believed in. Satrapi’s choice to write this book as a graphic novel proves to be very beneficial especially on this page.