where did marjane satrapi draw the title of her graphic novel persepolis?

Graphic novel series by Marjane Satrapi

Persepolis
Covers of the English version of Persepolis Books 1 and 2
Date	Persepolis The Story of a Childhood: 2000 Persepolis The Story of a Return: 2004
Publisher	L'Association
Creative team
Creator	Marjane Satrapi
Original publication
Date of publication	2000, 2004
ISBN	2844140580
Translation
Publisher	Pantheon Books
Date	2003, 2004, 2005
ISBN	0-224-08039-3

Persepolis is an autobiographical series of bande dessinées (French comics) past Marjane Satrapi that depicts her childhood upwards to her early developed years in Iran and Austria during and after the Islamic Revolution. The title Persepolis is a reference to the ancient capital letter of the Persian Empire.^[1] Originally published in French, the graphic memoir has been translated to many other languages, including English, Castilian, Catalan, Romanian, Portuguese, Italian, Greek, Swedish, Finnish, Georgian, Dutch, Chinese and others. As of 2022, it has sold more than 2 one thousand thousand copies worldwide.^[ii] Persepolis was written in 2000 and Persepolis ii was written in 2004.

French comics publisher L'Association published the original work in 4 volumes between 2000 and 2003. Pantheon Books (North America) and Jonathan Cape (United Kingdom) published the English translations in 2 volumes – i in 2003 and the other in 2004. Omnibus editions in French and English followed in 2007, coinciding with the theatrical release of the picture show accommodation.

Due to its graphic language and images, there is controversy surrounding the apply of Persepolis in classrooms in the U.s..^[3] Persepolis was featured on the American Library Association'south list of Top 10 Most Challenged Books in 2022.^[4]

Plot summary [edit]

Persepolis one: The Story of a Childhood [edit]

Persepolis 1 begins by introducing Marji, the x-year-one-time protagonist. Set in 1980, the novel focuses on her experiences of growing upwardly during the Islamic Revolution in Iran. Her story details the impact of state of war and religious extremism on Iranians, especially women. Belonging to an upper-center class family, Marji has access to diverse educational materials, such as books and a radio, which expose her to Western political thought at a very young age. By discovering the ideas of numerous philosophers, Marji reflects on her class privilege and is eager to learn near her family'southward political background. This inquiry inspires her to participate in pop demonstrations against the Shah'due south authorities in which people are request for his exile every bit a way to safeguard their rights. Unfortunately, after the Shah's difference, Marji notices the ascension of religious extremism in her society and is unhappy about it. Her uncle Anoosh'south visit deepens her interest in politics when he tells her stories of being imprisoned as a communist revolutionary. His stories cause her to value ideas of equality and resistance. The new government and so begins to reform Iranian society, especially having women encompass themselves while out in public and putting restrictions on social freedoms. Marji's family begins to fear for their lives since many of their friends and thousands of Iranians had fled the new government to Europe or the USA, but they resolve to stay. Anoosh is arrested again and defendant of existence a spy. He is executed for his political beliefs. Marji is upset that God didn't do anything to aid her uncle and rejects her religion.

After an abrupt family vacation to Europe, Marji returns to Iran where she learns from her grandmother that the government has declared war against Iraq. As her hometown of Tehran comes under attack, she finds safety in her basement, which doubles equally a flop shelter. One night, the family unit hears the Iranian National Canticle play on the TV, moving them to tears. It is later revealed that the authorities released the soldiers and air pilots from prison who were in jail for protesting. The soldiers agreed to fight on the status that the country's National Anthem exist played on the public dissemination. Among the chaos of an ongoing war, her family secretly revolts confronting the new regime by having parties and consuming booze, which is prohibited in the state. Two years of war force Marji to explore her rebellious side by skipping classes, obsessing over boys, and visiting the black market that has grown equally a result of the shortages acquired past war and repression.

As the war intensifies, Marji rushes abode one day to find that a long-range ballistic missile has hit her street. Her family escapes the missile as it hit the neighboring building, which housed their (very rare) Jewish neighbors the Baba Levy's. Traumatized by the sight of her friend's dead trunk, she expresses her acrimony against the Iranian political organization. Her family begins to worry nigh her safety and decides to transport her off to Republic of austria for further written report and to escape the war. The novel ends with her departure to Europe.

Persepolis 2: The Story of a Return [edit]

The second part of the series takes place in Vienna where Marji starts her new life at a boarding house because her mother's friend has no room for her at her ain apartment. Since she cannot speak German upon arrival, Marji finds it difficult to communicate but eventually overcomes it and makes friends. She assimilates into the civilization by celebrating Christmas and going to Mass with her roommate. Away from home, Marji's Iranian identity deepens and she is expelled from the school later on a verbal altercation with a nun who makes xenophobic comments against Marji.

No longer in school, Marji starts living with her friend Julie and her mother. Here, she experiences more culture daze when Julie talks most her sexual endeavors, as such topics are prohibited in Iran. Before long she undergoes a concrete and ideological transformation by using drugs and changing her appearance while continuing to move firm. Marji finally settles on a room with Frau Dr. Heller, but their relationship is unstable. Issues too arise in many of Marji's relationships, in which she finds comfort in drugs. She forms a relationship with Markus, but breaks up with him when she discovers that he has been cheating on her. Marji leaves Dr. Heller'south firm after she accuses Marji of stealing her brooch. She spends the day on a park bench and ends up living on the streets for ii months. When she catches bronchitis she nigh dies, but is found and taken to a hospital. Marji reaches out to her parents who conform for her to motion dorsum and thus after living in Vienna for 4 years, she returns to Tehran.

At the airport, she recognizes how different Iran is from Austria. Donning her veil once more to become out, she takes in the 65-foot murals of martyrs, insubordinate slogans, and the streets renamed after the dead. At home, her father tells her the horrors of the war and they talk deep into the night nigh what she had missed. After hearing what her parents had gone through while she was away in Vienna, she resolves never to tell them of her time there. Still, her trauma from Austria makes her fall into depression forcing her to attempt suicide twice. When she survives, she takes it equally a sign to live and starts her process of recovery past looking after her health and taking upwards a job. She also begins art classes at the local university. Notwithstanding, due to the restrictions of showing female person nudity, Marji and her friends nourish secret sessions and parties, away from the prying eyes of the religious law.

Following her return to Iran Marji meets Reza, besides a painter, and they shortly begin to engagement, merely this proves to be frowned upon by the religious police. They are defenseless belongings hands and their families are forced to pay a fine to avert their lashings. In 1991, Reza proposes marriage to Marji, and afterward some contemplation, she accepts. Her mother, Taji, warns her that she has gotten married too young and Marji soon realizes that she feels trapped in the role of wife. Marji attends a political party, but someone warns them about the religious constabulary. They apace discard the booze and the women comprehend themselves every bit the police enter the building. The men make their escape past jumping from the rooftop, but Marji's friend Nami hesitates and falls to his death. Later on on in 1994, her spousal relationship has deteriorated and Marji confides in her friend, Farnaz, that she no longer loves Reza and wants a divorce. Farnaz advises her to stay with her husband because divorced women are social outcasts, simply her grandmother urges her to go a divorce. After much contemplation, Marji decides to carve up from a reluctant Reza. She goes to her parents and tells them nigh her and Reza's divorce and they comment on how proud they are of her and suggest that she should exit Iran permanently and live a better life dorsum in Europe.

In late 1994 before her difference for Europe, Marji visits the countryside exterior Tehran. She too visits the Caspian Sea, the grave of her granddaddy, and the prison building where her uncle Anoosh is buried. In the fall, Marji forth with her parents and grandmother go to Mehrabad Airport for their final adieu as she heads off to live in Paris. Marji then reveals that her grandmother died in 1996. The volume ends with the bulletin: "Liberty has a toll."

Character list [edit]

Persepolis: The Story of A Childhood
- Marjane (main grapheme): nicknamed Marji, Marjane's life is depicted start with her early childhood. Growing up in Iran during the Islamic republic of iran-Iraq state of war, Marjane grows up in a family who is involved in the political unrest of Iran. This influences her world-view of oppression and its consistent rebellion. Eventually, her family unit sends her to Vienna in hopes of escaping the unrest of her home. Throughout her journeying, she grows and matures while maintaining her rebellious nature, which sometimes gets her into problem. Her family decides that she should leave Iran permanently and she settles in Paris at the cease of her story.^[5]
- Mrs. Satrapi (Marjane's mother): Taji is a passionate woman, who is upset with the mode things are going in Islamic republic of iran, including the elimination of personal freedoms, and violent attacks on innocent people. She actively takes office in her local government by attention protests.
- Mr. Satrapi, Ebi, or Eby (Marjane'due south father): He also takes function in many political protests with Taji. He takes photographs of riots, which was illegal and very dangerous, if defenseless. Both Mr. and Mrs. Satrapi come from a middle grade background. This is important to note inside the political and social context of their actions, values, and influences on their rebellious daughter.
- Marjane'south Grandmother: Marjane'southward Grandmother develops a close relationship with Marjane. She enjoys telling Marjane stories of her by, and Marjane's Grandad.
- Uncle Anoosh: Marjane's male parent's brother. He is executed by the new Islamic revolutionary authorities. His execution serves as a representation of the millions of activists who were killed under this regime.^[v]
- Mehridia: Marjane's family unit maid who became friends with Marjane during her childhood. She had a secret human relationship with the neighbor boy who was from a higher social class. The boy falls in honey with her, but then abandons her when he learns of her social background.
- Khosro: A man who makes simulated passports. Marjane'southward father went to him when one of Marjane's uncles was suffering from eye trouble and needed surgery in England, but the hospital'southward director refused to send him abroad. Khosro shelters his relative Niloufar who is wanted for her Communist beliefs. Unfortunately, Niloufar was spotted, arrested and executed and Khosro was forced to flee to Turkey and was unable to terminate the passport for Marjane's uncle. Khosro so settled in Sweden.
Characters just in Persepolis: The Story of A Render
- Julie: A friend and schoolmate of Marjane'southward who takes her in when she is kicked out of the Catholic boarding facility in Vienna. Raised by a single mother, Julie is four years older than Marjane and the 2 become close friends. Julie is already sexually active with different men and very open, blunt, and straight nearly sexual practice, unlike teenage Marjane who is sexually timid and notwithstanding a virgin.
- Frau Dr. Heller: A erstwhile philosophy instructor who rents Marjane a room in her home. She has an unstable personality and accused Marjane of stealing her brooch, causing Marjane to leave.
- Markus: Marjane'due south lover who cheats on her and she breaks upward with him.
- Reza: Marjane's husband who she had a socially strained relationship with. They were divorced afterwards ii years of marriage.^[half-dozen]

Background [edit]

Marjane Satrapi'south utilize of graphic novels to describe her own life events has made her reading easily accessible to people throughout the earth.^[7] In an article titled "Why I wrote Persepolis", Satrapi says "Images are a fashion of writing. When you have the talent to be able to write and to describe, it seems a shame to choose merely one. I remember it's better to do both". Her offset novel in this series, Persepolis: The Story of A Childhood, depicts her childhood experiences in Iran during the Islamic Revolution, while her subsequent novel, Persepolis 2: The Story of A Return, depicts her loftier schoolhouse years in Vienna, Austria. Persepolis 2 likewise includes Satrapi'southward return to Islamic republic of iran where she attends college, marries, and later divorces earlier moving to France. Hence, the series is not only a memoir, but a Bildungsroman. Throughout both books, she focuses on the idea of "witnessing". Pregnant, the motivation behind her writing involves describing her life from the viewpoint of someone viewing political and social chaos. This displays the "survival" attribute behind Satrapi every bit a immature girl, and eventually immature woman inside this context.^[5] The influences of Satrapi's past education in Islamic republic of iran and Europe, and specifically German impressionism, can be felt throughout her writings and drawings as well. She seeks to create a visual context for not merely those from the Westward, but as well those from the Middle-East due to the lack of physical optics for this important time in history.^[five]

Both describe her life experiences of existence Iranian and the mode in which the Revolution shaped her life and the lives of her friends and family unit. The novel narrates "counter-historical narratives that are mostly unknown by a Western reading public."^[five] It is important to note her family as upper-middle class, and even descends from Iran'southward Qajar Dynasty. Although she does not detect this significant, it tin be kept in mind when attempting to understand her viewpoint.^[1]

Satrapi chose the name Persepolis, originating from the Aboriginal Greek term for Iran, in guild to convey the message that the current state of Iran comes from thousands of years of background, not just recent hostile events.^[8]

After the writing and publication of Persepolis, Satrapi herself has transformed into a diplomat for her dwelling country of Iran.^[7] She has "become a spokeswoman for greater freedom [in Islamic republic of iran], and a voice against war and cantankerous-cultural understanding".^[seven]

Genre and mode [edit]

Persepolis is an autobiography written as a graphic novel based on Satrapi'south life. The genre of graphic novels can be traced dorsum to 1986 with Fine art Spiegelman'southward delineation of the Holocaust through the employ of cartoon images of mice and cats. Later, writers such as Aaron McGruder and Ho Che Anderson used graphic novels to discuss themes such as Sudanese orphans and civil rights movements. This genre has get an appropriate forum for examining critical matters by using illustrations to discuss foreign topics, such as those discussed in Persepolis.^[8] The "graphic novel" label is non so much a single mindset equally a coalition of interests that happen to hold on one thing—that comics deserve more respect.^[ix] Nima Naghibi and Andrew O'Malley, English professors at Ryerson University, believe that Persepolis is part of a larger motility of autobiographical books by Iranian women.^[10] Satrapi wrote Persepolis in a black-and-white format: "the dialogue, which has the rhythms of workaday family conversations and the brilliant curiosity of a child's questions, is often darkened by the heavy black-and-white drawings".^[11] The use of a graphic novel has become much more predominant in the wake of events such as the Arab Spring and the Greenish Motility, every bit this genre employs both literature and imagery to talk over these historical movements.^[6] In an interview titled "Why I Wrote Persepolis",^[12] Marjane Satrapi said that "graphic novels are non traditional literature, just that does not mean they are second-rate."^[12]

Persepolis uses visual literacy through its comics to enhance the message of the text. Visual literacy stems from the belief that pictures can exist "read." As defined by the Encyclopedia of the Social and Cultural Foundations of Education, "Visual literacy traces its roots to linguistic literacy, based on the idea that educating people to understand the codes and contexts of language leads to an ability to read and comprehend written and spoken verbal communication."^[13]

Due to the nature of artistic choices made in Persepolis by virtue of it being an illustrated memoir, readers have faced difficulty in placing it into a genre. The term "novel" nigh ordinarily refers to books that are fiction. Thus, there is some controversy surrounding how to classify the genre of Persepolis, being that it is not-fiction. Nima Naghibi and Andrew O'Malley, illustrate this by stating how bookstores take had issues with shelving Persepolis under a single label.^[ten] Furthermore, scholars similar Hillary Chute argue that Persepolis, like other similar books, should be chosen a "graphic narrative" instead of a "graphic novel."^[14] She argues that the stories these works comprise are unique in themselves and challenge popular historical narratives.^[14] Chute explains that graphic narratives defy convention portraying circuitous narratives of trauma emphasize a different approach on discussing issues of "unspeakability, invisibility, and inaudibility that have tended to narrate recent trauma theory-also as a censorship-driven culture at large."^[14] She adds that this technique of uncovering the invisible is an influential feminist symbol.^[fourteen] Chute contends that Persepolis highlights this 'unseen' by appearing to exist visually simplistic so that information technology can draw attention to the intense political events happening in the story.^[14]

Professor Liorah Golomb from the University of Oklahoma states about Persepolis and related books; "As time went on the comics notwithstanding tended towards the autobiographical, but storytelling gained importance. Most of the women creating comics today are even so doing so from a woman'southward bespeak‐of‐view, merely their target audience seems more universal.^[15]

An commodity from a journal on multicultural didactics written about pedagogy Persepolis in a middle school classroom acknowledges Satrapi'south determination to apply this genre of literature as a way for "students to disrupt the one-dimensional image of Iran and Iranian women."^[sixteen] In this style, the story encourages students to brim the wall of intolerance and participate in a more complex conversation almost Iranian history, U.S. politics, and the gendered interstices of state of war."^[sixteen] Satrapi utilizes a combination of the text and accompanying drawings to stand for Iranian and European civilization through both images and language, asserts Marie Otsby in an article for the Modern Language Association of America published in 2022.^[xvi]

Analysis [edit]

Persepolis reminds readers of the "precarity of survival" in political and social situations.^[5]

Feminism in the Eastward [edit]

Satrapi's graphic memoir contains themes apropos feminist ideals and the hegemonic ability of the state. Satrapi uses the context of the Iranian Revolution to criticize the hypocrisy of country-enforced social pressures that seek to enact violence.^[17] During the Iranian Revolution, martyrdom had been nationalized by the state in order to encourage young men to participate in the revolution^[18] and strict social rules were forced upon women and were justified equally protection.^[17] Satrapi's recount of her harassment past both male and female members of the Guardians of the Revolution because of her untraditional behavior and clothing exemplifies the hypocrisy of the land'south beliefs.^[17] Although Satrapi criticizes the socio-political pressures, she does not fully dismiss her Iranian identity.^[17] Marji struggles with finding her identity because she is torn betwixt a deep connection with her Iranian heritage and culture and the political and religious pressure enforced by the state.^[17] Satrapi's struggle with societal pressures is based on her belief that the Islamic land oppresses women when it regulates their expression and dictates their beliefs.^[17]

Jennifer Worth, an Adjunct Assistant Professor at Wagner Higher, presents that Satrapi uses the veil as a metaphor to draw the desire to control women.^[19] Worth proposes that the Guardians of the Revolution wield the cultural symbolism of the veil to oppress the social liberties of women, while Marji herself dons the symbolic veils of makeovers in Austria to escape social ostracization for her Iranian identity.^[19] Through her utilization of the veil as a symbol of concealing latent struggles, Satrapi contends that the confusion surrounding Marji's transition into adulthood stems from her complex beliefs and feelings near her Iranian heritage.^[19]

The portrayal of the veil in Persepolis has likewise been used to combat the Western perception that the veil is solely a symbol of oppression.^[20] The perceptions are challenged in the commencement chapter of Persepolis similarly titled 'The Veil,' where Satrapi illustrates young girls playing in the schoolyard with their veils.^[20] Lisa Botshon, a professor of English, and Melinda Plastas, a professor of Women and Gender studies, comment that Satrapi's depictions of the veil illuminate for Western audiences the extent of Middle Eastern women'south agency.^[20] The depictions challenge the Western notion that women who wearable the veil are helpless and victims of roughshod social oppression.^[twenty]

Publication history [edit]

The original French serial was published by Fifty'Association in 4 volumes, one volume per year, from 2000 to 2003. Marie Ostby, professor at Connecticut College, noted that, David Beauchard, a co-founder of L'Clan, strove to "create a forum for more culturally informed, self-cogitating piece of work," especially consisting of female person writers.^[6] L'Association published Persepolis as i of their three "breakthrough political graphic memoirs."^[vi] Persepolis, tome i ends at the outbreak of war; Persepolis, tome ii ends with Marji boarding a plane for Austria; Persepolis, tome 3 ends with Marji putting on a veil to render to Iran; Persepolis, tome 4 concludes the piece of work. When the series gained disquisitional acclaim, it was translated into many different languages. In 2003, Pantheon Books published parts 1 and 2 in a single volume English translation (with new cover art) under the title Persepolis which was translated by Blake Ferris and Mattias Ripa, Satrapi's married man; parts 3 and 4 (also with new cover art) followed in 2004 as Persepolis 2, translated by Anjali Singh. In October 2007, Pantheon repackaged the two English linguistic communication volumes in a single book (with film tie-in comprehend fine art) under the championship The Complete Persepolis. The cover images in the publications from both countries characteristic Satrapi's own artwork; however, the French publication is much less ornamented than the United States equivalent.^[six]

Reception [edit]

Upon its release, the graphic novel received loftier praise, but was also met with criticism and calls for censorship.Time magazine included Persepolis in its "Best Comics of 2003" list.^[21] Andrew Arnold of TIME described Persepolis every bit "sometimes funny and sometimes lamentable but always sincere and revealing."^[22] Kristin Anderson of The Oxonian Review of Books of Balliol Higher, University of Oxford said, "While Persepolis' feistiness and creativity pay tribute every bit much to Satrapi herself as to gimmicky Iran, if her aim is to humanise her homeland, this affable, sardonic and very candid memoir couldn't do a better job."^[23] Persepolis has won numerous awards, including one for its text at the Angoulême International Comics Festival Prize for Scenario in Angoulême, France, and some other for its criticism of authoritarianism in Vitoria, Spain. Marie Ostby points out that "Satrapi's piece of work marks a watershed movement in the global history of the graphic novel," exemplified by the recent increase in utilize of the graphic novel equally a "cross-cultural grade of representation for the xx-first century Middle E."^[vi]

Despite the controversy surrounding the novel, Persepolis has turned into an important slice of literature which connects the Western and Iranian world. The graphic novel was awarded to Newsweek 'due south Ten Best Fiction books list, and was created into a flick in 2007.^[24] Reading Persepolis "lends itself to discussion of literary strategies and to teaching visual literacy, equally well as to broader discussions of cultural difference every bit constructed in fine art and the media and equally experienced in life".^[24]

Friere and Macedo argue that education Persepolis in a centre school classroom has proved to be beneficial in the evolution of students' literacy and disquisitional thinking skills, which are necessary to help them translate the world around them.^[xvi] In a journal article on how to teach Persepolis in a mail service 9/11 classroom, Lisa Botshon and Melinda Plastas from the University of Illinois affirm that Persepolis offers a platform for students to question Western stereotypes and fear surrounding the Middle East. Another study that was done too showed that Persepolis has profoundly impacted the thinking skills of middle school students who were taught it in their ELA classroom. Despite the images and easy-to-read text, Persepolis is also often taught at the loftier school level considering high-schoolhouse anile students would be able to take the information learned and thoroughly discuss it to raise their literary skills.^[24] From writing nearly her life and the people in it, Satrapi'south writing also denies the typical assumptions made past the world about Western Iranian women.^[24] Friere and Macedo believe that the way women and Iranian social club in general are presented in the book can assistance students come to doubt their perceived sense of national insecurity when it comes to the Middle Due east.^[twenty]

In 2022, the graphic novel was ranked 47th on The Guardian'south list of the 100 best books of the 21st century.^[25]

Censorship [edit]

Despite the positive reviews, Persepolis faced some attempts at censorship in school districts across the United States. In March 2022, the Chicago Public Schools ordered copies of Persepolis to be removed from seventh-grade classrooms after Chicago Public Schools CEO Barbara Byrd-Bennett determined that the book "contains graphic language and images that are not advisable for general use".^[26] ^[27] ^[28] Upon hearing near the proposed ban, upperclassmen at Lane Tech High School in Chicago flocked to the library to check out Persepolis and organized demonstrations in protest. CPS reinstituted the book in schoolhouse libraries and classrooms.^[29]

In 2022, the book faced 3 different challenges beyond the United States, which led to its placement as #2 on the ALA's list of "Top 10 Near Challenged Books of 2022".^[4] The beginning of these controversies occurred in Oregon'south Three Rivers School Commune, where a parent insisted on the removal of the book from its loftier school libraries due to the "coarse language and scenes of torture".^[thirty] The volume remained in libraries without any restriction after school lath meetings to hash out this challenge. Another example of censorship arose in central Illinois' Ball-Chatham School District, where a pupil'southward parent stated that the volume was inappropriate for the age group assigned. The parent also inquired into why Persepolis was assigned to the students to read on September xi.^[30] Despite this opposition, the school board unanimously voted to keep the book both in the schoolhouse libraries and within the curriculum. The tertiary case occurred in Smithville, Texas, where parents and members of the schoolhouse customs challenged the book being taught in Smithville High Schoolhouse's Earth Geography Class. They voiced concerns virtually "the newly-introduced Islamic literature available to students". The schoolhouse board met to discuss this issue at a meeting on February 17, 2022, later a formal complaint was filed against the book. The board voted 5–one to retain the novel.^[thirty]

In 2022, Crafton Hills College, in Yucaipa, California, also witnessed a challenge to the incorporation of Persepolis in its English language course on graphic novels. After her completion of the course, Tara Shultz described Persepolis as pornographic and lacking in quality. Crafton Hills administrators released a argument, voicing strong support of academic liberty and the novel was retained.^[thirty]

Other [edit]

Film [edit]

Persepolis has been adjusted into an animated motion-picture show, past Sony Pictures Classics. The moving picture was co-directed by Marjane Satrapi and Vincent Paronnaud.^[31] It was voiced past Catherine Deneuve, Chiara Mastroianni, Danielle Darrieux and Simon Abkarian. Debuting at the 2007 Cannes Picture show Festival, Persepolis won the Jury Prize but also drew complaints from the Iranian government earlier its screening at the festival.^[32] ^[33] Information technology was nominated for an Academy Honour in 2007 for best animated feature. The film has also received high honors, specifically, in 2007, when it was named the Official French Selection for the Best Foreign Language Film.^[34]

Persepolis 2.0 [edit]

Persepolis ii.0 is an updated version of Satrapi's story, created by different authors who combined Satrapi'south illustrations with new text about the 2009 Iranian presidential election. Only ten pages long, Persepolis ii.0 recounts the re-election of President Mahmoud Ahmadinejad on June 12, 2009. Washed with Satrapi's permission, the authors of the comic are ii Iranian-born artists who live in Shanghai and who give their names only every bit Payman and Sina.^[35] The authors used Satrapi's original drawings, changing the text where appropriate and inserting one new drawing, which has Marjane telling her parents to stop reading the paper and instead turn their attention to Twitter during the protests. Persepolis 2.0 was published online, originally on a website called "Spread Persepolis"; an archived version is bachelor at the Wayback Motorcar.

See too [edit]

Autobiographical comics
List of feminist comic books
Portrayal of women in comics
Iranian Revolution
Graphic novel
Comic Volume

References [edit]

^ ^a ^b Jones, Malcolm. "'Persepolis', by Marjane Satrapi - Best Fictional Books - Newsweek 2022". 2022.newsweek.com. Archived from the original on 2022-09-19. Retrieved 2012-10-15 .
^ "The Graphic Translation of Persepolis". MotaWord - The World's Fastest Business Translation Platform . Retrieved 2019-04-24 .
^ "Example Study: Persepolis – Comic Book Legal Defense Fund". Retrieved 2021-06-25 .
^ ^a ^b "Meridian Ten Nigh Challenged Books Lists". Banned and Challenged Books. American Library Association. 2022-03-27. Retrieved December v, 2022.
^ ^a ^b ^c ^d ^eastward ^f Nabizadeh, Golnar (2016). "Vision and Precarity in Marjane Satrapi'south Persepolis". Women's Studies Quarterly. 44 (1/ii): 152–167. doi:10.1353/wsq.2016.0014. S2CID 147755252. ProQuest 1790692619.
^ ^a ^b ^c ^d ^eastward ^f Ostby, Marie (May 2022). "Graphics and Global Dissent: Marjane Satrapi's Persepolis, Persian Miniatures, and the Multifaceted Ability of Comic Protest". PMLA. 132 (3): 558–579. doi:10.1632/pmla.2017.132.three.558. S2CID 165899099.
^ ^a ^b ^c "Satrapi, Marjane | Gale Biographies: Pop People - Ideology Reference". search.credoreference.com . Retrieved 2019-04-24 .
^ ^a ^b Jones, Vanessa E. (4 October 2004). "A life in graphic detail: Iranian exile's memoirs draw readers into her experience". The Boston Globe. ProQuest 404932988.
^ Nel, Philip; Paul, Lissa (2011). Keywords for Children'southward Literature. New York: New York University Press.
^ ^a ^b Naghibi, Nima; O'Malley, Andrew (2005). "Estranging the Familiar: 'E' and 'Due west' in Satrapi'due south Persepolis". English Studies in Canada. 31 (two): 223–247. doi:10.1353/esc.2007.0026. S2CID 161983079.
^ Satrapi, Marjane; Gard, Daisy (2013). Riggs, Thomas (ed.). "Persepolis." The Literature of Propaganda (1st ed.).
^ ^a ^b Satrapi, Marjane (2003). "Why I Wrote Persepolis" (PDF). Writing!. pp. nine–eleven.
^ Provenzo, Eugene F. (2008). Encyclopedia of the Social and Cultural Foundations of Education. Sage Publications.
^ ^a ^b ^c ^d ^e Hillary Chute (2008). "The Texture of Retracing in Marjane Satrapi's Persepolis". Women's Studies Quarterly. 36 (1–2): 92–110. doi:10.1353/wsq.0.0023. S2CID 84339568.
^ Golomb, Liorah (18 Jan 2022). "Beyond Persepolis : a bibliographic essay on graphic novels and comics by women". Collection Building. 32 (i): 21–xxx. doi:ten.1108/01604951311295067.
^ ^a ^b ^c ^d Sunday, Lina (2017). "Disquisitional Encounters in a Center Schoolhouse English Linguistic communication Arts Classroom: Using Graphic Novels to Teach Critical Thinking & Reading for Peace Education". Multicultural Education. 25 (1): 22–28. ERIC EJ1170198.
^ ^a ^b ^c ^d ^e ^f Friedman, Susan Stanford (2013). "Wartime Cosmopolitanism: Cosmofeminism in Virginia Woolf's Three Guineas and Marjane Satrapi's Persepolis". Tulsa Studies in Women's Literature. 32 (1): 23–52. JSTOR 43653363.
^ Peterson, Scott (fourteen February 2022). "To enlist Iran'due south youth, Islamic Commonwealth adds an nationalist pitch". Christian Science Monitor.
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