Denna uppsats avser studera hur kvinnor i diaspora framställs på film. Undersökningen är utförd på filmerna Persepolis (Marjane Satrapi, 2004) och Exils (Tony Gatlif, 2007). De teoretiska utgångspunkter som uppsatsens analysdel grundar sig på är: postkolonialism, hybriditet och postkolonial feminism. Analysen är utförd efter mina egna frågeställningar, tolkningar och reflektioner, med hermeneutiken som metod. Slutsatsen visar att kvinnorna i diaspora framställs som starka och självständiga. De visar motstånd mot auktoriteter. Dock finns det i framställningen även spår av koloniala stereotyper. Samtidigt framställs också kvinnorna med hybrida identiteter. De känner tillhörighet och utanförskap både i sina hemländer och i västvärlden, och de båda ger sig ut på var sin resa undan samhälleligt och patriarkalt förtryck för att nå personlig frihet.

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Thesis advisor: Alan Richardson / The purpose of this project is to examine how text and image function cognitively in the graphic narrative paying particular attention to its manifestation in Satrapi’s "Persepolis." The structure is such that each chapter will progressively become more specific, from medium to genre to text, drawing on specific examples from Persepolis for support. Chapter 2 will first categorize the various relationships between text and image as they function in the graphic narrative as a medium. They are described in terms of the reader’s cognitive experience of the verbal narrative line’s juxtaposition against the visual narrative line. Chapter 3 will examine how a multimodal narrative—a dual verbal/visual narrative—affects the genre of nonfiction in the graphic narrative medium. It will define not only the tensions that text and image necessarily bring to the authenticity of nonfiction, but also the benefits. Chapter 4 will focus on Persepolis as a cognitive product in its own right. Stemming from theories of autobiography which suggest that an autobiographic text is a self-construction or self-understanding of identity, one can examine Persepolis as a material product and personal construction through this lens. I offer a cognitive approach which suggests that Persepolis functions as a material anchor of a conceptual blend—cognitive theories developed by Mark Turner, Gilles Fauconnier, and Edward Hutchins which are further explained in Chapters 2 and 4. While the primary goal of this project is specific to the research goals explained above, the secondary goal is advocacy. Both cognitive literary theory and comics criticism are marginalized in current literary studies. The former—whose scientific method looms over literature—threatens to overshadow the beauty and philosophy behind prose and poetry, while the latter—as a product of mass consumption and popular culture—threatens to undermine the legitimacy of literature. However, this project will show the viability of both cognitive literary theory as a method and the graphic narrative as a subject for serious academic inquiry. / Thesis (BA) — Boston College, 2010. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: English Honors Program. / Discipline: English.

The purpose of this essay is to examine Marjane Satrapi’s comic novel Persepolis from a gender and postcolonial perspective. To reach this I have used several theories from mainly three different fields of theory: gender studies, postcolonial theories and theoretical texts which focus on the form of comics. My analysis has shown that idols, heroes and other cultural symbols are important for the creation of the main character Marji’s identity, but that she at the same time has many Marxistic influences. These casts of mind do not stand in opposition, but become an expression for her hybridity. Furthermore, the analysis has shown that the regime of Persepolis’ Iran uses the marriage, the veil, the virgin and the whore as stereotype to maintain and re-produce the norms of gender. These different factors are used as parallels to force women into the marriage and along with that also into the contract of gender. But the veil also becomes a symbol for how the official exterior of the characters’ is a facade outside their private sphere. The veil and its facade becomes in this way a prerequisite of resistance against the regime. The trans-national and hybrid identity of Marji are therefore influenced by both Iranian and Austrian thoughts, political and religious conviction, and all of these factors can co-exist, without objecting to each other. Marji uses this hybrid identity to make resistance against both the Iranian regime and the structures of stereotypical gendering.

<p>The purpose of this essay is to examine Marjane Satrapi’s comic novel Persepolis from a gender and postcolonial perspective. To reach this I have used several theories from mainly three different fields of theory: gender studies, postcolonial theories and theoretical texts which focus on the form of comics.</p><p>My analysis has shown that idols, heroes and other cultural symbols are important for the creation of the main character Marji’s identity, but that she at the same time has many Marxistic influences. These casts of mind do not stand in opposition, but become an expression for her hybridity. Furthermore, the analysis has shown that the regime of Persepolis’ Iran uses the marriage, the veil, the virgin and the whore as stereotype to maintain and re-produce the norms of gender. These different factors are used as parallels to force women into the marriage and along with that also into the contract of gender. But the veil also becomes a symbol for how the official exterior of the characters’ is a facade outside their private sphere. The veil and its facade becomes in this way a prerequisite of resistance against the regime.</p><p>The trans-national and hybrid identity of Marji are therefore influenced by both Iranian and Austrian thoughts, political and religious conviction, and all of these factors can co-exist, without objecting to each other. Marji uses this hybrid identity to make resistance against both the Iranian regime and the structures of stereotypical gendering.</p>

O romance gráfico Persépolis (2000), da autora e artista gráfica iraniana Marjane Satrapi, foi publicado originalmente na França e, em pouco tempo, devido ao seu sucesso, traduzido para diversas línguas. Apesar de ser uma obra que retrata uma cultura periférica (iraniana), o fato de ter sido publicada em francês e em um local onde a cultura dos quadrinhos é bastante valorizada levoua ao centro do que Even-Zohar (1990) denomina “polissistema literário”. Do mesmo modo, suas traduções também ocupam o centro do polissistema de literaturas traduzidas, visto que os quadrinhos franceses são respeitados e consideravelmente consumidos no sistema literário anglófono. No Brasil, além das razões anteriores, um romance autobiográfico em quadrinhos contribui com a representatividade desse gênero no polissistema literário local. Por se tratar de uma narrativa autobiográfica que se passa, na maior parte da obra, no Irã, retratando a cultura do país, porém, escrita originalmente em francês, o texto carrega marcas culturais dessas duas culturas de modo bastante peculiar. Dessa forma, as traduções da obra precisam adequar uma série de termos da(s) cultura(s) de partida para as culturas de chegada, sobretudo, no que diz respeito ao contexto iraniano, devido à distância cultural existente entre países orientais e ocidentais. No que tange ao fazer tradutório, o pesquisador Javier Franco Aixelá (1996) propõe denominar como culturespecific items (CSIs) as expressões linguísticas que podem causar problemas para a tradução devido a divergências na compreensão cultural, como nomes próprios, marcas e instituições, por exemplo, que têm ocorrência expressiva no texto de Satrapi. No presente trabalho, os itens culturaisespecíficos são localizados no texto de partida e as soluções empregadas nas traduções para o português brasileiro e para o inglês são categorizadas de acordo com a proposta de Aixelá e, por fim, cotejadas. O cotejo entre as soluções tradutórias para os ICEs utilizadas nas duas línguas mostrou que as traduções tiveram um número similar de ocorrências de uso das estratégias, apenas com algumas variações de manipulação. / The graphic novel Persepolis (2000), written and illustrated by the Iranian artist and writer Marjane Satrapi, was first published in France, and then, due to its success, it was soon translated to several languages. Although it portraits a peripheral culture (Iranian), the fact that is was published in French and in a country where the comics culture is quite appreciated brought the work to the center of what Even-Zohar (1990) coined “literary polysystem”. On the same direction, its translations also occupy the center of the translated literature polysystem, since French comics are respected and consumed in the anglophone literary system. In Brazil, in addition to the aforementioned reasons, an autobiographical graphic novel fills the gap of such kind of production in the local literary repertoire. Considering it is an autobiographical narrative which takes place mostly in Iran, portraying the country's culture, yet originally written in French, the text presents cultural marks from these two cultures in a very peculiar way. Therefore, the translations need to adequate a series of terms from the source culture(s) to the target cultures; mostly, with regard to the Iranian context, due to the cultural distance between Western and Eastern countries. Concerning the translation activity, the researcher Javier Franco Aixelá (1996) designates as “culture-specific items” (CSIs) the linguistic expressions that may cause problems to translators due to divergences in cultural understanding, such as proper names, brands and institutions, for instance, items which are constantly present in Satrapi’s text; he categorizes those items according to the possible manipulation they may receive. In the present work, the culture-specific items are found in the source text, and the solutions used in the translations to Brazilian Portuguese and to English are categorized according to Aixelá’s proposition and, finally, compared. Thus, it is possible to observe if the difficulties in transposing the cultural items to both target languages are similar to each other, as well as if the strategies used by the translators of the two languages are the same or differ from each other.

O romance gráfico Persépolis (2000), da autora e artista gráfica iraniana Marjane Satrapi, foi publicado originalmente na França e, em pouco tempo, devido ao seu sucesso, traduzido para diversas línguas. Apesar de ser uma obra que retrata uma cultura periférica (iraniana), o fato de ter sido publicada em francês e em um local onde a cultura dos quadrinhos é bastante valorizada levoua ao centro do que Even-Zohar (1990) denomina “polissistema literário”. Do mesmo modo, suas traduções também ocupam o centro do polissistema de literaturas traduzidas, visto que os quadrinhos franceses são respeitados e consideravelmente consumidos no sistema literário anglófono. No Brasil, além das razões anteriores, um romance autobiográfico em quadrinhos contribui com a representatividade desse gênero no polissistema literário local. Por se tratar de uma narrativa autobiográfica que se passa, na maior parte da obra, no Irã, retratando a cultura do país, porém, escrita originalmente em francês, o texto carrega marcas culturais dessas duas culturas de modo bastante peculiar. Dessa forma, as traduções da obra precisam adequar uma série de termos da(s) cultura(s) de partida para as culturas de chegada, sobretudo, no que diz respeito ao contexto iraniano, devido à distância cultural existente entre países orientais e ocidentais. No que tange ao fazer tradutório, o pesquisador Javier Franco Aixelá (1996) propõe denominar como culturespecific items (CSIs) as expressões linguísticas que podem causar problemas para a tradução devido a divergências na compreensão cultural, como nomes próprios, marcas e instituições, por exemplo, que têm ocorrência expressiva no texto de Satrapi. No presente trabalho, os itens culturaisespecíficos são localizados no texto de partida e as soluções empregadas nas traduções para o português brasileiro e para o inglês são categorizadas de acordo com a proposta de Aixelá e, por fim, cotejadas. O cotejo entre as soluções tradutórias para os ICEs utilizadas nas duas línguas mostrou que as traduções tiveram um número similar de ocorrências de uso das estratégias, apenas com algumas variações de manipulação. / The graphic novel Persepolis (2000), written and illustrated by the Iranian artist and writer Marjane Satrapi, was first published in France, and then, due to its success, it was soon translated to several languages. Although it portraits a peripheral culture (Iranian), the fact that is was published in French and in a country where the comics culture is quite appreciated brought the work to the center of what Even-Zohar (1990) coined “literary polysystem”. On the same direction, its translations also occupy the center of the translated literature polysystem, since French comics are respected and consumed in the anglophone literary system. In Brazil, in addition to the aforementioned reasons, an autobiographical graphic novel fills the gap of such kind of production in the local literary repertoire. Considering it is an autobiographical narrative which takes place mostly in Iran, portraying the country's culture, yet originally written in French, the text presents cultural marks from these two cultures in a very peculiar way. Therefore, the translations need to adequate a series of terms from the source culture(s) to the target cultures; mostly, with regard to the Iranian context, due to the cultural distance between Western and Eastern countries. Concerning the translation activity, the researcher Javier Franco Aixelá (1996) designates as “culture-specific items” (CSIs) the linguistic expressions that may cause problems to translators due to divergences in cultural understanding, such as proper names, brands and institutions, for instance, items which are constantly present in Satrapi’s text; he categorizes those items according to the possible manipulation they may receive. In the present work, the culture-specific items are found in the source text, and the solutions used in the translations to Brazilian Portuguese and to English are categorized according to Aixelá’s proposition and, finally, compared. Thus, it is possible to observe if the difficulties in transposing the cultural items to both target languages are similar to each other, as well as if the strategies used by the translators of the two languages are the same or differ from each other.

O romance gráfico Persépolis (2000), da autora e artista gráfica iraniana Marjane Satrapi, foi publicado originalmente na França e, em pouco tempo, devido ao seu sucesso, traduzido para diversas línguas. Apesar de ser uma obra que retrata uma cultura periférica (iraniana), o fato de ter sido publicada em francês e em um local onde a cultura dos quadrinhos é bastante valorizada levoua ao centro do que Even-Zohar (1990) denomina “polissistema literário”. Do mesmo modo, suas traduções também ocupam o centro do polissistema de literaturas traduzidas, visto que os quadrinhos franceses são respeitados e consideravelmente consumidos no sistema literário anglófono. No Brasil, além das razões anteriores, um romance autobiográfico em quadrinhos contribui com a representatividade desse gênero no polissistema literário local. Por se tratar de uma narrativa autobiográfica que se passa, na maior parte da obra, no Irã, retratando a cultura do país, porém, escrita originalmente em francês, o texto carrega marcas culturais dessas duas culturas de modo bastante peculiar. Dessa forma, as traduções da obra precisam adequar uma série de termos da(s) cultura(s) de partida para as culturas de chegada, sobretudo, no que diz respeito ao contexto iraniano, devido à distância cultural existente entre países orientais e ocidentais. No que tange ao fazer tradutório, o pesquisador Javier Franco Aixelá (1996) propõe denominar como culturespecific items (CSIs) as expressões linguísticas que podem causar problemas para a tradução devido a divergências na compreensão cultural, como nomes próprios, marcas e instituições, por exemplo, que têm ocorrência expressiva no texto de Satrapi. No presente trabalho, os itens culturaisespecíficos são localizados no texto de partida e as soluções empregadas nas traduções para o português brasileiro e para o inglês são categorizadas de acordo com a proposta de Aixelá e, por fim, cotejadas. O cotejo entre as soluções tradutórias para os ICEs utilizadas nas duas línguas mostrou que as traduções tiveram um número similar de ocorrências de uso das estratégias, apenas com algumas variações de manipulação. / The graphic novel Persepolis (2000), written and illustrated by the Iranian artist and writer Marjane Satrapi, was first published in France, and then, due to its success, it was soon translated to several languages. Although it portraits a peripheral culture (Iranian), the fact that is was published in French and in a country where the comics culture is quite appreciated brought the work to the center of what Even-Zohar (1990) coined “literary polysystem”. On the same direction, its translations also occupy the center of the translated literature polysystem, since French comics are respected and consumed in the anglophone literary system. In Brazil, in addition to the aforementioned reasons, an autobiographical graphic novel fills the gap of such kind of production in the local literary repertoire. Considering it is an autobiographical narrative which takes place mostly in Iran, portraying the country's culture, yet originally written in French, the text presents cultural marks from these two cultures in a very peculiar way. Therefore, the translations need to adequate a series of terms from the source culture(s) to the target cultures; mostly, with regard to the Iranian context, due to the cultural distance between Western and Eastern countries. Concerning the translation activity, the researcher Javier Franco Aixelá (1996) designates as “culture-specific items” (CSIs) the linguistic expressions that may cause problems to translators due to divergences in cultural understanding, such as proper names, brands and institutions, for instance, items which are constantly present in Satrapi’s text; he categorizes those items according to the possible manipulation they may receive. In the present work, the culture-specific items are found in the source text, and the solutions used in the translations to Brazilian Portuguese and to English are categorized according to Aixelá’s proposition and, finally, compared. Thus, it is possible to observe if the difficulties in transposing the cultural items to both target languages are similar to each other, as well as if the strategies used by the translators of the two languages are the same or differ from each other.

Fondée par Darius Ier (522-486 av. J.-C.), Persépolis constituait une des résidences royales temporaires des souverains de l’Empire achéménide (550-330 av. J.-C.). Elle était également un centre administratif et économique, capitale d’une vaste province, la Perse, située au cœur de l’Empire. L’organisation de Persépolis reste largement méconnue de même que celle du vaste territoire, la plaine environnante, qu’elle contrôlait.Notre étude vise à mieux comprendre d’une part l’occupation du site de Persépolis qui va de la terrasse monumentale à la nécropole royale à 6 km au nord, d’autre part la mise en valeur de la plaine, en replaçant la période achéménide dans le contexte plus large du Ier millénaire av. J.-C. Dans un premier temps, l’étude prend en compte les dynamiques environnementales de la région. Les recherches sont fondées sur les méthodes de prospections archéologiques (reconnaissances à vue et méthodes géophysiques). Elle aboutit à une reconstitution d’une ville répartie en plusieurs blocs de fonctions différentes (habitats ordinaires, zones artisanales, résidences de l’élite et bâtiments de prestige) séparés les uns des autres par de vastes espaces non-bâtis mais probablement aménagés.Pour la plaine (100 km par 30 km), la prospection des sites achéménides a dû prendre en compte les graves destructions liées à la modernisation (agriculture, urbanisation, voies de communication) et s’est concentrée sur quelques sites préservés et des zones de piedmonts sélectionnées. Ces recherches ont montré une occupation très distendue essentiellement localisée dans la partie nord de la plaine et incluant la zone de Persépolis. La partie sud de la plaine était beaucoup moins exploitée. Cependant cette reconstitution doit tenir compte de la réduction sévère du potentiel archéologique, tout particulièrement dans le cadre de l’étude de l’occupation à la période achéménide, lorsque l’exploitation du sol reposait sur des installations rurales de dimensions modestes. / Founded by Darius I (522-486 BC), Persepolis represented one of the seats of the kings of the Achaemenid Empire (550-330 BC). Moreover, the site served as an administrative and economic centre and acted as capital for the vast province, named Persia, situated in the heart of the Empire. The spatial character of both the royal site as well as the wider hinterland it controlled, the vast surrounding plain, are however largely unknown.The study aims at providing better insight in both the occupation of the site of Persepolis, stretching from the monumental terrace to the royal necropolis 6 km farther north, along with that of the supporting plain. It therefore frames and evaluates the Achaemenid period within the context of the first millennium BC. At the outset, the study integrates the environmental dynamics of the region. The research was based on the methods of archaeological survey (field survey and geophysical methods) and allowed to reconstruct a ‘city’ composed of different functional zones (common housing, industrial quarters, elite residences, and royal monuments) separated from one another by large areas, presumably unbuilt though exploited.For the plain (100 by 30 km), the survey of Achaemenid sites was biased by the important destructions by recent development (industrialised agriculture, urbanism, transport and communication). Research has therefore been focussed on a number of preserved sites on the one hand and on selected piedmont areas on the other. These surveys brought to light a scattered occupation, predominantly situated in the northern part of the plain, also encompassing the Persepolis zone, while the southern region of the plain was less occupied. Nonetheless, this reconstruction should take into account the important reduction of archaeological potential, particularly in the case of a study focussing on the Achaemenid occupation since settlement in the wider Persepolis area was first and foremost of rural natural and of rather modest size.