William Wardell's 1859 St John's College - a rare realisation of Pugin's ideal Catholic College?

William Wardell’s St John’s College, Sydney, considered the grandest and architecturally most distinguished university college in New South Wales, is an exceptional example of 19th century Gothic Revival architecture.  The information board outside the college states that St John’s is ‘a rare realisation of Pugin’s ideal Catholic College’ and further that ‘it demonstrates [Pugin]’s profound influence on the work of Wardell’. This is but a small part of the story. The commission for St John’s College was far more complex.  The correspondence between the architects, William Wardell, Edmund Blacket and others, and St John’s Council indicates that right from the beginning there was a general lack of understanding of Wardell’s original design concept for the building. This has continued to the present day, as evidenced by the information on the board outside St John’s College, in which it is incorrectly assumed that Wardell’s proposal included a quadrangle as featured in Pugin’s ‘ideal College’. This paper, based largely on primary sources, investigates such claims about St John’s, considers William Wardell and the Gothic Revival, examines St John’s College within the University of Sydney – its design and its translation and posits a few conclusions leading to new understandings.

Being the right kind of male teacher : the disciplining of John

In a context where the lack of male teachers is constructed as a worrying concern for many Western education systems, men who make the decision to become teachers, particularly in early childhood and primary education, are often adulated. However, alongside this adulation sits an expectation to be a ‘real man’. This paper tells the story of John, a male primary school teacher who left the teaching profession after one year as a result of incommensurable differences between the expectations held of him as a male teacher and his identity as a primary school teacher. While not an attempt to position John as a victim, this paper suggests that expectations of male teachers, such as to be effective disciplinarians, have normalising effects on men within the teaching profession that, in this case, led to a rejection of teaching as a career path. We contend that the image of the ‘imagined male teacher’ that underpins both current calls for more male teachers and John’s departure from schooling is likely to have a negative impact upon all students (boys and girls) and also denigrates the work of female teachers.

A new beginning? John Yandell's the social construction of reading in urban classrooms

John Yandell’s The Social Construction of Meaning: Reading Literature in Urban Classrooms provides a powerful counterpoint to current policy discourse in education. By focusing on the social interactions that occur in the classrooms of two English teachers, Yandell shows how their pupils are able to explore dimensions of language and experience that far exceed the outcomes prescribed by official curriculum documents. This is because their teachers conceive of reading as a social activity in which everyone can participate. Yandell thereby affirms the value of a literary education as an integral part of an educational project that is genuinely democratic and inclusive.

The third space: The poetry of Sudesh Mishra & the paintings of John Forrest

This book consists of two chapters that document and analyse the context and development of a collaboration between two writers, a poet and a painter, 33 poems and 33 paintings. The poems and paintings are placed in a dialogical relationship with each other. The book attempts to do more than present poetry and paintings serving merely as an illustration of each other. Instead the authors/artists have experimented with how each art-form can bring further significance to another and make new meaning. The two chapters and introduction set up for the viewer a means of exploring a novel form of making meaning. Furthermore these chapters discuss aesthetic, philosophical, historical and political questions endemic not only to the selected art and poetry but to questions governing creative art processes. In this sense it deals with what we have termed 'a third space'.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

Graduate of the Sheet Metal Department, John Loonie

John Loonie, a graduate of the Sheet Metal Department of the New York Trade School, is pictured welding at work in the Triangle Sheet Metal Works Inc. Original caption reads, "John Loonie - Sheet Metal 1955, one of the Sheet Metal workers employed at the Triangle Sheet Metal Works, qualified to weld." Black and white photograph with caption adhered to reverse.