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Marji: Popular Commix Heroine Breathing Life into the Writing of History

Author: Manuela Costantino
Edition/Format: Downloadable article Downloadable article : English
Publication:Canadian Review of American Studies, v38 n3 (20080101): 429-447
Summary:
Marjane Satrapi's graphic memoir Persepolis has become an extremely popular text in the last few years. Part of the power of Satrapi's memoir is that it recreates her childhood experience in Iran at the time of the Cultural Revolution, in the graphic genre. The combination of a visual representation and a child's point of view makes the story easily accessible and therefore attracts a wide range of readers. This easy access to the story, however, can lead to the assumption that the child's perspective is uncomplicated by the nuances of an adult point of view and the seemingly simple text is transparent, articulating only one meaning. This paper complicates such a simplistic reception of the text and explores the various cultural and political forces at work in the articulation of the contexts for the production and reception of Persepolis in both France and North America. Les bandes dessinées autobiographiques Persepolis de Marjane Satrapi sont devenues des textes extrêmement populaires depuis quelques années. Une partie de la puissance de l’autobiographie de Marjane Satrapi réside dans le fait qu’elle recrée, dans le genre graphique, son enfance en Iran au moment de la révolution culturelle. La combinaison de la représentation visuelle du point de vue d’un enfant rend l’histoire facilement accessible et attire donc un vaste auditoire. Toutefois, cet accès facile à l’histoire peut entraîner l’hypothèse que la perspective de l’enfant n’est pas compliquée par les nuances de l’adulte, et le texte relativement simple est transparent et ne porte que sur une seule signification. Cet article vient brouiller la réception simpliste du texte et explore les diverses forces culturelles et politiques qui s’exercent afin d’articuler les contextes de production et de réception de Persepolis tant en France qu’en Amérique du Nord.  Read more...
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Details

Document Type: Article
All Authors / Contributors: Manuela Costantino
ISSN:0007-7720
Language Note: English
Unique Identifier: 5595744883
Awards:

Abstract:

Marjane Satrapi's graphic memoir Persepolis has become an extremely popular text in the last few years. Part of the power of Satrapi's memoir is that it recreates her childhood experience in Iran at the time of the Cultural Revolution, in the graphic genre. The combination of a visual representation and a child's point of view makes the story easily accessible and therefore attracts a wide range of readers. This easy access to the story, however, can lead to the assumption that the child's perspective is uncomplicated by the nuances of an adult point of view and the seemingly simple text is transparent, articulating only one meaning. This paper complicates such a simplistic reception of the text and explores the various cultural and political forces at work in the articulation of the contexts for the production and reception of Persepolis in both France and North America. Les bandes dessinées autobiographiques Persepolis de Marjane Satrapi sont devenues des textes extrêmement populaires depuis quelques années. Une partie de la puissance de l’autobiographie de Marjane Satrapi réside dans le fait qu’elle recrée, dans le genre graphique, son enfance en Iran au moment de la révolution culturelle. La combinaison de la représentation visuelle du point de vue d’un enfant rend l’histoire facilement accessible et attire donc un vaste auditoire. Toutefois, cet accès facile à l’histoire peut entraîner l’hypothèse que la perspective de l’enfant n’est pas compliquée par les nuances de l’adulte, et le texte relativement simple est transparent et ne porte que sur une seule signification. Cet article vient brouiller la réception simpliste du texte et explore les diverses forces culturelles et politiques qui s’exercent afin d’articuler les contextes de production et de réception de Persepolis tant en France qu’en Amérique du Nord.

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