NOTE: This syllabus is available online at:
home.millsaps.edu/mcelvrs/40s_50s_SYL_2008.htm
Check the online syllabus for updates and to listen to audio.
ACKNOWLEDGEMENT
Many thanks to Candace Rich for permission to use several of the images
from her wonderful website,
"The Fifties Web."
Students are urged to visit this site to explore the Fifties further:
COURSE OBJECTIVES
The two decades between 1940 and 1960 witnessed some of the most dramatic changes in American history. A nation that, its relatively brief participation in World War I notwithstanding, remained somewhat isolated from the rest of the world, much of which was already at war in 1940, became the most dominant nation the world has ever seen. A world that was only beginning to comprehend the horrors of air power in 1940 had come five years later to confront for the first time the real possibility of the end of all life on earth. The ominous shadow of a mushroom cloud hung over all the events of the late forties and fifties. Women, who during World War II took jobs from which they had always been excluded, found themselves pushed back into traditional roles in the postwar years. African-Americans returned from their experiences in the war to face segregationists who were digging in their heels to preserve white control. The horrors of Nazism and the Holocaust caused many Americans to reconsider their own racial attitudes. By the mid-fifties, a new and ultimately successful civil rights movement was underway. In that decade, dominated by the Cold War, accusations of "un-Americanism," conformity, and family life, the new medium of television began to transform American life. And in the midst of the surface placidity, a rebelliousness in youth began to be heard -- quite literally, as Rock and Roll burst on the scene in the middle of the decade. This course will explore all these aspects of the two decades, through politics, novels, films, music, plays, television, poetry, sports, and other avenues.
COURSE REQUIREMENTS
Tests
Journals
The journal is central to the course. It will have a two-way
relationship with the discussions, both preparing students for class discussions and
providing a vehicle for further reactions to points that have been discussed in class.
In
their journals students are asked to interact with the readings, films, and classes. You
should ask questions about what you read, see, and hear, and ponder (in writing) possible
answers. Journal entries should demonstrate both that you have read the assignment (or
seen the film or kept up with what was being discussed in class) and that you are thinking
about what you read, see, and hear.
A
journal is a diary of your thought processes. After a session of reading, after a class
discussion, or after a film or music listening session, you should sit down and simply
start writing about your most dominant or curious impressions, just as in a diary you
might review or comment upon the day's events. By its nature, a journal may ramble,
because you may have no idea what you are going to say when you begin writing. The act of
getting words and ideas on the page will help you discover what your most important
concerns are in the course.
Although the instructor will, in fact, be grading your journals,
what you write is primarily for your own use, both during the course and in the future.
You will want to keep your journals from this course, since they will constitute a record
of your thoughts during what we hope will be an interesting period of your lives. You need
not worry about shifting topics, contradicting yourself, losing sense or being
unconvincing. Correctness of language and problems of spelling should not even cross your
mind (unless, of course, you want them to be a concern). Just put down your first
reactions and explore them until you have worked them out fully.
The journal will work for you only if you make it a habit.
If you wait for the spirit to move you before you pull out the journal, many of you will
not use it very much. The best way to establish real discipline is quite simply to set
aside 15 minutes or so after each reading session, class, and film. You may not
always get done in that time, but at least you will know that it is a part of your
routine.
Doing your journal in the proper spirit will make you a better
reader, viewer, listener, and thinker; it will also prepare you to participate more fully
in class discussion and enable you to raise issues that really concern you.
The Journal Assignment
* Obtain a notebook that you use only as a
journal for this course. This should be separate from the place where you take notes in
class.
* Date each entry and keep up with the assignments right from the start.
* Begin your journal immediately, with entries on this week's readings, films, and discussions.
* Journals should contain at least one entry for
each of the reading assignments (several on each novel) and one for each film. Also
include entries on some class discussions. Refer to a substantial number of specific
points, using quotations where helpful; question these points and comment on them.
In addition to comments on the readings and films, journals
should also contain comments on some points that come up in class discussions. Journals
will be collected for comments and grading several times during
the semester.
Because your journal is to be used, among other purposes, to help
stimulate class discussion, students are required to bring their journals with
them to each class. In order to ensure that they are being kept up to date, the days on
which they will be collected for review by the instructor will NOT be announced in advance.
Discussions
Attendance at all class meetings is expected. It is also expected
that reading assignments will be completed before the class meeting for which they
are assigned. A diversity of viewpoints is welcomed in class discussions. Students should
bring up in class any questions they have from the readings. Absences in excess of
THREE will adversely affect a student's grade. Absences in excess of SIX may result in
failure of the course.
Millsaps College is an academic community dedicated to the
pursuit of scholarly inquiry and intellectual growth. The
foundation of this community is a spirit of personal honesty and
mutual trust. Through their Honor Code, the students of Millsaps
College affirm their adherence to these basic ethical principles.

An Honor Code is not simply a set of rules and procedures
governing students' academic conduct. It is an opportunity to
put personal responsibility and integrity into action. When
students agree to abide by an Honor Code, they liberate
themselves to pursue their academic goals in an atmosphere of
mutual confidence and respect.
The success of the Code depends on the support of each member of
the community. Students and faculty alike commit themselves in
their work to the principles of academic honesty. When they
become aware of infractions, both students and faculty are
obligated to report them to the Honor Council, which is
responsible for enforcement.
The pledge signed by all students upon entering the College is as
follows:
As a Millsaps College student, I hereby affirm that I
understand the Honor Code and am aware of its implications
and of my responsibility to the Code. In the interests of
expanding the atmosphere of respect and trust in the
College, I promise to uphold the Honor Code and I will not
tolerate dishonest behavior in myself or in others.
Each examination, quiz, or other assignment that is to be graded
will carry the written pledge: "I hereby certify that I have
neither given nor received unauthorized aid on this assignment.
(Signature)" The abbreviation "Pledged" followed by the
student's signature has the same meaning and may be acceptable on
assignments other than final examinations.
It is the responsibility of students and faculty to report
offenses to the Honor Code Council in the form of a written
report. This account must be signed, the accusation explained in
as much detail as possible, and submitted to the Dean of the
College.
Millsaps College is an academic community dedicated to the
pursuit of scholarly inquiry and intellectual growth. The
foundation of this community is a spirit of personal honesty and
mutual trust. Through their Honor Code, the students of Millsaps
College affirm their adherence to these basic ethical principles.
An Honor Code is not simply a set of rules and procedures
governing students' academic conduct. It is an opportunity to
put personal responsibility and integrity into action. When
students agree to abide by an Honor Code, they liberate
themselves to pursue their academic goals in an atmosphere of
mutual confidence and respect.
The success of the Code depends on the support of each member of
the community. Students and faculty alike commit themselves in
their work to the principles of academic honesty. When they
become aware of infractions, both students and faculty are
obligated to report them to the Honor Council, which is
responsible for enforcement.
The pledge signed by all students upon entering the College is as
follows:
As a Millsaps College student, I hereby affirm that I
understand the Honor Code and am aware of its implications
and of my responsibility to the Code. In the interests of
expanding the atmosphere of respect and trust in the
College, I promise to uphold the Honor Code and I will not
tolerate dishonest behavior in myself or in others.
Each examination, quiz, or other assignment that is to be graded
will carry the written pledge: "I hereby certify that I have
neither given nor received unauthorized aid on this assignment.
(Signature)" The abbreviation "Pledged" followed by the
student's signature has the same meaning and may be acceptable on
assignments other than final examinations.
It is the responsibility of students and faculty to report offenses to the Honor Code Council in the form of a written report. This account must be signed, the accusation explained in as much detail as possible, and submitted to the Dean of the College.
REQUIRED READINGS
Michael C.C. Adams, The Best War Ever: America and World War II.
Norman Mailer, The Naked and the Dead.
Arthur Miller, Death of a Salesman.
David Halberstam, The Fifties.
Ralph Ellison, Invisible Man.
Jack Kerouac, On the Road.
Other readings will be distributed in class.

FILMS
Fourteen feature films from the 1940s and 1950s will constitute
an integral part of this course. The films will be shown on Wednesday evenings
at 7:00 PM in Sullivan-Harrell 221. It is expected that students will
attend these screenings, which should be considered the equivalent of regular class
meetings. These movies were made to be shown in theaters,
on large screens, and to be viewed communally. That is the experience we seek to duplicate
in the course. In special circumstances, with the permission of the instructor, a student
may view a particular film at another time. In most cases, the films will be available on
videocassette or DVD in the Millsaps Library. Students who cannot attend a
showing on a particular Wednesday evening and have received permission to miss the
Wednesday evening meeting are required to view the video on their own before
that time. Films will usually be discussed in the class immediately following the
Wednesday showing.
OFFICE
Christian Center, Room 28
Hours: Tuesday, 2:15-3:005 PM; Thursday, 2:15-3:00 PM
and at other times by appointment.
COURSE OUTLINE
Tu Jan 15 How Great Was "The Greatest Generation"? -- Introduction
W Jan 16 FILM: Citizen
Kane (1941)

Th Jan 17 "Rosebud" -- The Loss of Innocence and the Coming of the War
Audio: Tommy Dorsey/Frank Sinatra (1941)
Adams, xi-19.
Tu Jan 22 A Democracy Goes to War
Audio: Andrews Sisters (1941)
Adams, 20-42.
W Jan 23 FILM: Casablanca (1942)
Link to Reviews
Th Jan 24 SPECIAL EVENT: An Atomic Bomb Survivor Visits our Class
Takashi Teramoto, A survivor of the Hiroshima Bomb, will discuss the event and answer questions.
Adams, 43-68;
Mailer, xi-164 (through Part Two, chapter 5).
![]()
Tu Jan 29 The War in the Pacific
Adams, 69-113;
Mailer, 164-235 (Part Two, chapters 6-7).
![]()
W Jan 30 FILM: Woman of the Year (1942)
Audio: The Ink Spots (1943)
Link to Reviews
![]()
![]()
Th Jan 31 Rosie the Riveter, Katharine Hepburn, & Zoot Suits
Audio: Al Dexter & His Troopers (1943)Adams, 114-135;
Mailer, 236-429 (through end of Part Two).
![]()
![]()
Tu Feb 5 The War at Home
Audio: Benny Goodman Orch. w/ Peggy Lee (1942)Mailer, 431-559 (Part Three, chapters 1-6).
W Feb 6 FILM: The Best Years of Our Lives (1946)
Audio: Frank Sinatra (1945)
Link to Reviews
Th Feb 7 War and Fiction
Audio: Sammy Kaye & His Orchestra (1942)
Mailer, 559-721 (finish remainder of book).
![]()
Tu Feb 12 Victory in Europe
Audio: Spike Jones & His City Slickers (1942)
Adams, 136-159.
![]()
W Feb 13 FILM: The Maltese Falcon (1941)
Link to reviews
![]()
![]()
Th Feb 14 Mr. Oppenheimer's Deadly Toy -- And Peace
Audio: Bing Crosby & the Andrews Sisters (1945)Halberstam, pp. 24-48.
****************************************************************
![]()
Tuesday, February 19 -- TEST 1
Audio: Tommy Dorsey Orchestra/Frank Sinatra (1940)
**************************************************************
![]()
W Feb 20 FILM: From Here to Eternity (1953)
Audio: The Mills Brothers (1944)Link to reviews
Th Feb 21 In the Mood:
The Music of War and Peace, 1940-1954
Audio: Glenn Miller Orchestra(1940)
![]()
Tu Feb 26 Countervailing Power: The Postwar Economy
Halberstam, 116-154.
Miller, Death of a Salesman, begin.
![]()
W Feb 27 FILM: A Streetcar Named Desire (1951)
Link to reviews
![]()
Th Feb 28 The Quest to BE Somebody -- Fading Man, Fading Woman:
Death of a Salesman and Streetcar
Miller, Death of a Salesman, finish play;
Halberstam, pp. 254-281.
![]()
Tu Mar 4 The Truman Show
Halberstam, ix-24.
![]()
W Mar 5 FILM: On the Waterfront (1954)
Link to Reviews
![]()
Th Mar 6 Origins of the Cold War
Halberstam, 87-100.
![]()
Tu Mar 11 M*A*S*H: The Forgotten War in Korea
Halberstam, 62-86, 101-115;
Ellison, vii-195.
![]()
W Mar 12 FILM: Invasion of the Body Snatchers (1956)
![]()
Th Mar 13 Exhuming McCarthy
Halberstam, 49-61, 330-358;
Ellison, 196-355.
zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
![]()
SPRING BREAK
Audio: Bill Haley and His Comets (1955)
zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
Tu Mar 25 Becoming VisibleEllison, 356-581.
![]()
![]()
![]()
![]()
W Mar 26 FILMS (DOUBLE FEATURE):
High Noon (1952)
The Wild One (1953)
Link to Reviews (High Noon)
Link to reviews (The Wild One)
![]()
![]()
![]()
Th Mar 27 Brown, Emmett Till, Montgomery, MLK, & Little Rock
Halberstam, 411-455, 539-563, 667-698.
********************************************************
![]()
Tuesday, April 1 -- Test 2
*******************************************************
![]()
W Apr 2 FILM: Sunset Boulevard (1950)
Link to Reviews
![]()
Th Apr 3 Pleasantville Revisited: Fifties Television & Popular Culture
![]()
Halberstam, 180-202; 508-520, 643-666.
![]()
![]()
![]()
![]()
![]()
Tu Apr 8
"Roll Over Beetohven"
-- Early Rock 'n' RollHalberstam, 456-479.
![]()
![]()
![]()
![]()
Wednesday, April 9
"IT'S GOTTA BE ROCK AND ROLL MUSIC"
A SOCK HOP
![]()
Th Apr 10 "I Like Ike"
Halberstam, 202-253, 311-329, 359-410.
Tu Apr 15 "Days of Soda & Pretzels & Beer" --
The Consumption Economy Comes of Age
Halberstam, 154-179, 487-507, 521-536, 629-642.
![]()
W Apr 16 FILM: Rebel Without a Cause (1955)
![]()
Th Apr 17 June Cleaver, Barbie, the Shirelles, and the Feminine Mystique
![]()
![]()
Halberstam, 282-294, , 479-486, 577-606.
Kerouac, 1-133.
Audio: The Shirelles (1960)
![]()
Tu Apr 22 Toward the Sixties: The Beats
Kerouac, 295-307;
Halberstam, pp. 295-307;
Allen Ginsberg poetry, to be distributed;
Norman Mailer, "The White Negro," to be distributed.
Click here to LISTEN to Allen Ginsberg reading "Howl"
![]()
![]()
W Apr 23 FILM: Some Like It Hot (1959)Link to Reviews
Th Apr 24 "What Are You Rebelling Against?"
"What've You Got?" -- The End of an Era?
Halberstam, 564-576, 607-628, 699-733.
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
![]()
![]()
Saturday, May 3 - 9:00 AM - Final Exam
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
![]()