Tuesday, May 13, 2025
Blog Page 1320

Exeter offers catering charge concessions

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Exeter College has today emailed students outlining a number of cheaper alternatives to the current catering charge.

The charge has been a subject of controversy at the college and across the University. Last term, students staged a two and a half week hall boycott in protest at the charge and launched a popular “Hallternatives” scheme, which led to an open meeting between students and senior management and subsequent consideration by Governing Body.

As it stands, students at Exeter College pay an £840 per year, non-redeemable catering charge, the highest in Oxford by a margin of £116 per term.

In response to the criticism, the college’s Governing Body last week devised four alternative schemes has proposed a vote on the options next week open to all students.

Members of Governing Body will also answer questions in an open meeting in Hall tomorrow afternoon.

The proposed options, as stated in an email sent to all JCR and MCR members, include a pre-payment meal plan, an abolishment of the catering charge for those living out of college, a pre-payed redeemable chrage with an adjustment of rents and food costs, as well as a reduction of the proposed catering charge. 

Options two and three would involve 50% cuts to four main college grants, including the vacation study grant.

The email tells students, “All of the new schemes involve an increase to the amount by which the College subsidises eating in Hall, and all represent a substantially increased financial risk to Exeter College.  However, recognising the dissatisfaction in College on this matter, the Fellows are prepared to take on this increased risk, because of our commitment to the College community, and because it is our belief that eating in Hall plays a critically important part in the intellectual, social, cultural, and sporting life of the College.”

It adds, “We very much welcome feedback from students on matters relating to the running of the College, and plan to reinforce this function of Liaison Committee in the coming year, in consultation with the JCR and MCR. That said, we wish to emphasise that  we expect that the option selected by the students next week will represent a settlement that can be maintained for the long term, updated in line with inflation, and that it will therefore not be necessary to reopen discussions on this matter for the foreseeable future.”

It attaches a breakdown of projected costs to students of all four options.

Exeter JCR President Richard Collett-White told Cherwell, “Most of the JCR will view this as progress. One option, in particular, significantly reduces up-front, fixed battels and should be favourably received: it’s a movement towards a system where we’re no longer forced to subsidise hall and can instead decide for ourselves whether the food on offer is good value for money, bringing us more in line with other colleges.

“The proposals clearly aren’t perfect, however. JCR members will be sceptical of the ranking in relation to other colleges and determined, given widespread mistrust towards College, to find out the size of the financial risk College would actually bear with each option – the figures behind the figures. The JCR will also be wondering why most of our suggestions have been quietly ignored. Finally, there will be considerable alarm at the prospect of being tied into a scheme (and effectively muzzled) for ‘the foreseeable future’. This is precisely the mistake College made in 2009, which only served to aggravate ill-feeling, producing a JCR with rock-bottom satisfaction. For all the above, though, this is still a step in the right direction.”

Exeter College has not yet replied to requests for comment.

Interview: Baroness Lawrence

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Doreen Lawrence, a Baroness since October 2013, gave a speech at the Oxford Union on the 20th of May. Baroness Lawrence has spent over two decades campaigning for justice and police transparency in the wake of her son’s racially aggravated murder in 1993. Her efforts led to the eventual conviction of two of her son’s murderers, which marked a huge step forward in British race-relations, and also caused an internal reform of the police service. She now sits as a Labour peer in the House of Lords whilst promoting racial equality and maintaining the Stephen Lawrence Trust, which she founded in memory of her son.

Baroness Lawrence has previously admitted that she does not consider herself a natural speaker, and her speech is not that of a career politician – it is not created for effect or glory, but out of sheer necessity to see and perpetuate real change within our society. After her speech, I’m able to ask her a few questions about racism in the UK.

A topic that the Baroness mentioned in her speech was education. She believes that British students of colour are denied access to education about their history in the current curriculum. When asked whether she thinks this should be changed alongside the current governments other educational reforms, she responds, “It should be.” She answers firmly, before clarifying that she doesn’t believe these requirements are being met in Michael Gove’s plans.

“[It is] one of the things I’ve been campaigning about. After the enquiry, one of the things I wanted was about the history. When I challenged the fact that they hadn’t put that within [the reforms] and spoke to the schools minister, it was that [there’s] not enough people. You need more people to complain and say, ‘This is what we want.’ But I believe the government should make sure, because if you’re the government of a country, there [are] so many people within the society, and each of us needs to have some element of our background represented – currently that’s not there. The schools are not doing anything about it, so we’re looking to have an educational standard where we begin to challenge some of these things. To make sure that in schools, from primary going up, these things are taught.”

“There’s a way of introducing history. Because within primary school, many times, kids don’t think about whether, ‘That person’s black or white.’ They think about who their friends are. But by the time that they get to secondary school, that changes and they begin to develop that, ‘It’s them and us’ type stuff – and that shouldn’t happen. So we need to start very young, so that by the time they get to secondary school, it doesn’t become a problem, because I think sometimes, that’s where it stems from. So once you get to secondary school, the whole thing changes – and you’re not seeing your black friends as a friend – you’re seeing them as black first, rather than a friend first. We need to change that.”

I tell her that neither I, nor any of my friends who have been through the state school curriculum and who I have spoken to, were taught about British colonialism or our role in slavery. When asked whether she was surprised by this, she answered firmly “No – because I think Britain wants to deny their role in slavery.”

She continues by telling me of a discovery within her own family.
“I found out that even within my family, two have Scottish [history]. So you have somebody from the Scots who was a plantation owner, who would have raped one of their slaves.” She stops to explain that, “If you look in Jamaica there is this mixture of the skin colour, and I presume Jamaica’s not the only African-Caribbean country where slaves were raped – and none of those things were acknowledged.

“My grandmother’s name was Donaldson, which is a take on a slave name, which is part Scottish. So I would like to find out exactly where it is that my family originate from, that part of the family, and then to go back to Africa to see where that part starts from. I think we all need to know that, because if you look at the Chinese and even the Indians they can trace their ancestry back so far – I could never do that.”

I put it to the Baroness that it’s a possibility that without proper education, some people will be in danger of believing that we are living in a society where racism is a thing of the past.

“I think a lot of people believe that,” the Baroness acknowledges, “but then, if you’re people of colour, you don’t believe that. Because you face it on a daily basis, you don’t believe that. There are people in society that believe that racism is a thing of the past though. ‘Why do we need to talk about it? Why do we need to address it? Because we accept everybody – I’ve got a black friend.’ And I suppose they can say, ‘I’ve got a black neighbour.’ – as far as they’re concerned, that’s saying ‘I’m not racist’.”

Baroness Lawrence is adamant that we need to talk about race more – she feels as though there is a lack of open and frank discussion. However, she is at least optimistic about the mix of ethnicities of people who identify and speak out against racism.“When I think about what happened around Stephen’s case and I think about the enquiry and the letters I received from people, they’ll write to me and they felt that they’d need to mention, ‘I’m a white woman of 80 and I’m disgusted about what happened to your son.’ People do want to talk about it – and it’s not just within the black race that they want to talk about it. There’s so many people out there that want to see an equal society, but it’s very difficult to have. And I think the more people talk about it, whether you’re black or white or whatever, you just need to be able to talk openly about it.”

She recalls the support she has found through her campaign, telling of an event earlier in the day when she arrived in Oxford. “I’ve come from Paddington station. People were touching me on the arm and saying to me, ‘I think you’ve been doing great work and it’s really nice to see you,’ – and so it’s not just people of colour who are doing that – everybody who would meet me was saying that. And so people are out there who feel that they want to do more.”

I wonder though, if in a predominantly white House of Lords, she still feels the same support? “One of the Baronesses wanted to talk about young Caribbean boys’ exclusion rate in school, and unemployment. So I was asked whether I wanted to say something, which I did, but… Oral questions last about 30, 35 minutes, sometimes probably 40 minutes, so it’s not very long to have a discussion about issues like that. And people come up and say to me, I think we should look to put a debate together, so we can discuss it openly – and that’s not just black people, black Lords that are saying that – there are white Baronesses and Lords saying that we need to have a discussion.

“Also having me there brings more to their attention; that this is a discussion that they need to have and it doesn’t matter what side of the house they sit on. Everybody says to me, ‘I’m really pleased that you’re here, you will make a difference.’

“For me it’s a big thing – I want to make a difference, I want to be able to have a voice that speaks out. Not just to say that I’m speaking about people of colour but for everybody’s sake. At the end of the day, we live in a society. All of us are here, so there’s no point in me saying, ‘I only want to talk about black issues.’ We have to talk about everyone.”

A Journey to the Heart of Darkness

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Review: X-Men: Days of Future Past

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★★★★☆

Four Stars

I was seven when the first X-Men film came out. Nonetheless, I remember being distinctly disappointed by it and its sequel, X2, in much the same way the Tobey Maguire-era Spiderman franchise left me with a vague distaste for superhero movies that the The Amazing Spider-Man reboot has only recently dispelled. Superhero films were movies where characters weren’t people with ideas or emotions, but icons with iconic abilities; Spiderman never stopped to think about how he felt about Mary-Jane, he just duly rescued her from the Green Goblin. 

Batman wasn’t the clandestine antihero he should have been – he was little more than advanced military technology coupled with a husky voice. Even when Marvel tried to get under the skin of a single character in the form of 2009’s dire Origins: Wolverine, the result was insipid and cliché-ridden. It was understandable, then, that I sat down to watch X-Men: Days of Future Past with slight apprehension that would soon be dispelled. 

It was clear from the start that Future Past was much more visually engaging than its predecessors. Azurine duo Mystique and Beast benefit in particular from ten years’ worth of CGI advances, whilst action sequences are gripping and stylish but used sparingly and kept thankfully brief.

The fusion of old and new casts is seamless; thanks to a plot concerning time travel, Future Past presents the likes of accomplished veterans Sirs Patrick Stewart and Ian McKellen alongside the youthful talent of ever-reliable Ellen Page and a captivating Jennifer Lawrence. Michael Fassbender and James McAvoy represent welcome additions too, providing much-needed charisma alongside a stony Wolverine, and the film benefits from the inspired casting of Peter Dinklage – betterknown as Tyrion Lannister in Game of Thrones – as military scientist Bolivar Trask. 

As for the plot itself, there’s a little left to be desired. Time travel is always a minefield in cinema and Future Past suffers from moments of confusion. There is some recapping of the previous film but it’s probably worth rewatching First Class again before this installment. That said, the alternate history of the 1970s allows the writers a rich seam of possibility which they exploit to its full extent, with scenes that see Mystique in action in Saigon and Magneto implicated in the assassination of JFK. It is only really at the final hurdle that Future Past falls, thanks to a muddled ending, overly drawn-out in that way that the final scenes of so many major blockbusters now are. 

The question remains, however, of whether the superhero genre has finally matured from mere action vehicles into deeper studies of what it means to be human, or not. This has always been X-Men’s trump, and Fassbender’s Magneto in particular displays a wonderful ethical ambiguity that begs comparison with the conflicted morality of Andrew Garfield’s Peter Parker in Future Past’s fellow release The Amazing Spider-Man 2

Just as the latter wrestles with the consequences of his continued involvement with Gwen Stacey and the danger he puts her in as Spiderman, so the former asks whether he can bring himself to kill someone who trusts him deeply in order to safeguard his entire race. Both characters have numerous scenes in their respective films in which their internal struggle is explored. 

It has been suggested that this is a trickledown effect from the shades-of-grey antihero morality central to the Bronze Age of Comic Books (i.e. the “ darker ” comics of the late 80s and 90s – think Watchmen). Whatever the reason, it’s to Days of Future Past’s credit that it manages to be fast-paced, humorous and thought-provoking, all at once. 

Where have all the monsters gone?

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Reading reviews of Godzilla, it’s strange that one of the most frequently repeated criticisms is the lack of the hulking near-dinosaur himself. The apparent scarcity of the eponymous monster has been taken everywhere as an indictment of the film; people paid good money to see the whacking huge lizard smash stuff, so it’s only right if he’s on screen the whole time. But actually, what the director Gareth Edwards has done is to understand perfectly that monster movies are not really about the monsters at all. It’s all about the anticipation.

 Evidently, if you were expecting a lot of Godzilla, you clearly hadn’t seen the trailer. It strayed far from the Michael Bay school of thought that a trailer has to be an extended montage of stuff exploding and being crushed, or being crushed and then exploding. Instead, there were fleeting, teasing glimpses of the beast, vistas of abandoned cars, smouldering wreckages, ominously imposing footprints, and distant, echoing roars. What Edwards was doing was highlighting what it is that is great about the monster movie genre; rarely is the monster itself the most enjoyable part, instead focusing on the tension, the excitement and anticipation of the big reveal. 

If you look back at the catalogue of famous monster movies, they’re all about the buildup. Edwards is in fact partly copying the original Godzilla from 1954, which had equally little of the lizard himself. Although partly artistically motivated, it was largely reptile-free due to the cost of his scenes, even though back then it was just a man in a latex suit hitting cardboard models of skyscrapers. Nonetheless, it proved from early on in cinema’s history that less really was more when it came to monsters. 

Ridley Scott’s original Alien also had a trailer that featured none of the iconic xenomorphs themselves. And arguably the best bits of Alien, the ones that everyone remembers and rightly praises for their brilliant maintenance of tension, are the ones without the aliens. It’s all about the wailing, haunting emergency siren, the bleeps on the motion detectors in the vents, the screams and the unexpected shock of that scene. And what makes Alien so remarkable is that even with a science fiction creation as brilliant as H. R. Giger’s xenomorph, it is in their absence that the truly fantastic moments occur. 

If you need an example of when more really is not more, look no further than Guillermo Del Toro’s abortive Pacific Rim. Instead of following the example of monster movies past, Del Toro flipped the genre on its head, pointlessly having the monsters on screen most of the time. That is why Pacific Rim was dreadful – there was neither care not attention placed on the introduction of the monsters and so you just didn’t care. Watching a massive robot hit an alien giant with a cargo ship just isn’t entertaining if it’s done in an abrupt and thoughtless manner. I realize few people would label Pacific Rim a classic monster movie, but it is an example of a recent and extravagant failed attempt. 

All the great monster movies pride themselves on the tension and expectation. Jaws is fantastic because of its infamous use of sound and passing glimpses. Indeed, Jaws is not really about the giant shark at all rather than the omnipresent dread the shark represents. Cloverfield even based its entire premise around the importance of anticipation, using the Blair Witch-esque found footage formula to make the lack of monsters more realistic. Even in something like Jurassic Park, though probably closer to action film, that nail-bitingly brilliant scene in the kitchen with the raptors actually features very little dinosaur.  

That doesn’t mean the monsters are valueless. In fact, there’s probably nothing worse than a grand buildup only to be greeted with some mediocre, CGI jellyfish-lion hybrid. But the anticipation is what makes monster movies so unique and thrilling; breathlessly waiting to see, in all its glory, that monstrosity that has been thus far only indirectly present. So, don’t worry if your viewing of Godzilla is light on lizard action. Far from being a reason to criticise the film, it’s a sign that Edwards hasn’t forgotten what made monster movies great to begin with. 

Debate: Is Oxford’s collegiate system needless and outdated?

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YES

Tom Carter

Trinity! What a college. Enviable green lawns, beautiful buildings (for the most part) and (again for the most part) great people. What’s not to like? Indeed, from as early on as open days, we are peddled the myth that it doesn’t matter what college we get into, because as soon as we get there, we will love it and think that it is the best college, like, ever. In the scary world of big, bad Oxford, there is a lot to be said for colleges. They provide students with a much smaller and more manageable setting, enabling us to meet a whole range of peers from all academic disciplines and walks of life.

They give all students a support structure, both academic and pastoral, unlike students at other universities who sometimes feel stranded, and they give students a part of the university with which they can positively identify and belong. In short, they give students a home.

Sounds great, right? Not so fast. Much of what colleges supposedly achieve can be achieved without colleges and they are, in reality, a drawback of Oxford. Firstly, halls play very similar functions to colleges in the first years of many other universities. People make friends with people just as much because they live near them as because they are in the same college as them. This is borne out by the ridiculous extent to which staircase loyalty dominates colleges for at least the first part of the first year. Thus, the illusion that only colleges can help students make friends is patently untrue. Moreover, colleges could be seen as severely limiting your potential friendship group, as it is much harder to make friends outside college in Oxford than it is to make them outside halls in other universities.

Take Trinity for example. Here there are 86 freshers. Take away the scientists, the sporting meatheads and the recluses and I barely have 20 people who I could possibly be friends with. Whist this is a massive generalisation – I am sharing a room with a scientist next year and some athletes are surprisingly interesting– it does illustrate the limitations to making friends within college, especially when juxtaposed with the thousands of interesting people in the university as a whole.

What about the other claims for collegiate superiority? Take the idea that colleges provide a good support structure: a college is not required for this. One could just as easily have faculty appointed academic and personal tutors whilst student peer support could be provided on a halls level. Indeed, the college system can be actively damaging to your academic stress levels. For competition between colleges, especially over their ranking on the god- awful Norrington Table, can lead to colleges piling undue pressure on students to produce the academic goods. Merton, at least traditionally, illustrates this tendency perfectly.

There are plenty of other arguments for colleges being detrimental, such as the confused direction they set by adopting agendas distinct and different from that of the university as a whole, but space does not permit me to elucidate upon them. Colleges should carry some sort of health warning: not only do they hinder your social life but potentially your academic life as well.

 

NO

April Peake

It isn’t hard to imagine life at a university without the collegiate system. Flats aren’t that different from corridors or staircases and individual campuses are sort of like the colleges themselves. I’ve seen my friends at other universities nip downstairs to beg for help on their assignments, bang on their neighbours’ doors to announce pre-drinks, and get told off for staggering back to their rooms too noisily after a night out.

Imagining Oxford as a non-collegiate university, however, is impossible – and not simply because wherever you are in town you’re guaranteed to be at most a stone’s throw away from a college.

The collegiate system is the backbone of Oxbridge’s academic system too, providing the framework for the tutorial system. Tutorials are renowned for providing opportunities for students to discuss, argue and develop their own ideas under expert supervision and receive individual feedback on their work. Your tutors know you, your interests, and your writing style and can monitor your development minutely.

Tutorials and classes are of intrinsic academic value – and humanities students in particular would lose out if the format of their course changed to lectures and seminars. Writing down someone else’s thoughts in a lecture is certainly not as beneficial as receiving personally tailored support.

But while significant, the academic structure isn’t the sole or even the most important benefit of the collegiate system. Studying at Oxford can undoubtedly be an extremely stressful experience. But the collegiate system will support you every step of the way.

Being part of a college helps offset the natural ‘small fish, big pond’ fears that most freshers harbour when they first arrive at university. The work becomes less scary when you consider that you’ll be working with tutors who have hand selected you, deciding they want to work with
you for the next however many years. Instantly you become one of the five ‘chosen ones’, or one of twelve, rather than one of 3,198.

Entering a college, you become part of a ready-made community. You know that if you’re unsure of something your college mother is just in the next building, that if you have a problem with work, you can get help from the other people on your course that live across the corridor. The college system is a wonderful network for students, particularly if the centrally offered support isn’t right for you.

If you need to talk you have your college friends, parents, welfare reps, peer advisors, chaplain, nurse, subject tutors, personal tutor and senior tutor on site, ready to help you. These people are all there for you to reach out to, and to look out for you in times when you feel you can’t reach out, offering a range of support from social to academic. The collegiate system is one of the great strengths of Oxford – it may be old fashioned insofar as it is traditional but that by no means makes it outdated.

Men need to stop thinking of women as rewards

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The recent tragedy where college student Elliot Rodger, went on a shooting spree at the University of California, which left seven people dead including himself, has caused a media storm. We can’t know exactly why he did it, but this incident has drawn attention to cultural prob- lems far beyond this man’s misogynistic personal opinions.

According to his family, he was on the autistic spectrum, and he is being armchair-diagnosed with all kinds of mental disorders; for many commentators this illness has served to mitigate his women-hating blog posts and videos. However, as valid as noting his mental health may be, this case cannot be simply dismissed as an instance of where a ‘lunatic’ lost control.

Rodger may have been in a mental state where he was more receptive to extreme attitudes already present in society, and maybe mental illness fuelled his irrational thinking. There is an argument that he should have received better treatment and not been allowed a gun. Pointedly though, this is not the end of the debate, and we must consider the root cause of the opinions which drove the man to mass-murder.

Elliot Rodger was an individual with an inflated sense of entitlement, extreme views, and a strong violent streak. This first aspect has raised a lot of discussion, because a sense of entitlement to female attention, and the idea that there are, or should be, failsafe ways to get it, is common. He used to post on PUAHate, an online forum which rails against pick-up artists – those who discuss, or even make a living from, surefire ways of seducing women. On a forum, aimed at those ‘PUAs’, I was immediately shown an advert offer- ing me ten ‘FREE’ videos, including ‘How To Approach Any Woman With Zero Chance Of Rejection… This Works EVERY Time!’ and the unsettlingly titled ‘The Secret To Developing Emotional Addiction In Women (That Makes Them Loyal And Obedient)’. In light of this misogyny, PUAHate doesn’t seem such a bad idea – sadly though, members of this forum didn’t seem against the concept, just disillusioned by the failure of its techniques, viciously critical of each other, and overwhelmingly misogynistic. The issue for these self-titled ‘incels’ (involuntary celibates) is injustice; they believe that they should be entitled to sex, and that women are breaking some unsaid promise by not giving it to them.

This attitude can be traced back to our cultural tropes; we are all taught that a good heterosexual man is entitled to a woman. There are countless films, books, sitcoms, and more, where the hero saves the world, or just does good, and then by default gets the girl – she’s a prize awarded by the justice of the universe. Men are told, through media like this, that they are the active ones, and that if they are successful people, or fol- low certain measurable steps, they can have sex with a desirable woman. This illusion of control has the potential to cause frustrations and become very dangerous, especially when the illusion falls apart.

On a similar note, I have often heard men complain about the ‘hoops’ that they have to jump through in order to get female attention: Buy them a drink; make the first move; spend money on them. It’s ludicrous that there are culturally expected hoops to jump through, yes. What is just as ludicrous though, is the assumption that once you have jumped through these ridiculous hoops, you will then get female attention, and that if you don’t, the women are at fault. (“You did what you were meant to.”) It is the hoops that are wrong in this paradigm.

That being said the hoops have some appeal. We all want a set of
rules to follow to gain rewards. The problem is that a woman is not a reward. A woman is not a concept you can deserve. A woman is an individual. Every single human being is. We all have our own desires, our own personalities, and make our own decisions, none of which anyone else can or deserves to control, no matter how many hoops they jump through.

The very concept of ‘Pick-Up Artists’ suggests that women are a homogenous, predictable mass. This lie also underpins countless films, books, TV programmes, articles, pieces of advice. (Not all of which are aimed at men.) This lie is ridiculous, so why is it so prevalent? Perhaps because it’s easier to blame a single, bitchy mass for your rejection than to analyse the motives of an individual, or to accept that maybe you’re not such a nice character after all. Perhaps because it’s easier to feel angry and entitled than be afraid that there is no effective system and you’re not in control.

There are those who feel entitled to sex just by being a ‘nice guy’, because apparently kindness is not the default way to treat someone. Comments on his videos include “well girls, keep that in mind the next time you friend-zone somebody!” and “I don’t blame guns, I blame blondes for this one.” I’d like to think they’re joking.

Be it in Internet forums or everyday gossip, abusive tweets or pop songs, there are echoes of this sense of entitlement all around us. No, not all men have malicious, extreme views that lead to violence. It takes more than entitlement to actually shoot someone. But this sense of entitlement in itself is something we are all taught to believe, and it should be discussed and refuted more openly.

This idea that ‘nice guys’, or those who follow all of our culture’s horrendous ‘pre-scribed steps’, are entitled to sexual attention from those they desire needs to end, or people will continue to get hurt.

Students and residents unite in fossil fuel divestment rally

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Students and residents from across Oxford have today joined in a fossil fuel divestment rally, marching from Radcliffe Square to Bonn Square.

The initiative, spearheaded by campaigns Oxford University Fossil Free and the Fossil Free Oxfordshire Divestment Campaign, seeks to raise awareness about the importance of fossil fuel divestment as consultations with the University come to a close.

It brings together the work of a number of organisations including the OUSU Environment and Ethics campaign and the student-led organisation People & Planet, calling for full divestment from fossil fuels, as well as a full list of the University’s investments, which is currently unavailable.

The rally finished at Bonn Square, where a speech was made by Dr Brenda Boardman, co-director of the UK Energy Research Centre.

Cherwell spoke to Ellen Gibson, a St Hilda’s student who organised the rally. She said, “I think one of the most important aspects of divestment is the opportunity it provides for reinvestment, particularly in things such as clean energy, which could benefit so much for that kind of investment, and renewable sources. Currently, what’s holding them back from that being our source of energy isn’t their ability to provide power – it’s been proven that they can provide our power and that they can be a great source of energy for us – the problem is that there isn’t that investment and there isn’t that power to lobby governments to tell them that this is the kind of energy that we want to see.

She added, “The biggest thing that’s been happening recently is that the university opened a consultation about fossil fuel divestment which is due to close at the end of this term, so currently we’re building up a lot of momentum towards the end of that to send a real message of strength to the university before that consultation closes, so this isn’t really the last that you’re going to see of us over the next few weeks – there’ll be a lot more actions going on, so I feel like we’re building a lot of momentum.”

Michaela Collord, who co-organised the rally, told Cherwell, “The demo is something that’s important in an of itself, because it’s a way of showing that this is something people care about, and it’s also a way of telling the University, and also the city council, because we’re partnering with the Oxfordshire Fossil Fuel campaign, that this matters and that they, as prestigious institutions, can take this voice and make it that much louder.”

The University is currently involved in consultations with OUSU over divestment, while 19 JCRs and MCRs across the University have expressed support for fossil fuel divestment.

A university spokesman said in a statement, “Oxford University Student Union has asked the University to divest its endowment from holdings in companies involved in exploration for, or exploitation of, fossil fuels.

“In order to provide a fully considered response, a consultation has been launched to seek evidence and opinion from across the collegiate University. The University’s Socially Responsible Investment Review Committee will collect views and make a recommendation to the University Council in the autumn on what response to make to OUSU’s representation.”

 

Milestones: Isaac Levitan

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An autumnal grove of birch trees with slender white trunks and speckled orange leaves is interrupted by a meandering grey river, which softly reflects the hues of the bright sky above. Such is the effusive evocation of the Russian countryside in Isaak Levitan’s painting, Golden Autumn. Levitan, gave birth to a form of painting, known as the ‘landscape of mood’. ‘Landscape of mood’ spiritualizes the form and state of nature, using it as an expression of the human condition. Levitan’s landscapes are fleeting representations of a forest clearing, a cottage, a river, a country path, haystacks. 

Hushed, almost melancholic contemplations of pastoral settings were his characteristic style. With only a couple of exceptions in his prolific life work, Levitan did not depict urban landscapes, and his paintings are normally devoid of human presence. Despite few humans appear in these works, his paintings invariably reflect the prism of humanity and are often referred to as ‘psychological’ or ‘philosophical’. 

Some also have political undercurrents. In one of his most famous pieces, Vladimirka, he paints the road down which people who had been exiled made their way to the distant Siberia. It is a lonely and deserted track seemingly leading nowhere and the pale grey of the sky conveys the dejection and desolation of the scene. Though only a depiction of a landscape, this painting was a controversial indictment of the government’s decision to send political prisoners down this godforsaken path. Levitan’s method was often not dissimilar to that of the Impressionists, but while their emphasis was on the optical, his was on the naturalistic. The works created toward the end of his life reflect his influence by the emerging Modernist movement. For example, the painting Stormy Day, which portrays a green slope leading up to a cluster of cottages, overshadowed by a menacing grey cloud, shows his departure from strictly realist depictions toward more abstract and emotive expression. In many ways, Levitan’s work is the visual counterpart to Chekhov’s literary compositions. 

There are hints of Levitan in Chekhov’s snapshots of quotidian existence and his elegies to the Russian countryside, most notably in his short stories. Both of these artists have a simple understated style, which nevertheless conveys great emotional depth. 

Levitan’s life was a series of tragedies: his mother died when he was fifteen and two years later he was orphaned. 

As Jews they were confined to living in the Pale of Settlement, Levitan himself exiled from Moscow because he was an “unbaptized Jew”. He died at the age of thirty-nine of a severe heart-related disease. Some critics believe these misfortunes had an impact on Levitan’s evolution as an artist. The restricted environs of the Pale meant that he often depicted vast expanses and epic panoramas. Towards the end of his short life, his works increasingly contained light, a sign of his internal peace and tranquillity.