History and literature brings great values and reflections

History
and literature brings great values and reflections on feminism. It is almost
certainly positive that in history, literature, or any part of culture,
feminism is alive. It is essential to discuss how the novel, The Color Purple by Alice Walker, is
able to uncover the connection to feminism in Persepolis, the animated biographical film directed by Marjane Satrapi
and Vincent Paronnaud. The Color Purple
and Persepolis emphasize on reframing
women’s identity by means of examining society and humanity. Regardless of the creators’
background differences, those 
pieces  contest  that  Alice
Walker and the  producers of Persepolis , Satrapi  and Paronnaud,  manifest the 
spectrum of women and their part in 
culture from diverse approaches. The position of women in patriarchal
society and their sexuality discloses how some aspects of feminism and social -political
settings are representing women as not being a solid demonstration of the empowerment.
Both texts take part in not only sharing women’s accomplishments or exposing
women’s turning points and failures, but more importantly, it clears up the meaning
of feminism. Both works, The Color Purple
and Persepolis, allow the
representation of the identification of feminism that make sense of the lives
of women and their gender. In fact, it is feminism that helps to define women
in society because those two different literary sources present strong and
effective voices of women.

A close reading of
The Color Purple makes it possible to
see feminism as a perception of being free. Alice Walker, in her writing,
raises the idea of making choices that allows women to be free from any fears
and constraints. In other words, all of the doubts and limits bring options to
choose how to be a woman. The Color
Purple is set in Georgia, and as Walker says “The worse thing than
being a woman is being a black woman.”( 
) The society’s norms are factors that influence  confidence and 
lift personality, but perhaps the community  and 
culture places restrictions and fear on some  people. Illustrations of growing and changing
shapes the lives of the Celie and Marjane through their families and different
social changes. Parental love and attention is a magnificent way to build a child
and help them face their first   love and
fit in to society. Celie’s childhood shows significant disconnection regarding
this aspect, and more importantly, exposes abuse and the lack of understanding
of being a woman. Celie becomes a mother to her sister, Nettie, to provide all
that a child needs. Celie wants Nettie to experience love that she herself does
not have. For that reason, she pays the price of being abused and dominated in
her own dysfunctional relationship. Celie’s marriage with Albert is a connection
of unhealthiness and destructive norms where simply “man corrupt everything”
and cultural hegemony yields its stage (197). Her typical reaction is silence.

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Like Celie, Marjane shows that childhood is
deeply effected by tough government and regulations. The fear defines Marjane the
same way fear affects Celie’s life, but Maryjane’s fear is not coming from the lack
of loved ones because of the unstable political situation in Iran and the danger
of people loosing their lives. She is like Celie who thinks about others. Even
more so, Marjane is able to present her thoughts and ideas. She openly speaks about
political prisoners and regime. Marjane has a lovely family that, for her
safety, sends her to Vienna, whereas   Celie does not have any one to talk to, therefore,
she writes to God.

Persepolis
illustrates Iran where cultural and long established intolerance of women exists
in their society. Different visibility rules apply to men and women in public
and in private stream. The essential position of the veil that is worn by women
in the Arab world lays on its material and representation of visibility. Minoo
Moallem, sociologist and scholar of Women’s and Gender Studies, makes a
significant impact on the topic of transnational feminism of Iran through the examination
of gender and fundamentalism. Moallem defines “fields of visibility” in the
range of historical and political-cultural settings as “representational frames”
or broad   realization that makes issues
understandable and available for punishment and control (Roshanak 68).

            In Persepolis, the scene in the movie with
a  veil supports Moallem’s idea of
“fields of visibility” where Marjane, after 
her a long journey  of finding who
she is , finally takes the stage, and  in
the front of  the school official ,
presents her points  on  modesty and freedom. She is like her
grandmother who truthfully fights against fundamentalism and for freedom. Therefore,
to be faithful to herself, she goes along with her Grandmother’s concept that “it’s
fear that makes us lose our self-awareness”, and she
truly identifies the lack of freedom (Satrapi and Paronnaud,
“Persepolis”). By accepting her individuality, Marjane correspondingly
accepts being a free woman. More importantly, there is a similar correspondence
between Marjane and Celie that is faced under a classic model of presenting
women’s bodies placed under different patriarchies and social rules. Marjane
fights against the veil and wears make up in Iran, whereas Celie campaigns for
wearing pants in Southern United States.

It is essential to mention that likeness between those two texts call
for the modernity, defining identity and gender. The tension that is combined
through those women, even through various perspectives and time periods, is concerned
with fairness and distinctions as an important contribution to feminism.
Attributing to Maryjane’s struggles with settling down in Western –Europe and
after a failed romantic relationship, she returns to Iran. The experience of
separation and difficulty of marginalization influences her individuality and
exclusive point of views. In fact, all of that fluctuates her different
identities and cultural modifications.  Marjane challenges women’s identity on public
and personal levels. Her sense of being is not found in marriage, which does
not last long in Iran, but in identification of her maturity and freedom. This
gives emphasis on feminism sees women through the lens of essentialism and
perception of identity.

In the light of feminism, language and other forms of literacy
presentations contributes to the appearance of a woman’s identity. The movie Persepolis employs color as a means to raise
a lot of fundamental concerns and cycle of transformations of the main
character.  Persepolis appears in history of cinematography as a graphic black
and white movie that allows the audience to recognize the identification of
what is respectable and what is not under the definition of being a woman and
part of a revolution in Iran. It is a story of devoted Islamic political and
fundamentalists that marginalize women in numerous ways, which makes the movie
more prevailing. In addition to her historical background, Marjane confesses part
of her life through her suffering and feelings of being a liberal woman.
Insolent statements about Iranians severely harm her honor and distinction at
some point in her life, but in harmony, it assists her to develop a novel
identity of being a woman. Arranging the change in the color exposes not only
Marjane who leaves her innocent childhood, but also moves into womanhood as an
activist for bringing a  better life to
woman in Iran.

In
the vein of this, Celie in The Color
Purple shares her thoughts and how a process of being in racial and
cultural assimilation influences her as a woman. Alice Walker uses the
manifestation of color, similarly to the producer of Persepolis, to indicate how transformation and a new beginning exposes Celie’s
true voice. When Celie gets her first dress, there is no color purple available
in the store. The color represents power, independence, and royalty. There are