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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 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.
This paper explores the psychological experiences of domestic workers in three contemporary Latin American films: Roma (Mexico, 2018), Crímenes de familia (Argentina, 2020) and Que Horas Ela Volta? (Brazil, 2015). Specifically, the motherhood of these three protagonists is explored and analyzed using psychological research that pertains to motherhood, trauma, and the relationships between domestic workers and the families that employ them. This paper reveals that contemporary Latin American cinema portrays domestic workers as having negative experiences of motherhood as a direct result of their occupation and proposes for further protections, policy change, and psychological research to take place for domestic workers in Latin America and beyond.
I have created a website for the Arizona State University French department. This website is designed to market the French program with the ultimate goal of increasing enrollment.