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Discursive Construction of Referential Truth in Art Spiegelman's Maus And
The Comic Book as Complex Narrative: Discursive Construction of Referential Truth in Art Spiegelman’s Maus and Marjane Satrapi’s Persepolis By Hannah Beckler For honors in The Department of Humanities Examination Committee: Annjeanette Wiese Thesis Advisor, Humanities Paul Gordon Honors Council Representative, Humanitities Paul Levitt Committee Member, English April 2014 University of Colorado at Boulder Beckler 2 Abstract This paper addresses the discursive construction of referential truth in Art Spiegelman’s Maus and Marjane Satrapi’s Persepolis. I argue that referential truth is obtained through the inclusion of both correlative truth and metafictional self-reflection within a nonfictional work. Rather than detracting from their obtainment of referential truth, the comic book discourses of both Maus and Persepolis actually increase the degree of both referential truth and subsequent perceived nonfictionality. This paper examines the cognitive processes employed by graphic memoirs to increase correlative truth as well as the discursive elements that facilitate greater metafictional self-awareness in the work itself. Through such an analysis, I assert that the comic discourses of Maus and Persepolis increase the referential truth of both works as well as their subsequent perceived nonfictionality. Beckler 3 Table of Contents 1. Introduction………………………………………………………………….4 2. Part One: Character Recognition and Reader Identification in Images……..7 3. Part Two: Representing Space, Time, and Movement……………………..15 4. Part Three: Words and Images……………………………………………..29 5. Part Four: The Problem of Memory in Representation……………...……..34 6. Part Five: Subjective Reconstruction and Narration……………………….48 7. Conclusion………………………………………………………………….56 Works Cited………………………………………………………………...60 Beckler 4 Although comic books are often considered a lower medium of literary and artistic expression compared to works of literature, art, or film, modern graphic novels often challenge the assumption that such a medium is not capable of communicating complex and nuanced stories. -
The Language of Narrative Drawing: a Close Reading of Contemporary Graphic Novels
The Language of Narrative Drawing: a close reading of contemporary graphic novels Abstract: The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing. It sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic „confection‟ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching. -
FA 49V.01 Course Syllabus
An Elective Course for Undergraduate and Graduate Students of any discipline and for English Language Students GRAPHIC NARRATIVE IN CONTEMPORARY LITERATURE & ART: EVOLUTION OF COMIC BOOK TO GRAPHIC NOVEL ✓ Basic Requirements: Appropriate language skills required by the University. ➢ This course should be of interest to anyone concerned with verbal & visual communications, popular forms, mass culture, history and its representation, colonialism, politics, journalism, writing, philosophy, religion, mythology, mysticism, metaphysics, cultural exchanges, aesthetics, post-modernism, theatre, film, comic art, collections, popular art & culture, literature, fine arts, etc. ➢ This course may have a specific appeal to fans and/or to those who are curious about this vastly influential, widely popular, most complex and thought-provoking work of contemporary literature and art form, the ‘Comics’; however it does not presume a prior familiarity with graphic novels and/or comics, just an overall enthusiasm to learn new things from a new angle and an open mind. ✓ Prerequisites: ➢ FA489 & FA49V: ‘By consent’ selection of students. ➢ FA490: Upon successful completion of FA489. ✓ Co-requisites: ➢ FA489 & FA49V: Freshmen who graduated from a high school with an English curriculum or passed BU proficiency test with an A; & sophomore, junior, senior students. ➢ FA490: Successful completion of FA 489. ✓ Recommended Preparation: Reading all of the required readings and as many from the suggested reading list. Idea Description: Is ‘comics’ a form of both literature and art? Certainly the answer is “yes” but there are many people who reject the idea, yet many other people call those people old-school intellectuals. However, in recent years, many scholars, critics and faculty alike have accepted ‘comics’, often dubbed by many publishers as ‘graphic novel’, as a respected form of both literature and art. -
Autobiographies: Psychoanalysis and the Graphic Novel
AUTOBIOGRAPHIES: PSYCHOANALYSIS AND THE GRAPHIC NOVEL PARASKEVI LYKOU PHD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE JANUARY 2014 ABSTRACT This thesis explores the conjunction of the graphic novel with life- writing using psychoanalytic concepts, primarily Freudian and post- Freudian psychoanalysis, to show how the graphic medium is used to produce a narrative which reconstructs the function of the unconscious through language. The visual language is rich in meaning, with high representational potential which results in a vivid representation of the unconscious, a more or less raw depiction of the function of the psychoanalytic principles. In this project I research how life-writing utilises the unique representational features of the medium to uncover dimensions of the internal-self, the unconscious and the psyche. I use the tools and principles of psychoanalysis as this has been formed from Freud on and through the modern era, to propose that the visual language of the graphic medium renders the unconscious more accessible presenting the unconscious functionality in a uniquely transparent way, so that to some extent we can see parts of the process of the construction of self identity. The key texts comprise a sample of internationally published, contemporary autobiographical and biographical accounts presented in the form of the graphic novel. The major criterion for including each of the novels in my thesis is that they all are, in one way or another, stories of growing up stigmatised by a significant trauma, caused by the immediate familial and/or social environment. Thus they all are examples of individuals incorporating the trauma in order to overcome it, and all are narrations of constructing a personal identity through and because of this procedure. -
Kate Warren, “Persepolis: Animation, Representation and the Power of the Personal Story,” Screen Education, Winter 2010, Issue 58, PP
Kate Warren, “Persepolis: Animation, Representation and the Power of the Personal Story,” Screen Education, Winter 2010, Issue 58, PP. 117-23. Marjane Satrapi's Persepolis {2007), based on her graphic novels of the same name, is one of a growing number of films thiat employs formats such as animation, which is traditionally aimed at younger audiences, to depict complex and confronting subject matter. In doing so, such films offer interesting avenues of investigation for students and educators, not only in terms of the stories told, but also in relation to how these artistic and aesthetic techniques affect the narrative structures and modes of representation offered. Author, illustrator and filmmaker Marjane Satrapi was born in Rasht, Iran, in 1969.' As a child she witnessed one of the most dramatic periods in her country's recent history: the overthrow of the shah in 1979, the subsequent Islamic Revolution and the Iran-Iraq War. The film Persepolis charts her childhood in Tehran, her secondary education in Vienna and her tertiary studies in Iran, and concludes with her decision to leave Iran permanently for France. The formative years of childhood, adolescence and early adulthood are negotiated during a period of great flux and trauma for her country, her family and herself. Through her graphic novels and this film, Satrapi depicts these events and experiences with frankness, humour, poignancy and emotional power. Questions of representation When approaching cultural and historical traumas - such as war, revolution and genocide - questions are often raised about how these events are to be represented, who is 'entitled' to represent them, and whether they should be represented at all. -
Graphic Narratives Catalog
Graphic Narratives Catalog *The blue blocks are works by women, the pink ones have multiple authors, and the yellow blocks are notes on categorization Curated by Kay Sohini and Comic Enthusiasts Worldwide Memoirs/Autobiographics Graphic Medicine Queerness Diaspora Narratives Conflicts/Wars/Disaster Drawn Graphic Cli-fi Mythology/Folklore Comics Journalism Miscellaneous Comic Scholarship The Dykes to Watch Out For, The Best We Could Do, Munnu: A Boy From Kashmir by Climate Changed by Burma Chronicles, Guy A City Inside, Tilie 1 Maus, Art Spiegelman Epileptic, David B. Everything Hillary Chute Alison Bechdel Thi Bui Malik Sajad Phillipe Squarzoni Adi Parva, Amruta Patil Delisle Walden Note: Partly Diaspora Narrative Comic Book History of Blue is the Warmest Color, Julie Shortcomings, Adrianne In the Shadow of No Towers. Art All Quite in Vikaspuri by Comics by Fred Van 2 Are You My Mother, Alison Bechdel Stitches, David Small. Sauptik, Amruta Patil Palestine, Joe Sacco Syllabus, Lynda Barry Maroh Tomine Spiegelman Sarnath Banerjee Lente and Ryan Dunlavey Note: Water conflict Note: Academics AD: New Orleans after Poppies of Iraq, Bridgette Findakly and Lewis American Born Chinese, Vietnamerica: A Family's Journey Habibi by Craig Safe Area Gorazde, Joe Blankets, Craig 3 Hyberbole and a Half, Allie Brosh Skim, Mariko and Jillian Tamaki the Deluge, Josh Trondheim Gene Luen Yang by GB Tran Thompson Sacco Thompson Neufeld Note: Coming of age, Note: Partly Diaspora Narrative Note: Also a Memoir romantic love Bhimayana: Experiences Marbles: Mania, Depression, Ms. Marvel Vol. 01 of Untouchability by Jerusalem by Guy 4 Fun Home, Alison Bechdel Michelangelo and Me by Ellen Kari, Amruta Patil (2014), G. -
Chicken with Plums
CHICKEN WITH PLUMS a film by Marjane Satrapi and Vincent Paronnaud Adapted from the graphic novel Chicken with Plums by Marjane Satrapi Venice International Film Festival 2011 Toronto International Film Festival 2011 Tribeca Film Festival 2012 91 min | Language: French (with English subtitles) East Coast Publicity West Coast Publicity Distributor Hook Publicity Block Korenbrot Sony Pictures Classics Jessica Uzzan Ziggy Kozlowski Carmelo Pirrone Mary Ann Hult Tami Kim Lindsay Macik 419 Lafayette St, 2nd Fl 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10003 Los Angeles, CA 90036 New York, NY 10022 [email protected] 323-634-7001 tel 212-833-8833 tel [email protected] 323-634-7030 fax 212-833-8844 fax 646-867-3818 tel SYNOPSIS Teheran, 1958. Since his beloved violin was broken, Nasser Ali Khan, one of the most renowned musicians of his day, has lost all taste for life. Finding no instrument worthy of replacing it, he decides to confine himself to bed to await death. As he hopes for its arrival, he plunges into deep reveries, with dreams as melancholic as they are joyous, taking him back to his youth and even to a conversation with Azraël, the Angel of Death, who reveals the future of his children... As pieces of the puzzle gradually fit together, the poignant secret of his life comes to light: a wonderful story of love which inspired his genius and his music... DIRECTORS’ STATEMENT By Marjane Satrapi & Vincent Paronnaud Chicken with Plums is the story of a famous musician whose prized instrument has been ruined. -
Women in the Middle East – Marjane Satrapi's Persepolis Recommended
Women in the Middle East – Marjane Satrapi’s Persepolis Recommended Use: This unit was developed for an Introduction to Human Rights class that was taught online. It was part of a module on Women’s Rights and was preceded by a module on group rights in general and information on the history of Women’s Rights. Use in any level human rights class or women’s rights class. The format works for both the original online setting as well as in offline classes. Keywords: Women’s Rights, Middle East, Persepolis, discrimination, stereotypes, Islam, graphic novel Objectives: Students will be able to reflect on the topic of women’s rights (in Iran). Students will be able to compare one or more news articles to the Iranian graphic novel Persepolis. They will be able to formulate a standpoint and recognize biases/constructions in media. Reading(s)/ Material(s): - Marjane Satrapi. Persepolis. The Story of a Childhood. (ISBN: 978-0375714573) - One or more recent articles that provide an outside view of women in the Middle East (e.g. Hubbard, Ben. “Saudi Women Rise Up Quietly.” New York Times. Web. 10/27/2013. http://www.nytimes.com/2013/10/27/world/middleeast/a-mostly-quiet-effort-to-put-saudi- women-in-drivers-seats.html?_r=0) Synopsis: Persepolis is Marjane Satrapi’s memoir of growing up in Iran during the Islamic Revolution. Satrapi tells the story of her life in Tehran from ages six to fourteen, years that saw the overthrow of the Shah’s regime, the triumph of the Islamic Revolution, and the devastating effects of war with Iraq. -
Rocıo G. Davis
Rocı´o G. Davis A GRAPHIC SELF Comics as autobiography in Marjane Satrapi’s Persepolis This essay traces a crucial transition in the enactment of the autobiographical text and addresses its creative appropriation by Marjane Satrapi, an Iranian immigrant living in France, in Persepolis. I will examine her use of comics – a thematically and representationally complex form that deploys the strategic juxtaposition of sequential text and image – as the medium for her memoir that enacts her process of self-identification and negotiation of cultural and/or national affiliation. Here, the juxtaposition of image and words constitutive of graphic narratives yields a new artistic, literary, and creative experience – a revised aesthetic. Combining theories on the childhood memoir and comics, I argue that we must approach contemporary graphic autobiographies as increasingly sophisticated forms of inscribing the past and read Satrapi’s text as a site for the negotiation and management of the memory of childhood perceptions and positioning, family, history, politics, religion, and art. Keywords comics; autobiography; Marjane Satrapi; Persepolis; childhood memoirs A sustained analysis of the forms of life writing being enacted in this century obliges us to reconsider the notion of the autobiographical act itself. Specifically, when we analyze increasingly complex questions about self-formation and the process of signification and the expansion of the boundaries of traditional autobiography by negotiating narrative techniques, the consequences in the context -
Graphic Narrative: Comics in Contemporary Art
An Elective Course for Undergraduate and Graduate Students of any discipline and for English Language Students GRAPHIC NARRATIVE IN CONTEMPORARY LITERATURE & ART: EVOLUTION OF COMIC BOOK TO GRAPHIC NOVEL Basic Requirements: Appropriate language skills required by the University. This course should be of interest to anyone concerned with verbal & visual communications, popular forms, mass culture, history and its representation, colonialism, politics, journalism, writing, philosophy, religion, mythology, mysticism, metaphysics, cultural exchanges, aesthetics, post-modernism, theatre, film, comic art, collections, popular art & culture, literature, fine arts, etc. This course may have a specific appeal to fans and/or to those who are curious about this vastly influential, widely popular, most complex and thought-provoking work of contemporary literature and art form, the ‘Comics’; however it does not presume a prior familiarity with graphic novels and/or comics, just an overall enthusiasm to learn new things from a new angle and an open mind. Prerequisites: FA489: ‘By consent’ selection of students. FA490: Upon successful completion of FA489. Co-requisites: FA489: Freshmen who graduated from a high school with an English curriculum or passed BU proficiency test with an A; & sophomore, junior, senior students. FA490: Successful completion of FA 489. No requisites: FA 49I, FA49J, FA49V. Recommended Preparation: Reading all of the required readings and as many from the suggested reading list. Idea Description: Is ‘comics’ a form of both literature and art? Certainly the answer is “yes” but there are many people who reject the idea, yet many other people call those people old-school intellectuals. However, in recent years, many scholars, critics and faculty alike have accepted ‘comics’, often dubbed by many publishers as ‘graphic novel’, as a respected form of both literature and art. -
Orientalism, Gender, and Nation Defied by an Iranian Woman: Feminist Orientalism and National Identity in Satrapi’S Persepolis and Persepolis 2
Journal of International Women's Studies Volume 21 Issue 1 Article 8 February 2020 Orientalism, Gender, and Nation Defied yb an Iranian Woman: Feminist Orientalism and National Identity in Satrapi’s Persepolis and Persepolis 2 Diego Maggi Georgetown University Follow this and additional works at: https://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Maggi, Diego (2020). Orientalism, Gender, and Nation Defied yb an Iranian Woman: Feminist Orientalism and National Identity in Satrapi’s Persepolis and Persepolis 2. Journal of International Women's Studies, 21(1), 89-105. Available at: https://vc.bridgew.edu/jiws/vol21/iss1/8 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2020 Journal of International Women’s Studies. Orientalism, Gender, and Nation Defied by an Iranian Woman: Feminist Orientalism and National Identity in Satrapi’s Persepolis and Persepolis 2 By Diego Maggi1 Abstract Marjane Satrapi’s graphic novels Persepolis: The Story of a Childhood (2003) and Persepolis 2: The Story of a Return (2004) —focused on her youth and early adulthood in Iran and Austria— reveal in many ways the conflicting coexistence between the West —Europe and North America— and the Middle East. This article explores feminist Orientalism and national identity in both Satrapi’s works, with the purpose of demonstrating the manners that these comics complicate and challenge binary divisions commonly related to the tensions amid the Occident and the Orient, such as East-West, Self-Other, civilized-barbarian and feminism-antifeminism. -
Marjane Satrapi
MARJANE SATRAPI Marjane Satrapi’s memoir, Persepolis, is a black and white picture book meant Satrapi studied art in Tehran, married and to counter the division of our perception of the world into simplistic categories divorced, then moved to Paris in 1994 like good and evil, East and West, and believer and infidel. “Nothing is scarier and studied illustration in Strasbourg. than the people who try to find easy answers to complicated questions,” she In 1995, she was given Art Spiegelman’s has said. Her graphic novel is built out of a series of anecdotes—she has called Holocaust comic book, Maus, which it “a small story, to explain the bigger picture.” Her method of first-person became a major inspiration for her own testimony—“the way I saw it”— reveals a complicated country at a complicated graphic novels. After years of rejection time. of her children’s books—she has said she was turned down 180 times—she Satrapi was born in Rasht, Iran in 1969 and raised in Tehran. Her parents were published Persepolis in 1999, a project progressive intellectuals; her father was an engineer and her mother designed that took her four years. The book and its dresses. They had a bourgeois lifestyle—they drove a Cadillac and had a maid— sequel, Persepolis 2, have been translated but were also leftists with modern ideas about parenting. Although Iran was into 24 languages. Satrapi points to the governed by dictators for much of Satrapi’s life there, she has said that in her storytelling power of images to explain house “even if we wanted to buy a sofa, each person had one vote, and my vote the successful transference of her story to counted just as much as my parents’.” cultures around the world.