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REVIEW of Lang and Lit

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Hello, I hope you are all still well.

If you are thinking of doing the Autumn exam, you need to keep on top of all of your texts by continuing to re-read them and make notes on character, themes, genre, structure and narrative/dramatic/poetic technique. This prepares you for questions on set texts, and feeds into your own creative writing on Paper 3

Planning and writing timed essays is an invaluable way of revising too – you can send me any that you do.

On the Padlet Column Work Set While Shut Down there is a post titled EASTER WORK in which I outline ways of approaching revision. Please refer to it.

I have also up-loaded lots of articles onto the Streetcar Column. These articles largely from the English and Media Centre’s emagazine are good examples of clear, analytical writing. Some are written by sixth form students.

Take care,

Kerstin

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4a) Introducing Thriller Genre - The Dogs

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This week’s work is a focus on Paper 3 Section B – but incorporates some Gatsby revision too.

1. The Paper 3 Power Point reminds you of the Section B Writing as a Reader task – and draws together work we have done on various different aspects of narrative. This is invaluable prep for writing about Fitzgerald’s narrative style in The Great Gatsby as well. It also has a creative writing task focusing on autobiography produced by Clarissa – you can have a go at writing the opening of her story in first or third person + commentary.

2. The Power Point Thriller, focuses on a particular genre – lots of ways of engaging with the story The Dogs to think about creating suspense and tension.

3. The Questions doc has a range of Section B tasks, some of which you will have already seen – pick any to do yourself. Send to me to be marked.

4. The exemplar writing doc is a range of responses from one’s years Paper 3 answers – including grade and examiners’ comments

Extension

Read this outline

1.      A man gets into a taxi with a box.

2.      The taxi driver asks the man what is in the box.

3.      The man tells the taxi driver it is a present for his wife.

4.      The box starts leaking and the man starts getting annoyed.

5.      The taxi driver becomes increasingly suspicious about the man.

6.      The taxi driver performs an emergency stop and the contents of the box falls out.

Have a go at writing the story.

Read “In The Box” – one of the stories in the Short Stories Pack

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Characteristics of Innocence and Experience

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Characteristics of Innocence and Experience

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Key Ideas

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I have sent and email with a number of revision docs attached - and an Active Revision Guide - all docs are on the Blake column to supplement materials already there. The work is for 2 lessons and on-going revision over study Leave and up-to the Autumn exam you may choose to take.

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'The Great Gatsby' book review - NY times

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'The Great Gatsby' book review - Irish Times

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'The Great Gatsby' book review - Guardian children's books

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Here is the work on the last Anthology text – Newspaper Review

1. Read the doc on Characteristic Features of Reviews.

2. Read and annotate the review of Beyonce and Jay-Z’s On the Run II tour – use the GASSGRILL framework

Pay careful attention to the reviewer’s opinions (of the show, Beyonce and Jay-Z and how language is used to communicate them – you need to be alert to a mocking tone sometimes)

1. Look up the meanings of any unknown words or expressions.

2. Look at my annotated copy to consolidate your notes (you may have noticed elements I hadn’t)

3. If you want to read some more reviews – look some up on-line (film, TV, music, book etc) I have attached a couple of Gatsby reviews for you to look at.

4. If you want to have a go at a timed unseen, you can do the Pepys/Hiroshima one (attached again)

Tomorrow I will send Blake revision resources 😊

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22/04/20 Comparative Topic Sentences Teacher version

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22/04/20 Comparative Topic Sentences Teacher version

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Police Officer vs Oliver - TEACHER COPY Creating comparative topic sentences

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Police Officer vs Oliver - Creating comparative topic sentences

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22/04/20 Writing Comparatively (Jamie Oliver) Teacher Highlighted

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22/04/20 Writing Comparatively (Jamie Oliver) Teacher Highlighted

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Exemplar 1 and 2 HIGHLIGHTED - how to write comparatively

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22/04/20 Writing comparatively (Comparing to Jamie Oliver)

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22/04/20 Writing comparatively (Comparing to Jamie Oliver)

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Exemplar 1 and 2 - how to write comparatively

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"It is about a search, too, for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than torpor; in short, for a sort of life rather than a Monday through Friday sort of dying."

STUDS TERKEL - WORKING XI

Working in America Audio Series

The individuals of the Working in America exhibit speak for themselves with honesty and beauty.
Below, you can ﬁnd the full and vibrant collection of audio interviews for all 24 people proﬁled.

The Working in America Audio Series was edited in collaboration with independent producer Bill Healy. Additional assistance was provided by Nicolas Rivero and Natalie Escobar, who edited and read the English translation respectively for Bianca Sanchez's proﬁle.

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Working in America explores authentic, raw, and honest stories focused on the daily desire to survive, thrive, participate and contribute-stories of how we locate ourselves in society, how we are seen or made invisible, and how we find meaning.

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22/04/20 Police Officer's Audio Narrative - CONTEXT

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22/04/20 Police Officer's Audio Narrative - CONTEXT

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Police Officer transcript Context from the website plus CPA

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Today the work is on the Police Officer’s Transcript – Audio Narrative.

1. Read the context document – which includes notes on Audience and Purpose at the end. It gives a really clear overview of the aims of the project, to record working life in America in 2016, and to capture the authentic voices of the subjects.

2. Listen to the Audio Narrative here https://working.org/audio-series/ The police officer is called Cabria Davis. This really helps to hear her spontaneous speaking voice.

3. Annotate the transcript in the usual way (GASSGRILL) – treat it as an unseen text.

4. Then use these questions to consolidate your notes

Which words does she use to present policing in a positive light?

How does she explain attitudes to gender?

What typical features of spontaneous talk are present? (you can look at the Spoken Word slides on padlet if you need to revise Spoken Word Features)

How does she present her passion and commitment?

Where does the structure suggest interviewer’s prompts?

Where can you find evidence of her idiolect?

1. Read the doc Writing Comparatively (comparing this to the Jamie Oliver text) and annotate both examples for what they achieve. Pay attention to how the second example develops and extends analysis. Then look at the teacher annotated version to consolidate your notes.

2. Complete the Comparative Topic Sentences tasks. Then look at the Teacher version to consolidate your learning.

Stay safe,

Kerstin

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Women in Science annotated

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3b) TEXT B- TEACHER COPY Women In Science Opinion Piece to accompany 'Soph Talks Science'

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Women in Science Clean copy

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3a) TEXT B- Women In Science Opinion Piece to accompany 'Soph Talks Science'.

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2b) How to write a student blog for the Guardian

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2a) AB 2 Blogs worksheet to accompany 'Soph Talks Science'

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20/04/20 Anthology STEM answers and follow up ideas

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20/04/20 Anthology STEM answers and follow up ideas

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1b) Anthol STEM ANSWERS + Follow-up ideas

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Anthology STEM questions

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1a) Anthol STEM blog Student QUESTIONS ONLY

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Monday 20/04/20 Welcome Back, I hope you had a good Easter and are well.    You received an email from Clarissa Ford (Head of English) explaining how the government has decided to award grades this year. There will be an exam available to you in the Autumn if you choose to take it. Therefore, we will continue setting work until the official study leave date in preparation for this exam. At the moment we have no information about the structure of the exam, so we will continue to set work on all parts of the course. We will complete the last 3 anthology texts before moving on to revision.   I set some essays over Easter which you can send to me if you have done them and want them marked with feedback. (Streetcar Love and Loss / Anthology Pepys’ diary and Hiroshima survivor’s account)   Work for today I have posted a number of documents on the ANthology Column for you to study and prepare the Science Blog – you can use them as suits you. For example, there are some questions you can work through, and then look at the answer sheet to compare your answers with those written by a member of the English department (Thanks to Alison Barber for sharing her resources) or you might want to go straight to the answer document and use it to annotate your text. There are more examples of blogs on the Blogs worksheet to accompany “Soph Talks Science” doc which you can look at to widen your understanding on the genre. The How to Write a Student Blog for The Guardian” doc and the TYPICAL BLOG FEATURES doc will also consolidate your understanding of the genre. The Women in Science doc, could be a partner text if this was set as an exam question – again, you can annotate it yourself before looking at the teacher annotations, or go straight to the teacher version.   I’ll send work for the next Anthology Text – Police Transcript on Wednesday.

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Hi All,

Hope you are all well 😊

We are about to head into Easter, and so I won’t be setting work in the same way for the next 2 weeks.

Normally, this would be a period of intense revision as you would be heading into the last stage of your studies before the exams.

However, if you take an exam, it won’t be for quite some time yet, so you have to adjust your preparation accordingly, and pace yourself.

Therefore, I suggest you

complete the following

1. Write a timed Anthology essay on Pepys’ Diary and an account of the Hiroshima Atomic Attack (On Anthology Column)

1. Write a timed answer to Streetcar – Sc6 Love and Loss (remember you can write about the themes together and separately) On Streetcar Column

Send both to me on Monday 20/04/20

and select from the following

REVISION Keep re-reading your texts – particularly second year texts you may feel less familiar with – and use padlet to keep revision ticking along but PACE YOURSELF.

Useful revision exercises for any text are

chapter/scene/poem/anthology text summaries

Notes on characters, themes, structure, context, typical features of writer’s style.

reading articles or introductions to your texts (look on relevant columns)

finding quotations for character/themes

But at this stage you should be engaging with as many questions as you can

Anthology/ Gatsby / Blake / Streetcar

Pick a question and write a detailed plan in 15 mins. (questions are on the relevant padlet column for each text)

Stop for a break.

Come back to it with your notes/study guide/padlet resources.

Can you add anything to your plan? Do you have a strong answer to the question you can use in your introduction?

What are the main ideas you will use to develop and support your argument.

Where will you find evidence?

Which order will you use your ideas?

Save something to structure your conclusion around which addresses the argument again but avoids simple repetition.

Creative Writing

Pick a question and write a detailed plan in 15 mins. (remember you are planning for the opening and your commentary)

Stop for a break.

Come back to it and think about your choices

what narrative viewpoint have you chosen and why?

How is narrative time structured (chronological/non-chronological – flashback – prolepsis …consider how transitions between present/past/future will be crafted)

Where will you begin and why?

Have you thought carefully about imagery / symbolism/ motif / lexis for shared semantic field? Don’t ram techniques in for the sake of it – they need to be relevant for the story you are telling?

How are you characterising your characters so they seem real – avoiding stereotypes and clichés (see Power Point about characterisation and use it to revise Characterisation in The great Gatsby.)

Thinks carefully about how much dialogue to use . Avoid too much – it’s difficult to craft realistic dialogue, and can end up reading more like a script than a novel/short story opening (See attachments on dialogue you can use to revise Dialogue in The Great Gatsby)

Think about the voices your create – idiolects – do the characters have individual voices appropriate for their character / education / social background etc

I will set timed essays after Easter on Gatsby – Blake – Streetcar – Creative after Easter 😊

I wish you all a Happy and Healthy Easter

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Mock A Level Paper 1 Pepys and Hiroshima

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Characterisation extracts -     for Pyramid Task

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Characterisation extracts -     for Pyramid Task

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Characterisation extracts for pyramid task

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Finishing Streetcar - close study of scenes.
1. Use EMC Guide to study Scene 10.
2. Complete the grid to think closely about Scene 11 (posted on Streetcar column) and my modified version of the EMC guide resources for scene 11 (also on Streetcar column) I will send a completed version on Friday for you to check your work against)
3. Keep watching Massolit lectures
4. Read Article on Old and New America. (on Streetcar column) Make notes on how you think Blanche and Stanley represent these two versions of America. What do you think Williams communicated about each?

I'll email again on Friday about what to do over Easter - you won't be revising in the same way you were expecting to as you may not chose to sit an exam, and if you do it will be some time off and you will need to build up to it steadily.

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Exemplar essay to Scene 2 Stella and Stanley Question in your pack - Got 27/32

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Exemplar essay to Scene 2 Stella and Stanley Question in your pack - Got 27/32

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1. If you are re-submitting your NEA send it to me today. Remember to include a word count.
2. Streetcar Scene 9
Read Scene 9 and write a scene summary of your own.
- complete the scene 9 tasks in the EMC study Guide (on Streetcar Column)
- Read Clarissa's Notes (on Streetcar column)
- Watch Massolit Lecture (scene 9) You can watch the whole series as part of your revision: Re-read a scene - watch a lecture.

Take care,
Kerstin

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All resources posted on Streetcar column
1. Work on Scenes 7 and 8

2. Read Article on Music and Sound - expressionism.

3. Read Bethany's essay on the scene 1 question - thanks again Bethany :)

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1. Work on scene 6 - tasks posted on Streetcar column

2. Read exemplar essay on Scene 2 Stella and Stanley

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Work on scene 5 - tasks posted on Streetcar column

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Use the EMC Study Guide, posted on the Streetcar column, to review Sc 4 - think about /make notes about masculinity/femininity/desire/ critical readings/ Stella and Blanche.

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In 'Songs of Innocence and of Experience', Blake evokes contrasting visions of the world. The two poems, 'The Echoing Green' and 'London', are especially characteristic of these contrary visions; evoking polar opposite images of innocence, corruption and freedom. Blake uses both contrasting (for example, the different use of tone) and similar ways (the use of sound as a poetic device) to evoke contrary visions in the two poems: one of freedom, joy, and one of corruption.

The most immediate contrast between the two poems is the overwhelming vision of misery in 'London', compared to the embodiment of joy in 'the Echoing Green'. Blake, it should be noted, utilizes similar poetic techniques to evoke these different visions. For example, Blake's prevalent sensory imagery in both poems heightens the contrary visions of each one. In 'London', Blake references the sounds of misery, "cry" (which is repeated thrice), "soldier's sigh", "curse", "tear". Sensory imagery is crucial to 'the Echoing Green' too, which describes the "laughing" (repeated twice), "the bells' cheerful sound", "the merry bells ring", and the "birds of the bush [which] sing louder". Blake's focus, particularly, on auditory imagery, in both poems, aids the presentation of overwhelming misery and joy in 'London' and 'the Echoing Green' respectively. In 'London', the overwhelming vision of misery is emphasized by the actual sound of Blake's language, for example the repeated plosives, "ban", "blackening", "blood", "blasts", "blights", and the dejected alliterative sibilance of the "soldier's sigh". Additionally, Blake dramatically morphs human misery into physical form, "soldier's sigh runs in blood down palace-walls" and "blackening church"; horrific images which further the presence of misery. Indeed, these metaphors are symptomatic of Blake's far darker, far more dramatic, tone in 'London', "mind-forged manacles", "plagues", "hearse", which contrasts the significantly more light-hearted tone of 'the Echoing Green'. In the latter, the monosyllabic language and deliberately simplistic tone, "the sun does arise", "the birds of the bush", evoke an image of innocent joy. Therefore, through auditory imagery, as well as the tone, Blake establishes contrasting visions of joy and misery in these two poems.

The structure of each poem aids the presentation of Blake's contrary visions of joy and misery, freedom and entrapment. It should first be evinced that 'the Echoing Green', in its comparison of the characters to "birds in their nests", suggests a vision of freedom, which is highlighted further by that "old John, with white hair, does laugh away care". In contrast, 'London', quite obviously, asserts imprisonment through the description of the "mind-forged manacles" and inexorability of "every" individual's suffering. In 'the Echoing Green', this evoked sense of simple freedom is emphasized further by the consistent rhyming couplets, which chime with happy implications and are, in themselves, simplistic - usually only one syllable masculine rhymes. Blake's five syllable lines in 'the Echoing Green', additionally, trip each line of the poem into the next, instilling in its rhythm excitement and energy. In contrast, Blake's use of rhythm in 'London' evokes an entirely contrary vision. For example, the repetition of "every", "every cry of every man", establishes a heavy and arduous rhythm, which reflects the general vision of misery in the poem. Thus, in both poems, Blake skillfully uses the rhythm and structure of the poems to construct and echo their contrasting meanings.

Furthermore, Blake's contrary visions in 'the Echoing Green' and 'London' are evoked, in part, through the contrasting senses of community and isolation in each one respectively, which Blake achieves through his subtle language choices. For example, in 'the Echoing Green', Blake's repeated first person plural, "our sports", "our youth-time", "our play", as well as his unifying language, "among the old folk", "when we all - girls and boys", evoke a sense of community. Further, Blake's language signifies a harmoniously interacting world, "the merry bells ring to welcome the spring", "the birds sing louder to the bells' cheerful sound". In both, "to" signals the different elements, "the merry bells", "the spring", "the birds", all reacting to one another harmoniously. Similarly, the harmony between the old and young is suggested by the fond nostalgia felt by the former towards the latter, "soon they all say 'such, such were the joys'". Finally, Blake's multiple voices in 'the Echoing Green' (the use of the young narrator and older speaker, Old John) create a further sense of warm community, even equality, which juxtaposes the anonymity implied in 'London'. Indeed, whilst voices are named in 'the Echoing Green', (Old John), in 'London', individuals are referred to only by their occupation, "the chimney-sweeper", "the hapless soldier", "the youthful harlot". This anonymous portrayal of individuals, who are defined only by their professions, is further evidence of Blake's vision of an overtly, excessively, commercialized society, which is concerned only with a person's economic identity (their occupation). Additionally, in 'London', in contrast to 'the Echoing Green', Blake uses a first person singular, "I wander", denoting a sense of isolation. However, it should be noted, Blake still uses inclusive language in 'London', most notably the repetition of "every", as is done similarly in 'the Echoing Green'. Yet, whilst the inclusive language of 'the Echoing Green' asserts unity, in 'London', its function is only to present misery as inescapable, as an absolute in modern society, "in every face I meet, marks of weakness, marks of woe", "every cry", "every infant's cry of fear". In 'London', any unity arises only from misery, juxtaposing the unified joy in 'the Echoing Green', "they laugh at our play".

The portrayals of the natural world in both poems are crucial to each one's meaning. 'the Echoing Green' asserts a natural state and cycle of man in his innocence, contrasting Blake's use and presentation of nature in 'London'. Notably, in 'the Echoing Green', man's actions are closely linked to the natural world, "many sisters and brothers like birds in their nests", and the cycle of man's day (from the beginning to the end of "our sports") is structurally framed by a similar cycle of nature, "the sun does arise" (the opening of the poem) and "the sun does descend" (the end). Further, the significant presence of natural imagery in the poem, "the sun", "the spring", "the skylark and thrush", "the oak", in which the "oak" is an image of continuity, and even in the poem's title, "'the Echoing Green'", reveals Blake's intent to closely associate man's own cycle (from young to old etc.) and innocent state of mind to nature. Indeed, Blake blatantly links the innocent joy of man, "laugh away care", with the natural world, "old John, with white hair, does laugh away care sitting under the oak". Thus, Blake asserts, not only, the naturalness of man's cycles, but also suggests man's natural state as being in the "joys...seen on 'the Echoing Green'", i.e. in innocence and freedom.

In contrast, the impact of natural imagery in 'London' is to suggest a misery that has permeated all levels of life, as well as evoking an unnatural vision of commercialization and corruption, which seem to dominate Blake's world in the poem. Blake describes the "midnight streets", wherein 'midnight', a noun, is turned into an adjective, arguably as if the streets themselves are the darkness, rather only than in darkness. In contrast, Blake's use of natural imagery in 'the Echoing Green' suggests a world permeated by joy, "make happy the skies". Notably, in both poems, Blake projects anthropomorphic imagery onto the natural and physical world; for example the "happy" skies in 'the Echoing Green'. However, this is to contrasting effects. In 'the Echoing Green', Blake's personification of the natural world, placed alongside the natural imagery to describe man, "like birds in their nest", blurs the distinction between nature and man. Arguably, Blake's use of natural imagery suggests that man is, within this vision of innocence in 'the Echoing Green', so in his natural state that the chasm between nature and man ceases to exist. In ways arguably similar to this, Blake places language of the manmade world onto the natural world in 'London', "chartered Thames does flow"; however, this instead signals an immense permeation of man's corruption and greed in the world. Furthermore, this referenced commercialization of the natural world, "chartered Thames", echoes the appearance of a dominating capitalist system, which similarly commodifies human experience, in Blake's reference to the "harlot" and the "chartered streets". Therefore, through the use of imagery relating to humans and nature, Blake presents contrasting visions of mankind and society in 'the Echoing Green' and 'London'.

However, it is important to consider that, although the two poems appear, and indeed still are, contrary in their visions, 'the Echoing Green''s subtle negative undertones foreshadow the vision described in 'London'. Thus, the two poems may not be only contrary but, instead, a development and echo of one another. The conclusion of 'the Echoing Green' has an underlying hint of loss when the refrain shifts from "'the Echoing Green'" to "the darkening green"; implying, it could be argued, a fear that the values described just prior are fading (a fear which 'London' then confirms). Indeed, within the very title of the poem, "echoing", there is a seed of inevitable decline. The transition of Blake's repeated reference to "sports" in each stanza, which "shall be seen" then "were seen", then "no more [were] seen", and which, interestingly, evade ever being in the present tense, arguably imply an unreachability to Blake's own hope for innocent freedom - a fear which 'London' then brings to fruition. Therefore, although the poems undoubtedly evoke contrary visions, they may simultaneously echo and foreshadow one another (especially when it is considered that Blake released 'Songs of Experience' only ever with 'Songs of Innocence', possibly indicating that he intended a degree of continuity).

To conclude, therefore, Blake clearly presents two hauntingly contrary visions in 'the Echoing Green' and 'London'; but, it should be noted, achieves this through both similar and differing poetic devices. 'the Echoing Green' is an example of the joy that can be found in innocence, harmony and freedom; whilst 'London' reveals, possibly more realistically, a world absent of these qualities. Perhaps, though, 'the Echoing Green' and 'London' should be considered as more than only contrary visions and, instead, as Blake's deliberate attempt to reveal the inevitable shift from innocence to experience.

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Contrasting Visions of the World: The Echoing Green and London

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In 'Songs of Innocence and of Experience', Blake evokes contrasting visions of the world. The two poems, 'The Echoing Green' and 'London', are especially characteristic of these contrary visions; evoking polar opposite images of innocence, corruption and freedom.

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Read the Anthology Question and annotate ready for the lesson on Tuesday 17/03/20

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Streetcar essay on Stella and Blanche in Scene 1 - due in Friday 13/03/20

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F  Scott Fitzgerald   The Great Gatsby   Audiobook

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Letter from Isabella Lucy Bird To Her Sister

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06/03/20 Edward and Helen Thomas Letters - Teachers' Notes

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06/03/20 Edward and Helen Thomas Letters - Teachers' Notes

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Edward and Helen Thomas Letters - revision

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Intro the play's BIG IDEAS and CONTEXT
SEt scene in its context within the play and focus on the STEER.
This is an intro answering a question about the presentation of Stella and Stanley in scene 2

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Blake essay for Friday 6th March (see questions post on Blake column)
Explore how William Blake presents community in “The Echoing Green (I)” and make connections with one or two other poems from your collection.

You should consider Blake’s use of poetic and stylistic techniques and significant literary or other relevant contexts.

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The Echoing Green

The sun does arise,

And make happy the skies.

The merry bells ring

To welcome the Spring.

The sky-lark and thrush,

The birds of the bush,

Sing louder around,

To the bells’ cheerful sound.

While our sports shall be seen

On the Ecchoing Green.

Old John, with white hair

Does laugh away care,

Sitting under the oak,

Among the old folk,

They laugh at our play,

And soon they all say.

‘Such, such were the joys.

When we all girls & boys,

In our youth-time were seen,

On the Ecchoing Green.’

Till the little ones weary

No more can be merry

The sun does descend,

And our sports have an end:

Round the laps of their mothers,

Many sisters and brothers,

Like birds in their nest,

Are ready for rest;

And sport no more seen,

On the darkening Green.

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Re-read Great Gatsby again and watch massolit lectures/read emag articles as you go.

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Independent Study - to support your understanding of Streetcar, read the pages in The EMC Study GUide on The South and New Orleans. Also read the articles on Context, Setting, Old and New America etc posted on Streetcar column.

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26/02/20                                        Article - Old South v New American

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26/02/20                                        Article - Old South v New American

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26/02/20                                         Context Article

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26/02/20                                         Context Article

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26/02/20                            Article on New Orleans 

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26/02/20                            Article on New Orleans 

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Clarissa's Full Notes to Support Study of ASND

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Clarissa's Full Notes to Support Study of ASND

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Clarissa's - full notes on A Streetcar Named Desire

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HORRIBLE HISTORIES - The Stone Age Report with Bob Hale

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Persepolis - Meaning

The title of a book can tell you a lot about the author's idea behind the story. If you haven't read it yet, Persepolis traces the life of an Iranian girl named Marji, who grows up during the Islamic Revolution. For those unfamiliar with the history of Iran, the Greek title of Persepolis might seem an odd choice, but authors rarely decide on a title for their work without consideration--and Marjane Satrapi's work is no different. Before we get into the significance of why Satrapi chose this as her title, let's look at what ''Persepolis'' means.

Modern-day Iran used to be the ancient nation of Persia. At the end of the sixth century BCE, Darius the Great took over as ruler of the Persian empire. He moved the capital of the nation to a city called Parsa. This city came to be called (because of Greek influence) ''Persepolis'' from the Greek ''perses,'' meaning ''Persian,'' and ''polis,'' meaning ''city''--so literally: the ''city of the Persians.'' Persepolis was situated in the mountains of Persia, which made it difficult to travel to. This strategic location kept the capital safe for nearly two-hundred years, until Alexander the Great, the infamous Greek ruler, overtook Persepolis in 330 BCE.

So what does this have to do with Iran? The nation that was known by the Greek name Persia is actually called ''Iran'' in the Persian language. So in 1935, the government of Iran decided to change the country's legal name to ''Iran,'' which is what it was known as by natives of the country.

Persepolis - Significance

Satrapi's choice to title her book Persepolis is not just because it is set in Iran, which used to be called Persia, but because it helps her tell a story about culture and assimilation. Throughout the book, Marji, the protagonist, and Satrapi's portrayal of her young self, struggles with balancing the culture of her ancestry with the culture of those around her. Satrapi writes in the introduction to the book about the history of Iran, saying, ''Iran was often subject to foreign domination. Yet the Persian language and culture withstood these invasions.'' This becomes a theme throughout the book: Iran, and Marji herself, are ''subject to foreign domination,'' but manage to retain their Persian culture and identity.

Islamic Revolution During Marji's Childhood

During her early childhood, Marji grew up in an Iranian household that was not religious, though she herself considered herself religious in the sense that she talked to God as an imaginary friend. She attended a French school, enjoyed many of the things (music, games, and playing make-believe) that most ten-year-olds do, and had a strong sense of patriotism for her country. However, the Islamic Revolution began in 1979 and caused a major shift in her day-to-day life. In the first part of the novel, Satrapi depicts how the Revolution forced Iranians to assimilate, or become a part of, the Islamic culture by wearing veils, receiving a religious education, and becoming more conservative in regard to gender roles.

This change was difficult for Marji and her family, who actively protested what was happening while still assimilating enough to not be imprisoned. Throughout Marji's childhood, she and her family recall better times and reflect on what they sense as a loss of a true Iranian culture. In one particularly poignant moment, in the midst of the trials of losing family and friends who stood up for what they believed, Marji and her parents hear the Iranian National Anthem on the television. Satrapi writes, ''It had been more than a year since we'd heard it...we were overwhelmed.''

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persepolis title meaning & significance | study.com

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Persepolis Title Meaning & Significance | Study.com

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The title of a book can tell you a lot about the author's idea behind the story. If you haven't read it yet, Persepolis traces the life of an Iranian girl named Marji, who grows up during the Islamic Revolution.

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Persepolis opens right after the 1979 Iranian Revolution, which results in the downfall of the American-backed dictator known as the Shah of Iran and leads to the rise of the religious hardliners who establish the oppressive Islamic Republic. Marjane Satrapi describes how she used to attend a French co-educational and non-religious school, but how this is outlawed because the Islamic Republic distrusts and rallies against all Western influences. Further, the regime forces all women and girls to wear veils. Marjane's parents, however, are modern and secular in outlook; though they supported the Revolution again the Shah, who was a despotic ruler, they are alarmed and dismayed at the fundamentalist turn of the new Islamic Republic. Forced to grow up quickly, Marjane begins to learn about the history of Iran and the many invaders and rulers it has had over its centuries' long history. Her own grandfather was a Persian Prince who was often imprisoned and tortured under the rules of the Shah. She also begins to understand that different social classes exist, and that this is one root of much tension and suffering in the country.

After the Revolution comes to an end and the Shah is ousted, many political prisoners find themselves released from prison, including Siamak and Mohsen, both Revolutionaries who have been in prison for years. They speak of the tortures they experienced and the deaths they witnessed. Thinking of these two men as heroes, Marjane remains disappointed that her own father is not a hero, and that no one in her family is one, either. However, she is enthralled when she meets her uncle Anoosh, who fled Iran to the USSR so that he would not be arrested for his activities against the Shah. However, when he came back to Iran, his disguise was not good enough to keep him out of jail, and there he experienced much degradation. Marjane considers him a hero, and he hands her a bread swan he made while in prison. Unfortunately, soon afterwards, with the new radicalization of the country under the hardline government, the former political prisoners that were released become targets again, and Mohsen gets assassinated, though Siamak manages to sneak out of the country. Anoosh gets arrested, and Marjane is allowed to see him just once before his execution. This is the point at which Marjane rejects God.

Many of Marjane's family and friends leave the country, but the Satrapis decide to stay in Iran for economic reasons. Soon after, Marjane's mother gets harassed by men for not wearing her veil, and Marjane and her family go out on their last demonstration against the veil, which turns extremely violent. Soon after that, the Iraq-Iran War breaks out. This is a moment of great nationalism for Marjane, as she desperately wants Iran to defeat its enemy, but as the war goes on she begins to realize the cost of war, heroism, and of so-called martyrdom - something the government regime valorizes - when her friend Paradisse's father, a fighter pilot, dies while bombing Baghdad. The new war brings many refugees from southern Iran up north to Tehran and many young boys are enlisted into the army. They are given plastic keys painted gold as a symbol of the easy entry one enjoys into paradise after dying for the nation. Marjane and her family see this as a despicable lie, particularly because it is only told to poor people.

During the War, the country's policing of its people becomes more stringent, and the Satrapis' forbidden wine supply-as people still hold parties as an attempt at normalcy-nearly gets found out. When Marjane's parents sneak in Western items for Marjane-like posters and sneakers-after their trip to Turkey, two members of the women's branch of the Guardians of the Revolution nearly arrest Marjane. The Iraqis now use ballistic missiles against Tehran, which are very destructive, and one day the Satrapis' Jewish neighbors' home gets destroyed, though at first Marjane thought that her own house was hit. Nevertheless, Marjane is traumatized when she sees the severed arm of her dead friend Neda beneath the rubble of her house. Marjane, always rebellious, becomes even more so. She becomes bold, bold enough to slap her principal at school, and she is promptly expelled. Even in her new school she speaks her opinions, and Marjane's family thinks it best (and safest) that Marjane continue her education in a country that will afford her more freedom. Tearfully, Marjane leaves her family and makes her way to a new life in Vienna, Austria.

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Persepolis opens right after the 1979 Iranian Revolution, which results in the downfall of the American-backed dictator known as the Shah of Iran and leads to the rise of the religious hardliners who establish the oppressive Islamic Republic.

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Iran's Revolutions: Crash Course World History 226