Forming Lesson Plans Around State Mandates

Image
Watercolor, Otto Dix, 1924, Assault under Gas, Deutsches Historisches Museum
Question

How do you teach California World History Standard 10.6.4?
10.6.4: Discuss the influence of World War I on literature, art, and intellectual life in the West (e.g. Pablo Picasso, the “lost generation” of Gertrude Stein, Ernest Hemingway).

Answer

Like most state standards, the California history-social studies content standards provide an outline of content and skills that all students should “know and be able to do.” The standards purposefully avoid pedagogy, leaving all decisions regarding how to teach the standards to teachers.

Pedagogy, however, is addressed in the Department of Education’s primary curriculum document for history education – the History-Social Science Framework. The latest edition of the Framework, stalled in the adoption process due to a lack of funding but available on-line, is meant to help teachers and administrators implement the standards. Check out the Framework’s new chapters on instruction and differentiated instruction as they provide several suggestions for “teaching the standards.”

Content Knowledge

Have students examine a number of artifacts that address the question from different perspectives and genres

When planning to teach any historical topic a good place to start is to develop your own content knowledge. Go beyond simply reading about the topic in the textbook and establish deeper contextual knowledge of the period. If possible, familiarize yourself with the historiographical debates surrounding the topic. This work can be done largely on-line. A good place to start is the Gilder Lehrman web-site, which includes several, short “guided readings” on World War I and the 1920s that are helpful for developing content knowledge. Similarly, you might also check out Digital History’s short essays on the Jazz Age.

Backward Planning
Before lesson planning, consider how you might embed this material in a larger unit of study - in this case, a unit on the effects of World War 1 or the 1920s. Follow a backwards design process by first establishing the learning goals and objectives for the unit. To do this, think about how post-war literature and art relate to other topics mentioned in standard 10.6 – for example, the “widespread disillusionment with pre-war institutions, authorities, and values” (10.6.3), and the “effects of the war on…population movement, the international economy, and shifts in the geographical and political borders of Europe and the Middle East" (10.6.2).

Lesson Plan: Investigating a Standards-Based Question

Excerpt strategically

One approach for teaching this standard is to investigate it as a historical question: How did World War One influence literature, art, and intellectual life? Or, perhaps, How did artists interpret and depict the consequences of World War One? Begin by providing students some background content on pre-war art movements (e.g., realism and modernism) and information on artists who emerged out of the war. Next, have students examine a number of artifacts that address the question from different perspectives and genres. The standard includes some places to start searching for documents – namely, Picasso, Stein, and Hemingway. You might also take a look at T.S Eliot’s The Wasteland and Otto Dix’s painting, Assault By Gas (1924). Hemingway’s The Sun Also Rises (1926) includes some vividly dark recollections of the war and Wilfred Owens’ Dulce Et Decorum Est (How Sweet It Is) (1921) satirically captures the horrors of trench warfare. It is important here to excerpt strategically - include short passages of written work that speak directly to the lesson’s historical question.

Collaboration
Finally, yet perhaps most importantly, this standard is unique in that it promotes collaboration between history and English classes. If you are teaching a 9th or 10th grade world history course, seek out the members of your English department to see if they teach, or might be willing the teach, any literature of the “lost generation.”

The Great War Society

Image
Logo, The Great War Society
Annotation

The homepage for an organization that "encourages discussion, learning, scholarship and independent research on the events surrounding the First World War." Currently presents four exhibits: "The Doughboy Center: The American Expeditionary Forces"; "La Grande Guerra: The Italian Front, 1915-1918"; "France at War"; and "Legends and Traditions of the Great War." A fifth exhibit, "Russian Revolution and Civil War," is scheduled for summer 2002. The site furnishes information about the society's activities and events and contains issues from its journal, Relevance. Also includes a listing of more than 400 links to resources about the war. Although the site contains few primary materials, it should prove useful to those interested in military and social aspects of the war.

Campaign Atlases

Image
Image for Campaign Atlases
Annotation

These 400 20th-century color maps of military campaigns cover a broad range of conflicts, from American colonial wars to U.S. involvement in Somalia in 1992—1993. Most of the maps represent conflicts in which the U.S. played a role, such as the "Battle of Bunker Hill" or the "Allied Landing in Normandy," although the collection also includes maps of the Napoleonic Wars, the Chinese Civil War, the Falkland Islands War, and Arab-Israeli conflicts.

Maps are indexed by war and may be enlarged, but are not annotated. The site is easy to navigate, although large maps may be slow to download. A bibliography lists eight atlases, published between 1959 and 1987, from which many of the maps were taken. The site is particularly useful for studying cartography and military history.

EASE History: An Experience Acceleration Support Environment

Image
Photo, A boy reads a comic book, Dorothea Lange, 1942, Ease History
Annotation

This collection of video clips and photographs focuses on 20th-century historical events and political campaigns. "Historical Events" presents 470 items from 1900 to the present that the visitor can explore by decade or by 13 thematic topics that include presidential administrations, the environment, politics, war, the economy, and science/technology. "Campaign advertisements" offers 229 campaign ads from 1952 to 2004. The visitor can explore the items by year, candidate, party, and issue, or by thematic topics such as ad themes or positive/negative ads. "Core values" allows visitors to explore the values at the center of presidential political campaigns. All the clips can be displayed one, two, or four at a time.

The learning guide offers activity suggestions and provides more than 100 questions tied to the themes on the site. The site also offers "learning segments" on the Cold War and campaign ads. The search feature offers the ability to search all themes in the campaign ads, history events, and core values sections; select individual film clips from a full listing; conduct a keyword search; or select from 32 classroom topics such as communities, culture, war, the Great Depression, the New deal, and the Great Society.

Indiana's Storyteller: Connecting People to the Past

Image
Image, Brewett, Chief of the Miami, James Otto Lewis, 1827, Indiana's. . . site
Annotation

The Indiana Historical Society's main digital archive site contains more than 34,000 images, most of which are directly related to Indiana's past, grouped into almost 30 themed collections that include photographs, prints, sheet music, manuscripts, old court documents, letters, Indiana ephemera, and maps. Also collected here are images from the Jack Smith Lincoln Graphics Collection (containing photographs, lithographs, and engravings of Abraham Lincoln) and the Daniel Weinberg Lincoln Conspirators Collection (containing newspaper clippings, manuscripts, and other material pertaining to the Lincoln assassination). A sampler of the other collections: digitized images of the Indianapolis Recorder; manuscripts and images of James Whitcomb Riley; a collection of 900 postcards of scenes from Indiana from the first two decades of the 20th century; and fascinating panoramic photographs from the early part of the 20th century, showing church groups, picnics, army recruits, and conventioneers.

The Reason Behind the "Stars and Bars"

field_image
sheet music cover, origin of the stars and bars
Question

Why does the Confederate battle flag have 13 stars on it, instead of 11 stars, one for each of the seceding states?

Answer

A Confederate battle flag distinct from the flag of the Confederacy, the "Stars and Bars," was created following the first major battle of the Civil War, at Bull Run near Manassas, Virginia, in July 1861, because in the heat of battle soldiers and commanders confused the Stars and Bars with the Union army's "Stars and Stripes."

After General Pierre Gustav Toutant Beauregard, commander of the Confederate forces at Manassas, demanded a change, the Virginia army's high command, meeting in the Fairfax Court House in September, agreed to a design that earlier had been proposed for the flag of the Confederacy, but rejected in favor of the Stars and Bars. The new battle flag, a perfect square of red with a diagonal St. Andrew's cross of blue punctuated with white or gold stars, was produced by women in Richmond and first issued to soldiers by the end of October. The number of stars, representing the number of seceding states, increased to 13 after Missouri was admitted into the Confederacy on November 28, 1861 and a Kentucky secessionist provisional government that had formed on November 18 was voted into the Confederacy on December 10.

Despite the fact that a pro-Union government replaced the secessionists in Missouri and the Kentucky government voted to end their status of neutrality and stay in the Union, the 13 stars remained on most Confederate battle flags throughout the war, although flags with 12 stars also were produced. Beauregard attempted to standardize the battle flag throughout the Confederacy, but individual units resisted, insisting on retaining their own distinct designs.

Bibliography

John M. Coski, The Confederate Battle Flag: America's Most Embattled Emblem. Cambridge, Mass.: Belknap Press of Harvard University Press, 2005.

Henry Woodhead, ed. Echoes of Glory: Arms and Equipment of the Confederacy. Alexandria, Va.: Time-Life Books, 1991.

Who Earned a Medal for Cutting Costs by Starving Confederate Prisoners?

field_image
William Hoffman, Commissary General of Prisoners
Question

A well-read friend recently told me about a prison camp in Southern Maryland during the Revolutionary or Civil War. If it was the Civil War, it must be Point Lookout. My question is this: Who was the military leader (officer) who was supposedly awarded a medal or award for the amount of money he saved by keeping the prison in its deplorable condition (i.e. starving the prisoners)?

Answer

Your friend may have been thinking of William Hoffman (1807–1884), who was Colonel of the 3rd U.S. Regular Infantry, and, as Commissary General of Prisoners, reported directly to Secretary of War Edwin Stanton during the Civil War.

On October 13, 1863, Brigadier General Gilman Marston (1811–1890), the Commander of the military district where the war prison at Point Lookout, Maryland, was located, wrote to Hoffman, asking for money to build barracks for the thousands of Confederate prisoners there, who had to sleep in a large stockade compound crowded into flimsy tents, summer and winter. Hoffman denied General Marston's request. Marston also asked to be supplied with better rations for the prisoners, but Hoffman also refused that request, saying that the prisoners were already "bountifully supplied with provisions" sent to them from their families and friends, which was clearly not true.

The Union officer then acting as the Provost-Marshall in charge of the camp, Captain Joab Nelson Patterson (1835–1923), was relatively well-regarded by the prisoners, despite the terrible conditions there. One of the prisoners wrote of Patterson that he was "as kind as he was allowed to be."

Brady proceeded to increase prisoner suffering and to appropriate for himself vast amounts of provisions meant for them.

General Marston was reassigned, as was Captain Patterson. Replacing Marston was Brigadier General James Barnes (1801–1869), who had performed extremely poorly at the Battle of Gettysburg. He was a kindly man, thought the prisoners, but he had almost no contact at all with them. His Provost-General at Point Lookout became Major Allen G. Brady, 20th Regiment, Veteran Reserve Corps (1822–1905), a cruel, brutal, and arrogant man who assumed his post at the prison in June 1864 and proceeded immediately to increase enormously the sufferings of the prisoners and to appropriate for himself vast amounts of provisions meant for them. He remained in command of Point Lookout until the end of the war. His tenure there was the worst time for the prisoners.

Brigadier General Barnes received a brevet promotion to Major General just before the end of the war. Major Brady was never promoted anywhere near as rapidly as he believed he merited, but months after the war ended, he was promoted to Brevet Colonel before he was discharged.

Hoffman allowed terrible conditions of privation and abuse to grow unchecked.

Colonel Hoffman appears to have handled the management of Point Lookout no differently than he did the other Union prisons, which is to say badly, allowing terrible conditions of privation and abuse to grow unchecked. Secretary Stanton certainly did nothing to intervene and may even have encouraged this as one way to punish the South for its rebellion. Stanton did not wish to exchange prisoners with the South because he believed the North could better afford to prosecute the war without the return of its men than the South could, and because he believed that negotiating with the South on this issue might provide some precedent that could be construed as a Union recognition of the Confederacy as a sovereign power.

Many prison camps on both sides during the war were miserable places where many tens of thousands of prisoners from either side died. Prisoners returning from Point Lookout, however, pointed out that whereas some of the privations of Union prisoners in Confederate camps might be attributed to the general deterioration of conditions in the South as the war progressed, the privations of Southern prisoners in Union camps had no such contributing cause, and, in fact, were fostered by a commonly-practiced policy of retribution.

At the end of the war, Colonel Hoffman, having stifled some camp commanders and aid groups who had wished to help Confederate prisoners during the war, was actually able to return to the U.S. Treasury almost $2 million that had been originally allocated to feed Confederate prisoners. He was brevetted Brigadier General on October 7, 1864, for "faithful services," and then brevetted Major General on March 13, 1865, for "faithful, meritorious and distinguished services as Commissary General of Prisoners during war."

Bibliography

Robert E. Denney, Civil War Prisons & Escapes: a day-by-day chronicle (New York: Sterling Publishing Company, 1993).

Library of Congress, Prints and Photographs Division, Washington, D.C. Gen. William Hoffman, Commissary General of Prisoners (at right) and staff on steps of office, F. St. at 20th NW, http://hdl.loc.gov/loc.pnp/cwpb.03953.

James Barnes and staff at Point Lookout Prison, 1863.

The Auto Industry Goes to War

field_image
Sinclair gasoline ad, 1942, Did you say Walk?
Question

Did the U.S. manufacture of automobiles come to a halt during World War II?

Answer

Yes, it halted completely. No cars, commercial trucks, or auto parts were made from February 1942 to October 1945.

On January 1, 1942, all sales of cars, as well as the delivery of cars to customers who had previously contracted for them, were frozen by the government’s Office of Production Management. As a temporary measure, local rationing boards could issue permits allowing persons who had contracted for cars before January 1st to secure delivery.

President Roosevelt established the War Production Board on January 16, 1942. It superseded the Office of Production Management. The WPB regulated the industrial production and allocation of war materiel and fuel. That included coordinating heavy manufacturing, and the rationing of vital materials, such as metals, rubber, and oil. It also established wage and price controls.

All manufacturers ended their production of automobiles on February 22, 1942. The January 1942 production quota had been a little over 100,000 automobiles and light trucks. The units manufactured at the beginning of February would bring up the total number of vehicles in a newly established car stockpile to 520,000. These would be available during the duration of the war for rationed sales by auto dealers to purchasers deemed “essential drivers.”

Representatives from the auto industry formed the Automotive Council for War Production in April 1942, to facilitate the sharing of resources, expertise, and manpower in defense production contracting.

The auto industry retooled to manufacture tanks, trucks, jeeps, airplanes, bombs, torpedoes, steel helmets, and ammunition under massive contracts issued by the government. Beginning immediately after the production of automobiles ceased, entire factories were upended almost overnight. Huge manufacturing machines were jack hammered out of their foundations and new ones brought in to replace them. Conveyors were stripped away and rebuilt, electrical wires were bundled together and stored in the vast factory ceilings, half-finished parts were sent to steel mills to be re-melted, and even many of the dies that had been used in the fabrication of auto parts were sent to salvage.

The government’s Office of Price Administration imposed rationing of gasoline and tires and set a national speed limit of 35 mph.

By April 1944, only 30,000 new cars out of the initial stockpile were left. Almost all were 1942 models and customers required a permit to make the purchase. The Office of Price Administration set the price. The government contemplated rationing used car sales as well, but that was finally deemed unnecessary. The government estimated that about a million cars had been taken off the road by their owners, to reserve for their own use after the war.

In the autumn of 1944, looking then toward the end of the war, Ford, Chrysler, Nash, and Fisher Body of General Motors received authorization from the War Production Board to do preliminary work on experimental models of civilian passenger cars, on condition that it not interfere with war work and that employees so used be limited to planning engineers and technicians. Limits were also set on the amount of labor and materials the companies could divert to this.

During the war, the automobile and oil companies continued to advertise heavily to insure that the public did not forget their brand names. Companies also were proud to proclaim their patriotic role in war production, and their advertisements displayed the trucks, aircraft, and munitions that they were making to do their part in combat.

In addition, auto advertisements encouraged the public to patronize local auto dealers’ service departments so that car repairs could help extend the lives of the cars their customers had bought before the war. In the last couple of years of the war, the auto companies also used their advertisements to heighten public anticipation of the end of the war and the resumption of car and truck manufacturing, with advertising copy such as Ford’s “There’s a Ford in Your Future.”

Bibliography

John Alfred Heitmann, The Automobile and American Life. Jefferson, NC: McFarland, 2009. pp. 119-130.

James J. Flink, The Automobile Age. Cambridge: MIT Press, 1988. pp. 275-76.

Automobile Manufacturers Association, Freedom’s Arsenal: The Story of the Automotive Council for War Production. Detroit: Automobile Manufacturers Association, 1950.

Resources for Independence Day

Date Published
Article Body

On July 2, 1776, the Second Continental Congress approved a resolution declaring colonial independence from Great Britain. Two days later, Congress approved the Declaration of Independence, a document listing the colonies' reasons for declaring independence. More than 200 years later, the U.S. celebrates Independence Day on the fourth of July, not the second.

Why?

Explore the resources on Teachinghistory.org's Independence Day spotlight page for the answer to this question and others. You'll find website reviews, teaching strategies, lesson plans, quizzes, and more. Though Independence Day falls outside of the school year for many teachers and students, you can use these resources whenever you teach about the holiday or the Declaration of Independence and the American Revolution. (If you're looking for resources on other founding documents, try our spotlight page on Constitution Day.)

With the advent of digital archives, anyone with an Internet connection now has access to an embarrassment of historical riches, including hundreds of primary sources from the American Revolution. After browsing our spotlight page, explore some of these resources:

  • A letter on July 3, 1776, to Abigail Adams, in which John Adams writes that he believes the second of July will become a national holiday (from the Massachusetts Historical Society).
  • The original and engraved versions of the Declaration of Independence, accompanied by a transcript, explanatory articles, and the Virginia Declaration of Rights (from the National Archives and Records Administration).
  • A second letter from John Adams to Abigail Adams, written July 5, 1777, in which Adams describes a celebration on the first anniversary of independence (from the Library of Congress; check out other primary sources on later Independence Day celebrations, too).
  • George Washington's general orders from July 9, 1776, describing the reading of the Declaration to troops (from the Library of Congress; click "Transcription" at the top of the page).
  • Fragments from drafts of the Declaration, original printed copies, prints of both contemporary and later visions of the Continental Congress, and more (from the Library of Congress).
  • Fragments of Thomas Jefferson's autobiography related to the Declaration of Independence (from the Library of Congress).
  • An 1823 letter from Thomas Jefferson to James Madison on memories of the drafting of the Declaration (from the Library of Congress; no transcript available).
  • An interactive version of Thomas Jefferson's rough draft of the Declaration (from the Library of Congress; Silverlight required to view).
  • The back of the original copy of the Declaration (from the National Archives and Records Administration).

History Detectives: 7.10

Description

From the PBS Video website:

"What happened to a WWII POW who sketched portraits at the German camp Stalag 17B? What's the story behind photographs of the Seadrome project? Was an old artillery shell involved in an attack on Black Tom Island?"

In each episode of PBS' History Detectives series, a team of professionals examines "mystery" artifacts, attempting to track down the stories behind each object. For more History Detectives episodes, search "History Detectives" in History in Multimedia.