Purpose: To use the information from Chapter 10 about Cause and Effect writing and Persepolis to write an essay in which you help readers understand the character of Marjane.
Prompt: Halfway through Persepolis, Marjane has a falling out with her beloved imaginary friend, God. This break marks a very dramatic turning point for Marjane. Using this scene as the starting point for your topic, write a 1000- to 1200- word thesis-driven essay in response to one of the following topics:
• What causes Marjane to break from God in Persepolis? What specific events and/or changes in Marjane’s life lead her to banish God? Use at least three specific scenes to explain why Marjane’s relationship with God falls apart.
• How does her break from God affect Marjane? How does her life and character change after she banishes God from her life? Use at least three specific scenes to show how the break from God affects Marjane.
Prologue to Blue Monday Strip by Rebecca Horn Crafted by Rebecca Horn is engaging numerous in the workmanship world. To me, it is engaging in manners that I, as a kindred craftsman, find especially convincing; despite the fact that we work in various media, a typical subject appears to resound when I watch her work and contrast it with my own. There is a feeling of the brief idea of our physical presence against a foundation of the ordinary subtleties of life. Her works are enlivened, however in a vastly different manner than my own specialty is 'vivified' The feeling of action and development I find in her work is something that is engaging and stimulating. It infers the impediments of the human body, yet in the meantime it uncovers the idea that human movement goes on, despite the fact that we as people don't. As indicated by one biographer/pundit, Horn's work is 'situated in the nexus among body and machine', and it 'transmogrifies the common into the mysterious' (Ragheb, 1993). Horn's capacity to do this with such deft yet inconspicuous exactness is a piece of her intrigue to me as an expert. She can take ordinary items and compare them with such uniqueness that watchers take a gander at them in new ways. Doing this inside my own medium is something I can take a stab at, and trust in some way or another to accomplish; what she has finished with her model, in her novel way, sets a standard I can seek to in my very own picked medium. No place is this more obvious than in Blue Monday Strip, a 1993 piece that was a blessing from Horn to the Guggenheim Museum in New York City. Blue Monday Strip: Salient attributes of Form and Content Horn's piece, Blue Monday Strip, was really a blessing that the craftsman gave to the Solomon R. Guggenheim Museum in New York City. This dynamic work measures, in inches, 192 1/eighth by 137, and is made out of 'ordinary' (albeit some are to some degree dated) materials: more established, or 'vintage' typewriters, ink, metal, and engines. A urgent part of this specific piece is that it is automated, so there is development: it is basically, enlivened, and in a significant exacting sense. As an illustrator, this is an element that is essential to me. Ragheb has depicted Blue Monday Strip as a gathering of 'vintage typewriters' that 'are freed from the organized office world and set akimbo, changed into an uncontrollable part whose keys gab unendingly in a rambunctious discourse' (1993). The dreariness of the rambling typewriters is obviously emblematic of the persistent equality that was at one time experienced by the secretaries who worked them every week, beginning the main day of the work cycle—the 'blue Monday' An infrequent splotch of blue paint—probably ink? Might we venture to such an extreme as to state sweat, or conceivably tears?— breaks the tedium. The capacity to revive lifeless structures in such a viable and sensational way is something that I, as an artist, find really convincing. Paper assistance from qualified, master essayists UK-Based • Trusted • Reliable • Secure FREE catalog and references with each request FREE copyright infringement sweep and report with each request £5,000 no-written falsification ensure Experienced and qualified scholars The Times Logo "The exposition was autonomously evaluated by a main University as being of a 2:1 standard" Another element of Horn's work that interests to me is her feeling of viewpoint; her work is situated as a general rule—a quantifiable and certain reality, as I might want mine to be. As it were, a lot of present day workmanship has been censured for its theoretical characteristics; frequently a model or painting will be difficult to portray until we read the title. At that point we can say, 'gracious, truly, it's obviously a pear, anybody can see that'— when in actuality it looks in no way like a pear by any stretch of the imagination. Horn's work does not have this sort of dynamics: its essential segments are effectively distinguished as typewriters, but since of the method of introduction, we are constrained into seeing them in another manner. As Winterson has composed, 'craftsmanship has the skill of helping us to perceive what we would ordinarily miss. . . Specialists see superior to anything we do, and help us to take a second look. Horn's method for seeing is to go past the reasonable, evident courses of action of items and individuals, and rework them in a manner that isn't clear in any way' (Winterson, 2005). In this particular piece, the articles before us are legitimate, yet they are in a surprising setting, one which points out them and powers us to think about them in abnormal ways. Blue Monday Strip is, as the title proposes, a 'strip', or segment, of an actual existence that incorporates one, yet a few typewriters. What does this recommend, other than an office? An office on a blue Monday? A setting in which people—in all probability ladies—end up caught over and over, Monday after Monday, with little probability of progress past the Saturday and Sunday that different the weeks. This is the sort of point of view I might want to start with my own work—it need not be baffling to the watcher; it need be simply what it appears to the normal eye. In any case, to the individuals who care, or dare, to look, it will propose thoughts and subjects in unpretentious, yet intentionally arranged ways. As Ragheb says of Horn's model, the watcher can see a scattered line of machines and nothing more; or, the individual can see something further. One can feel the channel of squandered lives, the vacancy of baffled expectations, the dissatisfaction of unfulfilled want, by investigating the sad accumulation of typewriters: 'Regardless of whether mechanomorphic bodies or human machines, the majority of Horn's works are full of sexual implications and the throb of want' (Ragheb). Horn's vocation has spread over more than three decades, and however she has tried different things with structure and topic all through, she has returned over and over to substantial subjects. On occasion, her work is a festival of the body, in deferential, awed acclaim for its capacity; at others, it appears a critical and pessimistic proclamation on the bad form of the body. Thoughts, Practices, and Issues Relating to the Body Horn's initial perusing blended an enthusiasm for Surrealism and the crazy; this was additionally propelled in youthful adulthood, when she was acquainted with crafted by Franz Kafka and Jean Genet, and by the movies of Luis Buñuel and Pier Paolo Pasolini (Ragheb). The absurdist rationalities of Kafka and Genet, and the dark topics of Buñuel and Pasolini, are obvious, all things considered, in every last bit of her works. However what influenced her life and her work most was what she has translated as her very own selling out body. In a meeting with Jeanette Winterson a year ago, Horn portrayed two of the key occasions that caused an adjustment throughout her life and work. Exposition assistance from qualified, master authors UK-Based • Trusted • Reliable • Secure FREE book index and references with each request FREE literary theft sweep and report with each request £5,000 no-written falsification ensure Experienced and qualified journalists The Times Logo "The article was freely evaluated by a main University as being of a 2:1 standard" First was the beginning, at age 20[i], of a genuine lung condition. This was the aftereffect of working, by her very own record, unprotected, with glass fiber. Nobody had revealed to her that it was a perilous material. Therefore, after a time of serious work, while living in a shoddy lodging in Barcelona—'one of those inns where you lease rooms constantly'— she got herself perilously sick. Amid this deplorable period, she likewise gotten herself alone—the two guardians had passed on. 'I was completely disconnected', she told Winterson. To recover, she was compelled to invest energy in a sanatorium, a setting in which her feeling of disconnection was amplified. This implemented time of expanded rest turned into an encounter that eventually driven her to think about the functions of the body in another manner. She started to see the body it as far as separation and defenselessness. 'That is the point at which I started to create my first body-models. I could sew lying in bed' (qtd. in Winterson, 2005). What came about because of this period were a progression of plans 'that would expand her body' clarifies Winterson (2005). Obviously, this was in excess of a reactionary stage, as Horn proceeded on this direction after her discharge from the sanatorium. Back at workmanship school, she worked with delicate materials, for example, prosthetic swathes and cushioning, making defensive, cover like pieces. Works from this early period incorporate Finger Gloves (1972), Pencil Mask (1972), and Black Cockfeathers (1971). As indicated by Winterson, 'confinement turns into a message in a container; the watcher can recover what is inside' (2005). In the long run Horn floated increasingly more into execution workmanship, yet as opposed to deserting the body-expansion models, she utilized them as a component of her execution (Ragheb). The impediments of the body, and of one's time on earth, are obvious even as the activities of Horn's automated figures recommend perpetual time. There is a marvel in the symmetry of Blue Monday Strip, a duality in the proposal of the everyday in a setting of what has all the earmarks of being ceaseless movement. To express liveliness through lifeless things is to do the unforeseen, especially in Horn's picked configuration. This is the thing that I might want to accomplish in my own craft. Determination: A Contextual Investigation All craftsmanship is logical in that it is reliant upon its condition. What it is, just as the time in which it is brought into reality, are the two viewpoints that must be viewed as while surveying its esteem. Workmanship that identifies with the body is one of a kind as in spite of the fact that our individual bodies have a constrained measure of time on this planet, the body, for example, it is, is never-ending. It will dependably exist, however every one of us as people has a constrained time length on this planet. Crafted by Rebecca Horn is engaging in an immortal sense; one gets the inclination that it will be valued and esteemed even in the far inaccessible future,>GET ANSWER