HISTORY 16E: 144

FRANCE IN THE 20th CENTURY (1871-PRESENT)

Spring 2006

Professor Jennifer Sessions

MWF, 10:30-11:20AM, Schaeffer Hall 66

 

 

Course Description

The 20th century was a dramatic and difficult period in French history. Although it saw the triumph of a republican form of government after a century of revolutionary upheaval, the decades since 1871 also saw radical changes in the international balance of power and the social order at home. Republican France envisioned itself as a model of universal, secular democracy, but struggled to incorporate citizens divided by religion, race, class, and gender. Focusing on these themes, we will consider major developments in French society, culture and politics from 1871 to the present: the foundation of the Republic after the Franco-Prussian War of 1870-71, the emergence of mass politics on both right and left, the Republics confrontation with religion, nationalism and imperialism, the impact of WWI and the trauma of German occupation and the Vichy regime during WWII, the rise of consumer culture and economic modernization after 1945, Frances role in European integration and the Cold War, decolonization and post-colonial immigration.

 

Course Aims

History 16E:144 aims to develop your understanding of key events in 20th-century French history, and to consider important questions about the nature and challenges of democracy, human rights, and citizenship in an era of mass politics and war, and about the role of consumer goods and mass media in shaping social and political life:

 

How was citizenship in the French Republic defined during the 20th century?

How were republican ideals used to justify the exclusion of certain groups from political life? How did those groups challenge that exclusion?

Can democracy be reconciled with imperialism? Can a commitment to human rights be reconciled with terrorism and the practice of torture?

What forms of resistance are possible against political, cultural, or economic oppression?

How are historical events represented and remembered by those who experienced them?

How do technological and cultural changes in consumption and the media affect politics and society?

 

This course also seeks to hone your critical reading and communications skills. Even if this is your last history class, developing the ability to weigh evidence and make a clear, convincing argument orally and in writing will benefit you in all your future endeavors.

 

Course Format

All class meetings will be interactive, and combine lecture and discussion. Fridays will be dedicated to discussion, unless otherwise noted in the syllabus. There will be time at the beginning of each class for questions, but you should feel free to raise your hand for clarification at any time. If you have a question, chances are that your colleagues do, too. I will consider myself equally free to ask for your informed views at any time.

Readings

In addition to a textbook, which will serve primarily as a reference resource and reinforcement for material covered in lectures, readings will explore the ways that different individuals experienced, remembered, and represented the events of the traumatic 20th century.

 

The required books below are available at Prairie Lights Bookstore (15 S. Dubuque St.) and on reserve at the Main Library. Additional readings (marked with an @) are on ICON.

 

Jeremy Popkin, A History of Modern France, 3rd edition. ($50)

Emile Zola, The Ladies Paradise, Brian Nelson, trans., Oxford Worlds Classics ($13)

Emilie Carles, A Life of Her Own: The Transformation of a Countrywoman in Twentieth-Century France, Auriel Goldberger, trans., Penguin Books ($15)

Vercors [pseud. Jean Bruller], The Silence of the Sea: A Novel of French Resistance During World War II, James Brown and Lawrence Stokes, eds., Berg. ($14)

Paul Aussaresses, The Battle of the Casbah: Terrorism and Counter-Terrorism in Algeria, 1955-1957, Enigma Books. ($18)

Franoise Gaspard, A Small City in France, Arthur Goldhammer, trans., Harvard University Press. ($19)

 

We will also watch several films, which will be screened in class or in the evenings. In-class and evening screenings are marked in the syllabus. If you cannot attend external screenings, a copy of each of the films is available on reserve at Main Library Media Services for you to watch on your own before the scheduled discussion. All films are in French, with English subtitles.

        

La grande Illusion, dir. Jean Renoir, 1937 (94 mins)

         Pp le Moko, dir. Julien Duvivier, 1937 (94 mins)

         The Sorrow and the Pity, dir. Marcel Ophuls, 1971 (251 mins), selections

         Jour de Fte [, dir. Jacques Tati, 1948 (70 mins)

         A Grin without a Cat, dir. Chris Marker, 1977 (180 mins), selection

         The Battle of Algiers, dir. Gillo Pontecorvo, 1966, selections

         Hate, dir. Mathieu Kassovitz, 1995 (95 mins)

 

Critical thinking about a document considers content, context, and form. As you read/view, ask not only what the document says, but how it says it.

 

Who is the author or creator? Who is the intended audience?

What is the genre of the document (novel, memoir, report, film, cartoon, painting, newspaper article, etc.)? What are the possibilities and limitations of that form?

What specific words and style has the author chosen to use? What attitudes or messages do these choices convey about the people, ideas, events, institutions, etc. being described?

 

Expectations & Assignments

Participation: Classes will be interactive, and ideally, each meeting will be a conversation in which we all gain a deeper critical understanding of the material. To get the most out of the course and earn full marks for participation, you MUST come to class prepared to contribute in an active, engaged, and informed manner. This is possible only if you read in a thorough and timely fashion. Many of the issues we will discuss—anti-clericalism, racism, torture—are sensitive, so respectful and thoughtful behavior will be critical. This means speaking and listening to others considerately. If you do not contribute voluntarily, I will call on you. If you know yourself to be uncomfortable speaking in a group, come see me, and we will formulate a participation strategy for you.

 

To help focus discussion around questions of concern, curiosity, or confusion to the members of the class, students will be responsible for posting questions or comments about the reading or material to the ICON Discussion forum before each discussion meeting. So that postings are evenly distributed, the class will be divided into 3 groups (A, B, C, D), and the members of each group will take responsibility for posting 4 times during the semester, as marked in the syllabus. Please post by 9PM on the night before the discussion, so that your colleagues can read your postings before class. What you write is entirely up to you, as long as it is thoughtful, respectful, informed, productive, and grammatically correct. Individual postings will not be graded, but the overall quality of your contributions will be factored into your participation grade and each failure to post will result in a 1/3 letter grade penalty in your participation grade.

 

Assignments are designed to help you understand and synthesize the material and ideas we will discuss, and to work on expressing your ideas orally and in writing. In addition to regular participation in class, assignments will include the following:

 

1) 4 postings to the ICON Discussion forum.

2) 3-4 page paper on Emile Zola, The Ladies Paradise, due 2/13.

3) A midterm exam covering weeks 1-7, to be held in class Monday 3/16.

4) 5-6 page paper on WW2 and the Algerian War, due 4/21.

5) A cumulative final exam, to be held in SH 66, Monday, 5/8, at 2:15PM.

 

Unless otherwise indicated, all assignments are due IN CLASS on the day on which they are due. Deadlines are clearly marked on the syllabus. YOU MUST COMPLETE ALL ASSIGNMENTS TO PASS THE COURSE.

 

Grading will use a scale of A-F, including +/-. The ICON site has a detailed guide to criteria for grading, which will assess both the content of your ideas and your ability to convey them clearly in writing and in speaking. Final grades will be broken down as follows:

 

         Class Participation        20% (includes discussion postings)

         1st Paper, 3-4 pp  15%

         2nd Paper, 5-6 pp 20%

         Midterm Exam              15%

         Final Exam          30%

 

Course Policies

Attendance is required. I will take attendance every day, and repeated absence will adversely affect both your understanding of the material and your ability to participate in class. More than three unexcused absences will result in a penalty of 1/3 letter grade on your final grade for each additional absence (i.e., 4 unexcused absences lowers a final semester grade of B+ to a B, 5 unexcused absences will result in a B-). If you must be absent because of illness or family emergency, please contact me as soon as possible. In case of absence for an approved University activity, you must provide a written excuse from the appropriate University official. Emergencies are unpredictable, but let me know about excused absences as far ahead of time as possible so you dont fall behind.

 

Writing: All written work must be typed on white paper, double-spaced, in a 12-point font, and 1-inch margins on all sides. Essays must be documented using parenthetical (MLA) citations. A guide to academic citation can be found on our ICON site. If you are unclear about the proper use and citation of sources, or the instructions for any assignment, please ask for clarification.

 

The History Department Center for Teaching and Writing (303 Schaeffer Hall, 335-2584) offers assistance and feedback on essays, and I strongly encourage you to take advantage of this resource. Their website also offers useful advice on historical writing: http://www.uiowa.edu/~histwrit. This and other writing resources, including citation guides, are linked from ICON.

 

Revisions: You may revise any piece of formal writing and resubmit it for a new grade within one week of its return. You must meet with me to discuss the revision, and then make substantive revisions that address the issues raised in my comments. Simply correcting spelling and/or grammar will not qualify for regrading. Your final grade for a revised assignment will be the average of the original and revision grades.

 

Late Work: To be fair to all members of the class, late assignments will be penalized 1/3 letter grade per day (or portion thereof), including weekend days. For example, an A paper due in class will become an A- if it is turned in within 24 hours after the class, and then a B+ if turned in 24-48 hours late, etc.. So that I know exactly when late work is submitted, all late assignments must be turned in to ICONs electronic dropbox. Follow the instructions carefully to ensure your work is posted. I will not accept work more than 1 week late (i.e. an assignment due in class on Thursday will not be accepted after the end of class the following Thursday). You will receive a zero for work received more than 7 days late.

 

In case of personal emergency that makes it impossible for you to meet a deadline, please contact me as soon as possible. Computer malfunctions, assignments for other classes, or work and extracurricular commitments to not constitute emergencies. You should be able to tell from the syllabi if there are simultaneous deadlines in different courses, and plan ahead accordingly.

 

Grade Protests must be made in writing within one week of an assignment being handed back. If you feel that your work has been inaccurately assessed, you may resubmit your graded original along with a typed statement in which you explain, with specific examples from your work and my comments, where I have misunderstood or misconstrued it. Reconsideration may result in your grade being raised or lowered.

 

Email: I will answer email messages within 24 hours, but you may not get a reply immediately.

 

Department and College Policies.

This course is offered by the History Department, chaired by Professor Linda Kerber. The department office is located in Schaeffer Hall 280 (335-2299).  All course policies with regard to such matters as requirements, grading, and academic dishonesty are governed by the College of Liberal Arts and Sciences (CLAS). Students wishing to add or drop this course after the official deadline must have approval from the Dean of CLAS. University policy on cross-enrollment may be found at: http://www.uiowa.edu/~provost/deos/crossenroll.doc

 

Academic Honesty: All students are expected to abide by University policy on academic honesty: http://www.clas.uiowa.edu/students/academic_handbook/ix.shtml. Academic fraud is considered all forms of plagiarism, cheating or actions that result in a student presenting work that is not his or her own or that give a student an unfair advantage, including but not limited to the following:

 

presentation of ideas, quotations, or paraphrased information without credit to the source

failure to provide adequate citations for material obtained through electronic research

submitting as one's own material created/written by someone else, including purchased

term/research papers or material downloaded from electronic databases

taking credit for group work without participating or doing your share

copying from someone else's exam or essay, or allowing someone to copy or submit your

work as his/her own

submitting the same paper in more than one course without the knowledge and approval

of the instructors involved

unauthorized use of notes, text messaging, cell phone calls, or other materials in an exam

 

Student Grievances: Any student with a grievance is encouraged to speak with me, or contact the History Department director of undergraduate studies, chairperson, or University Ombudsperson. The online academic handbook outlines CLAS policies on matters pertaining to students rights and responsibilities, as well as full procedures if you have a grievance: http://www.clas.uiowa.edu/students/academic_handbook/ix.shtml.

 

Students with Disabilities: Please contact me privately during my office hours if you have a disability which may require some modification of seating, testing, or other class requirements so that appropriate arrangements may be made.

 

Enrolling in this course is a recognition of and commitment to meet the expectations laid out in this syllabus. If you are not willing to make this commitment, this is not the course for you.

 

 

SCHEDULE OF LECTURES & READINGS

 

I. THE REPUBLIC ON TRIAL

 

Week 1, Introduction to French Republicanism

1) 1/18, Introduction

2) 1/20, The Birth of the Third Republic

 

Read:         Popkin, ch. 17

                  [Begin Zola, The Ladies Paradise (1884), ch. 1-2]

 

Week 2, Forging the Republican Nation

3) 1/23, Faith in Progress: Creating Citizens for the Republic

4) 1/25, 100 Million Frenchmen: The Republic Overseas

5) 1/27, Discussion: Democracy & Rights (Group A)

        

Read:         Emilie Carles, ch. 1-3, 4-5 (pp. 5-23, 31-49]

Jules Ferry, speech to the National Assembly (March 28, 1884) [@]

                  Popkin, ch. 18-19

                  [Continue The Ladies Paradise, ch. 3-5]

 

Week 3, The Republic on Trial: The Dreyfus Affair & the Advent of Mass Politics

6) 1/30, Of Ballots and Bombs

7) 2/1, The Dreyfus Affair

8) 2/3, Discussion: Mass Politics (Group B)

 

Read:         Carles, A Life of Her Own, ch. 3 (pp. 25-30)

Emile Zola, JAccuse (1899) [@]

                  Popkin, ch. 20-21

                  [Continue The Ladies Paradise, ch. 6-8]

 

Week 4, Society & Culture in the Fin-de-Sicle

9) 2/6, Gender and Bourgeois Society

10) 2/8, Discussion: Zola, The Ladies Paradise (Group C)

11) 2/10, NO CLASS (work on papers)

 

Read:         Finish Zola, The Ladies Paradise, ch. 9-14

 

II. FRANCE IN THE AGE OF MASS WAR

 

Week 5, In the Trenches: The Great War

12) 2/13, The Front Lines

** 1st PAPER DUE IN CLASS **

13) 2/15, Film: Jean Renoir, La Grande Illusion (1937), part I

14) 2/17, Film: La Grande Illusion, part II

 

Read:         Popkin: ch. 22-23

Carles, A Life of Her Own, ch. 6-10, pp. (51-84)

 

Week 6, The Impact of the Great War

15) 2/20, The Home Front

16) 2/22, The Return to Normalcy: Postwar Reconstruction 

17) 2/24, Discussion: The Great War & Its Aftermath (Group D)

 

Read:         Carles, A Life of Her Own, ch. 11-22 (pp. 51-160)

                  Popkin, ch. 24

 

Week 7, France in the 1930s

18) 2/27, Greater France: The Height of Empire

19) 3/1, Discussion: The Colonial Imagination/Review (A)

20) 3/3, NO CLASS (study for midterm)

 

Film:          Julien Duvivier, Pp le Moko (1937). Monday Evening, place & time TBA.

Read:         Popkin, ch. 25

 

Week 8, The Rise of Fascism

21) 3/6, ** MIDTERM EXAM IN CLASS **

22) 3/8, The Popular Front & The Fascist Threat

23) 3/10, Strange Defeat: 1940 & The Collapse of the Third Republic

 

Read:         Carles, A Life of Her Own, ch. 25-27 (pp. 175-207)

Popkin, ch. 26-27

        

Week 9, 3/10-3/17

SPRING BREAK

 

Week 10, WW2 & the Vichy Regime

24) 3/20, Vichy & The National Revolution

25) 3/22, Collaboration & Resistance in Occupied France

26) 3/24, Discussion: Resistance (B)

 

Read:         Vercors, The Silence of the Sea, entire

                  Carles, A Life of Her Own, ch. 28 (pp.

                  Popkin, ch. 28

 

Week 11, Les Trente Glorieuses

27) 3/27, Liberation, Revenge & Rebuilding under the Fourth Republic

28) 3/29, Existentialism, Feminism, Consumerism

29) 3/31, Discussion: Americanization & Postwar Culture (C)

 

Film:          Jacques Tati, Jour de Fte (1948), Monday Evening (3/27), time & place TBA.

Read:         Carles, A Life of Her Own, ch. 29 (pp. 223-230)

                  Popkin, ch. 29-30

 

III. FRANCE IN THE NEW WORLD ORDER

 

Week 12, In the Shadow of the Bomb, In the Shadow of the Wall: The Gaullist Fifth Republic

30) 4/3, The Strength of Coal & Steel: European Integration

31) 4/5, The Cold War & the Force du Frappe

32) 4/7, Discussion: France in the Atomic Age (D)

 

Read:         Carles, A Life of Her Own, ch. 30-31 (pp. 231-255)

Popkin, ch. 31

                  [Begin Aussaresses, The Battle of the Casbah, ch. 1-7, pp. xx-73]

 

Week 13, Decolonization

33) 4/10, The Wretched of the Earth Revolt: Indochina, Algeria

34) 4/12, Film: The Battle of Algiers, selections

35) 4/14, Discussion: Terrorism & the Algerian War (A)

 

Read:         Finish Aussaresses, The Battle of the Casbah, ch. 8-18, pp. 74-164

                  William Cohen, The Sudden Memory of Torture: Algeria in French Discourse, 2000-2001, French Politics, Culture and Society 19, 3 (Summer 2001): 82-94 [@]

 

Week 14, Class & Culture in the Last Revolution

36) 4/17, The New Left & May 68

37) 4/19, Film: May 1968 and All That, from Chris Marker, A Grin Without a Cat (1977)

38) 4/21, Discussion: The Spirit of Soixante-Huit (B)

** 2ND PAPER DUE **

 

Read:         [Begin Franoise Gaspard, A Small City in France, introduction, ch. 1 (pp. 1-50)]

                  Popkin, ch. 32

        

Week 15, The Empire Strikes Back: Immigration & the Rise of the Far Right

39) 4/24, Return or Exile? Repatriation of the Overseas French

40) 4/26, Barbarians at the Gate: Immigration, Fortress Europe & Neo-Fascism

41) 4/28, Discussion: Immigration & Neo-Fascism (C)

 

Read:         Finish Gaspard, A Small City in France, ch. 2-3, conclusion (pp. 51-177)

                  Popkin, ch. 33

 

Week 16, Multiethnic France: Islam in the Republic

42) 5/1, Beurs, from the Scarf Affair to the Riots of November 2005

43) 5/3, Discussion: Islam & Multiculturalism (D)

44) 5/5, Review for Final Exam

 

Film:          Hate, dir. Mathieu Kassovitz, Monday Evening, time & place TBA

Read:         Patrick Weil, A Nation In Diversity: France, Muslims and the Headscarf, Open Democracy, March 23, 2004 [@]

Popkin, ch. 34

 

 

** FINAL EXAM: MONDAY, MAY 8, 2:15PM **