Could you give me ideas on what I can write for my conclusion? Can…

MateSquidPerson66 Could you give me ideas on what I can write for my conclusion? Can…Could you give me ideas on what I can write for my conclusion? Can you tell if you see any mistakes? Inquiry Question: How does Marjane Satrapi utilize the symbolism of the veil in the graphic novel Persepolis to illustrate the struggle for identity and freedom during the Iranian Revolution in the late 1970s? The fact that our freedom and surroundings influence our identity is indisputable. This is the case in the graphic novel Persepolis by Marjane Satrapi, first published in 2000 and winner of the 2007 Cannes Film Festival Jury Prize. In the graphic novel, Satrapi introduces how the Islamic Revolution took place, and in 1980, the veil became obligatory to wear at school. The author used the veil’s symbolism to communicate her idea about the realities of Iranian women struggling for an identity and freedom during the Iranian Revolution in the late 1970s. Satrapi examines the negative impact of the Revolution on individualism and freedom, particularly for Iranian women. As a symbol, the veil challenges the main protagonist, Marji, in her quest for personal autonomy within a society where political and legal structures fail to guarantee freedom. By portraying the veil as an extension of a government decision that denies women the right to choose, Satrapi highlights the connections between the veil and oppression, cultural suppression, and rebellion, therefore effectively conveying the loss of cultural autonomy and freedom through symbolism experienced by Iranian women as a result of the Iranian Revolution.The Islamic Revolution, which took place in 1979 and resulted in unfair treatment and control, caused the veil to start being seen as a symbol of oppression. Marjane Satrapi begins the opening chapter of the novel Persepolis by discussing the Islamic Revolution in 1980, where “it became obligatory to wear the veil at school” (Satrapi 3). Marjis pre-Revolutionary and post-Revolutionary life is most clearly divided at this time when the establishment of the Islamic Republic caused a severe rift in society between traditionally devout and not. Satrapi’s sense of freedom is undermined as she presents a flashback of Marjis “ten-year-old” (Satrapi 3) self in a panel with the date 1980, where she implies that this was post-Islamic Revolution. Satrapi indicates that Marji is pushed to wear this perceivably black tick veil since her arms are tucked, implying being defensive. In the next panel, Satrapi deliberately cropped Marji from the class photo, indicating that she was sitting “on the far left so you do not see [her]” (Satrapi 3) Fig. 2(p.3). Satrapi does this for two reasons; wanting to emphasize that Marji and the other students all look the same with the veil on and are just as faceless as each other. The other significant reason is that she wants to avoid associating herself with the regime or adopting its principles, including wearing the veil. The other symbolic interpretation in Fig. 2 is that all the classmates have different facial expressions and hairstyles, with their identities hidden under the veil. Satrapi is trying to indicate to the reader that the veil is physically and metaphorically weighing these individuals down. As Satrapi states, “The veil became [her] identity, and [she] could never escape it.” This metaphor compares the veil to a physical identity that cannot be separated from Marji and the other students. Their differences, such as eye shape, hairstyle, and expression, show that they are individual women desperate to be set free underneath the veil. Marji wants to be able to choose for herself, and making it mandatory to wear the veil at school and in public spaces restricts her freedom and expression. In addition to oppression, Satrapi utilizes the ideology of suppression to display how characters such as Marji were forced to abandon or hide their cultural heritage, traditions, or beliefs due to the regime’s pressure. At the age of 10, Marji expressed her confusion about the veil because “deep down [she] was very religious, but as a family [they] were very modern and avant-garde” (Satrapi 6) Panel 1, Page six). This allegory juxtaposition panel emphasizes Satrapi’s multiple identities with a complete split of new and old, eastern and western, advancement and religion, and the veil or no veil. In the middle is Marjane with a lost and glum expression. In this single panel, we see all of Marjane’s confusion and the different directions she had to choose from, her deep religion or the Western ideals of her family. The purpose is where gears represent logic, industrialization, progress, and things associated with the West; the right-hand side symbolizes cultural elements to her identity that she also is attached to; the use of clothing indicates different cultural attachments between more liberal Western style and conservative, religious clothing; implies an identity crisis she is undergoing as a child. Instead, she celebrates differences and marginality, so Satrapi refuses the set identity ascribed to her. Marji continued to come across new events that pushed her away from her identity. For one, Marji’s mother was assaulted by a group of angry men since she was not wearing the conservative dress for Islamic women. They said “that women like [her] should be pushed up against a wall and f**ked. And then thrown in the garbage. …And that if [she] didn’t want that to happen, [she] should wear the veil” (Persepolis 74) Panel 4, 5). Satrapi includes this to demonstrate the misogynistic nature of the fundamentalist Islamic regime that took power after the 1979 Revolution. Marji sees this misogyny as depriving women of their individuality and identities. In the eyes of these fundamentalist men, women who do not voluntarily deprive themselves of their humanity must be dehumanized. Not only did the government change but so did ordinary people. After Marji’s mother had encountered this situation, she began to tell Marji, “If anyone asks you what you do during the day, say you pray, you understand?” (Satrapi 75). Marji began to lie and say she prays about 11 to 12 times daily. All while attempting to maintain her cultural identity and conform to societal expectations has all been represented through the symbolism of the veil. Therefore, the veil serves as a tool to enforce conformity and suppress cultural diversity, where the imposition of the veil erases individual identity and stifles artistic expression.While Marji witnessed and experienced oppression and suppression to help emphasize her identity, rebellion helped her become passionate on her journey of deciding what she had been seeking, which was her identity. This new Islamic change is difficult for Marji and the other children as she explains, “[they] didn’t like to wear the veil, especially since [they] didn’t understand why [they] had to “(Satrapi 3) Figure 5). Marjane’s family serves as an example that some families in Iran do not strictly follow the Islamic religion and do not understand why they are being forced to follow the government-mandated rules. That same panel is an example of rebellion since Satrapi shows the girls to be using their veils as jump ropes, monster masks, or reins on the schoolyard on Page 3, fig. 5. By doing so, the girls break the norm, giving the impression that they are disobedient, independent individuals. Not only are the children giving a reaction to Thai change, but so are elders such as Marji’s mother and other individuals who revolted and demanded their freedom. Satrapi showcases liberal Iranians to counter the religious extremism shown by the media. They illustrate this by showcasing protests against the extremist religious government. Satrapi states that demonstrators were everywhere in the streets “for and against the veil” (Satrapi 5). {Image} The panel shows juxtaposition as the left side of the panel is where the women are voting to make the veil compulsory, and the right side is where the women are fighting against it. This juxtaposition illustrated religious enthusiasts and society against religious fervor. The woman on the left, covered in the veil, can be seen chanting “The Veil” through onomatopoeia. They also have their eyes closed, used to metaphorically display that Satrapi sees these women as blinded by tradition and cannot see the other side of the debate. Satrapi shows this metaphor in her graphic art to express her feelings toward this situation. The author Satrapi shows how Marji and other characters challenge the imposed restrictions and fight for their autonomy. Adopting what those in power disallow, such as Western ideals and fashion, is part of rebelling against totalitarian rule.   Arts & HumanitiesEnglish