When two, three, or more elements are included, they are contrasted to produce a separate portrayal of problems. The classic comparison and distinction between the two texts Persepolis by Marjane Satrapi and Woman Warrior by Maxine Hong Kingston may be about two different things, but they have astonishing parallels. The intersection between the personal and political or historical, as well as how authors engage the intersection in conjunction with other parallels, will be examined in the following debate.
The Female Warrior
Since notable mixtures of memoir, oral traditions of Chinese stories are observed, the genre of the text above has ignited a lot of discussions. The author blends the perspectives to provide the audience with cultural as well as family pertinence and personal circumstances. According to Huang (201) women and other minor collections elaborates Hongs possession of a great deal of excellent detail blend of perspective and genre. Often they are not privileged to picturing themselves as persons who are isolated from their racial or sexual complexion. As a first-generation Chinese American woman, Kingstone provides the above for the deep understanding of her unique position. Kingston solidifies her character that marks off an individual from the rest of the selfhood as Chinese American author.

Literary, family and cultural texts can be observed due to author’s decision. She avoided audience approach to her as purely exotic no wonder she maintained American friendly throughout her work. Necessary cultural imagery can be seen since she admitted using only what she evaluated according to her accounts. Popularity in whites in Woman Warrior tend to hold Asian American literature together. Manipulation of the readers through giving white characters Chinese culture is a pictorial presentation based on an oversimplified western conception of Chinese people according to Wong (73).

The blending of first, second and third narration is evidence in Woman Warrior. The third person is both a mixture of back to Kingstone and transposing of from Kingstone Chinese parents to her American siblings. Chinese talk story revolves around second-person narration, unlike the first-person narrative whereby it is about her American personal story. The sense of belonging can be retrieved when the author focuses on talk story image that appears imaginative for example swords flying. Images as such were depicted in Chinese cinemas. Upon her arrival, she receives as though a son was welcome.

Omissions, contradictions, digressions, and gaps silence the writer. Even though the culture is based on her own experiences, most of it is fictional hence distorted information is given concerning the religion. Among many other effects played by the role above, a mistranslation of the term ghost is deliberate to capture audience attention. Lim, Shirley Geok-Lin criticized her actions of fiction and exaggeration representation of Chinese people. Failure is observed as result of scholar framework put between author’s mother and the culture underlying beneath them. Institutional racism arises regarding the Chinese culture. The omission of cultural events causes competing discourse that disagrees not only racially but also culturally that may be a subversion of racial genuineness. Warrior woman serves purposely not just as a means of contesting influence between exotic community, but also dominant culture hence accompanied the growth of American Asia regarding critical and imaginative production (Wong, 14)

Persepolis: After the Islamic revolution, Maryjane Satrapy wrote a graphic autobiography in Iran. Armed conflict between Iran and Iraq is portrayed in Persepolis 1 while Persepolis 2 focuses high school age of the author and her gain coming to Iran. Along this period college graduation, marriage, divorce, and relocation to France took place systematically. Unlike Warrior woman, the text focuses not only on a memoir but also bildungsroman. During this Islamic period, the bloody aftermath was experienced hence Satrapi’s story depicts coming of age. Iran looks like two countries, during this revolution, there was both removal and addition of Shah. The replacement was done when she was young and a woman when Islamic regime rolled back the progress.

In telling her life story, there is family, culture, and use of literary forms enhanced. Before revolution kicked off, the family here, Marji’s was secular, moderate politically left wing and intellectual. Attendance of parties, drinking, smoking and debating politics besides sex was legal. Later on, they became illegal hence alcohol was transported in petrol cans. Political change was anticipated with high hopes. Fortunately, the doomed regime falls, but new democracy failed its people. As a young daughter, Marji has saucy innate characteristics. Iranian history is evidence through Marji’s eyes. She loves western culture, the Bee Gees in her school uniform attires replaced with Punk is not Dead hence launches her rebellion.

Iranian women challenge authority. Representation of these is evidence through Marji’s plans. What Women question to the body is loosely termed as challenge conventional by west views. Female students are not admitted to drawing pictures of men leave alone posing with them. There are also insights into gender politics.

The omission of specific contexts has played a significant role such as aiding to prolong the existence of certain stereotypes as Islamic states being barbaric hence the West looked upon to intervene so As for release from bondage frustrated people.

Child protagonist makes it inaccessible for the Character to be open. Certain memoirs concerning Islamic tend to threaten anti-Iranian as well as non-Muslim sentiments. Lack of context and religion of culture reinforce certain beliefs unwelcoming to the learner. Consequently, two female role models play have depicted mixed acuity of both Western and Asian women. Her youth is influenced as a representation of female independence and identity is termed unique. Mother continuous mentally support her to be independent, educated and cultured.

In conclusion, therefore, it is seen that authors of the two books had various methods of entertaining the spectators. Ideas expressed in the two texts have since been incorporated by upcoming artists to ace their creativity and also to inspire their audience. In Maryjane’s book, a show of three generations has been used to present complex political views as well as intergenerational legacy derived. Upon contemplations of quiz concerning gender from the still-fragile threshold, offers of images that counter stereotypes both foreign and domestic are availed. Even though Kingstone tried to simplify her story by showing honor to her aunt, her aunt’s betrayal complicates issues for her. No wonder she alleviates her progenitor’s long-suffering by giving her “No Name” throughout the memoir.

Work cited

Huang, Guiyou. The Columbia guide to Asian American literature since 1945. Columbia University Press, 2006: 5–352

Wong, Sau-ling Cynthia. “Necessity and extravagance in Maxine Hong Kingston’s The woman warrior: Art and the ethnic experience.” Melus 15.1 (1988): 3-26.

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