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Popular culture tends to downplay strong female characters to favor a plethora of male figures that children look up to as heroes. This creates a gender imbalance in exposure to inspirational characters that children can look up to as role models. For our team's creative project, we chose to write and illustrate a children's book mainly targeted at young girls, ages eight to twelve that focuses on the stories of selected female figures of Norse mythology. The five stories in our collection focus on the figures Frigg, Skadi, Elli, Idunn, and Freya and are inspired by the mythology contained in the Prose Edda by Snorri Sturluson and selected medieval texts on the Germanic Lombard tribe. Through our book, Women of Norse Myth: For Little Goddesses, we wanted to introduce children to Norse mythology, a branch of myth that is often overshadowed by more popular mythologies such as Roman and Greek. Additionally, our goal was to bring light to the female figures within Norse myth that are generally given less attention than their male counterparts. Keeping in mind these goals, the stories were adapted from the original myths in a manner that would be suitable for a young audience as well as our aim for female empowerment. The final manuscript contains an introduction to Norse cosmology, introductions to the figures, a glossary of Norse terms used, and the illustrated stories themselves. Together with our combined talents, interests, and goals, Women of Norse Myth: For Little Goddesses was completed, and we hope that someday it can be published and serve as a fun and inspiring storybook for children to read and learn from.
ContributorsFarine, Brittany (Co-author) / Muth, Margaret (Co-author) / Youngjohn, Trystan (Co-author) / Alexander, John (Thesis director) / Wells, Cornelia (Committee member) / Department of English (Contributor) / Department of Psychology (Contributor) / School of Human Evolution and Social Change (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
As my year abroad in France was vastly approaching, it became apparent that the accessibility of certain resources would prove beneficial in the pursuit of my honors thesis in French. Thus, even before my departure it was decided that I would focus on the French texting language. While the specifics were not yet fully developed, it was certain that the subject was relevant as the use of communication technologies were becoming more prevalent amongst younger generations. Upon my arrival in Lyon, the objective of my thesis was realized as I began to slowly understand the descriptive nuances of both spoken French and the ever-changing texting language. As a language student, it felt necessary to understand and analyze both the prescriptive and descriptive facets of the French language, including those of the text shorthand. Therefore, it was my intention to learn the vocabulary and linguistic traits that were most frequented in this distinct jargon, not solely for myself, but also for my fellow students of French. This task was accomplished by reading and recording the text messages from ten native speakers. These texts were then compiled into a proper corpus, which was primarily used as the resource for the further applied projects I wished to create. Given this research, a type of dictionary was organized from the words that I found to be most exemplary of the French texting language. In addition, an analysis was also written concerning the common linguistics traits found in the corpus. It was my intent to provide the students of Arizona State University with relevant resources that could assist in the immersion process during or before their study abroad experience. In pursuit of any language, it seems that it is integral to maintain a sense of understanding of all common elements of a language, as they are constantly evolving. Thus, it was important for me in my attempt to master French that I understood all the nuances of the vernacular that were being used by the native speakers.
ContributorsMarquez, Monique Evangeline (Author) / Bahtchevanova, Mariana (Thesis director) / Danton, Naomi (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor)
Created2014-12
Description
This study examined whether changes in intervention related gains from the REACH for Personal and Academic Success program, an indicated anxiety prevention school-based protocol, vary as a function of participant youth's exposure to overprotective parenting. This study also examined if ethnicity/race (Caucasian vs. Hispanic/Latino) interacts with overprotective parenting to predict program response. A total of 98 children (M age = 9.70, SD = .07; 77.60% girls; 60.20% Hispanic/Latino) received 1 of 2 protocols (REACH or academic support) and responses were measured at post-treatment and 1-year follow-up. Findings showed that child self-regulation skills improved in the school program (REACH) for children of parents with low levels of overprotection, and child self-regulation skills improved in the control program (academic support) for children of parents with high levels of overprotection. These findings were significant in the Hispanic/Latino subsample, but not in Caucasian youth.
ContributorsBromich, Bobbi Lynn (Author) / Pina, Armando (Thesis director) / Presson, Clark (Committee member) / Hahs, Adam (Committee member) / Department of Psychology (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This work aims to give the general public a unique insight into French urban culture through my experience while living and filming a personal documentary in Lyon, France. The goal of the project is to examine and consequently describe what this culture consists of while comparing and contrasting it to our own urban culture. The work depicts the creators and performers of the culture as well as its audience, which differs from our own here in the U.S in part thanks to France's efficient public transportation system, used by people from every social class. Immersing myself in this fascinating world truly helped me get through to the heart of the French people and artists that make up the urban culture in Lyon. Observing performances and daily practices while digging deep into each artist's story allowed me to unravel the identity of this culture one person at a time.
ContributorsGradilla, Cesar Uriel (Author) / Bahtchevanova, Mariana (Thesis director) / Chabaud, Aurélie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor)
Created2015-05
DescriptionThis project explored the creation of a video game to be used as a tool to enhance the process of French language learning. The work on the project was divided into three different phases that were tackled individually: a research phase, a development phase, and a content-creation phase.
ContributorsDebeurre, Nicholas Harrison (Co-author) / Dommata, Samhith (Co-author) / James, Jovin (Co-author) / Khan, Faiz (Co-author) / Bahtchevanova, Mariana (Thesis director) / Winter, Marie (Committee member) / Computer Science and Engineering Program (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The ‘draw and write’ research technique was developed as a bottom-up approach to gaining access to children’s ideas, experiences, and views of the world around them in areas such as health, education, and social issues. While the technique may allow children to participate in research in a way that is less restrictive than other techniques, many critique the method for its adverse ethical concerns, validity, and issues of interpretation and analysis. This article reviews the ‘draw and write’ research technique and its common critiques as well as offers a case study of the ‘draw and write’ technique, performed with children in Acatenango, Guatemala, in order to validate the accuracy of the ‘draw and write’ technique in depicting specific quantitative results.
ContributorsJones, Danielle Lynn (Author) / Maupin, Jonathan (Thesis director) / Hackman, Joe (Committee member) / School of International Letters and Cultures (Contributor) / School of Human Evolution and Social Change (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
George Sand (née Amantine Lucile Aurore Dupin, 1804 – 1876) was one of the most celebrated French authors of her time and remains to this day a central figure in French literary history. She produced throughout her lifetime an extraordinarily broad body of literary works, including short stories, novels, periodicals, newspaper articles, political commentaries, and even plays. One of her most well-known works, and her first novel published under her male pseudonym, was Indiana, which recounts the rise and fall of a young bourgeoise trapped in a loveless marriage, while also touching on the political climate of the age. Indiana was remarkably successful and popular when it was published and catapulted Sand to fame as she became a full-time writer who supported her family and lifestyle purely from sales of her works. The success of Indiana and many other of her works prompted a re-release of her body of works in nine volumes, titled Les Œuvres illustrées de George Sand. The volume studied in this thesis contains seventy-seven engraved illustrations of various scenes from each text. The engravings were produced by the very famous French artist and illustrator Tony Johannot with the help of Sand’s own son, Maurice Sand. Johannot was very well-known during his career and produced engravings for the biggest names in European literature such as Molière, Lord Byron, Cervantes, Goethe, Balzac, and others, including Sand.
In these books, illustrations were distributed throughout the text so the reader could visualize many of the storyline’s scenes. The authors themselves, however, did not oversee or produce these images, so it was at the discretion of the illustrator as to how each character, setting, facial expression, motif, etc. would be drawn. Sand was well-known for being avant-garde, progressive, independent, and, notably, female. Her opinions understandably clashed with many of the stereotypical views of the 19th century on many topics, particularly when it came to the treatment of women. By contrast, Johannot was a very well-respected and successful male artist with solid connections with influential publishers, who catered to a specific audience of well-off and well-educated buyers. The buyers of his works, particularly of his illustrated texts, were often parents of the upper middle class who wanted books to be used as gifts providing not only entertainment but also instruction and moral life lessons to their children. Johannot’s interpretations of Sand’s Indiana, which was considered scandalous and controversial upon its release, could therefore shift some of the most controversial aspects of the novel from what Sand originally intended. There are many reasons as to why Johannot might make certain interpretations of the text. He likely wanted to maintain his status as a successful author and please his audience, typically middle and upper middle-class, wealthy, and bourgeois literate patrons who educated themselves and their children by exposing themselves to books and works of art, as was traditional at the time. Additionally, his fundamental personal opinions as a successful business man might differ from Sand’s opinions as a female author, as traditional gendered roles and stereotypes often prevented the financial and societal independence of women.
This thesis will compare Johannot’s images created for Indiana with Sand’s original French text. In doing so, the reader can gain an understanding of how social status and personal interpretations can affect the way an artist represents a scene. Many of Johannot’s images agree with Sand, while others do not; some of the main similarities and differences will be analyzed to understand how and why such artistic differences occur.
In these books, illustrations were distributed throughout the text so the reader could visualize many of the storyline’s scenes. The authors themselves, however, did not oversee or produce these images, so it was at the discretion of the illustrator as to how each character, setting, facial expression, motif, etc. would be drawn. Sand was well-known for being avant-garde, progressive, independent, and, notably, female. Her opinions understandably clashed with many of the stereotypical views of the 19th century on many topics, particularly when it came to the treatment of women. By contrast, Johannot was a very well-respected and successful male artist with solid connections with influential publishers, who catered to a specific audience of well-off and well-educated buyers. The buyers of his works, particularly of his illustrated texts, were often parents of the upper middle class who wanted books to be used as gifts providing not only entertainment but also instruction and moral life lessons to their children. Johannot’s interpretations of Sand’s Indiana, which was considered scandalous and controversial upon its release, could therefore shift some of the most controversial aspects of the novel from what Sand originally intended. There are many reasons as to why Johannot might make certain interpretations of the text. He likely wanted to maintain his status as a successful author and please his audience, typically middle and upper middle-class, wealthy, and bourgeois literate patrons who educated themselves and their children by exposing themselves to books and works of art, as was traditional at the time. Additionally, his fundamental personal opinions as a successful business man might differ from Sand’s opinions as a female author, as traditional gendered roles and stereotypes often prevented the financial and societal independence of women.
This thesis will compare Johannot’s images created for Indiana with Sand’s original French text. In doing so, the reader can gain an understanding of how social status and personal interpretations can affect the way an artist represents a scene. Many of Johannot’s images agree with Sand, while others do not; some of the main similarities and differences will be analyzed to understand how and why such artistic differences occur.
ContributorsDebeurre, Marielle Prescott (Author) / Canovas, Frédéric (Thesis director) / Fleming, Barbara (Committee member) / Mechanical and Aerospace Engineering Program (Contributor, Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Sidonie-Gabrielle Colette’s novel La Vagabonde about struggling 33-year-old divorcée Renée Néré has only had a handful of translations into English since its original publication in 1910. It was picked up for its first translation in the late 1950s as a result of its sensitive nature concerning female sexuality and patriarchal oppression of the physical and mental female sphere. Due to the bowdlerized and outdated language of previous English interpretations of the novel, I set forth to create a new translation that would convey the complex simplicity of Colette’s words and the ever-relevant themes of the novel that may have been overlooked in the past. Although Colette’s diction is simple, her poetic use of grammar, focused rhetoric, and poignant insights into the female experience are deceptively intricate.
In this introduction, I discuss the methodology used while translating the novel and a few of the linguistic, semantic, and cultural problems I encountered while working on this new annotated translation. I also explain the cultural and literary context of popular novels during the fin-de-siècle that helped create motifs and themes that Colette later inverses in the novel. Colette reverses the narrative of the male spectator sitting in the dark theatre, eyes fixed on the desirable form of the female performer. Instead, Renée observes those in her life reversing the male gaze in onto itself.
Despite the meticulousness of the translator, each translation remains only an interpretation of the original text. From hunting motifs to the socio-economic role of diction in class structure during La Belle Époque, I discuss the specific diction Colette uses to show Renée’s dissociation of self and internalized misogyny in her stream-of-consciousness narration.
Following the introduction is seventy-nine pages of the new translation with annotations on certain cultural and linguistic peculiarities unique to French culture and language.
In this introduction, I discuss the methodology used while translating the novel and a few of the linguistic, semantic, and cultural problems I encountered while working on this new annotated translation. I also explain the cultural and literary context of popular novels during the fin-de-siècle that helped create motifs and themes that Colette later inverses in the novel. Colette reverses the narrative of the male spectator sitting in the dark theatre, eyes fixed on the desirable form of the female performer. Instead, Renée observes those in her life reversing the male gaze in onto itself.
Despite the meticulousness of the translator, each translation remains only an interpretation of the original text. From hunting motifs to the socio-economic role of diction in class structure during La Belle Époque, I discuss the specific diction Colette uses to show Renée’s dissociation of self and internalized misogyny in her stream-of-consciousness narration.
Following the introduction is seventy-nine pages of the new translation with annotations on certain cultural and linguistic peculiarities unique to French culture and language.
ContributorsDitto, Shannon Jule Campbell (Author) / Canovas, Frédéric (Thesis director) / Minardi, Enrico (Committee member) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
The purpose of this honors thesis project is to educate and excite French students on the subject of French films, as well as any person who might be interested in immersing himself/herself in the world of French cinema. This project aims to provide an introduction to French culture through film, and thereby inspire a love of Francophone culture and movies. To accomplish this goal, this honors project will first introduce the differences between French and American films and explain how those differences are based on the underlying culture of the two regions. These differences, in addition to the language barrier, can cause cultural misunderstandings. As a result, these misunderstandings often prevent many Americans from ever experiencing French cinema. The varying history, pacing, writing styles, and gender roles of French and American films can be analyzed to discover each culture's norms and values. Though films often come from a place of imagination, they can also give clues about the life of the society that creates and watches them. After first exploring the history and evolution of cinema in France and America, the project will also analyze the major cinematic differences between the two. Finally, the project contains advice for the reader on film-watching strategies to maximize his/her understanding and enjoyment. Films can serve as a unique and educational lens where viewers can observe cultures in an entertaining environment. When watching foreign films, viewers can hope to gain more insight into the people and the norms of different cultures, and hopefully they will become excited to learn more.
ContributorsSelman, Kaitlyn Michelle (Author) / Poteet, Lesley (Thesis director) / Bahtchevanova, Marianna (Committee member) / School of International Letters and Cultures (Contributor) / WPC Graduate Programs (Contributor) / School of Accountancy (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
A social phenomenon in the United States characterizes French language and culture by aristocracy and prestige, sometimes even going so far as to align francophones with pretentiousness or false sophistication. By means of etymological analysis of the registers of American politics, economics, higher education, fashion, and art, I present the remarkable consistency (if not disproportionality) of French-derived vocabulary within the lexicons of these upper class cultural territories. Final conclusion is reached using the analytic lenses of linguist Norman Fairclough and sociologist Thorstein Veblen in their respective works Language and Power and Theory of the Leisure Class, which together supply a sociolinguistic understanding of the French-elite nexus. Using such information, I seek to explain the phenomenon as an American ideological concept. As French expressions are substantially and conspicuously employed within the lexicons and customs of the aforementioned cultural territories of the American upper class, French lexicality and culture become entangled with high society (sociolexical entanglement) and popular aesthetics (vogue lexicality). This intermixture subsequently engenders a French-elite nexus that manifests through either lexical emulation or lexical disaffection. To illustrate this occurrence, I offer evidence of America's persuasion of its upper class's association with French by presenting relevant expressions in the class-pervasive medium of American cinema. I argue that, in entirety, these sociolexical components frame the development of a larger French-elite ideology.
ContributorsSeby, Charles Michael (Author) / Bahtchevanova, Mariana (Thesis director) / Poteet, Lesley (Committee member) / School of Politics and Global Studies (Contributor) / School of International Letters and Cultures (Contributor) / Sandra Day O'Connor College of Law (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05