A Graphic Self

  title={A Graphic Self},
  author={Roc{\'i}o G. Davis},
  journal={Prose Studies},
  pages={264 - 279}
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… 
Comics and Cultures : Narrating the Self and Other in Persepolis Shereen Honary
This article performs a close reading of Marjane Satrapi’s Persepolis. The memoir portrays Marjane coming of age in Iran in the aftermath of the Islamic Revolution (1978-79), her brief life in
Terrors of the Mirror and the Mise en Abyme of Graphic Novel Autobiography
Why are so many of the most critically acclaimed graphic novels autobiographical? Why do so many of these works contain scenes of mirroring or the trope of mise en abyme , in which the picture has
Autographic Disclosures and Genealogies of Desire in Alison Bechdel's Fun Home
Fun Home is an autographic narrative about memoirs, memory, and acts of autobiographical storytelling that mingles irony and pathos in the comingout/ coming of age story of young Alison in an
Graphic Ethics: Theorizing the Face in Marjane Satrapi's Persepolis
Critics indicate that the graphic memoir is uniquely capable of making an ethical appeal to the reader. But it remains unclear what this mechanism is or how it functions in the text. It is crucial
Telling migrant women’s life stories as comics
ABSTRACT This article considers the role of comics in the construction and interpretation of migration stories, and particularly of women’s stories of migration. It outlines some of the features of
Decoding the Visual Rhetoric: Memory and Trauma in Lynda Barry’s One! Hundred! Demons!
Memory is an important tool in Lynda Barry’s One! Hundred! Demons! (2002) as she reconnoitres in non-linear fragments the personal trauma she faced while she was growing up. Layered into nineteen
Marjane Satrapi's Persepolis: Eluding the Frames
IN THE FOURTH AND FINAL VOLUME of Marjane Satrapi’s autobiographical comic book Persepolis, the author recounts the difficult process of gaining admission to art school in Teheran in 1989 at the age
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A freshman English course designed to spark critical thinking in cross-cultural contexts for ESL students was taught in the Middle East (Spring, 2014) and in the Caribbean (Fall, 2014). The
Drawing out of Detention: The Transnational Drawing Practices of Eaten Fish, Refugee Cartoonist
Abstract This article examines the drawings of Eaten Fish, an Iranian asylum seeker who became an internationally renowned cartoonist during the five years he was imprisoned in Australia's notorious


Art Spiegelman's graphic novels or "comix" books, Maus: A Survivor's Tale (I and II), constitute an exemplary postmodern example of the complex border-crossing of popular culture and high art, on the
The Location of Culture
Acknowledgements, Introduction: Locations of culture, 1. The commitment to theory, 2. Interrogating identity: Frantz Fanon and the postcolonial prerogative, 3. The other question: Stereotype,
Editorial: History in the graphic novel
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Reading Asian American Biracial Autobiographies of Childhood: Norman Reyes’ Child of Two Worlds and Kien Nguyen's The Unwanted
Biracial autobiographies of childhood evidence particular processes of hybridity and liminality through a rewriting of an established Euro-American literary genre. The manner in which Reyes’ Child of
Persepolis: The Story of a Childhood
The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author
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While most Filipino American artists have yet to register on American culture's radar screen, one Pinay (1) has single-handedly redefined and influenced American popular culture for over twenty
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Boys aren''t the only ones to read comics, girls do too. From Betty and Veronica to Slutburger and Art Babe, Girls to Grrrlz explores the amazing but true history of girl comics.'
Maus: A Survivor's Tale
Bande dessinee dont les 6 premiers chapitres ont paru en feuilleton dans "Raw magazine" de 1980 a 1985 avant d'etre publies en un volume en 1986. Les 4 chapitres suivants ont paru dans la meme revue