COURSE INFORMATION
Class Days: Tuesday
Class Times: 4-6:40 PM
Class Location: Storm Hall 213
Course Overview
Office Hours Location: Storm Hall 211D- (619-594-5480)
Office Hours Times Wed. 3:30-4:30, also by appt.
520 is a variable topics course, this time focusing on the experience of the French during the first half of the Twentieth century as reflected in literature, film, documentaries, art, media, historical references, and personal reflections (“témoignages”), and letters).
 Purpose of the Course: Students will learn about French writers and cultural icons who participated the first half of the Twentieth century. This fascinating period saw the Belle Époque, the First World War, the Entre-deux-Guerres
period /“les Années Folles”), and the Second World War. The Belle époque, following the Franco-Prussian War of
1870, saw an incredible flourishing of the arts and a reinvigorating of industry and commerce. In sharp contrast, WW I was the first “modern” war, introducing civilian deprivations, chemical weapons, early aviation and aerial bombing, and shrapnel and other “Innovative” weaponry. The social see-saws between war and prosperity, deprivation and innovation, was truly astonishing and gave rise to unprecedented technical and literary innovation in the periods following and preceding the world wars. Finally, World War II followed the ominous 1930’s, where fascists and
Totalitarian governments from Spain to Russia reshaped Europe and caused deep unrest, which spread to the rest of the world.
 Student Learning Outcomes: Students will demonstrate, orally and in written format, an appreciation for and knowledge of the causes and effects of war, peace , and artistic and technical innovation in the early Twentieth
Century, primarily from the French point of reference, but also as an international phenomenon. They will relate specifically how the early twentieth century impacted literature, art, film, and the daily lives or ordinary French people, whether at home or directly in the line of fire. Students will compare, using relevant examples, how this period is still reflected in art and literature today. Finally, they will reflect an understanding of the culture and literature that preceded and followed twentieth century wars (la Belle Époque, les Années Folles, etc.), outlining the relevant historical, artistic, literary, and cultural events that explain a nation’s reaction to and recovery from international conflicts.

Real Life Relevance: International conflict, genocide and mass murders continue to occur in many parts of the world in the Twenty-first Century. War is not an abstraction: it personally affects millions worldwide each year, and nations historically take a certain time to recover from these experiences--economically, politically, and culturally. Modern technology makes us aware today of the immediate details of global conflicts; however literary works based on intensely personal experiences related to conflicts emerge as a part of the healing process. Exceptions to this general rule are the letters and journals of first-hand accounts, similar to our newspaper syndicated reports today. (There was no Twitter then.) What literature will emerge from today’s conflicts, and will it help the afflicted countries’ healing process? Is that the “work” of modern literature, as it was in Greek times with the classical tragedies of
Sophocles? Are the giddiness of the recovery periods stable and sane reactions to the insanity of war?
 Relation to Other Courses: This course is related to offerings in European Studies and is a logical follow-up to a general course on French Civilization (421 and/or 422).
Enrollment Information
Course requirements and prerequisites include:
 Completion of French 302 and 305A or 305B.
 Feb. 2 is the last day to drop, add, or change credit basis.

Course Materials available on BlackBoard
Texts: Most are in pdf format available on BlackBoard or through the University’s subscription to ARTFL. The Bookstore has ordered print versions of Breton, Sartre, and Giraudoux texts (from the list below):

Novels: Excerpts from Proust (Du côté de chez Swan ; Un amour de Swan); Voyage au Bout de la Nuit (Céline); Chérie
(film)/La Fin de Chéri (text) (Colette); La Peste/l’Étranger (Camus) ; l’Immoraliste (Gide) ; Thérèse Desqueyroux
(Mauriac); Suite Française (Némirovsky)
 Poetry: Caligrammes; Alcools (Apollinaire); Poèmes choisis (Eluard; Péguy, Jacob, Aragon; Saint. Jean Perse, Claudel,

Prévert)

Theater: Le Voyageur sans bagages ; Antigone (Anouilh); Huis Clos; Les Mouches (Sartre); La Guerre de Troie n’aura
pas Lieu (Giraudoux)
 Idées et doctrines : le Manifeste du Surréalisme (André Breton; L’être et le Néant (Sartre); Le Mythe de Sisyphe
(Camus)
Films: TBA : Un Long Dimanche de Fiançailles ; Chérie ; Midnight in Paris ; La Vie et Rien d’Autre, Coco avant Chanel ;
et autres clips ; documentaires (La Belle Époque Le Bruit et La Fureur ; and From Nuremberg to Nuremberg).

Critical texts, including from the French Review’s Special Edition on La Grande Guerre (Vol. 87, No. 4, May 2014)
Most materials can be found on BlackBoard or are available through Kindle or other e-text formats. . Students may print out materials or may choose to order textbooks online (or from the SDSU Bookstore or vendors such as Amazon. Some materials are also available in e-formatted pdfs. Nooks are available to check out from the SDSU library.
Course Structure and Conduct
Please note the following statement from the CFA: "The California Faculty Association is in the midst of a difficult contract dispute with management. It is possible that the faculty union will call a strike or other work stoppage this term. I will inform the class as soon as possible of any disruption to our class meeting schedule."
If the strike occurs, we will make alternative arrangements to that we adhere to the schedule and course requirements.

Technology Utilized in the Course: (Blackboard and digital media, including texts)

Individual and Group Activities Required (Student-led classroom presentations, group discussions online)
Course Assessment and Grading
Your performance in this class will be assessed and graded according to the following deliverables:
 Mini-talks related to class readings and topics: 50% (10 grades@ 5 pts. Each)

2 Papers: 30% (8-10 pages, double-spaced, in MLA format with citations) 15 points per paper

4 Discussions online: 20%, covering literary themes of each of the four historical periods (Belle Époque, WWI, Entredeux-guerres, et WW II) – 5 points per discussion
 As this is a weekly class, no absences are anticipated, except for extraordinary circumstances, such as illness or preapproved professional purposes or religious observances. Make-up work, for those three circumstances only, can be arranged with the instructor’s consent.
Accommodations
The learning environment should be accessible to all. SDSU provides reasonable accommodations in the following situations:

Disability: If you are a student with a disability and believe you will need accommodations for this class, it is your responsibility to contact Student Disability Services at (619) 594-6473. To avoid any delay in the receipt of your accommodations, you should contact Student Disability Services as soon as possible. Please note that accommodations are not retroactive, and that accommodations based upon disability cannot be provided until you have presented your instructor with an accommodation letter from Student Disability Services. Your cooperation is appreciated.
 Religion: By the end of the second week of classes, students should notify the instructors of affected courses of planned absences for religious observances.

Official university activities (e.g., Athletics): Within the first two weeks of classes, a student who expects to be part of an official university event or activity shall notify the instructors of affected courses. At that time, the student shall

request accommodation for any missed examinations or other assignments. If scheduling changes occur, the student shall immediately notify the instructors.
Academic Honesty
The University adheres to a strict policy regarding cheating and plagiarism . These activities will not be tolerated in this class.
Become familiar with the policy (http://www.sa.sdsu.edu/srr/conduct1.html). Any cheating or plagiarism will result in failing this class and a disciplinary review by Student Affairs.
Examples of Plagiarism include but are not limited to:
 Using sources verbatim or paraphrasing without giving proper attribution (this can include phrases, sentences, paragraphs and/or pages of work)
 Copying and pasting work from an online or offline source directly and calling it your own

Using information you find from an online or offline source without giving the author credit
 Replacing words or phrases from another source and inserting your own words or phrases
 Submitting a piece of work you did for one class to another class
If you have questions on what is plagiarism, please consult the policy (http://www.sa.sdsu.edu/srr/conduct1.html) and this helpful guide from the Library : ( http://infodome.sdsu.edu/infolit/exploratorium/Standard_5/plagiarism.pdf
)
Cheating and Plagiarism
Cheating and plagiarism are serious offenses. You are plagiarizing or cheating if you:
 for written work, copy down or cut anything from a book, article or website and add or paste it into your paper without using quotation marks and providing the full reference for the quotation, including page number
 for written work, summarize / paraphrase in your own words ideas you got from a book, article, or the web without providing the full reference for the source, including page number
 for an oral presentation, copy down or cut anything from a book, article, or website and present it orally as if it were your own words. You must summarize and paraphrase in your own words, and bring a list of references in case the professor asks to see it
 use visuals or graphs you got from a book, article, or website without providing the full reference for the picture or table
 recycle a paper you wrote for another class
 turn in the same (or a very similar paper) for two classes
 purchase or otherwise obtain a paper and turn it in as your own work
 copy off of a classmate
 use technology or smuggle in documents to obtain or check information in an exam situation
In a research paper, it is always better to include too many references than not enough. When in doubt, always err on the side of caution. If you have too many references it might make your professor smile; if you don’t have enough you might be suspected of plagiarism.
If you have any question or uncertainty about what is or is not cheating, it is your responsibility to ask your instructor.
TAKE THE TUTORIAL:
Test your knowledge of what constitutes plagiarism through a tutorial offered by the SDSU Library. To access the tutorial go to: http://library.sdsu.edu/guides/tutorial.php?id=28
Consequences of cheating and plagiarism
SDSU instructors are mandated to report all instances of cheating and plagiarism to the Center for Student Rights and
Responsibility. Consequences are at the instructor’s and the Center for Student Rights and Responsibility’s discretion. They may include any of the following:
 failing the assignment
 failing the class
 warning
 probation
 suspension
 expulsion

For more detailed information, read the chapter on plagiarism in the MLA Handbook for Writers of Research Papers (6 th edition,
2003), visit the following website http://www.indiana.edu/~wts/pamphlets/plagiarism.shtml
and talk to your professors before turning in your paper or doing your oral presentation.
The University of Indiana also has very helpful writing hints for students, including some on how to cite sources. Please visit http://www.indiana.edu/~wts/pamphlets.shtml
for more information.
Exams and Assignments
10 Class Presentations). You are free to choose a minimum of 5 for each “half” of the course. This constitutes 50% of your grade.
4 Discussions (published on BlackBoard, due before class #5, #8, #11, and #14). Your writing AND responses to others will be considered in this activity. French is preferred for these discussions, again, unless you are citing from English language sources.
The main purpose of the discussion board is to examine complex issues from several points of view, listing concrete justification for your stances. This constitutes 20@ of your grade
2 papers (sent to instructor electronically). The first is due just before Spring Break (in draft format) and in final format on the first class following Spring Break. The second paper is due (in draft format) on final day of class, and in final format by midnight on the day of the final exam. Both should be essentially no longer than 10 pages long and should adhere to the MLA format.
Syllabus (detailed on the Emploi du Temps in BlackBoard)
CLASS SESSION
1. Jan. 26
2. Feb. 2
3. Feb. 9
4. Feb. 16
5. Feb. 23
Topics and Texts
Intro to the course: “What is this thing called literature – what work does it do?”
Historical Build-up to the Twentieth Century (French Empires, the Franco-Prussian
War); Industrialization; Universal Expositions; The Dreyfus Affair and persistent anti-
Semitism
Film: Chéri (Colette)
Intro to La Belle Époque
1900 - 1914: La Belle Époque
Marcel Proust (excerpts from A La Recherche du Temps Perdu)
André Gide : L’Immoraliste, pt. 1
Marie Laurencin. Coco Chanel (Clips from Coco avant Chanel); Sarah Bernhardt,
Muchy et Guillmard – artistes de l’Art Nouveau
1900-1914 : La Belle Époque
Marcel Proust (excerpts, see above)
Dadaïsme; Surréalisme (Breton : Manifestes 1 & 2)
Gide, L’immoraliste, pt. 2
1914-1918 : WWI
Céline (Voyage au Bout de la Nuit), Chap. 1 -4)/Thérèse Desqueyroux (Mauriac)
Le Bruit et la Fureur (film sur WW I)
Céline (Voyage, Chaps.. 5-8)/ Mauriac, Thérèse Desqueyroux ; Discussion 1 due 2/22
1914-1918 : WWI
Céline, Chaps. 9-12/ Thérèse Desqueyroux (Mauriac)
Guillaume Apollinaire, Selected poems from Caligrammes et l’Alcools);
Céline, Chaps. 13-16 ; Mauriac, Thérèse Desqueyroux ;

CLASS SESSION
6. Mar. 1
7. Mar. 8
8. Mar. 15
9. Mar. 22
10. Apr. 5
11. Apr. 12
12. Apr. 19
13. Apr.26
14. May 3
15. May 10
Topics and Texts
1914-1918 : WWI
Film: Un Long Dimanche de Fiançailles
Anouilh : Le Voyageur Sans Bagage/Antigone
Céline, Chaps.17-20/ Mauriac, Thérèse Desqueyroux; Céline, Chaps. 21-24/ Mauriac.
Thérèse Desqueyroux
1914-1918 : WWI
Selected poems from Aragon, Jacob, Éluard, Prévert, Péguy, Claudel, Saint-Jean Perse
Claude Monet: l’Orangerie (images) et Giverny (film)
Céline, Chaps 25-30; Céline, Chaps. 31-34 ; Discussion 2 due 3/14
1919-1939 : Entre deux guerres
Giraudoux, La Guerre de Troie n’aura pas lieu
Colette, La fin de Chéri
Céline, Chaps. 35-39; Céline, Chaps. 40-43
1919-1939 : Entre deux guerres
War Memorials in France, Belgium, and Britain
Anouilh: Antigone
Film: La vie et rien d’autre (excerpts)
Paper 1 due after SPRING BREAK
1919-1939 : Entre deux guerres
Americans in Paris: Gertrude Stein, F. Scott Fitzgerald, Ernest Hemingway, Cole
Porter, and others
(film: Midnight in Paris);
La Fin de Chéri (Colette) (excerpts) ; Discussion 3 due 4/11
1939-1945 : WW II
Suite Française (Némirovsky) : Temp ê te en juin (chap. 1-17)
Film : Clips from Un village français
1939-1945 : WW II
Camus : La Peste (excerpts)
Suite Française (Némirovsky) : Tempête en juin (Chaps. 18-31)
Clips from Un Village français and De Nuremberg à Nuremberg
1939—1945 : WW II
Sartre: Les Mouches/Huis Clos
Suite Française (Némirovsky) ; Dolce (Chaps. 1-12) ; Discussion 4 due 5/2
WWI : 1939-1945
Conclusion and discussion of final paper
Suite Française (Némirovsky) ; Dolce (Chaps. 13-22)
Film : Un Secret
Paper 2 due (final paper) at midnight on the day of the FINAL EXAM 5/10

In Class Talks: Guidelines and Grading
5 points for each in-class talk (5=excellent to 0=not present/failing). 10 total “mini-presentations” per semester = 50 % of the grade

You will choose 5 topics from a list of topics for the first two historical periods (La Belle Époque/WWI) and 5 topics from a list for second two historical periods (Entre-deux-guerres and WW II). You will prepare a mini “Ted talk” of 5-8 minutes on each topic, using simple and original ideas, expressed clearly and with or without visual aids.
 You will prepare several questions that can be used to “test” your classmates’ understanding of your main points.

A rubric will be used to provide feedback
5 points for each discussion forum (5=excellent to 0=not present/failing). 4 discussions per semester = 20% of the grade
You will be judged on the following: originality; research; accuracy/grammar; organization; and
Sample Topics for historical periods 1 & 2: Mini “Ted talks” (please propose other topics!!) Timetables: Feb. 2-Mar. 8
Coco Chanel and the revolution in fashion
The Divine Sarah Bernhardt
Artists from La Belle Époque
Hector Guillmard
The Expositions universelles de 1889, 1900, etc.
Causes of WW I
Guillaume Apollinaire and Marie Laurencin
Georges Braques and the cubist movement
War heros of WWI, especially Philippe Pétain
L’Art nouveau and its resurgence in art and architecture in Paris and in cities outside of Paris (in particular, Nancy)
Transition: Women’s roles in WWI
Theaters of war – The Western Front, Eastern Front, etc.
The Russian Revolution
Peace talks and treaties - Le Wagon de la Clairière (Rethonde) de l’Armistice near Compiègne
Sample Topics for historical periods 3 & 4: Mini “Ted talks” (please propose other topics!!): Timetables: March 8-April 26
Le Front Populaire: Léon Blum and Jean Jaurès
Movie Clips from the film Faubourg 36 showing the rise of Fascism
The Spanish Civil War and Guernica
Fascism in Spain, Italy, and Germany
Causes of WW II
War heros of WW II, especially Charles de Gaulle
La Résistance française, especially Jean Moulin
Stravinsky and the Rites of spring and other avant garde musicians and dancers
Charlie Chaplin and his portrayals of Hitler
Jean Cocteau and other “friends of Coco Chanel”
Existentialism and its enduring influence on writers after WW II