Friday 18th July 2025
Blog Page 1015

Review: Love and Friendship – both modernised and faithful

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FOUR STARS

Austen drips from this adaptation like sarcasm drips from Austen – and for the same reasons. Director Whit Stillman’s adaptation of Lady Susan (confusingly named Love and Friendship, despite being unrelated to Austen’s Love and Friendship) is bitingly witty, brutally cynical and crisply structured. Everything Austen is, but also everything the adaptations of the last few decades are not. Stillman’s loathing of Austen adaptations is palpable – probably why he chose to adapt

Lady Susan, perhaps the iciest of Austen’s works. Some critics have doubted whether the presentation is accurate, and I confess to have considered it a caricature on first watch. But a quick read of the book shocks and appals just as much as Stillman’s cinematic adaptation. Lady Susan (Beckinsale) is a “diabolical genius” that whisks her way through 18th century life in a destructive manner. She exposes and exploits the awful sensibilities of aristocratic life, manipulating the clueless men around her. The film is anything but subtle, and Susan is probably far more pointed than anything Austen ever intended, but the caricature works.

Stillman never strays from the essence of the novel. The stilted, superfluous and artificial way in which people interact is always under scrutiny. The exploited must take visible care over their words, hinting at the chasm that separates what people say and what they desire to say.

Many of the performances tear at the seams between word and thought. They make it tragically obvious how convention-induced insincerity is the source of so much woe. Bennet’s Sir James Martin is hilarious, but begs for genuine sympathy. His failure to understand the game of conversation, contrasted in a somewhat unsubtle way with Susan’s triumph, is so unjustly punished that one can’t help but cry as well as laugh. Stillman laments insincerity, a serious message he manages to bleed through the comedy.

Van Oosterhout’s cinematography deserves mention. The period drama trap of unexciting, long and laboured shots is ditched for something Wes Anderson-esque. Particular attention is paid to the snappy back and forth of conversational gaming – the audience is encouraged to see the characters’ scheming as farcical and ridiculous.

The film opens with a portrait introduction of each character, accompanied with a tagline, an admission that the cast are basically just sitcom material. Such use of on screen text is continued, but sparse enough to stay interesting.

Stillman’s adaptation is certainly worth a watch. Both modernised and faithful, hilarious and serious, it captures the full breadth of Austen’s power in a way we see all too rarely.

Interview: Nigel Warburton, best-selling philosopher

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Nigel Warburton, best-selling British populariser of philosophy, gave an unexpected answer when asked which famous philosopher he would most like to sit with on a 10- hour plane flight. “I wouldn’t mind sitting next to Diogenes; he has some great jokes. He might be a bit unpleasant to sit next to: as far as we know he was prone to defecate and masturbate in public. That aside, he was one of the funniest philosophers in history, and there aren’t that many jokes in philosophy.”

Sat in Blackwell’s, home of Nigel’s monthly Philosophy in the Bookshop interviews, Nigel goes on to reflect that this apparent humour deficiency has not hindered philosophy’s popularisation over the last few decades. “It’s actually been quite effective recently. In about 1988 I had a book commissioned called Philosophy: The Basics, and went to bookshops to find what was available as an introductory book, and basically it was just Bertrand Russell’s Problems of Philosophy, published in 1912, and a really good book called Philosophy Made Simple, but there was nothing else.”

“Now, if you go into almost any bookshop, there’ll be books on a table with introductions to philosophy generally or a wacky take on philosophy, or biographies about particular historical figures. Some are terrible, but some are really good. It hasn’t had that huge flourishing biology had in the wake of The Selfish Gene, a major achievement in popularising very difficult thinking, but I don’t think we’ve had a particularly bad time. The internet has also been fantastic for philosophy and it’s flourishing online: philosophers are communicating through Twitter, Facebook, the Stanford Encyclopedia of Philosophy and through blogs and podcasts, including some wonderful comedians of philosophy.”

In light of this flowering, is there perhaps room for an iconic television philosopher? “In my youth there were several: first of all Brian Magee, who in my view has not been surpassed in terms of his series he made where he interviewed philosophers, now Michael Sandel. On the other hand, it’s really difficult to persuade a TV producer to go with the philosophy rather than some kind of visual accompaniment. We can’t just talk about philosophy, it has to be a quiz show or a biography, we can’t actually go with Nietzsche’s ideas, we have to go where he lived, go up a mountain, we have to get sidetracked by the visuals. I was phoned up because someone wanted me to do drunk philosophy, where everyone had to have a drink before they went on the show, which was crazy. Philosophy is a very verbal subject and television is a very visual medium, and if you start putting interesting pictures, you lose the actual content very very quickly, so it may not be a very good medium for philosophy: audio may be far better for philosophy.”

What Nigel does think is missing are opportunities to debate philosophy in the flesh, engaging in the ancient tradition of dialectics. “There are plenty of opportunities to find discussion of philosophy, plenty of books, podcasts and magazines, but there is something special about face-to-face philosophy, a situation where you can ask questions and have a dialogue. Opportunities for that are few and far between, especially for non-students. I’m really delighted I’ve been able to have a number of conversations in this Philosophy in the Bookshop series I’ve been doing in Blackwell’s, which is free and open for everyone. We have Roger Scruton and Cecile Fabre coming, all really interesting people. You get a glimpse of how they think, and then there’s the possibility of interaction with the audience. That, I think, is the missing element in the popularisation: finding ways to meet and discuss face-to-face.”

Asked whether the demographic interested in philosophy is changing with the times, Nigel pauses for thought. “I don’t know, it’s interesting. There’s certainly a lot of interest worldwide: the podcast Philosophy Bites has had over 28 million downloads, and has had episodes in the top ten of American iTunes, ahead of very famous podcasts. Whether it’s new or not I don’t know, maybe there are different ways of satisfying and measuring people’s interests. Michael Sandel fills football stadia in Korea, that’s quite remarkable. I wrote a book, A Little History of Philosophy, and the Turkish translation is in its 14th imprint. Internationally, I suppose, there are unexpected pockets of interest.”

Nigel also points out that the content of popular philosophy is diversifying at pace, but philosophy departments are often struggling to keep up. “What we’ve been talking about the last few months is a lot of interest in Chinese philosophy, and why it is not taught very much in American Universities; there have been a lot of articles online about Chinese philosophers, arguing that they merit inclusion in a Western syllabus. Philosophy is also starting to address its sexist past, and there is also more women’s philosophy coming through, as well as interest in finding lost female philosophers of the past. What I don’t see is philosophy departments seriously addressing diversity and the lack of representation, and many people would say that be shouldn’t, we should just employ the best philosopher, it’s just that the best philosopher always seems to look and sound a bit like the person who’s already in the job.”

Each month, Nigel Warburton interviews a fellow philosopher at Blackwell’s in a series of events entitled ‘Philosophy in the Bookshop’

Brexit: an academic nightmare

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Saints dominated early medieval Europe. They had the power to heal the sick and punish the sinful. They were judge, doctor and patron all in one. However, our knowledge of this phenomenon is woefully incomplete, something which Oxford professor Bryan Ward-Perkins is trying to change, in collaboration with colleagues from as far away as Warsaw and as a close to home as Reading. Ultimately, he aspires to create an online searchable database of all the obscure European saints that existed before 700 AD, accessible to any member of the public.

Yet, none of this would have been possible without funding to the tune of €2.5 million over five years from the European Research Council. Indeed, this project is just one of the more than 5,000 projects funded by the ERC since 2007. In amongst the grandstanding about sovereignty and the free trade debates, it is easy to forget the impact Brexit would have on academia.

Suffice to say, the EU currently plays a fundamental role in supporting UK universities, providing 16 per cent of its total research funding. Furthermore, the UK gets considerable bang for its buck: whilst it contributes just over 11 per cent to the EU budget, its academics were awarded 15.5 per cent (£5 billion) of the available money from the FP7, the EU’s last seven year research spending programme.

The key question is how to secure funding for future academic research, especially if Britain leaves the EU. Organisations supporting Brexit like UKIP Students are optimistic, arguing that leaving the EU would allow the UK to increase university funding using the money saved from stopping contributions to Brussels. In addition, Brexit campaigners suggest that it would be relatively easy to buy back into EU research programmes through bilateral deals, such as those enjoyed by Switzerland and Norway.

These suggestions have been ridiculed by ‘Scientists for EU’, a group set up to make the scientific case for remaining and supported by notable figures like Martin Rees, the Astronomer Royal. The group’s Programme Director Dr Mike Galsworthy points out that Britain would not have an automatic entitlement to buy back into the EU Science programme, and suggests that there could potentially be substantial difficulties in doing so. He cites the example of Switzerland, which was prevented from competing for 70 per cent of the nearly €80 billion on off er in the EU’s current research programme, Horizon 2020, after it voted to restrict migration from the EU and thus violated the EU principle of free movement.

Moreover, the UK government’s record on science funding is mixed. The Chancellor’s commitment to real terms protection of the Science budget in the 2015 Spending Review was met with comparative sighs of relief from the academic community. They had feared a repeat of 2010, when funding was frozen in cash terms, or worse. In such a context, the idea that a government committed to considerable further public spending cuts would prove the panacea to the academic community’s funding woes is far-fetched.

Of course, the success of academic research depends not only on funding, but also on being stimulated by the right intellectual culture. The UK’s research success suggests that such a culture currently exists in the UK, enabling the country to produce 15.9 per cent of the world’s most highly cited scientific research articles whilst only accounting for 3.2 per cent of its research expenditure.

Many academics see this culture as under threat from Brexit, arguing that it would stop intellectual cross-fertilisation with the rest of Europe. They point out that it would threaten UK participation in programmes like Erasmus, which has enabled more than 200,000 UK students and 20,000 university academics to study at European universities. UK scientists would no longer be able to influence European science policy on the same scale, whilst non-UK students and researchers would be discouraged from working in a UK weakened by funding and cut off from Europe.

It is no wonder, then, that the academic community are anti-Brexit. It could only lead to their intellectual impoverishment.

One thing I’d change about Oxford… Greggs

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Shall I compare thee to a steak slice? The pastry is an orange the shade of Donald Trump’s wigless, racist scalp while the filling on its own wouldn’t look out of place in an abattoir, but there is nothing more perfect in this life. So why, in this centuries-old city where perfection is the minimum requirement, are we denied such joy?

The smell of freshly-microwaved pastry, the queue of tired workers fumbling for their loose change, the rows and rows of identical little parcels of fat and grease and unidentifiable meat – these are alien sights to Oxford. I miss the aggressively blue signs and the worryingly high concentration of pigeons loitering outside. Even for a soft Londoner there are few more comforting sights than a Greggs.

A beacon of hope in the night, a warm orange glow of happiness. The vacancies on our streets are being filled by more and more Taylors or sushi bars, but the people do not want more sushi! What is rice and seaweed to a foot’s worth of sausage and pastry, toasted and bagged in seconds? We want meat and bread and gravy and we want it now.

Without a Greggs in Oxford soon I’m going to start to lose hope. There are only so many trips to Hassan’s in my pyjamas I can handle. And what about when Hassan isn’t there? What do I do between 4am and 7pm? Nowhere in this city is there a substitute for it. Wherefore art thou, Greggs?

Disclaimer: this article has not been sponsored by Greggs in any way, I’m just desperate.

Georgi Pirinski: an MEP’s Brexit perspective

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“There is a real storm, a real tempest. The European Union is in an existential crisis.” Georgi Pirinski, former Bulgarian Deputy Prime Minister and current MEP, as we spoke over coffee in London after he gave a speech in Parliament which strongly made the case for Britain to remain, a case which he wasted little time in explaining to me.

This began with the reflection that “maternity leave and many of the other labour and social rights which are currently regulated at EU level, if left to the tender care of personalities like the former Mayor of London, would not be so well defended. Plus, the European Investment Bank, which spends over €80 Billion, gives over 60 per cent of that sum to the five largest economies, which includes Britain. I do believe that the European Union, even with all of its shortcomings and deficiencies, still represents a community of nations with a very strong commitment to social equality and solidarity.”

I then ask Georgi why, given all of these positives, there is such pervasive anti-EU sentiment in Britain and throughout the continent? “It has to do with the idea Boris Johnson is expressing that the EU is a place where money is not spent for any good reason and that it is hamstringing local governments. However, sitting on the budgetary control committee as I do, whose principal exercise is to regulate how the European Commission is actually spending the EU budget, I know there is a scrupulous review of all spending. I don’t think the British public is aware of the degree to which EU institutions justify every euro of money they spend. I also think the pressures of everyday life, of economic insecurity, of anti-establishment sentiment, provide a base for Brexit to build on without any rational underpinning. I am not though willing to be critical of British people – I don’t blame them. I understand why they are in this mood given the widening economic and social disparities.”

This mood has helped populists such as Nigel Farage, whose conduct in the European Parliament has left Georgi less than impressed. “He basically enjoys himself. He likes to debate informally with Juncker. He is there to make an impression back home, he is not there to contribute. I think it is a question of proportion and he and his colleagues go way beyond proportion. The fact is though that they were elected – the genuine voice of a part of society. Certainly, being in the European Parliament is a way of finding expression for their concerns. But the questions start appearing when you ask why they are actually there? Are they there to do away with the EU? Once you enter an institution there are basic principles and norms and you can’t just say they’re rubbish.”

I ask what the general sentiment is in Brussels towards the possibility of a Brexit. Georgi explains that of the majority who want Britain to stay, many “are just keeping quiet, waiting to see what’s going to happen. They don’t want to do anything that would raise tensions. After all, Britain is an important member of the European Union and there is a very real risk of a domino effect if it leaves.”

Yet, at the end of our discussion, Georgi concedes that “the rational arguments so far are not working.” They are failing to set out the benefits of the EU or how it is not solely to blame for the current economic and social climate. Instead he insists there must be an appeal “to the emotional side of the argument” to prevent Britain from leaving and the existential threat this poses to the EU.

Nikolay Koshikov takes Hilary 2017 presidency in Union elections

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Nikolay Koshikov is the new Union President-elect of the Oxford Union, following the results of elections held on Friday 10th June.

In a clean sweep for their slate of other officer positions, Mia Smith was chosen by members as Librarian-elect and Dom Hopkins-Powell as Treasurer-elect. Mark Fischel, who ran as an independent candidate, was chosen as Secretary. All officers ran uncontested.

Elizabeth Webb, Kriti Joshi, Laali Vadlamani, Owen Rapaport and Chris Zabilowicz were elected to the Union Standing Committee.

It was a particularly successful election for Koshikov’s slate, with four of the five Standing Committee and eight of the eleven Secretary’s Committee running alongside him.

The turnout was 917.

See the full results below:

OFFICERS

President-elect: Nikolay Koshikov – 610 (RON – 155)

Librarian-elect: Mia Smith – 646 (RON – 107)

Treasurer-elect: Dom Hopkins-Powell – 589 (RON – 138)

Secretary: Mark Fischel – 575 (RON – 141)

STANDING COMMITTEE (in order of number of first-preference votes)

Chris Zabilowicz – 220

Owen Rapaport – 180

Laali Vadlamani – 131

Kris Joshi – 127

Elizabeth Webb – 103

SECRETARY’S COMMITTEE (in order of number of first-preference votes)

Edward Evans – 109

Juliette Aliker – 73

Simon Jagoe – 70

Julian Kirk – 62

Gui Cavalcanti – 62

Aidan Lea – 59

Edward Piggott – 58

Melissa Hinkley – 56

Alex Urwin – 56

Alan Petri – 50

Rufus Morgan – 44

Uni gender gap visible in schools

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Women are more likely to have a positive attitude toward higher education from the age of 13, a new report suggests.

The paper, called ‘Believing in Better’, was published by the Sutton Trust last Friday. It revealed 65 per cent of girls in Year 9 believed higher education was “very important” compared with just 58 per cent of boys. On top of this, 15 per cent of boys surveyed said they did not see the point in higher education.

This seems to be feeding into the gender gap in the UK education system, in which female pupils regularly outperform their male counterparts at school, while being 35 per cent more likely to go to university in the first place. White males from poorer backgrounds are now the least likely demographic group to go to university, with just 8.9 per cent attending.

Professor Pam Sammons, lead author of the report and Senior Research Fellow at Jesus College, commented, “Our research shows that the students’ belief in themselves and their aspirations are shaped by their background. However, positive beliefs and high aspirations play an additional and significant role in predicting better A-level outcomes.”

However, male students are still more likely to study university subjects which have been linked to higher earnings, typically science, technology, engineering and maths. Honorary research fellow and Oxford professor of educational psychology Kathy Sylva said, “Earlier reports published by the Sutton Trust show that girls regularly get higher grades at A level. This does not fit easily with the higher earnings of men, compared to women. We have learned that the higher grades of girls has not led ‘automatically’ into higher earnings across the board.”

While the University Press Office declined to comment on the report, Oxford admitted 1,709 boys and 1,507 girls last year, an inverse disparity to that of many other universities.

The Sutton Trust’s report can be found at http://www.suttontrust.com/wp-content/uploads/2016/06/EPPSE-final-Believing-in-Better.pdf

I, Daniel Blake: a working class triumph

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Cinema commands a powerful ability to influence how we perceive the world around us. It offers lessons in empathy and tolerance, as we glimpse experiences separate from our own. This can revolutionise our perspective on the struggles of others. A social realist approach to film-making strives for such an impact, focusing awareness and debate to the country’s failures. In a society still reeling from the trauma of austerity, cinema is fundamental to refuting stereotypes about those who receive state welfare – demonised as ‘scroungers’ by the media, and abandoned by a faceless bureaucracy.

This is what makes Ken Loach’s Palme d’Or win for I, Daniel Blake so important. A grandee of social realism, Loach’s new feature explores the struggle between the elderly, unemployed Daniel and what he calls the ‘conscious cruelty’ of austerity Britain’s bureaucracy. As part of a small but growing European trend of the screen, the likes of Peaky Blinders or Measure of a Man, we are witnessing the slow re-emergence of working-class stories.

And quite frankly it’s long overdue. In recent years, public representations of our state welfare have become politically charged. The Murdoch empire vanguards our ugly national discourse, which attacks ‘scroungers’ and ‘slackers’. These mythical categories act as pantomime villains, only serving to divide the working-class. But this sentiment contradicts concrete facts. Just 0.8 per cent of welfare is claimed fraudulently in the UK – a figure people perceive is as high as 30 per cent. But in our era of media saturation, perception is more important than reality.

I, Daniel Blake must take credit for rising above political digs. Rather than fall victim to the polemical, it listens and engages with those in poverty. The narrative is structured around honest, human stories of hardship. It casts real people, non-actors from Newcastle who imbue the film with realism. Into the abstract rhetorical categories of ‘shirkers’ versus ‘strivers’, Ken injects humanity. He emphasises complex human emotion, with humour being just important as frustration and despair to social realism’s impact.

Can Loach’s new film make a difference? I must admit I’m pessimistic about art’s ability to change government policy directly. But this doesn’t mean there’s no hope for modern social realism. If I, Daniel Blake can help change hearts and minds – about how we think about poverty, how we empathise with those who need food banks, how we perceive those who receive welfare – then we’re one step closer to a more just and harmonious society.

Oxford Gobblefunk Dictionary honours Dahl’s memory

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ROALD DAHL FANS might have a new reason to be “whoopsy whiffling”, as Oxford University Press has published a new dictionary compiling Dahl’s words to celebrate the centenary of the illustrious storyteller’s birth.

The Oxford Roald Dahl Dictionary features almost 8000 real, and invented, “extra-usual” words known as “gobblefunk”, that Dahl used in his work for children. The dictionary is also illustrated by Sir Quentin Blake, and its release is an opportune precursor to the upcoming Steven Spielberg film adaptation of The BFG.

The dictionary was researched and compiled by a team led by lexicographer Dr Susan Rennie over a period of five years. It showcases Dahl’s literary artistry, such as his adoption of spoonerisms and malapropisms, and his play with puns, sound and much more.

Examples of such literary creativity include “delumptious”, which means delicious, “whoopsy whiffling”, which means exciting, and “rotsome” which means unpleasant. “Dahl’s literary creations also were reflective of his personal life”, Head of OUP Children’s Dictionaries Vineeta Gupta told Cherwell.

An example of such would be that in Matilda, a parrot called Chopper actually alluded to Dahl’s real-life Jack Russell terrier. “Matilda” also means “mighty in battle” and was a frequent name given to tanks used in North Africa during WWII, where Roald Dahl served as a RAF pilot.

Gupta said the dictionary was meant to be an insight into Dahl’s creativity, and in particular to encourage children aged eight and above to “write more”. It also has the “rigour” of a “real and fully-functioning dictionary”.

“Roald Dahl’s work is timeless and he is the number one children storyteller in the world. How can we not have made such a compilation? We hope that this dictionary will be enjoyed by children, parents and grandparents alike from all over the world”, she said.

“I think it’s absolutely great that one of the wittiest, most creative, and most jubilant authors of all time has been featured in his own dictionary.” said Jonathan Yeung, a second-year PPEist at Oriel.

“Language leaves such a big impact on all of us, and every good language needs to have people who are willing to stretch it, give it dynamism and life. Roald Dahl is one of these people”, he continued.

Michelle Sum, a second-year lawyer also at Oriel, thought the same and told Cherwell, “Oxford is proving itself not to be archaic and boring by giving its seal of approval to Roald Dahl’s creations.”

“Children around the world can now rejoice in knowing that they can call their teacher who give them too much homework a cracfficult oompa loompa. What will be next? Perhaps a sign for a Harry Potter dictionary to come?”

Live review: Father John Misty

“I never liked the name Joshua / I got tired of J”, croons Father John Misty, opening the last of his three Roundhouse shows with the ingeniously twee ‘Everyman Needs a Companion’, the final track from his Father John Misty debut, Fear Fun.

It is no wonder that he was restless as Josh Tillman, drummer in Fleet Foxes, or, in fact, as J. Tillman, under which he released eight critically unsuccessful folk/Americana albums. It is only now, as Father John Misty, a name under which he could be anything from a wayward preacher to a hallucinating shaman, that Tillman has put his genius lyrics and arching melodies into play, receiving critical renown with last year’s I Love You Honeybear.

Far more important is the silhouette of his tall frame in a slim-fitting black suit, thrusting out moves half-way through ‘Holy Shit’ as though he were on a dancemat. He, a pulsating body on the floor amongst this cosmic breakdown, singing “Love is just an institution based on human frailty” with an unrivalled sincerity.

And this is the thing about Tillman: one moment he is standing upright, howling about “ancient gender roles / infotainment, capital”, and the next he falls to his knees, crying “People are boring / but you’re something else I can’t explain”, overcome with the romanticism of his own lyrics. The whole show is a roller-coaster canonisation exposing his wit.

And this wit of his embodies so many levels of human existence. One such level is that of Tillman’s marked sexuality. “I wanna take you in the kitchen”, he sings on ‘Chateau Lobby #4 (In C for Two Virgins)’, one of the finest songs of last year. The furious sexuality of his lyricism oozes with promiscuity, the kind rarely handed to a sweaty room full of strangers with such a straight face. The man is an outrageous performer, but that doesn’t mean his show is inauthentic. He may well cavort his body daringly to the rhythms of his band, but no matter how many guises of ridiculousness under which he slathers his music, nothing will detract from the intelligible crispness of his song-writing.