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Different "I"s

The document analyzes the different representations of Marjane Satrapi in her memoir 'Persepolis,' identifying four distinct 'I's: the Historical 'I' as Satrapi herself, the Narrated 'I' as her character in the story, the Narrating 'I' as the older Satrapi reflecting on her past, and the Ideological 'I' that conveys her beliefs and critiques. Each version serves to enhance the authenticity, emotional depth, and ideological critique of her experiences during the Iranian Revolution and her life in exile. The analysis emphasizes how these perspectives contribute to the memoir's overall narrative and thematic richness.

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Mia Mudau
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11 views2 pages

Different "I"s

The document analyzes the different representations of Marjane Satrapi in her memoir 'Persepolis,' identifying four distinct 'I's: the Historical 'I' as Satrapi herself, the Narrated 'I' as her character in the story, the Narrating 'I' as the older Satrapi reflecting on her past, and the Ideological 'I' that conveys her beliefs and critiques. Each version serves to enhance the authenticity, emotional depth, and ideological critique of her experiences during the Iranian Revolution and her life in exile. The analysis emphasizes how these perspectives contribute to the memoir's overall narrative and thematic richness.

Uploaded by

Mia Mudau
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

The Historical “I”

This refers to the real-life author, Marjane Satrapi, who lived through the events depicted.

In Persepolis:
The historical “I” is Satrapi herself, the woman who experienced the Iranian Revolution, exile, and
return. Her real-life experience gives the memoir its authenticity and authority. When we read about
her childhood in Tehran, her schooling in Vienna, and her return to Iran, these moments are grounded
in her actual history.

Example:
It reflects an actual event in Satrapi’s life. It positions her as someone who was there and gives her
account legitimacy.

This autobiographical statement ties the


text to the real Satrapi the historical “I.” She
situates herself as a witness and participant
in the Iranian Revolution and its aftermath.
The image shows young Marji in her school
uniform and veil, clearly linking the author to
her past.

The Narrated “I”

This is the version of Satrapi as a character in the story, the “Marji” that we follow as a child, teenager,
and young adult.

In Persepolis:
This “I” is often depicted as the small girl struggling to understand the political changes in Iran or the
adolescent navigating identity in Europe. It's the subject of the narrative.

Example:
Panels showing child Marji talking with God or wanting to be a prophet highlight her innocence and
idealism. This “I” is constructed in hindsight but represents how she was at that time.

Her younger self who wants to be a


prophet. The child’s idealism and
confusion about the adult world are
visually emphasized by her small figure
and the fantastical presence of God in
bed next to her.
The Narrating “I”

This is the older, wiser Satrapi who tells the story, the voice looking back on her life with reflection and
commentary.

In Persepolis:
Although the artwork often shows the younger Marji, the text and tone are controlled by the adult
Satrapi. This version reflects on her past choices and the meaning of events.

Example:
When the older Satrapi discusses how she felt ashamed of being Iranian in Europe, her reflections
frame the narrative. This perspective is more mature and critical, often expressed through captions or
juxtapositions in the imagery.

Caption: “And so I was lost, without any bearings… What


could be worse than that?”
This is not young Marji speaking, but the older Satrapi
reflecting on her feelings at the time of her uncle Anoosh’s
execution. The captioned narration, separated from speech
bubbles, signals the voice of the narrating “I.”

The Ideological “I”

This refers to the beliefs, values, and worldview that are embedded in the telling of the story how
Satrapi positions herself ideologically in relation to events.

In Persepolis:
Satrapi frequently critiques authoritarianism, religious fundamentalism, and Western stereotyping of
Iranians. Her feminism, secularism, and political skepticism come through strongly.

Example:
Panels showing the hypocrisy of the Iranian regime, like moral police arresting women for their veil
while ignoring deeper injustices, reflect Satrapi’s ideological stance. Her resistance to both theocratic
and Western cultural dominance forms a central theme.

This powerful, nearly wordless panel is an


indictment of the regime’s false promises of
protection. Satrapi condemns the senseless
loss of innocent life in war, especially children.
Her anti-war and anti-theocratic stance is
embedded in the tragic, emotional weight of this
image.

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