Reading Lolita in Tehran Essay -- Literary Analysis, Azar Nafisi

Azar Nafisi, the bank clerk of Reading Lolita in Tehran A Memoir in Books (2003), is a self-centered, self- righteousness character who, according to her claim, has precise little contact with other Iranian people in general. (p. 11, 74, 186, 169) existence very American (p. 175), in several incidents she finds herself in a capital distance of what others acknowledge as custom, ordinary or natural. (p. 32, 98, ..) Bear that in mind, she also admits that events in her mind have become confused (p. 89) Yet, do these shortcomings mean that Nafisi is an unreliable teller? Should the fact that there is a chance she does not know about events or can only uphold from hearsay, put atomic number 53 on guard against her judgments?In the first pages of the text, the narrator functions primarily to establish a representational frame within. At first, corresponding a camera she presents an overall perspective, which is elucidating life in the Islamic state of Iran. An attitude that will always hover above the scenes to come that invites the endorser to see the entire scenes and outlines under its shadow. Afterwards, the cameras perspective changes as it introduces the close up image through two photographs. In these photographs, the referee is made acquainted with seven young woman who, in keep an eye on with their teacher Nafisi, form a literary group to discuss literature. These photographs, however, set another significant task they are complementary in the storey discourse. While the narrator addresses the reader repeatedly and directly she roughly urgently asks them to be a part of the scene. The two photographs, being effectively graphic, almost instinctively engage the reader with the text. In this manner, taking the reader, the narrator esta... ...ngs are tipped against the wall, the vases are on the floor, the fireplace is in the corner, the spot seat is against one wall and the peach couch is facing the window. Therefore, at the end of the description, one, inevitably, feels a sense of familiarity with the living room as hygienic as the narrator. As the narrator changes perspective, the audience respectively adopts the narrators point of view and sees and experiences events as she sees and experiences them. The same attitude, repeats in introducing the girls via the photos, as the narrator does not find it adequate to merely name the girls, she points out to their detail place within the photo. As if the reader is holding the photo, she indicate the one to the far right is Manna, Yassi is the one in yellow, bending anterior and bursting with laughter, I am the one in brown. (p. 4)