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 experience as a migrant in Vienna, where she defies misunderstandings and Orientalized visions,
 but also suffers because of the tensions and differences between the Occident and the Orient.
+Conclusion
+Through the different elements of Persepolis and Persepolis 2 that I presented, it can be
+observed that these graphic novels defy, complicate, and debate the topics of feminist Orientalism
+and national identity. They display an Iranian society that coexists in conflicting and varied ways
+with Orientalist discourse, feminism, and the idea of nation that remove the divisions of binaries
+and stereotyped categories like East-West, Self-Other, feminist-antifeminist, civilized-uncivilized,
+among others. Satrapi, although she is an Iranian woman, shares many Occident’s perceptions and
+beliefs, including characteristics of the first and second wave of Western feminism. In spite of her
+Westernization, she feels like a marginalized Other in some episodes during her life in Vienna,
+and suffers the migrant’s nostalgia for returning home, for going back with her family and culture.
+Nevertheless, when Satrapi returns to Iran, she does not fit in this society whose totalitarian
+government, justified in an extremist nationalism, wants to erase the individual and complex
+identity of women and their willingness to decide what and how to dress, behave, think, say and
+be. The protagonist represents, on the one hand, the Spivak’s argument of “the ‘third-world
+woman’ caught between tradition and modernization” (306) but, on the other hand, she does not
+disappear under the “patriarchy and imperialism” (306) that Spivak denounces, because Satrapi’s
+individuality achieves to break the different walls that the Middle East and the Western Vienna
+impose on her. (103)

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