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Speaker/Writer | A variation of adult Satrapi and young Satrapi highlights themes of oppression within the transformation of the Islamic Revolution to the Iran-Iraq war through the eyes of a younger and more naive Satrapi within the Kim Wilde chapter. Throughout the chapter, multiple dialogues take place, some most notably the exchange between the Enforcers and young Satrapi.

Tone/Appeals/ Choices | The tone throughout the entire chapter balances from light-hearted and hopeful with the products Satrapi is gifted from her parents. Obtaining the clothing and posters is hard enough for Satrapi’s parents as they must sneak them through security, which provides a sense of suspense for the audience. Relief follows the prior suspense as Satrapi is met with a symbol that is nonconforming and wears it proudly. Though as the chapter progresses it shifts into something more menacing with the enforcers present. They perceive the innocent apparel as “decadence”(133, Panel 5). And shame Satrapi for tyranny against the regime.

Audience | The targeted audience falls under the category of those who have experienced restriction and control. Through her systematic oppression, she opens up a connection to readers who share similar experiences of shame and persecution.

Context | The transformation of the Islamic revolution to the Iran-Iraq war has already been completed, now in times of war, the audience can see a more in-depth look at how conquest for power severely affected its civilians through radical customs that silenced and repressed its citizens.

Subject/Context/Exigence | The concept of rebellion versus oppression shows up persistently. Satrapi learns the difference of perception as she wears what she believes is innocent yet to the enforcers is something of open insubordination. The exchange between them underlines the subtext of systematic oppression and the subtle forces of rebellion that combat such a large opposition.

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Bibliography:

“Iran-Iraq War” EB Editors,

academic.eb.com/levels/collegiate/article/Iran-Iraq-War/42742

“Iranian Revolution” Janet Afary, academic.eb.com/levels/collegiate/article/Iranian-Revolution/476048

"Tehran." Scholastic GO!, go.scholastic.com/content/schgo/D/article/a20/288/a2028820-h.html. Accessed 11 Dec. 2021.

Mahmoudi, Hoda. “Freedom and the Iranian Women’s Movement.” Contexts, vol. 18, no. 3, Aug. 2019, pp. 14–19, doi:10.1177/1536504219864953.

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She was dressed like a "Whore"
She told me my jeans were too tight.
She was dressed like a "Whore".
They shrank.
She was dressed like a "Whore".
She said it was a symbol of decadence.
She was dressed like a "Whore".
They’re sneakers.
She was dressed like a "Whore".
She told me to lower my scarf.
She was dressed like a "Whore".

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Dear reader,

thank you for spending your time reviewing this padlet at the chance of an educational experience! The direction of the padlet is meant to convey the concept of Oppression versus Rebellion. With instances of each, and in certain projects, a duality. Please be cautious while taking a look into our genres, and keep an eye out for little ‘easter eggs’ that knit the duality altogether. The context of the research was aimed to inform the padlet creators more of the historical aspect of the Iran-Iraq war and the Islamic Revolution. More specifically, what parts of women’s rights were left out during the Islamic Revolution, and what radical customs became a system of oppression on both a socio-political, legal, and individual scale. The informative aspect of critical research is what morphed such creative ideas to fruition. The first stop is the rhetorical analysis, put a penny for your thoughts in a star-review form for how the tone of the author not only targets a certain audience but how it comes across to the audience. Then comes the finished multi-genre products, ranging from high-end shoewear all the way to baked goods. All of which represent instances of revolt against the ideology of the regime, whether it be subtle in the form of hopeful symbols like swans. Or downright illegal with grape wine. Please take advantage of the notes page, where each purposeful symbolism has acquainted itself with another under the cohesion of its bold concept.

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This assignment was taken in accordance with the NA Honor Code

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Shoe:

The shoe is a symbol of Marji’s subtle defiance against the current restrictions that are being imposed upon civilians of Iran. With the sneakers snuck through security, Marji wore them proudly as it was innocent and fitting for a teenager. Yet her time spent with a member of the committee represents a moment where her teenage self is forced to learn the structures of oppression that are internalized and enforced by other women as well. The quotes were directly pulled from different panels of the same page, where the enforcer shames Marji for the rebellion against their traditional customs. The Kim Wilde chapter itself was the main contributor to the shoe’s creation.

Fake Passport:

The fake passport made was a recreation of the passport seen on page 126, panel 2 with Marji’s mother and the headscarf she wore. A direct quote from Adult Satrapi’s perspective provides a more in-depth connection into the toll that the regime had in place. From a standard that affected society and customs to the personal loss of identity the regulations had on an individual. Rather than just the duality of rebellion and oppression, the passport was created to accentuate the effects of the war and the extent of identity loss many had experienced. The fake passport was created through a combination of both events in the book, as well as the “Iran-Iraq War”, where information regarding travel bans and travel restrictions helped the context in the passport’s creation.

Grapes:

Grapes were used as a metaphor for wine civilians created after the transition from the Islamic revolution to the Iran-Iraq war. They were crushed & fermented into wine, used for parties. The consumption of alcohol was extremely illegal and punishable through radical means. And yet Satrapi’s family and friends took that risk to enjoy themselves, as an act of rebellion against the regime. The grapes were inspired by both the book, as well as Britannica’s  “Iran-Iraq War”, which talked not only of the ongoing conflict butt of how it influenced and affected civilians. It added a secondary source to solidify the already known contraband that was being smuggled through for the sake of nonconformity.

Bread Swan

The bread swan was gifted to young Marji from her uncle Annosh. Annoosh spent the majority of his life in hiding and rebellion against the regime during the transition of the revolution, where he was hunted down and executed soon after. The swan in a literal sense gives Annoosh his sanity and humanity. To Marji, the symbol of humanity morphs into a sense of hope against the oppressive grasp that the regime fosters. And in that sense, the swan becomes a symbol of nonconformity. The bread swan was influenced directly from the book instead of outside resources, due to the uniqueness that the swan had its creativity morphed straight from the pages of Anoosh’s stories.

Handbook

The handbook was created as a model of the student handbook that Marji Satrapi’s school had, but with the symbolism of the veil’s enforcement instead of genuine rules. Persian numbers were added to the margins for realism while each line stayed the same for emphasis. All except the 26th line, where the rule was crossed out in red. This was done to represent the backlash that the veils had. It was displayed as a message that those who refuse to wear the veil were not complacent and would voice their opinions. And below that was a message directed from the school, silencing their voices. It was also a reference to what was said on page 133, where the member of the committee chastised Marji for wearing her veil incorrectly. The Islamic Revolution had left women’s rights out of its progression, and in doing so kept the same customs. Mahmoudi Hoda explained in her article that concerned womens’ rights and the discriminatory regulations that were put in place to affect women, which majorly included veiling and its purpose to accentuate patriarchy that lived long after the revolution, through the war.

Poem

The poem was structured very purposefully. With repetition built into the stanza and a grammatical syntax up until the fourth line, the poem is meant to portray key moments within the Kim Wilde chapter. This unites the theme as the poem displays the two faces of women against women, representing two opposing forces. One of which heavily implies custom and tradition, the other is young Marji’s voice. The voices within the Renga poem are easily specified with repetition of the committee member’s words constant and persistent in an A-B-A-C-A-B-A-C format. The start of ‘she’ was used with consideration, a way to have the reader think more critically about who is speaking, about the other. It elaborates on the point that both speakers are women, but stand on different sides of the system while still being oppressed by it. The breaks in pattern in lines 4 and 8 were created with a more concrete and innocent perspective added, as Marji is still young as a teenager in this instance. Line 10 broke the pattern off completely, as young Marji’s voice is emphasized. And despite that powerful line, she is silenced by the repetition of the line after it. The poem was also inspired by a combination of both the book, as well as the “Freedom and the Iranian Women’s Movement.” written by Mahmouudi Hoda. The article contributed to the message of oppression left by the Islamic Revolution, and with the aid of the book, the inspiration morphed into the mentioned poem.