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Adolescence identity 123 free essays
Adolescence identity essay
Identity & Adolescence essay
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All teenagers struggle with wanting to fit in and Marjane Satrapi is no exception in her autobiography The Complete Persepolis. Marji learns that it is better to be proud of who you are when she shouts "I am Iranian and proud of it!" (Satrapi 197) The contrast of how she feels about her identity before and after her exclamation shows that Marji decides that being herself is more important than assimilating. Marji adopts a new punk look in order to fit in with her friends but does not feel comfortable with her new appearance and behaviors. Desperate to keep her friendship she changes herself to appease them but finds that doing so makes her feel guilty, "The harder I tried to assimilate, the more I had the feeling that I was betraying my parents …show more content…
Marji's guilt over this lie causes her to exclaim her nationality when some girls reveal her lie and insult her and Iran. After her initial embarrassment for her outburst, Marji is surprised that she feels comfortable again, "I finally understood… If I wasn’t comfortable with myself, I would never be comfortable" (Satrapi 197). Being Iranian is part of Marji and it's a part that she had been suppressing in order to be liked by her peers. By showing her pride in being Iranian, she reaffirms her pride in who she is and realizes that accepting that is the only way she will find peace. This experience is what leads her into choosing to stay true to herself. The next time that readers see Marji, she says she "I had abandoned, my punk look, I no longer wanted to be marginal" (Satrapi 199). Marji has stopped assimilating and instead embraces herself. Marji says that she does not want to be marginal, meaning on the edge. Marji realized that dressing and behaving like her friends did not make her one of them. She was on the edge of the group because she was not truly like them. She also does not want to be living on the edge of who she is she wants to fully be herself. Marji accepts who she is and cuts off the friends that she was trying to
I read and essay called “The New You” written by Kit Reed. The story revolves around Martha a character that is unhappy with her appearance with an inner voice that she calls Marnie. Martha is intrigues by an ad in a fashion magazine that promises a complete physical transformation. The ad says “Watch the Old You Melt Away” (Reed) this is an irresistible idea to Martha. Martha sees herself as a frumpy overweight woman with an internal identity named Marnie. Marnie is Martha’s inner diva. She is all the things that Martha wishes she could be, taller, slimmer, chic and witty. With the inner voice of Marnie in her head, Martha cashes stock her husband Howard gave her and orders the New You package.
When the Islamic Revolution begins, Satrapi utilizes comedy to highlight different aspects of Marjane’s naive personality in relation to the serious conflicts in Iran. Moreover, Satrapi incorporates comedy into her character’s provincial personality to emphasize the limited
A major venue for identity formation is an individual’s homeland or nation. At the outset of the novel, Marji’s identity is ascribed to her because of her nationality and ethnicity. Being in an Islamic country, Marji adheres to her Islamic values and traditions. At an early age of six, the formation of her identity leans towards her Islamic religious values and traditions. Marji is convinced that she “was the prophet” (p. 6). Her words that she “was [a] prophet” (p. 6) demonstrates that Marji’s imagination and intelligence conceive thoughts that are very pertinent to her religious beliefs. At this early age, Marji’s relationship with religious thoughts and values are clearly defined. However, Marji’s thoughts and beliefs are not pinned to a static foundation. In her book A Reader’s Guide to Marjane Satrapi’s Persepolis (2010), Heather Lee Schroeder writes “Satrapi lived through the civil and political unrest during the 1970’s and early 1980’s. Before the revolution, she attended a western style French school” (p. 41), which was a non-religious and westernized school. Marji is very well acquainted with the western or modern values, of freedom, liberty, ...
In Persepolis, Marjane Satrapi’s childhood experiences allow her to demonstrate the cultural changes that occurred in post-revolutionary Iran, as well as those perpetrated by western culture. In Persepolis, western culture plays a major role in the author’s attempt to dispel the
Throughout the novel Marji is constantly trying to figure out who she is and who she is going to become. But by the end of the novel Marji evolves into an independent woman who does what she wants with her life to make her happy, something that would never have happened without the influence of women throughout her life. Works Cited Satrapi, Marjane. Persepolis. Pantheon; First Edition, 2004
Persepolis, written and narrated by Marjane Satrapi's, is a tragic memoir of growing up in Tehran in the 1980s during the chaotic years when the Islamic Revolution took hold in Iran and the country fought off an invasion from neighboring Iraq. Marji is shown between the ages of 8-14 and is exposed to some of those horrors in her own world, exposing her to the real one. Marjane Satrapi communicates the idea in Persepolis that childhood innocence is a gift, that only a few people can afford.
When writing any sort of narrative, be it novel or poem, fiction or non-fiction, scholarly or frivolous, an author must take into account the most effective manner in which to effectively convey the message to their audience. Choosing the wrong form, or method of speaking to the reader, could lead to a drastic misunderstanding of the meaning within an author’s content, or what precisely the author wants to say (Baldick 69). Even though there are quite a bit fewer words in a graphic novel than in the average novel, an author can convey just as much content and meaning through their images as they could through 60,000 words. In order to do that though, their usage of form must be thoughtfully considered and controlled. Marjane Satrapi, author of the graphic memoir The Complete Persepolis, took great pains in the creation of her panels in order to reinforce and emphasize her narrative, much like a novelist utilizes punctuation and paragraph breaks. Through her portrayal of darkness and lightness, Satrapi demonstrates that literary content influences, and is primary to, the form.
Religion, government, and social organization all played a part in Marji’s journey in Persepolis from childhood to adulthood. Religion caused many arguments between Marji and parents, friends, and teachers. The Iranian government affected Marji by making her more rebellious than she already was. Social organization was a big issue in her life, because she had a good relationship with her maid and was angry that she could not have the same opportunities. The revolution in Iran has changed Marjane Satrapi’s life, in ways good and
The purpose of this paper is to analyze the effect of an oppressive regime on the child Marjane Satrapi as depicted the graphic novel Persepolis by Marjane Satrapi.
When Mrs. Nasrine is telling her dilemma of the key (99.3.1), Marji frowns and looks concerned but out of place, as if she doesn’t know what to make of it. She tries to show sympathy, suggesting that her privilege makes her unable to truly relate. She continues to look uncomfortable and bug-eyed when Mrs. Nasrine says, “Now they want to trade this key for my oldest son”. “Trade” connotes simplicity, an object, suggesting the government thinks of the lower class citizens as valueless objects. When arriving home from school, Satrapi draws Marji as a small figure in the distance (100.2.1), symbolizing the distance in economic status between her and the maid. This proves the separation of classes and the reason why Marji, not offered a key by the government, will not go to war in hopes of using a key to paradise. When her son says “I’ll marry her” while pointing a finger at Marji (100.2.2), it grants him a “whap” from his mother (100.2.3). Her reaction to his statement shows his ignorance and naïve behavior towards the social hierarchy; a maid’s son would never be allowed to marry a girl of Marji’s status because only rich people marry rich people and only poor people marry poor people. This shows the economic difference between Marji and the maid’s son, and the wall between them through government orders. When she asks her cousin Peyman whether or not the government offers his school the keys to paradise, he replies, “Keys to what?” (100.3.3) implying his equally high economic status. This suggests the government values upper class citizens more than lower class citizens. Satrapi also contrasts Marji and the poor boys in between the bombing panel (102.1.1) and the party panel (102.2.1) where Marji dances with her friends at Peyman’s birthday party. She jumps from discussing dying boys to having fun at a party to imply a difference between the poor and
Marjane Satrapi in her memoir, “The Complete Persepolis” enlightens readers with the reality of living in Iran, as she tells her journey through her life of becoming a woman during the Islamic Revolution. Iran similar to other countries has made different prescribed roles for their women and men based on their cultures religious and traditional set of laws. Society to them was a depiction of what their people were expected to look, and act like when in public. When trying to understand the importance of gender along with their roles in society, it’s crucial to acknowledge outside factors, for instance things like culture and social class. The characters throughout her memoir illustrate how their
However in these pages Satrapi has Marji go through many ordeals, such as facing the possibility of her father’s death or going to a protest. The effect of which was to bring her to a point of distress were she was driven back to her childhood. After all the revolution ceases, Marji is depicted as being unwilling to participate in the debates going on about her country. She retreats back to God and admits that “the only place [she] felt safe was in the arms of a friend” (Satrapi 53). By showing that Marji no longer wants to participate in grown up conflicts, Satrapi implies that Marji is reclaiming her childhood. Not long after that however, Marji’s uncle comes into the picture. Satrapi demonstrates that Marji substitutes Anoosh for God on page 54, by showing a halo around Anoosh’s head when he first appears. He overshadows God because with him Marji is not only allowed to keep her childhood innocence, but Anoosh also is a character that allows Marji to explore ideas like Marxism and revolution, that her version of God disapproved of. While Satrapi sets this development up as a positive transition, the overall goal of this was to sever Marji’s ties with childhood for
Satrapi is able to illustrate the characteristics of the characters as well as reflect on the past. Having the ability to incorporate past and present is a vital element in fully understanding and following her story. The past events in Marjis life reflect how she makes her descions in the present. It is imperative that one must always build from the bottom and work your way up. Having a strong foundation is the vital element in creating something successful. Marji often refers back to her past to make reference of why she believes this or why she is trying that. She learns by her mistakes of the past and it is noted through the illustrations. This visual image below from Marjane Satrapi’s Persepolis series allows the readers to see Marji both internally and
Moniza Alvi employ a wide variety of techniques, from end-stopped lines and formatting in structure, to rhyme, tone, and even imagery and language to attempt to explore the vast concept of identity. She successfully manages to explore the concept of identity, and conveys to the reader the meaningful message that discovering your true identity is dearly valued and highly significant.
For example, Marjane wore nail polish and displayed Americana. Marji’s mother tells her that she would “be better off without nail polish” because she “could get arrested.” Marji responds in a rebellious manner by saying that she will “put [her] hands in [her] pockets.” See Persepolis at page 119. Marjane also wore a “cool” denim jacket, and Michael Jackson pin. See Persepolis at page 131. Her bedroom displayed an Iron Maiden poster. See Perspolis at page 132. In large things and small Marji stands against the physical and intellectual pressures placed upon women by the Iranian regime. These acts of bravery can easily be called feminist, just as they can be called humanist. Similarly, Persepolis exhibits and protests against Iran 's male-oriented society. It stands in opposition to sexism. Throughout the book there are examples of women being minimized and controlled. For example, Marji attends school and is forced twice a day to mourn the dead by marching and hitting her breasts. See Persepolis at page 95. Her family stood in opposition to the Iranian religious leadership. Taking photos (which was forbidden) is an example. “He took photos every day. It was strictly forbidden. He had even been arrested once but escaped at the last minute” See Persepolis at page 29. Iranian institutions of learning were closed. Because Marji stands against the oppressive regime, at least at times and as according to her age