Film and History: Joan of Arc, Myth and Reality
HST 322/WMS 322
Spring 2003
Dr. Shelley Wolbrink
Class time: WED 5:20-8:00 p.m., 307 Burnham
Office hours: MWF 12-12:45, T/TH 10:30-12:30, 3-3:45 p.m. and by appointment
Office phone and voice mail: 873-7387 Office number: 306 Burnham
Home phone: 823-7592
E-mail: swolbrin@lib.drury.edu
Class listserve: joanofarc@drury.edu
This course fulfills Drury requirements for history majors and minors, for women’s studies students,
and for all Drury students fulfilling their “Artifacts of Western Culture” requirement. This
statement is definitely the most boring statement I have ever used to introduce a course. But I do
want you to think about the ways in which a single historical figure has been appropriated and
frequently reconstructed to fit the ideals of a particular age. We will use film, literature, art
history, and historical records from all ages to understand more about this young girl who saved
France and has been depicted as poor peasant, martyr, saint, military leader, lesbian, cross-dresser,
mother of a nation, feminist, Protestant, and even a crazed, rabid woman (see, the film The
Messenger). Only Jesus’ life has been explored more historically, as shown in the over 100 books and
articles that have appeared in the last three years on Joan of Arc and the over 20,000 books found
in the national library of France. This class will show you the real Joan of Arc and give you the ability
to view her against the backdrop of the Hundred Years’ War, medieval saints, political intrigue, and
gender wars. We will first learn about the Late Middle Ages, late medieval spirituality, and Joan of
Arc’s life from youth to death. By taking our knowledge of the reality behind Joan of Arc’s life, we
can better evaluate how other ages have understood Joan: specifically her contemporaries in the
fifteenth century such as Shakespeare and Christine de Pizan; nineteenth-century writers such as
Mark Twain and Jules Michelet; and twentieth century filmakers, politicians, musicians, and romance
novelists.
Since this is a film and history class, we will become film critiquers, critically appraising the worth of
five feature films in terms of their historical depiction of the period and the people. Joan of Arc is
an amazing person, and I want you to understand her story. But this class is also about Joan as a
“Cultural Artifact”; for individuals and nations, Joan has invoked powerful meaning and emotions that
have changed significantly over time. In this way, we’ll see how “history” becomes no longer “history”
(read: “facts”), but really the version of the story that you liked best, the one you most remembered,
or the one you hear most frequently. Ultimately, I do want you to think about the importance of
establishing “historical truth.” But, in the process, we’ll have a lot of fun exploring the reality and
myth behind Joan of Arc.
OUR MAJOR UNITS OF STUDY ARE:
1. Social, Religious and Political Context of Late Medieval Europe
2. Joan of Arc: Biography through Historical Text
3. As a Cultural Artifact: Perceptions of Joan of Arc throughout History
Required Texts:
•Pernoud and Clin, Joan of Arc: Her Story, 1998
•Pernoud, Joan of Arc, by Herself and her Witnesses, 1994
•Michelet, Joan of Arc, 19th century/repr. 2000
•Ron Maxwell, “Joan of Arc: Virgin Warrior” screenplay (shred upon completion)
•Coursepacket (available for purchase at bookstore)
•The Trial of Jeanne D’Arc, from the original Latin and English (cont’d)
(www.fordham.edu/halsall/basis/joanofarc/trial.html)
•Jeanne D’Arc, Maid of Orleans, Deliverer of France (Nullification/Rehabilitation Records)
(www.stjoan-center.com)
• Free online subscription to Joan of Arc Society listserve
Course Objectives:
1.
2.
3.
4.
5.
6.
To help students better visualize the past through a discussion of social and cultural
history, and history as it relates to the lives of women.
To examine and understand the historical record concerning Joan of Arc in order to
fairly appraise the myth of Joan.
To understand the place of gender when evaluating the life of Joan of Arc.
To allow students to read the actual words and phrases of peoples who lived in the past:
this means, read primary sources.
To understand how historical interpretations are shaped by the spirit of the age (or the
spirit of the filmmaker).
To enhance critical thinking skills through discussion, presentations, formal writing,
informal writing, and exams.
Requirements
10%
15%
10%
54%
11%
and Grading Policy:
Quiz
Final Exam Essay, Historical Consultant critique
Group Presentation/Detailed Point Outline—Joan as Cultural Artifact
Historical Critiques of films/literature (13.5% x4)
General Classroom Participation: (Readings, Preparedness, Participation, Quizzes)
Final grades are assigned according to a straight scale: 100-93 (A), 92-90 (A-), 89-87 (B+), 86-83
(B), 82-80 (B-), 79-77 (C+), 76-73 (C), 72-70 (C-), 69-67 (D+), 66-63 (D), 62-60 (D-), below 59 (F).
However, students who make a clear contribution to class discussion by having completed the reading,
by having thought about its meaning, and by revealing their preparedness through questions and
dialogue will be rewarded in their final grades.
Since attendance is required, unexcused absences will influence final class grades downward,
especially borderline grades. Excused absences generally fall into the realm of serious crises—they
do not include work, doctor’s appointments, or job interviews. Please also come to class on time.
Whether intended or not, repeated late arrivals imply a general disinterestedness in the class.
Significant absences--10% of our class meetings (1.5 absences or more)--will result in the dropping of
the final class grade 5 points for every class missed. Daily learning is important to your education
and maturation as a life long learner and it is important to me that you hear new points of view,
interact with students and myself, and develop the confidence to speak about historical processes.
Students concerned about their class grades should see me for individual direction on class
improvement.
Course Guidelines:
CLASS PARTICIPATION and GENERAL CLASSWORK: This counts for 11% of your grade and it is an
integral part of your grade. This is defined as participation in the class discussion of the assigned
readings. Plan on expressing yourself and commenting on your reading in class during every meeting.
If you excel here, I will reward you beyond the 10%. Bring the readings to class for discussion and
analysis. Our classroom will be an open one, and I encourage you to vocalize your criticisms and invoke
controversy, as long as it remains relevant to our themes of the class. Daily reinforcement through
class discussion also significantly helps you on the major exams. Ask questions—this too is
participation. Map quizzes, any general quizzes, and short response papers also go into this grade,
but my primary evaluation technique is how well you are able to convey to me that you are doing your
reading and thinking about it. Please see me (or e-mail me) throughout the year to receive feedback
(or a grade) on how you are doing in this area. There is always the possibility of short, unannounced
reading comprehension quizzes. If you have done the reading, this should be an easy A for all of you.
Quizzes can be made up only with an excused absence (medical note, etc.).
GENERAL COMMENTS ON WRITTEN WORK: What I prize above all in these essays is clarity of
thought and expression, and your skill in reasoning and supporting your observations with direct
references to the written word or visual work. You’ll want to be as specific as possible. Always
include numerous citations that reveal your familiarity with the texts used in class. I have a standard
grading sheet that will be handed back to you with comments. Please consult this sheet for my
grading criteria (how an A differs from a B, etc.) All formal writing assignments are expected to be
professional in nature, that is, typed, with traditional-size, academic font, one inch margins, page
numbers, correct spelling, a staple, a meaningful title, and without typos. If these criteria are not
met initially, I reserve the right to hand this paper back to you for revision (a late penalty will apply).
I do not accept papers or assignments that are not stapled and I do not accept papers that are
paperclipped; they must be stapled. This is not because of a generally cruel nature, but because
your paper may get lost if it is not stapled OR other students’ papers will get attached to your paper
clip and I will lose their papers (most of your professors here teach four classes, so we are dealing
with a lot of papers!). MLA parenthetical citations can be used on all papers (period after
parentheses). With two day’s advance notice, I will read and comment on all rough drafts (I will not
assign a grade, but will make substantive comments to help you improve your grade).
SPECIFIC GUIDELINES ON FILM/LITERATURE EVALUATIONS: This portion of your grade
represents the largest component of your grade. I consider it highly important as we have few other
evaluations in this class; consider these written assignments as seriously as you might a midterm, as
they prove to me your understanding of they myth and reality behind Joan of Arc. You must
complete 4 of these assignments throughout the year (worth 13.5% each). 1) Henry V 2) Jehanne la
Pucelle 3) The Messenger 4) Literary Texts. They are always to be due one week after finishing
discussion on the film or book (you cannot go back and choose an earlier one at a later date). Please
use as a guideline the handout for evaluating film and literature to help gain ideas for the papers—
which should be about 5 pages in length. The basic question to answer is: HOW ACCURATE IS THE
FILM OR BOOK? How fair is the historical representation of Joan of Arc and of the time period?
Notice that I did not write—“did you like the film or book?” We are evaluating each work historically,
and it might help to put yourself in the seat of a movie or book reviewer. In order to answer the
question, I want you to use your own knowledge of Joan from me, our books, our discussion and
incorporate it into your paper. In this way, the paper shows me how thoroughly you are beginning to
understand the time period. The class is designed so that we generally learn the history, then watch
the film.
CLASS EVALUATIONS OF FILM: After each film or work of literature, I will ask for a personal
score from each of you as you consider the historical accuracy of the film. I want you to come up
with a number between 1 (least) and 10 (best) on your own, and an justification. After you write the
number down, we will discuss the scores as a group. This exercise is intended to make our viewing
and reading active (rather than passive), and to help build your evaluative skills as a critiquer of film
and literature.
LISTSERVE REQIREMENT: Sign up to receive listserve messages from members of the
International Joan of Arc Society and read the messages. I want you to understand the
effect that Joan of Arc has on people around the world and to take part in the dialogue being
established about Joan of Arc. Extra credit to class members who either post a message or
respond to a message sometime during the semester. How to subscribe: 1. email the
following two words to majordomo@seas.smu.edu: subscribe joanofarc (make sure it is
written just like shown with no other marks and separated into two words only) 2. Wait or
come back soon to receive another message from the server; you must confirm your email
address within 24 hours. The first message is just to confirm that you must send something
back. The second message is the important one: it lists an authorization number. Click “reply
to message” on your screen and then your next task is to send back the authorization number
plus a bit more. I just deleted all info surrounding the number and words and sent it back.
This is the easiest method because it is already set up perfectly by the server. 3. To
unsubscribe at the end of the year (if you choose!!), email the following two words to
majordomo@seas.smu.edu: unsubscribe joanofarc.
QUIZ/FINAL EXAM: Count for 10 and 15% each. Because of the nature of this class, much less
emphasis will be given to midterms and finals than other projects. The information you are learning
about Joan of Arc should come out in your analysis papers, so please view these papers as tests. The
midterm will be more a test of knowledge and reading; the final paper will be an essay to Ron Maxwell.
RESEARCH/ANALYSIS PROJECT (Individual or Group): This counts for a total of 10% of your grade.
The topics are listed below. You will be graded on your work with the group, on your oral presentation,
and on your detailed POINT OUTLINE with MLA citations where needed. Turn in a bilbliography
where needed.
Topics
Written texts:
George Bernard Shaw’s Joan of Arc (St. Joan, 1957)
Carolyn Cage’s Joan of Arc
Wishbone Classics’ Joan of Arc
Mark Twain’s Joan of Arc
Rehabilitation Records in more detail
Trial Records in more detail
Thematic Topics:
Joan as Saint
Joan as Leader
Joan as Warrior
Joan as Symbol of France (National Unity/Nationalism)
Joan as Lesbian
Joan as Cross Dresser/Transvestite
Joan as Religious Martyr
Joan as Simple, Ignorant Shepherdess
Joan as Mystic and Prophet to the People
Joan as Royal Bastard
Joan as Feisty Woman/Feminist
If you decide to do a thematic analysis, I want you to explore a theme within Joan of Arc studies
from Joan’s lifetime through today, or analyze a written work, providing a detailed review. Describe,
Analyze, Research, and Prove or Disprove one of “stereotypical” views of Joan of Arc. You will use a
lot of the material we have gone over in class, so in this respect I do not view this assignment as a
true research paper.
Your presentation—Group evaluations will be conducted for all members of the group. It is up to the
group to meet to get going on the project. DO this early! Provide quotations to the audience to share
relevant passages. See research presentation sheet in your coursepacket. Very generally: One half of
this grade will be your research (How much work was conducted for the presentation? Were you able
to condense this research into your own thoughts and style?); the other half will be how you present
the information (In general, did you work to provide an easy to understand presentation for your
audience that was organized and informative? Did you include the significance of your topic? Did you
convey enthusiasm?).
Your sources: I take seriously the nature of your sources—they should be academic and
comprehensive. I want to feel comfortable that you checked a variety of outlets for your paper.
Start early. Part of being a historian is using resources to elicit information. The excuse that Drury’s
library is so small doesn’t really work as you have access to the libraries of over 40 institutions with
MOBIUS (no charge, takes 2-3 days) and ILL (a small charge, takes about a week). The following is
intended to help you realize the vast array of outlets available to you as you complete your paper.
1. Drury Electronic Services: (You will need the password to access; check at information desk)
WorldCat--books
Article First--articles
Ebsco Host—articles
MOBIUS
Interlibrary Loan will get books for $1.00 for you and articles for $2.50, if we do not possess the
title you are looking for.
2. At Olin Library:
Card Catalog
Computer Catalog
Encyclopedia Britannica—Macropedia (look in index) and others up-to-date—this is really the only
scholarly multi-volume encyclopedia. Please do not use those wimpy, web-based encyclopedias.
3. Websites: particularly, www.northernlight.com;www.altavista.com. These sites have the largest
search engines; try them both. www.drury.edu/Olin/subjects/history.html has links to history sites.
But exercise caution. Websites can be biased and often factually inaccurate. Do not rely heavily on
websites; generally, they do not represent serious scholarship and are looked upon by professors as
an easy way of getting out of doing real research and reading actual books by scholars in the field.
Check the authorship of the website, and, if in doubt, print it out and send over my way.
4. SMS Library:
Access their computer catalog at Olin library or go to library directly.
5. Bibliographies of Books:
Look at the end of books for other books and articles on your topic. If we do not carry them, and
they seem to be important, think seriously about ordering from Interlibrary Loan. There is a small
fee, but sometimes it is worth it. It does not take long for the books or article to arrive.
DEADLINES for papers and assignments should be adhered to. If turned in late, the penalty is one
half of an entire letter grade drop for the first day late (on a 100 point scale, five points, an 83 to a
78); an entire grade down after the first day late. A late paper is defined as any paper turned in
after the official due time, even if it is still turned in that afternoon. Note: I cannot make
exceptions after the due date, nor the day before, but I am flexible if you talk to me beforehand
and have an excuse. At the latest, papers will only be accepted one week from their original due
date, since I have by then handed back the assignment to the other students.
COMPUTER PROBLEMS HAPPEN! BEWARE!!
Computers unfortunately are not sympathetic
creatures. Please follow this advice in order to cut down on Computer Problems: 1) Save repeatedly
on two disks 2) Print out a copy of your paper after every new page is written 3) Finish your paper
earlier than its due date. If you do encounter a printing problem that makes you unable to turn in an
assignment, I will be sympathetic (unlike a computer), but please show me your paper as it has taken
shape thus far (follow rule number 2).
E-MAIL ACCOUNTS: It is a requirement of this course that you have a Drury e-mail account and
that you check it regularly. A class list-serve will be established so that I may contact you
concerning assignments and schedule changes. Plan on checking it Monday mornings for possible info
on the class.
ACADEMIC MISCONDUCT: Please see your academic handbook for the college-wide policy. My policy
is a “0” on the assignment and a letter to the Dean of Academic Affairs detailing the nature of the
academic misconduct. If you have any questions at all on this subject, please see me before the
assignment is turned in. Among other things, I consider academic misconduct to involve the following:
cheating
plagiarism
using an identical or even a similar paper for two different courses; presentations as well.
submitting the same answers or the same paper as someone else in class
using ideas other than your own and failing to cite where these ideas came from (very common)
purchasing a research paper for use and incorporation into your own research
turning in a paper or portion of a paper completed by someone else
using the same words or sentence structure as another author without putting those words or that
sentence into quotation marks and referencing the author (also very common)
Note: the copying of words and sentence structure directly from textbooks, monographs, and the
internet without citations is plagiarism; the copying of words and sentence structure directly from
textbooks, monographs and the internet even with citations is still considered plagiarism—unless you
place these words or sentences in quotation marks.
Use your own words and your own sentence structure; cite all ideas that you did not know
before starting the paper.
BOOKS ON RESERVE: Western Civilization textbooks are on reserve at the library under my name,
if you find that you need additional historical background as well as many of the library’s books on
Joan of Arc.
Class Schedule and Reading Assignments (complete for day of class):
Wednesday January 22
Hellos and Syllabus; Begin Discussion of Research/Analysis Paper; Film Evaluation
Noah’s Wife, Bone of Arc, and other aspects of Johannine Popular Culture
CP, Handout on Evaluating Film.
BEGIN UNIT ONE
Social, Political, and Religious Contexts of Medieval Europe
Wednesday January 29
Introduction to the Late Middle Ages, Historical Timeline, Geography
The Late Medieval Church, Religious Beliefs, and Female Mysticism
Documentary: A&E, “The Virgin Warrior” (1999)
DUE: 1 page, typed, describing any memories, knowledge, images you have of Joan of Arc. Do not look
up info—just tell me what’s happening in your head as you close your eyes and think about Joan of
Arc.
DO After Writing Assignment: 1. Subscribe to Joan of Arc listserve. See instructions in syllabus
guidelines. 2. Visit www.dc.smu.edu/ijas (international joan of arc society, can also subscribe to
listserve here) and www.stjoan-center.com (Joan of Arc center, Albuquerque, NM). 3.
READ: Pernoud and Clin, “Iconography of Joan of Arc,” and “Joan of Arc in Folklore,” 240-244.
Coursepacket (CP), “Why the Middle Ages Matter,” 1-4; short biography of Joan of Arc, Dictionary
of the Middle Ages; Henrietta Leyser, “Lay Piety,” 222-239; Joseph Lynch, “The Framework of the
Christian Life,” 256-273.
Wednesday February 5
The Hundreds’ Year War and Medieval Warfare
READ: CP, Dictionary of the Middle Ages, “Hundred Years War,” 331-335. Michelet (actually,
translator’s notes), 124-129 and view dynastic chart in beginning of book; Pernoud and Clin, 1-6; Philip
Warner, “Weapons of Attack and Defense,” 47-69; “A Castle at War,” 71-91; “The Castle at Bay,”
218-224.
DUE: Paper topics, # 1-3 choices (see topics twd. end of syllabus). Let me know if you would like to
be in a group, a pair, or not.
Wednesday February 12
Film: Henry V/Kenneth Branaugh
**Use this film to get into the mindset of English vs. French, the beg. of nationalism, medieval
warfare, the importance of a charismatic leader, and medieval life, while understanding that
Shakespeare, the author, and Branaugh, the producer, are decidedly English. How would this film
have been made differently from a French perspective?
READ: Pernoud and Clin, “Charles VII,” 167-168, and “Henry VI,” 168-169; CP, Froissart’s accounts of
battles; article on Battle of Agincourt; Begin for next week the Joan of Arc reading—Pernoud,
“Origins and Childhood,” 15-29, and “Vocation and Departure,” 30-45.
**This is Critique # 1.
**pass out hand-out, Inquisition.
Wednesday February 19
The Medieval Inquisition, Heresy, and Women in the Middle Ages
Excerpt from documentaries on the Inquisition/Women in the Middle Ages
READ: CP, Henrietta Leyser, “Women at Work,” 142-167. “Magic and the Inquisition,” 1; Visuals,
Women and Witchcraft.
DUE: Paper on Henry V. Critique #1 required. All feature films represent opportunities for film
analysis and critique.
BEGIN UNIT TWO
Joan of Arc: From Village Life to Military Leadership
Wednesday February 26
Joan’s Path to the King: From Childhood to Coronation
Start: Jeanne la Pucelle (Part One: The Battles), 1994: Jacques Rivette’s version
READ: Pernoud and Clin, “Joan as Memory,” 159-164; “Joan meets her Dauphin,” 15-31; “Her Story
Begins,” 9-14; “Joan and the Victory at Orléans,” 33-51; visuals around 165 and 166; Pernoud, “Origins
and Childhood,” 15-29; Vocation and Departure, 30-45.
IN-CLASS READING: Pernoud, “Joan before the Dauphin,” “Orleans,” Poitiers Conclusions; Letter to
the English. **Bring both Pernoud books to class.
Wednesday March 5**Terms for Short ID Quiz passed out
From Coronation to Capture Continue with Jeanne la Pucelle (Part One: The Battles)
READ: Pernoud and Clin, “Her Dauphin,” 53-68; “Intrigue,” 69-88; Pernoud, “The Road to Reims,” 108127; Pernoud, Rheims to Compiegne, 139-164.
IN CLASS: Pernoud, Rheims to Compiegne, 128-139 top.
Wednesday March 12
Quiz (brief 30 minute quiz)
Imprisonment and Trial
Finish Jeanne la Pucelle (Part One: The Battles)
READ: Pernoud and Clin, “Joan the Prisoner,” 89-99; “Joan’s Trial and Execution at Rouen,” 103-128;
“Pierre Cauchon,” 208-211.
**Critique# 2 due March 12, March 15, or March 29th. Can slip under my door, if you want.
Wednesday March 19—no class/Spring Break
Wednesday March 26
Trial and Death of Joan of Arc in the Records
End of Class: Excerpt from Jehanne la Pucelle, (Part 2: The Trials), Jacques Rivette
READ: Pernoud, “Trial of Condemnation,” 165-227; Pernoud, “Death,” 228-254; Pernoud and Clin,
“Execution at Rouen,” 129-137.
**Bring your copy of the trial records to class tonight
BEGIN UNIT THREE
As a “Cultural Artifact”: Perceptions of Joan of Arc throughout History
Wednesday April 2
The Fifteenth Century
--Christine de Pisan, Shakespeare, the “False Joans,” and the Rehabilitation Trial
READ: Pernoud, bottom 255-277; Pernoud and Clin, “The Verdict of Rouen Nullified,” 139-158. CP,
Christine de Pisan’s Ditié of Jehanne d’Arc; Johann Nider on Joan of Arc; Shakespeare’s Henry VI,
Part One (Joan’s words checked, OK); Lightbody, “Epilogue,” 164-171; Michelet, 3-22.
IN CLASS: Read Raphael Holinshed, hand-out. **bring to class Rehabilitation Trial records
Wednesday April 9
A Skip to the Twentieth Century--The Messenger: A Story of Joan of Arc (148 minutes,
2000), Luc Besson’s Vision
READ: Michelet, 22-93. READ: 30 pages of text for presentation project; or conduct research on
your topic.
DUE: One paragraph statement on your project.
Critique #3 assignment, due next week
Arrange to meet with your group Thursday or Friday to discuss project. How will you convey the
work to the student audience? Advice?: use quotations; have overall analysis in beginning and the
end; split up tasks between all members of the group.
Wednesday April 16
Discussion of Michelet’s Joan of Arc
Film: The Passion of Joan of Arc, 1928/Carl Dreyer’s vision—A silent film; “One of the
Greatest Films of the World”
READ: Finish Michelet, 93-122; prepare for discussion of book and presentation.
DUE: Paper on the Messenger.
IN CLASS: Friedrich Schiller, Die Jungfrau von Orleans (The Maiden of Orleans)
Wednesday April 23
Research Presentations—Joan as Cultural Artifact Cont’d
Begin Joan of Arc (1999), CBS’ Vision
READ: CP, Essay from beginning of Bernard Shaw’s St. Joan, 1-25 (What points does Shaw make that
you agree with? What points are controversial?); Carolyn Cage, “The Second Coming of Joan of Arc”,
5-34; Mark Twain, Translator’s preface, 160, 445-457, 461 end; Wishbone Classics excerpt.
Wednesday April 30
Joan’s Canonization
Finish Joan of Arc (1999), CBS’ Vision
READ: CP, Lightbody, “Epilogue,” 156-164; Pernoud and Clin, “Beatification and Canonization,” 245;
Official Proclamation of Canonization; Henry Ansgar Kelly, “Joan of Arc’s Last Trial: The Attack of
the Devil’s Advocates, 205-236.
DUE: Final Critique; Analysis of literary text representations of Joan using anything we’ve read thus
far and your own group project text (choose at least three texts).
Reminder: Assign character parts for play--
Wednesday May 7
An Epic? Ron Maxwell’s screenplay
READ: Finish the screenplay
Final Exam: Wednesday evening, take home essay due on Maxwell screenplay
*This syllabus is subject to modifications