After reading “An Unwritten Novel” written by Virginia Woolf, is a dazzling short story about viewpoint and reality contrasted with the intensity of the creative mind and the simplicity of losing yourself in your own musings. I didn’t exactly understand what kind of connection I can make with our course module readings in the first place, in any case, I accumulated a few notes from the story where the origination or activity of perusing was alluded to and nothing encouraged me better understand what was going on in the story. A few associations I made and understanding of the story is that it is a story being composed or made by the storyteller as she talks. The storyteller is by all accounts on a train perusing Time paper, presently a magazine, and viewing a woman opposite her. She contemplates her and makes this account of what she envisions her life to resemble or situations she accepts the woman experiences. This kind of composing is very different than what we regularly have been perusing. It speaks to the manner in which the storyteller thinks as she works out what she envisions this present woman’s life to resemble. I additionally understand it as an approach to perceive what’s inside the storyteller’s head, how she goes from perusing on paper to making an “unwritten novel” of another person’s life. This capacity to turn into a character and a story, the manner in which the storyteller does identifies with Maryanne Wolf’s view in “Passing over”, “Proust and the Squid” a term utilized by theologian John Dunne, portrays the cycle through which perusing empowers us to take a stab at, personality with, and at last enter for a short time the entire alternate point of view of another individual’s cognizance”. Writer’s capacity to make an anecdote around “An Unwritten Novel” speaks to this capacity for an individual to go into another individual’s brain, the manner in which the storyteller does in this short story. Maybe the main idea we have learned all through earlier in the semester is the way important perusing is and the capacity to peruse profoundly. “An Unwritten Novel” is an illustration of this profound perusing and the manner in which perusing can influence the manner in which you think.

In the realm of TV, regular non-white individuals are by and large perpetrators, not casualties. Minorities are commonly steady of the framework and endorsers of the norm, not fomenters for evolving it. Those charged by the police are the ones who cleverly control the framework, instead of being controlled and forced by it. Junk science examination, and other exposed criminology, reliably distinguishes the blameworthy as opposed to supporting bodies of evidence against the guiltless. None of that is valid in reality, yet in the realm of scripted TV these are establishing standards.

In the Normalizing Injustice: The Dangerous Misrepresentations that Define Television’s Scripted Crime Genre by The Color of Change states “Because many viewers experience these depictions as realistic representations of the criminal justice system, they have the potential to influence viewers’ understanding of the criminal justice system and turn the public against critically overdue reform efforts.” This relates to the “The Story of My Body” By Ortiz Cofer where she is trying to delineate the struggles that females, and all the more explicitly female in minorities group, manage on daily bases. She discusses how the confidence of females is significantly lower than it ought to be in the present day and age, and this can be credited to the way that they are singled out for each and everything. In fact, mainstream society, which is basically judgmental culture, expects young ladies to fit certain rules so as to be welcome to places, get friendship and have an equivalent possibility of prevailing throughout everyday life. Ortiz Cofer encountered this herself as a young adult when she moved from Puerto Rico to the United States. Ortiz Cofer passed on how cruelly she was dealt with and how she was always unable to fit in or acclimatize to society due to her skin color and her Puerto Rican legacies. There are absolutely numerous individuals all through Hollywood who care about estimations of equity, value and opportunity, finding each way they can to pursue them and frequently causing individual penances to do as such. Yet, there are similarly the same number of individuals, if not undeniably more, particularly at the leader level, who basically follow the benefit trail to any place it leads. They are prepared to bargain any standard, track on any gathering of individuals and oppose any external weight in administration of their measurements of budgetary achievement, regardless of what esteems they uphold openly. In spite of the apparent multitude of proclamations about incorporation and value, and all the duties to guarantee valid and mindful portrayal, the scripted wrongdoing kind gives day by day evidence of how far we need to go with regards to modifying the standards of the business to guarantee bona fide, exact and non-dehumanizing depictions of Black individuals and the issues that influence Black individuals. Hollywood must partake in the obligation regarding the effect these depictions have on society as mentioned by Joaquin Phoenix and others in the video.

Reference:

Obenson, T. (2020, January 22). New Study Reveals How Crime TV Series Distort Understanding of Race and Criminal Justice System. Retrieved October 17, 2020, from https://www.indiewire.com/2020/01/color-of-change-normalizing-injustice-1202204758/

The presentation of Marjane Satrapi gives a short history of Iran which is a fairly uncommon element of a realistic novel, which plans to, simultaneously as illuminate the peruser about Iran, unequivocally layout the motivation behind the realistic diary. It’s an astute, amusing, and deplorable, Persepolis is Marjane Satrapi’s journal of experiencing childhood in Iran during the Islamic Revolution. In amazing high contrast funny cartoon pictures, Satrapi recounts to an incredible narrative in Tehran from ages six to fourteen, years that saw the oust of the Shah’s system, the victory of the Islamic Revolution, and the overwhelming impacts of war with Iraq. The intelligent and honest only child of devoted Marxists and the extraordinary granddaughter of one of Iran’s last heads, Marjane gives testimony regarding a youth interestingly laced with the historical backdrop of her nation.

Satrapi’s decision to title her book “Persepolis” isn’t on the grounds that it is set in Iran, which used to be called Persia, but since it encourages her recount to an anecdote about culture and digestion. Persepolis paints an extraordinary representation of everyday life in Iran and of the confounding inconsistencies between home life and public life. One example is her parent’s underwriting of the upheaval yet want to keep up class status; another is the equals in how the Shah’s and the ayatollah’s governments smother discord. In this manner, the Iranian unrest, both for Iran and Marjane, leads not to satisfaction yet to disarray and dissatisfaction. Her defiant conduct proceeds into youth and early adulthood yet brings just tension and misery; she is generally hopeless at the point when she attempts to revolt inside a Western setting. She would not like to be Western, however, to be Iranian is not completely conceivable inside the Islamic Republic. On closer perception of the substance, one finds a few leitmotifs that rise all through the journal. The cycle of unrest, represented by many definite models from pre and post progressive periods, stands apart as an essential theme in Persepolis. There is a conspicuous difference here between the discontent of the individuals as to the new laws presented by the upheaval and their undeniable disappointment with their pre-progressive lives. In her journal, Satrapi has committed a lot of room to ponder the effect of exacting guidelines forced, the disappointment of the individuals and the continuous fights. She portrays how they fell into an unwanted way of life while they were battling for a superior life, attempting to be liberated from the limitations and the weight the government put on them.

Chris Reyns-Chikuma, and Houssem Ben Lazreg. “Marjane Satrapi and the Graphic Novels from and about the Middle East.” Arab Studies Quarterly, vol. 39, no. 1, 2017, pp. 758–775. JSTOR, www.jstor.org/stable/10.13169/arabstudquar.39.1.0758. Accessed 28 Sept. 2020.

https://rhinehartadvancedenglish.weebly.com/uploads/2/2/1/0/22108252/the-complete persepolis-by.pdf

Behbahani, Zahra Modares Mousavi and F. D. Haan. “Transnational Migration and Identity Construction: A Comparative Case Study of Female Iranian Migrants Marjane Satrapi and Parsua Bashi’s Graphic Memoirs.” (2013).