Saturday, May 3, 2025
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A post-card from Spain

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Moschino is definitely a name with resonance, but the Italian fashion house has outdone itself with their upcoming spring/summer collection. The post-Hispanic statement they are proposing is flamboyant, edgy and some might say eccentric.

In their autumn/winter 2011-2012 collection, Moschino reinforced the concept of feminine emancipation by creatively redesigning some very masculine pieces and cuts (blazers, trench coats and even a full tuxedo) to fit the hourglass figure. For their irnext season they are taking this same idea even further, focussing on a more specific and extravagant concept.

Their main source of inspiration is a Spanish classic, the torero costume. They have broken it down and rebuilt it for the 21st century women. Spaniards call it ‘traje de luces’, or suit of lights, and that is exactly what Moschino has done. ‘La chaquetilla’ the short jacket, with shoulder reinforcements is intrinsic to the look. The cut is straight and firm, the jacket having a high waist and shortened sleeves. The level of detail is extraordinary, including very fine embroidery and beading; this is placed over a white shirt, and accessorised with big black silk ribbons around the neck. To keep it feminine, the bottom is either a pair of high-waisted, tight, black trousers or an incredibly short skirt showing the same level of detail. This look can be copied on the high street with boxy jackets, frilly shirts, or even ribbon and bow details. Already flowing blouses with bow detail can be found on the high street in stores such as the suitably Hispanic Zara.

When Moschino were not reinventing the bull-fighting costume, they were inspired by traditional Spanish dresses, taking in ‘gitano’ influences. Here we have floral models, with even leather tassels, frills. Thus the dresses in this collection are very feminine, passionate and essentially Spanish. Channel the free-spirited and very feminine flamenco dancer.

Moschino has chosen a strong and suitably noble palette for this collection, basing their creations either on a monochromatic base with golden details, or a bright yellow base with black embroidery. The accessories in use are bright and bold with stacked bracelets and huge jangling gold earrings, a very affordable way to get to terms with this trend.

Overall the whole collection seems like a postcard from Spain; as powerful as the matadors, and as energetic as a flamenco dancer. Spring for Moschino is bright, detailed, and glamorous to its golden core. It is passionately Spanish.

 

Review: Amy Winehouse – Lioness: Hidden Treasures

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Why do all the good ones go before their time? Amy Winehouse, a beautiful voice and a musical tour de force, shall be dearly missed. This short life saw a troubled superstar that fought hard against her addictions to drugs and to alcohol, that all ended in tragedy on July 23rd. Winehouse’s death from alcohol poisoning, makes her, like Kurt Cobain or Jimi Hendrix, a member of the 27 club.

 

Winehouse’s music is widely acclaimed as being poignant and emotionally raw. Lioness: Hidden Treasures, her posthumous album, compiled by long-time musical collaborators Salaam Remi and Mark Ronson, is no exception. This is the follow-up to 2007’s Back to Black, the multi-Grammy winning, multi-platinum international powerhouse. Some of the proceeds from this posthumous album will go to the Amy Winehouse Foundation set up in her name by her father Mitch to help youth orientated charities around the world.

 

The twelve tracks of the album are essentially an assortment of alternate takes of existing classics, previously unreleased tracks in addition to several new compositions by Winehouse. The album begins on a happy, coherent note, ‘We’ll have everything/We’ll share the joy falling in love can bring.’ This is Winehouse’s reggae-tinged jaunty, sassy rendition of Ruby & the Romantic’s 1963 classic ‘Our Day Will Come’ recorded in 2002, right at the start of Winehouse’s music career. The track is bursting with romanticism and hope.

 

The album also features a bracing attempt at Carole King’s ‘Will You Still Love Me Tomorrow’. I felt that the militant drumbeats in Winehouse’s version are rather out of place, and somewhat mar the track. Winehouse’s previous version of this track is featured in Bridget Jones Diary: The Edge of Reason, and is to my mind subtler. The Zutons’ ‘Valerie’ is another reworked track: this incarnation is delightfully playful and perhaps even better than the original. Alternate renditions of ‘Tears Dry’ and ‘Wake Up Alone’ also make it onto the album: the former set as a ballad, while the latter is significantly more pared back than the original. This allows her powerful vocals to shine, accompanied only by the acoustic guitar and laid-back beats. Winehouse’s last ever recording was made with iconic crooner Tony Bennett on a version of ‘Body & Soul’. This is a more traditional piece that works very well.

 

Other standout tracks include ‘Halftime’ and ‘Like Smoke,’ both new compositions. ‘Halftime’ is exquisite, a languid, 70s sounding track that oozes soul.  In contrast, ‘Like Smoke’ features Nas’ succinct raps that complements Winehouse’s brutally honest lyricism ‘I never wanted you to be my man/ I just wanted some company.’
The heart-breaking album ends with her impassioned cover of the legendary Donny Hathaway’s  ‘A Song For You.’ Winehouse’s emotional version of this classic tune is heart-wrenching and haunting.

 

This compilation album is yet more proof of Winehouse’s tremendous talent and what immense potential she could have achieved. Fans of Winehouse will no doubt miss this girl’s unique vocals and her gift for songwriting. However, this final album may provide some slight consolation, only a few months after we said goodbye to this sublime singer/songwriter.  Let’s be frank, her legacy will continue to live on.  

 

Cherwell pays tribute to Christopher Hitchens

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As news arrived early on Friday morning of the untimely end of Christopher Hitchens, commentators, friends and admirers rushed forward at an extraordinary pace to offer their tributes and memories. While their quality (and levels of affection) vary, what does not is the huge admiration and respect that this great journalist inspired in everyone he encountered. The sheer volume of personal anecdotes and essays that have flooded the internet reflects this. Hitchens had an astounding ability to express his mind so clearly that upon reading him – and especially upon meeting him – you couldn’t help but feel you knew him intimately. 

Though frequently described as a ‘public intellectual’, he was as far as one can imagine from the superficial or pompous implications of such a term. As thousands of words pour out from across the world in tribute, it is becoming increasingly clear that here was a man of great generosity, encouraging and engaging with everyone around him, regardless of their status or lack thereof. He relished people almost as much as he relished the page. 

Personally, I met him only once, to interview him for Cherwell in May 2010. As with every other story circulating from the people who knew him, he was unfailingly polite, engaged and attentive. This level of courtesy and engagement was made all the more impressive by the fact that the interview itself was an impromptu affair conducted in the back of a taxi, the result of a nervously garbled request from me at his book-signing the night before. As his flight-time approached, he casually predicted several events that at the time seemed highly unlikely, including Ed Miliband’s ascent to the Labour leadership and Sarah Palin’s withdrawal from the presidential race. He was, as ever, dazzlingly interesting (his memoir relates his mother’s assertion that the “one unforgivable sin is to be boring”), despite what I thought, from looking at him, that he must have had a heavy night. 

In fact, this was mere weeks before his diagnosis, and though I had no awareness of the malignant cells silently attacking him from within somewhere between his shoulders and his chin, it was impossible not to notice that he didn’t look well. He certainly looked far worse than a man who’d only recently turned sixty. He smoked one cigarette just before entering the taxi, and immediately lit up several more upon exiting; I told him that I thought he had quit, but he merely shrugged and said, “I have.”

As the taxi travelled quickly out of Oxford, we were soon surrounded by traditional looking countryside, and it doesn’t seem too sentimental to recall the Hitch observing this English greenery with affection. I asked if, being an American citizen now, he returned to these parts much, and he left a pause while still looking out at the fields. “Not as often as I’d like.” Of course, neither of us knew that I was accompanying him in his final moments on British soil. After we arrived at Heathrow, he topped up his nicotine levels and invited me to accompany him as far as security would allow, and the conversation was only stopped by airport officialdom. There was no reason to think that it might not continue on his next visit to his country of birth – a visit that, of course, never happened. 

Following his cancer diagnosis, I emailed him to express my sympathies and send him the finished article, and (as seems to be the case with everyone who contacted him) he sent a prompt reply: 

“I was just beginning to suspect that I might be unwell on that trip, though I had no idea how much danger I was in. You are very generous to describe my conduct as courageous: I don’t have many options and the exit marked cowardice doesn’t seem very clearly-marked in any case, even should I wish to take it. I think the word courage is to be reserved for people who guard polling-places for women in Afghanistan, say, rather than those who come to see what they already knew, which is that the word inevitable means what it says.

“That said, I have some brilliant and resourceful physicians who have given me good reason to hang on, and also made the whole misery a lot less fucking boring than it might otherwise have been.”

Regardless of what he might have thought, courage is undoubtedly the best word for the Hitch, as his brother Peter wrote on Friday: “Courage is deliberately taking a known risk, sometimes physical, sometimes to your livelihood, because you think it is too important not to. My brother possessed this virtue to the very end, and if I often disagreed with the purposes for which he used it, I never doubted the quality or ceased to admire it.”

Finally, amongst all the tributes that have poured out this weekend, it is necessary to correct what I believe to be certain falsehoods: he was not a contrarian; he never gave an opinion on subjects he knew little about (such as climate change, or healthcare), advising me, “where you’re not sure what you’re talking about, you’re well advised to shut the fuck up”; and, despite Nick Clegg’s fawning tribute to him, the Deputy Prime Minister may be disappointed to learn that, as an intern for Hitchens, he made little impression: “I don’t remember him very well. I remember better Eddy Miliband [also an intern at The Nation].”

The rest, I leave to those who really knew him; the tributes of Ian McEwan, James Fenton and Christopher Buckley are particularly impressive, and reflect the admiration and deep affection that he inspired in all he met. Hitchens was an intellectual titan, but also a kind and honourable man. His flame was brighter than most, and was extinguished all too soon.


Santa among the Victorians

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Charles Dickens’ is A Christmas Carol that continues to resound to this day. The Victorian Dickens may well have given us the Ghosts of Christmas Present and Future, but our Christmas culture is one completely and continuously haunted by the presence of the past. 2011 might have brought us a John Lewis advert that made more middle-aged mothers melt to their knees in weepy warmth than any card, present or display of selfless love than their actual child could ever give, and a Christmastide return by Kate Bush, that makes one want to burst back onto those wiley, windy moors again (albeit in the cosy comfort of a Santa Claus hat and snow boots), but our contemporary Christmas culture is one almost entirely constructed by Victorian artistry – more specifically, by Victorian literature.

Believe it or not,  it was upright, stalwart social polemicist Charles Dickens who taught us that Christmas should be spent slobbing out with the family. The pre-Victorian Christmas was one of waning popularity, having been disdained and banned during the puritanical Commonwealth as a Catholic indulgence, and understood ever since as a collective spiritual observance, rather than  as a familial feast.  Dickens was inspired by fellow nineteenth-century author Washington Irving’s own revival of the American Christmastide tradition after its rebuke as a trapping of English Imperialism, through his Christmas writings in “The Sketch Book of Geoffrey Crayon”, which describe the harmonious warm-hearted English Christmas festivities Irving experienced while staying at Aston Hall, Birmingham. It was Dickens’ images of the rosy-cheeked Fezziwig’s parties, the resplendent, indulgent Ghost of Christmas Present and the close-knit Cratchits that popularised the image of Christmas as a celebration of the home, as much as any religious rite.  Perhaps it is the perfect example of Dickensian irony, then – or else simply Christmassy karma – that today our homes are haunted by the unmercifully unending train of adaptations of this yuletide tale – from the muppets version, to the Barbie version, to the version in which each part is played by a different breed of dog.

The indulgent idea of Santa Claus as a man of material worth, with his primary function as toy-dispenser, is another creation of the nineteenth century literati. Whilst the ideas of Father Christmas as a personification of “Christmas spirit”, and St Nicholas as Christmastide spiritual presence had originated centuries before, it wasn’t until Clement Clarke Moore’s 1823 poem “A Visit from St. Nicholas” that these two were amalgamated into a more lucrative figure. The famous poem, known more commonly as “The night before Christmas”, establishes Santa as “chubby and plump, a right jolly old elf,” and for the first time acknowledges how he brings “a sleigh full of toys” with which to fill “stockings.” Moore also gives us the image of “a miniature sleigh, and eight tiny rein-deer” that “mount to the sky” with the infamous roll-call; ‘Now! Dasher, now! Dancer, now! Prancer and Vixen, / ‘On! Comet, on! Cupid, on! Donder and Blitzen”. To add another layer or literary elaboration, this idea of a magical sleigh had been pulled from a preceding poem, “Old Sancteclaus”, an anonymous work featuring in the 1821 work, “A New-year’s present, to the little ones from five to twelve”.

Victorian poets even thought to establish Santa’s other half. Mrs Claus was invented by James Rees, in his 1849 work, “Mysteries of City Life; or, Leaves from the World’s Book”, and popularised by Katherine Lee Bates’ poem of 1889, “Goody  Santa Claus on a Sleigh Ride.” Bates introduces the figure of “Goody Claus” – a character, who demands of her glorified husband, “Why should you have all the glory of the joyous Christmas story, / And poor little Goody Santa Claus have nothing but the work?”

It’s not only in the secular sphere that Victorian writers continue to haunt our cultural consciousness either – even church carol services are underscored with a distinctly Victorian pen. Carol collections began to be printed in the early nineteenth century, such as Davies Gilbert‘s Some Ancient Christmas Carols (1822), William B. Sandys‘s Selection of Christmas Carols, Ancient and Modern (1833), and Thomas K. Hervey‘s The Book of Christmas (1837). The ever-popular yet oddly eerie and melancholy “In the Bleak Midwinter” comes from everybody’s favourite maudlin Victorian, Christina Rossetti.

So whilst it may be a common, and increasingly popular notion that Christmas, year on year, becomes more materialistic, more and more skewed from its origins, we must remember that we are in fact following centuries-old stipulations for the perfect Christmas, adhering to a textual tradition before which there was hardly any sense of celebration at all. If these complainers wish to take on the wisdom and words of Dickens, I wish them the best of luck, but I think I may be too busy indulging in the brand new transformers-themed adaptation of “A Christmas Carol” to contest. 

Varsity Ski Trip 2011

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Varsity ski trip 2011 was an overwhelming success, including world-class acts, exciting competitions and (finally!) some good snow. Listen to what the students themselves had to say about it during the week.

The delusion of democracy and demography

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Orwell never did get the revolution he was hoping for when he wrote in Nineteen Eighty Four, “if there is hope, it lies in the Proles”. But if there’s any consolation, these prophetic words came true this year after the Arab Spring that gripped the Middle East.

 

Just as Communism failed the world over, so did the Muslim world’s very peculiar interpretation of a revolution. Other than a lot of rubbish strewn streets and pictures of hideous booty from tyrant’s palaces, it’s hard to see what has been achieved at all. The post revolution elections were also a painful anti-climax. In Tunisia, once a bastion of secularism in the Arab World, Islamist leaning Ennahada won 89 of the 217 contested seats. Rather than attempt to tackle Tunisia’s over reliance on foreign investment, Ennahada’s first political action was to shut down Tunis’ fledgling red light district. Further to the west in Morocco, the right wing Justice and Development party won nearly a third of the total seats, promising a return to “traditional values”.

 

Why would the Muslim world, despite massive educational and economic development in the last fifty years, choose to look not just to the East rather than the West as a way of forging a new social identity, but on a more universal level, to the past rather than the future? The availability of mass media effectively rendered defunct the sophisticated mind games of the old regimes, as well as casting doubt on the question of social isolation. Asef Bayat’s 2002 pre-revolution book, ‘Making Islam Democratic’ mentions the old favourite, western imperialism. However, what the decision to shut down Tunis’ red light district, the oldest trade in the world, has to do with western imperialism is anyone’s guess.

 

Perhaps, although no one likes to admit it, resurgent Islam’s popularity has nothing to do with an anti-imperialist backlash, or the supposed appeal of religion over the corrupt politics of the West. The reason why the Arab Spring started to look like 1979 Iran all over again has more to do with the most primal instinct of all. Making babies.

 

Let us be under no illusion, educated people do not have enough children whilst their uneducated countrymen have too many. It takes no genius to work out that an illiterate labourer’s family of eight fills the ballot box faster than a teacher’s family of four. The core support for Egypt’s Muslim Brotherhood lies not in the wealthy central Cairo neighbourhood of Zamalek, but in the sprawling, biblical looking mud huts the tour buses pass on their way to the Pyramids.

 

Islamist parties, after decades of persecution from the ruling, largely secular elite, have had time to do their homework. The Middle East’s rapid development in the latter part of the 20th century was a tale of two halves. Although the Gulf’s swanky shopping centres or Egypt’s tourist industry can rival those of any western country, the structure of Middle Eastern society remains positively medieval, split between a small, ruling elite and a heaving proletariat, without a sizeable middle class to act as a cushion in-between.

 

Whilst plotting their reprise behind locked doors, the Islamists became bored of revising political tactics and instead turned to something that needed no thought at all: large families. In countries such as Egypt where birth rates and illiteracy rates remain stubbornly high, the slums of any large Arab city remain ideal receptors for Islamist sympathy. As Asef Bayat justly affirms, the poor, preoccupied with daily subsistence, “cannot afford to be ideological”. Western notions of tolerance and equality mean little to the poor, left out by rapid development, whose knowledge of the arts extends little beyond a rudimentary grasp of the Qur’an. Therefore, the Islamists in the post revolution elections have embraced the democratic principles of citizen participation and individual rights. Notions that are concerned more with the physicality of turning up to vote rather than difficult, abstract notions of equality and tolerance.

 

If the answer is so simple, why then has the question of numbers eluded so many western political strategists? As well as containing considerably fewer syllables than weighty terms like “stagnation in socio-religious thought” or “global marketisation”, the question of demographics  very easily assumes a sinister edge. No one likes to confront the question of who should or should not have the right to vote. Quantifying people like a classroom biology experiment forces people to confront disturbing lessons from history.

 

However, unless the West faces up to this population time bomb, the chances of anything close to a western democracy being installed in the Arab world will remain as remote as the chances of a Saudi Gay Pride parade. Without effective family planning, compulsory education and a secular government, a feudal, Eloi/Morlock style society will never be broken.


Review: Nuel – Trance Mutation

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I’m writing as the wax is spinning. Nuel’s new experimental slab, Trance Mutation, has been on heavy rotation since the kind postman delivered it. This intensely emotive album is the product of Manuel Fogliata’s imagination run wild, creating a series of melodic and percussive gems that initially demand your attention and then make all attention redundant. The Seattle based Further Records has been going from strength-to-strength over the past couple of years: Donato Dozzy’s K was easily my favourite record of 2010, and since then we’ve been treated to fantastic live recordings courtesy of Ekoplekz and Conrad Schnitzler (who sadly passed away the day I picked up his Live ’72 doublepack), as well as o1o’s twisted Futurespective EP.

The only link I can see between Further and Nuel is his production partner’s (Dozzy’s) prior appearance. Further’s ideology is worlds away from the sound that Nuel has been pushing on his Aquaplano imprint: relentless deep, dubby techno for dark rooms filled with dark souls. I know, I’ve been one of those souls. To show just how dark, Mike Parker has even released on Aquaplano.

Nuel takes a trip away from his normal production style resulting in a package that is altogether at home on Further. The seven tracks are far from techno, but they are trance-like. Not Goa, Hard, or Vocal; but meditative, hypnotic scapes with heavy emphasis on tabla rhythms and plucked guitar. That’s where the Mutation comes in. Fogliata is responsible for all the instrumentation, overdubbing his live performances with more live performances. A track per day; a week of creativity. Nuel, like Lerosa and Dozzy before him, has once again shown the world that the Italians are untouchable. Be quick, there aren’t many copies, and now there’s one less.

Stream, or buy the album.

Review: One Man, Two Guvnors

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Five Stars *****

Still recovering from the deep mental scars carved during several horrific experiences of family pantomimes over the last couple of years, I thought that it was about time I branched out into festive theatre going that would actually prove amusing. Whilst, of course, Richard Bean’s modernisation of Carlo Goldoni’s 18th-century Italian commedia dell’ arte piece, The Servant of Two Masters, does not seem the most festive of choices, this superb production filled myself, and the rest of the audience, with so much cheer that we soon forgot about the lack of transforming vegetables and dark caves with shiny lamps.

The plot for a start, with its constant twisting and turning, is sheer delightful madness.  Bean has relocated the action to Brighton, 1963 and the narrative follows Francis Henshall, a failed skiffle player who, in order to fund his eating, drinking and sexual antics, finds himself simultaneously employed by two ‘guvnors’. One, a female, Rachel Crabbe, is disguised as her dead twin and the other, Stanley Stubbers, is not only responsible for the death of Rachel’s brother but is also her secret lover. The production has been shortened by twenty minutes from it’s National Theatre days, but has lost none of its zeal.

James Corden as Francis is outstanding. From the chewing of letters to the dragging of supposedly heavy suitcases across the stage, he demonstrates not only farce at its very best, but also, through constantly interacting with his audience as if we had known him for years, gives a master class in audience manipulation. Yet, under the spell of Corden mania, other equally strong performances are all too easily forgotten. Whilst he may simply be playing a stereotype a particular highlight for me is Oliver Chris as the toffish Stanley, delivering his brilliantly caricatured lines-“Buzz-wam! Wrap his nuts in bacon and send him to the Nurse”-with unending pazazz and variety.

There simply is too much praise for this production to fit into one review. The glorious painted facades of the moving set are so wonderfully Carry On-esque I thought that I was watching Boxing Day television, the Sixties skiffle band, with added musicians as different cast members demonstrate their musical finesse on instruments ranging from the steel drum to squeeze horns, beautifully smooth over the scene changes, and the last scene of the first half is perhaps the single funniest that I have seen in my theatre going history, during which I laughed so hard, it felt like I had eaten three Christmas dinners.

In short, you would be a fool to miss it, so make sure you grab your ticket before it heads to Broadway in April 2012.

Oxford students branded ‘boring’ after latest Varsity trip

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Despite early worries about the lack of snow in Val Thorens, last week’s Varsity Ski Trip went ahead successfully. This year’s trip did not see a repeat of last year’s ‘Valley Rally’ which gained notoreity in the national press for the scandalous behaviour of students.

Students had expressed worries about the weather in the run up to the trip, as milder temperatures saw a distinct lack of snowfall in the week before departure. However, a last minute change in the weather meant that by the end of the week the snow depth had reached 130cm. Worcester College Varsity Trip Rep Matt Henshaw said that “as the coaches started arriving the whole resort was brown” but that despite being  “very fine cut … the snow situation ended up being awesome.”

There were still some issues with the weather with the heavy snowfall causing problems with visibility. Third year PPE student Oscar Hutchinson described the middle of the trip as “four days of whiteout”. Because of the bad snow conditions, some events, such as the Red Bull Homerun, were called off. Second year student, Matija Vlatkovic, who had wanted to compete in the crowded downhill race, described this as a “real shame”. 

However, weather trouble was unable to dampen enthusiasm for the social side of the trip. Oscar Hutchinson said that the weather conditions would have “mattered more if the focus had been on the skiing itself, but … there were lots of people around in VarCity and in the town so it wasn’t too bad.” Second year Univ student, Esme Hicks agreed, commenting, “Varsity is about both skiing and socialising so even with little snow, you’re bound to have fun.”

Students were treated to an entertainment line-up that included Ms. Dynamite, DJ Fresh, and Basement Jaxx, in addition to a Live Music Night, a Comedy Night, a Swap/Crewdate evening and a Silent Disco.

The Oxbridge trip also included several opportunities for the two universities to compete in sporting events. While the tabs triumphed in the main Varsity Ski Race the Cuppers competition was won by the team Trinity College, Oxford. Oriel fresher, Jamie Reid, who got the fastest Oxford time commented, ‘The races were a lot of fun. After falling in the first run I kissed goodbye to the overall individual cup, and frustratingly I got the quickest time on the second run.’ He added, ‘Next year and we’ll have them.’ 

Conspicuously absent from this year’s trip was the controversial “Valley Rally”. The challenge, which saw teams take part in “outrageous” tasks as they competed to win a free holiday, received bad publicity in the press last year.  Some students felt that this could have been part of the reason that this year’s Varsity Trip was without major scandal. An Off-The-Piste Rep who had assisted organising other university ski trips told one student that the Oxbridge trip was very sophisticated when compared to other universities from the UK, saying that “Oxbridge really is pretty boring.”

The Varsity Ski Trip had sold out in record time this year; with over 3000 Oxbridge students attending, it is the biggest student-run snowsports event in the world. 

Oxford University Press to reprint controversial essay

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Oxford University Press has decided to “immediately” reprint a controversial essay, after pressure from scholars and members of Oxford University.

OUP’s decision in 2008 to stop printing two books containing A.J. Ramanujan’s essay ‘300 Ramayanas’ coincided with certain groups in India looking into legal proceedings based on the claim that the essay was offensive to Hindu sentiments, with OUP India as one of the potential respondents. 

Members of the academic community in Oxford and abroad criticised OUP’s decision, with many claiming that it was detrimental to OUP’s reputation, and to Oxford University’s by extension. 

This had been reported on by Cherwell this term.

OUP claimed that its choice to stop printing the books was solely down to commercial factors, but this week changed their publishing decision, reprinting both books and a further book called Questioning Ramayanas, also on the topic. A spokesperson stated, “OUP has an important role to play in ensuring that the best scholarship is disseminated freely, and we hope the reprinting of these three important works will demonstrate our commitment in this regard.” The books will now be available in India and beyond.

Campaigners at Oxford University said they were “extremely glad that OUP recognised the importance of reprinting these books”.  The three organisers of an international petition to reprint the books issued a joint statement, stating “We whole-heartedly support this affirmation of OUP’s longstanding commitment to excellence in scholarship, to the broadest possible dissemination of knowledge, and to the right of scholars, writers, and artists to freedom of thought and expression everywhere.”

OUP also rejected allegations that they had “apologized” for publishing the essay and had not stood by their publishing decision. A letter sent in 2008 from OUP to the potential litigants apologized for offending the sentiments of Hindus, adding that OUP was not selling the book nor were there any plans to reissue it. OUP claims they have been “misinterpreted” and wish “to restate the fact that OUP does not and never has apologised for publishing any work by Ramanujan.”

The essay in question looks at different versions of the ‘Ramayana,’ a Sanskrit epic poem which is also a sacred Hindu text. One issue for the potential litigants in India was that one published version has the protagonists Rama and Sita as siblings, whereas they are husband and wife in Hindu tradition. The narrative is celebrated in the Hindu festival Diwali, and is part of Buddhist tradition.

The author of two of the books, A.J. Ramanujan was a distinguished historian who spent most of his career at the University of Chicago studying Indian culture and literature. He died in 1993.