| Summary: | In the nineteenth century, the distinction between the masculine and the feminine is clearly displayed in clothing and the distribution of tasks, and George Sand evokes this with humor in Histoire de ma vie. However, her novelistic work seems to clearly mark an evolution with the transformation of the central feminine character: from woman as a victim (Indiana, victim of the husband, the lover, society) to the strong woman (Lélia, Abbess of Camaldules in the 1839 version; Tonine, running a factory in La Ville Noire). However, it is in the dialogue with Flaubert that this relationship between the masculine and the feminine takes its most original form, with the assertion that creation is fundamentally hermaphroditic.
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