“Graphic narratives, on the whole, have the potential to be powerful precisely because they intervene against a culture of invisibility by taking the risk of representation” (Chute & DeKoven 772)
Hello readers,
Today I would like to discuss how this definition of graphic narratives that is present in the scholar journal “Introduction: Graphic Novels” by the professors Hillary Chute from University of Chicago and Marianne DeKoven from The State University of New Jersey connects to the graphic novel Persepolis. Then I will discuss how powerful representations through the use of illustrations presented in Persepolis have a relationship with the topic of education for women.
What is Persepolis?
Persepolis is a graphic narrative by the Iranian graphic novelist Marjane Satrapi. In this graphic novel she describes and illustrates her life as she grows up in Iran. What makes this graphic novel different from others is that Satrapi is able to identify the causes and effects of the Islamic Revolution in Iran. One of the main effects she experiences is the change in the educational system, as seen on page 73 from panels 1-7. The protagonist Marji, shows through her face expressions the frustration she has towards the ministry of education’s decision on closing universities because Islamic Fundamentalists believe that all the material on books and school should be revised, so children only focus on the importance of Islam.
How this section of the novel Persepolis connects to the definition by Chute and DeKoven?
This part of the novel supports the idea that graphic novels are powerful because they represent in a realistic way what changes are actually happening in cultures and societies of other countries that we are not familiar with. All the panels displayed on page 73 are powerful representations of the effects the Islamic Revolution was bringing to Iran’s society because they illustrate how media and the government during those times were changing and influencing the lives of Iranian peoples. In this case Marji’s dream of having a university education became a difficult goal to achieve in her society. This dream of getting education portrayed on page 73 of Persepolis helped me find the connection on how graphic novels through representations can demonstrate issues that are happening in our world nowadays, in this case education for women in countries that are under the religion of Islam. When it comes to education for women the name of Malala Yousafzai is present.
Why is Malala present in the topic of education?
Malala Yousafzai is a Pakistani girl who wants to advocate the right of education for women. She became known and gain more support from the global world since a sad incident happened to her. A gunman fired three shots at Malala because she was standing for the right of education for women in her territory. This event caused anger as well as protest which influenced in the ratification of Pakistan’s first Right to Education Bill.
How powerful representations through illustrations in Persepolis have a relationship with the topic of education for women?
The connection there is between the issue of education and the powerful representations through illustrations in the graphic novel Persepolis is that by using graphics readers are able to identify that some issues that were taking place years ago can also be seen today. We can identify that Marji has the same frustration as Malala towards education for women because of the tears she has on her eyes while saying ” Misery! At the age that Marie Curie first went to France to study, I’ll probably have ten children…” and the face of disappointment she has when she listens to the news on the universities being closed. I believe graphic novels are powerful because they actually show how people in the real world show their emotions through face expression towards issue that are surrounding them.
Do you think graphic narratives present issues that are affecting people these days?
Maria Zegarra
