The Symbolism Of Graphic Visuals

However, some may argue that the extent to which Satrapi can challenge conventional beliefs about Iran is limited by her perspective. Satrapi writes from the first-person point-of-view and a child’s nonetheless. Those same people might argue that when Satrapi is challenging generalizations by using personal examples she is manipulating fact, confusing them with opinion, and asserting her bias in a persuasive manner. Historically writing of this kind is often discarded for more specific and omniscient information. However, Satrapi never hides from her bias and desire to introduce the West to her version of Iran. In any persuasive writing a bias is implied and one might influence just as to which examples they choose include to support their argument, this essay for example. She may be employing a persuasive tone, but the extent to which she accomplishes her goal is not altered by such beliefs.

She cascades the words to show feeling, compassion and how much she wanted her to speak up, using words to make a meaning.

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.

Her most powerful use of rhetoric in her speech was by far pathos. She has used herself being shot as an advantage into the audience's emotions.

In the book Persepolis, Marjane Satrapi uses three types of rhetorical appeals in the chapter, “The Veil” to achieve her purpose as a writer. Satrapi uses logos, pathos, and ethos through her words and pictures in the book to convey her messages. She uses logos to enhance her writing by adding significant details, such as: facts, dates, and concrete details. Pathos is another type of rhetorical appeal Marjane uses to capture the audience's attention, through emotion while focusing on her main point, the veil. Lastly, Satrapi can prove her evidence she states, through her credibility, which is shown through ethos.

This supports the fact that she was a talented speaker, because she was very good at debating, and that needed a tremendous amount of talent of public speaking.

In graphic communication we learn how to make different things. The one I like the most is when we had to make the logos and pictograms. It was my favorite unit to do because of the freedom we had of making our own design of our favorite brand logo. Also it helped me show how I would think of the logo and what creativity I had in my mind. This unit really helped me show the elements of what graphic design really is. It will help you in life because it would give a different perspective on other brand logos and also thinking about what symbol would represent the company you see around.

Marjane Satrapi’s early experiences have helped to form a unique perspective acknowledged throughout Persepolis. Throughout the novel, Satrapi uses graphic images to allow her readers to visualize various dramatic events that she (once) witnessed. Informal diction and simple graphics force her audience to perceive Persepolis from the same child-like perspective the author (once) had. More so, special attention is drawn to contrasting colors as a symbol of (internal) conflict. The clash between black and white graphics represents a much deeper meaning regarding Satrapi’s faith and understanding. Such a symbol of conflict enables the readers to empathize

Graphic novels allow readers of all kinds to understand important subject matters and helps them get engaged in their reading. The subject matter in Persepolis can be heavy at times because of the horrific events that happened during this time period and the devastating effects that the time left on Satrapi’s life. However, Satrapi depicts her somewhat tragic childhood in cartoon-like panels that engage the reader and makes them wonder how the events and her upbringing are related. A panel in the story “The Sheep” depicts a young Satrapi floating around in black space. There are small white stars and planets floating in the background.

By allowing the reader to form their own perspective it “makes the reader reconsider the assumptions…[of the] so-called other” by giving the reader the freedom to perceive the events of the revolution as they wish and not reconsider the way that they once understood the people of the east to be (Darda 34). Satrapi is using her experience and graphic novels to show what her experience as a child was, she does not claim at any point to be telling the entire story of the revolution she is merely introducing a new perspective which up until that point had not been seen in the western countries.

Not only does Satrapi create environments similar to that in which we might have found ourselves in, she aides us in visualizing these scenes through the imagery of the actual events. She uses this strategy to accurately project her desired viewpoint of the Iranian society to her audiences. Marji recounts, “Thousands of kids, promised a better life, exploded on the minefields with their keys around their necks” (102). In the picture that follows, a clear picture is painted into the reader’s mind of the scenario as the children can be seen with their keys still around their necks as they are killed. Many of our society’s youth today are being sent overseas to do battle in war fronts in places such as Iraq and Afghanistan. Similar to the keys handed to the Iranian youths, our young soldiers are

I feel Satrapi choose to tell her story through a graphic novel rather than a tradition novel because it allowed her to better tell her entire story at once. The manner a traditional novel is written allows their author to tell a story. This story is usually told through the eyes of one main character, such as in the novels The Catcher in the Rye and The House on Mango Street. Satrapi’s story was more complex than most stories in found in traditional novels. There were many events happening socially and other people actions that contributed to shaping her to story. By telling her story as a graphic novel Satrapi was able to include the many different events that played a role in the story and the many different character all at once while still

The graphic novel portrays Marjane Satrapi as an opinionated, imaginative, and curious young girl. The plot details her as an average ten year-old girl in the midst of a revolution. Her reaction to the environment in which she lives in

Utilizing nego-feminism, questioning subordination and preexisting understandings of culture, and the stark depictions of a graphic novel, Satrapi makes a compelling case in humanizing Iranian women like her. In this way, Satrapi reclaims the space of her identity and how it is represented and the ethics of doing so, and alters it in order to provide a more representative picture of her life in Iran. Satrapi tells her story with images of privileged characters whose politics, financial situation, and values well match those of liberal Westerners. Further, she demonstrates her autonomy, independent of the regime, in which she also is able to demonstrate her passion for spirituality and nationalism. She begins her story from a child’s perspective in order to alter preexisting perceptions about Iranian women overall proving her strong love for her family in a way that echoes American values.

The resentment within the young girl’s family is essential to the novel because one can understand the young girl better as she makes her decision.