The 1863 Melbourne Shakespeare War: Barry Sullivan, Charles and Ellen Kean, and the Play of Cultural Usurpation on the Australian Stage

This essay investigates an intricate drama of cultural identity in performances of Shakespeare on the nineteenth-century Melbourne stage. It considers the rivalry between Charles and Ellen Kean and their competitor, Barry Sullivan, for the two-month period in 1863 during which their Australian tours overlapped. This Melbourne Shakespeare war was anticipated,augmented, and richly documented in Melbourne’s papers: The Age, The Argus and Melbourne Punch. This essay pursues two seams of inquiry. The first is an investigation of the discourses of cultural and aesthetic value laced through the language of reviews of their Shakespearean roles.The essay identifies how reviewers register affective engagement with the performers in these roles, and suggests how the roles themselves reflected, by accident or design, the terms of the dispute. The second is concerned with the national identity of the actors. Kean, although born in Waterford, Ireland, had held the post of Queen Victoria’s Master of the Revels and identified himself as English. Sullivan, although born in Birmingham, was of Cork parentage and was identified as Irish by both his supporters and his detractors. This essay tracks the development of the actors’ national and artistic identities established prior to Melbourne and ask how they played out on in the context of the particularities of Australian reception. It shows that, in this instance, these actors were implicated in complex debates over national authority and cultural ownership.

Sketch of Charles Clarke Chapman

Photographic copy of a portrait sketch of Charles C. Chapman in the Chapman College president's office, Orange, California

Home of Charles Clarke Chapman, Fullerton, California, 1914

Home of Charles Clarke Chapman, Fullerton, California, 1914.

Formal garden of Charles C. Chapman, Fullerton, California, 1914

Formal garden of Charles C. Chapman, Fullerton, California. Photograph taken on day of garden party, September 5, 1914.

Home of Charles Clarke Chapman, Fullerton, California

Home of Charles Clarke Chapman, Fullerton, California. Photographic postcard with "Faculty parties in May each year 1933-1940" written on back.

Formal garden of the Charles C. Chapman home, Fullerton, California

Formal garden of the Charles C. Chapman home, Fullerton, California, in the 1920s.

Office of Charles C. Chapman, Los Angeles, California

Office of Charles C. Chapman, Los Angeles, California.

Charles C. Chapman's birthday celebration, Fullerton, California,1932

Family portrait taken at Charles C. Chapman's birthday celebration, Fullerton, California,July 2, 1932. The group poses outside his residence on the lawn. Top row [left to right]: Arthur Irvin, Charles Wickett, Irvin Chapman, Sam Collins, Paul Williams, Grant Chapman,, Sidney Chapman, Clay McCarn, Earl Chapman's son David McDougal, Earl Chapman's son William McDougal, Earl Chapman, Harry Chapman, William Wickett Sr. Second row [left to right]: Mr. VanMeter, Mrs. Sinclair, C. C. Sinclair, John Franklin, Way Bagley, Marjorie Collins, Emma Williams, Ruth Chapman, Vesta Chapman, Inez Bagley, Grace Chapman, Bertha Chapman, Clough Chapman, Frank and Bertha Chapman's daughter Agnes McDougal [Streech], Georgiana Chapman, Thela Clough, Mrs. Earl [Ann] Chapman, Bessie Reynolds, Fred Chapman, E. B. [Bert] Reynolds. Seated [left to right]: Mrs. VanMeter, Hattie Clark, Louie Messlar, Charlie Thamer, Louella Thamer, Dolla Harris, Stanley Chapman Sr. holding Mary Anne, Ethel Wickett, Charles C. Chapman, Clara Chapman, Colum C. Chapman, Aunt Annie Colum, Deryth Chapman, Anna Marie Chapman, Floy Chapman, Edith Chapman. Front row [left to right]: Sam E. Collins, Bill Wickett Jr., Joyce Chapman, Marilyn Chapman, Elizabeth Chapman, Mary McCarn, Nina Chapman Lescher, Jodeane Collins, Bob Gibb, Jean Chapman. In front is a floral arrangement with drawing of a Western Union telegram "To Chas. C. Chapman, July 2, 1932, N. Fullerton, Cal., 'Wishing you a happy birthday, Nina."

The Clemente Course in the Humanities and critical pedagogy : a comparative analysis of Earl Shorris and bell hooks on poverty, racism, imperialism and patriarchy

The Clemente Course in the Humanities is an anti-poverty intervention for adults who self-identity as "poor" and humanities instructors. The course was created in 1995 by journalist Earl Shorris, who based the curriculum on a Socratic method of pedagogy and the "great books" canon of Robert Hutchins. It began as a community-based initiative in urban US settings, but since 1997 Mayan, Yup'ik and Cherokee iterations have been created, as well as on-campus bridge courses for non-traditional students to explore college-level education in Canada and the USA. The course potentially conflicts with critical pedagogy because the critical theories of Paulo Freire and contemporary cultural studies reject traditional notions of both the canon and teaching. However, a comparison between Shorris' and bell hooks' theories of oppression reveals significant similarities between his "surround of force" and her "capitalist imperialist white supremacist patriarchy," with implications for liberal studies and critical pedagogy.