Tuesday 21st October 2025
Blog Page 1778

The generation gap

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Old and young have been pitted against one another, presumably since the first day a human being actually actually made it to retirement age. The young have always been sent to toil, fight and otherwise suffer to defend the elder generation, and a set of comforts that they too might enjoy one day. And now, as at every other time of strain, the young across the world have had to shoulder the bulk of the burden. In the UK the bill for higher education has been handed to students with barely a second thought, while any cuts to pensions must make it through lengthy negotiations. In France and Spain almost half of all twenty-somethings languish jobless, while their parents remain well-paid and unsackable.

The division is most extreme in America, where almost ever major issue is a clash between young and old. Obama’s attempt to extend health insurance to the young met with bitter opposition from well-off old people; the values of an older generation and the laxer morals of the young continue to provoke vicious clashes. Yet politicians tend to reach out to each group only through euphemism: conservatives lament the passing of time, while liberals prefer to talk of the future. The Tea Party and the Occupy movement are drawn almost exclusively from old and young respectively, and instead both implausibly claim to represent all ‘real’ Americans.

The question, then, is whether this long, sprawling economic crisis, by exacerbating the divisions between old and young, will lead politicians to break the taboo and actually talk about generational conflict. It seems unlikely, not least because nakedly pandering to a particular group of voters tends go down badly even with those voters themselves. Self-interest looks best when dressed up in a grand narrative, a tactic that has reached a zenith of absurdity on the America right, where any attempt to channel spending to under-50s amounts to a socialist conspiracy to end Western civilisation.

The patchwork of values that has for so long sustained indulgence of the old is wearing thin. The state today is expected to provide on the basis of need, not age. The mantra about having worked hard all one’s life rings hollow when that work was for private gain; though no politician would survive long calling for television and fuel subsidies to the elderly to be cut, they would hardly fare better calling on the young to be proud to serve their elders, an exhortation that would have seemed quite normal only a few decades ago.

Still, the young remain weak as a political group, not least because of our tendency not to bother voting. Whatever disadvantages we may suffer as a group are masked by the fact that our individual lives are, in general, constantly getting better, as we receive first paycheques and find first homes, but the latent tension remains. The odds of a youth political movement emerging to promote investment in education and reforms to pensions are therefore quite negligible, but a more honest discussion of the conflicts of interests between young and old may not be far off.

Start as You Mean to Go Wrong

1) Every year as January 1st rolls around, we all try to think of interesting yet achievable New Year’s resolutions to improve ourselves or broaden our horizons. Every year I fail to last more than a week.

Starting out with overzealous determination has in the past seen me actually join a gym, cut out chocolate, cut out crisps, cut out most of the foods that I enjoy but someone, somewhere is telling me I’m not allowed. One year I just vowed to try to be a ‘nicer person’ – clearly a year lacking in creativity and willpower. Come the first day back at school faced with a 7am alarm, an empty box of cereal and a freezing cold bus journey, that one went swiftly down the pan, as the bus driver can attest to.

I guess the sentiments behind New Year’s resolutions are generally to be admired — well-worn encouragement to eat healthily, exercise and generally try to be a better person can’t really be faulted. Or can it? It’s Christmas, I’m on holiday, just starting to settle in to that well deserved, luxurious bubble of having absolutely nothing to do when suddenly I’m pelted from all sides, not only with the realisation that collections are looming and that I’ve procrastinated away an entire month in front of the BBC’s (seriously disappointing) Christmas TV schedule. But also with the demand to stop enjoying myself and start belittling myself. Because really, the basis of any New Year’s resolution is essentially that; find something wrong with yourself and ruthlessly determine to change it. Furthermore, the feeling of self loathing is tripled by the inevitable failure to resist the family sized Dairy Milk bar at the bottom of the shopping bag or to drag yourself to the gym after working an 8 hour shift in the middle of the January sales.

So this year, like all the others, after realising I just cannot be bothered with the trauma of making a New Year’s resolution, I am not going to make one. Or maybe I will, I’ll make a handful of them. My New Year’s resolutions are to eat as much chocolate as I want without vomiting, make no effort to choose the vegetarian option in Hall to try to be healthier, exercise as little as possible and drink an excessive amount of alcohol throughout Hilary. All of which are fully achievable and will no doubt make me feel a lot better about myself.

2) On New Year’s Day, I had a revelation. I felt like utter shit. My head was pounding, my mouth tasted of sick, my tongue was furry, my eyes were blurry and my voice was gone along with my dignity. My tired, twenty-year old body wasn’t standing up as well to New Year frivolities as my lithe, teenage one had. This was my plan.

Give up the drink. Give up the grey mornings spent staring at the dull porcelain of the toilet and the mourning of headaches and pains and anxiety and paranoia. Give up forgetting what has happened the night before. Give up the disgraces and embarrassments. Give up the damaging of your finances, so often multiplied by poorly judged rounds. Give up the tiredness. Give up the long walks in a confused, lost state around areas you have known all your life. Give up putting on weight and damaging your teeth and the bruises sustained in fights. Give up the apologies made without any memory of what is being apologised for. Give up the sad realisation that the only time you can converse well with other human beings, laugh and feel like you have a connection to other people is when you have had at least two pints. Give up the horrible soul-searching over whether you owe or are indeed owed drinks. Give up the random chats with members of the public who at the time seem highly talkative and very engaged in conversation but are just bored and sober. Give up the drunken texts to parents or teachers or exes. Give up the frapes and apologising for the damage done by frapes. Give up the competitive conversations the next day about how much everyone drank. Give up the discovery that you can’t remember what the music was like. Give up the unbelievable struggle of working the next day. Give up the saddening feeling of having to lie on a doctor’s form because your mum is looking over your shoulder at the alchohol consumed section.

If there were this many reasons to give up anything else, you’d give it up too.

3) I’ve always been proud of my college. I admit it has its flaws- for example we’ve no spires, or gargoyles, or chapel or classic architecture, which defines most Oxford colleges. However, despite its lack of popularity, the Gatehouse building (if you’ve seen it, you’ll try to forget it) and our ‘humble’ campus (some of the staircases used to be the St John’s servants’ quarters), the one thing St Anne’s does have, and prides itself on, is its food. We like to eat. And we’ve won awards, you know. The time where the sustenance of our hall is at its best, when the cuisine is at the peak of succulence, when our kitchens are abundant with mouthwatering odours, is inevitably at our formal hall.

I was innocently talking to a friend at Queen’s about this exclusive event, and it got me to thinking that perhaps 2012 is the year where I will escape my cosy college comfort zone and have a taste of what you other colleges have to offer. So, reader, you’ve heard it here first; this year I resolve to eat at every Oxford College Formal Hall.

My first barrier for this ambitious challenge: I only know about ten people from different colleges. The second barrier: I don’t own enough fancy clothes. The third barrier: I have 24 weeks of Oxford term to try and squeeze in the other 37 college’s formals. Lets remain optimistic – it’s do-able right? All I have to do is somehow accumulate 37 new friends, each from a different college and persuade each ‘new friend’ into allowing me to tag along to dinner without gaining a reputation as the girl who invites herself everywhere (we all know one).

My bank balance will take a serious hit from my future 37 dinners, not to mention my waist size, but for the good of Cherwell, and of 2012: bring on the courses.

4) I’ve tried all the obvious resolutions: go to the gym every day, hand in all my work on time, don’t have Hassan’s on my way home every night. Invariably they decline throughout January until it’s third week and they’ve become: go to the gym once this term, hand in all my work at some point before finals, alternate evening meals between Hassan’s and Macdonalds, for variety’s sake. So this year, I’m jumping on my parents’ bandwagon and going for the slightly more pragmatic, although still highly beneficial, approach.

Firstly, I’ve decided to really make an effort to really avoid inappropriate moments. Seemingly simple, yes. But the breadth of this resolution means that firstly, it’s a good talking point. And, more importantly, I can choose to define its success as I see fit. It might seem that there’s not much involved in this, however, I can assure you that if I’d been as determined as I am now to stick to this last year, I would have avoided a not insignificant number of red-faced moments. If only I’d checked the ‘To:’ box on that e-mail that I sent to my tutor, not my tute partner, stating that: ‘I have no idea what I’ve even said in this essay. I’ve read an article and a half and I think one of those was about the wrong text. Please save me in this tute.’ I coud have saved myself a very miserable hour discussing why exactly it was that I’d only read half a relevant article. If only I hadn’t accepted the dare to walk into the Christ Church pizza van and try to teach them exactly ‘how I’d do it’ if I were a chef. Which I,of course, am not. I think I’ve made my point: with a little more consideration, my year could prove much less humiliating. And if it doesn’t work, then at least I’ll have some good sconce-fodder.

Secondly, I’m going to go to all of my lectures this term. Well, you need to have something unattainable, for tradition’s sake.

Twenty-Twelve: New Year, New You

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Twenty-twelve – a New Year and the dawn of a new term. The time is nigh for morale-boosting team talks, substituting procrastination for a super-human work ethic, and going all Usain Bolt on your rivals to leave them cleaning your dust out of their eyes. It’s resolution time, and for those looking for something more achievable this term than “revise for collections”, “actually enjoy a night at No. 9” or “write a whole article without mentioning the MGA 3rds”, Oxford sport has mountains on offer this Hilary to help you work off those Michaelmas mince pies.
Hilary term is the perfect time for those who haven’t been involved in college sport to get stuck in.

It’s a time when finalists will start thinking twice before leaving the library, and turkey-burdened regulars are no longer dead certs for the starting line-up. The cornucopia of sporting options available really is limitless: if there is nothing in your college which takes your fancy, start up a new team. Even if it turns out to be a complete flop at least you can exaggerate the bejesus out of it on your CV.

As well as the surplus of college sport available, the scope of opportunity for personal exercise at Oxford is equally expansive. Why not build on that 3am sprint to a kebab van by jogging blissfully along one of Oxford’s many riverbanks? Why not unlock your bike for more than a last minute dash to lectures by braving the ‘alternative’ Himalayas of Portmeadow’s nature reserve? Why not exploit your skinny dipping talents by diving in at the deep end at Iffley’s swimming pool (but please do remain decent)? Or at least try throwing a few darts between sips.

A few colleges also provide gyms on site, and although often primitive they are always conveniently located and definitely sufficiently equipped. The prospect of pumping reps alongside the next Martin Johnson may seem intimidating to some of us mere mortals, but you won’t always be surrounded by people who say ‘don’t worry, it’s not an airstrike, it’s just my massive guns’ every time they flex a bicep. If you choose your times carefully college gyms can be great hangouts and a great way of getting out of the Oxford bubble for a few hours, offering a brilliant way of easing out all the stress from those 9ams you occasionally frequent.

Those colleges that don’t have their own facilities often provide discounted or free membership to the Iffley Road sports complex, so make sure to check with yours if interested. Even without a discount the Iffley gym is great value – with the Jack Wills sale less generous than expected this year, many Oxford students may find the £57 a year (gym only) a much better use of their Christmas savings.

So get out there, give something new a go, and reap the rewards of regular exercise in your academic and social lives. And if the thought of applying your body in an active sporting environment really is all a bit too much, well there’s always cricket to be played in Trinity.

The Closest Thing to Magic

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She’s had the kind of enviable pick ‘n’ mix media career that countless English graduates dream of: a radio show, satirical news programme, fashion columnist, presenter of the occasional award show and now published novelist. Like the over achiever who’s always let off by the teachers when caught smoking round the back of the bike sheds, it seems she’s the woman that can do everything. And all whilst effortlessly retaining that coolest girl in school vibe. With kooky, funny and clever as her calling cards it’s easy to see why everyone wants to be friends with Lauren Laverne.

Having been one of the very few that actually do fulfil their teenage dreams of being propelled to stardom via their high school band, Laverne spent her late teens ‘on Top of the Pops, being in the studio writing songs, which was always my favourite bit, and touring the world’. She was lead singer and guitarist of the indie band Kenickie — belting out acerbic punky songs about the experiences of youth, with a choppy blonde bob and razor sharp eyeliner. Most memorable was their song ‘In your car’, whose twangy, bolshy chorus — including the pre-chorus “yeah yeah, yeah yeah” — seemed to have come joyfully out of a jar labelled ‘90s adolescent experience’. For her, the best bit was ‘getting the opportunity to be a band who played to our peers. We were a bunch of 17 year olds playing to other 17 year olds which is a particular kind of special.’

When I ask about the lows that seem to, inevitably, come with fame at such an early age Laverne remarks, ‘I suppose we were exposed to things I would flinch at the idea of my teenage goddaughter or little cousins coming into contact with, but I’m not sure whether another path would have been any more innocent in that respect!’ And indeed, not only did she not succumb to the usual child star trail of wild illegal antics concluding in a position on the line up on Never Mind the Buzzcocks but, when the band split after 4 years, managed to slip seamlessly into a faultless television career.

From initially presenting various music shows, Planet Pop and CD:UK amongst many others, Laverne soon became a panel show staple. She then spent 4 years on The Culture Show with Mark Kermode where she interviewed everyone from Beyoncé to Sarah Millican with her trademark dry wit and ‘regional’ straight talking. Her favourite interviewee is Paul McCartney. ‘He did a private gig for us on the roof of a windmill on one occasion. That was quite a nice way to spend a Tuesday afternoon. I don’t know about worst – I’ve had difficult or taciturn interviewees but I don’t take that personally. I take the view that people are who they are and that’s fine. Not everybody is Noel Cowerd, nor should they be.’ I ask about interviewees that surprised her: ‘I was expecting Lou Reed to give me a hard time but we got on like a house on fire – which was a massive relief as I am a big fan of his.’

Laverne landed the 10 — 1pm weekday slot on BBC 6 Music, springing passionately to its defence when the station was threatened with closure in March 2010 along with the Asian Network due to BBC cost-cutting plans. ‘Music is the closest thing we have to magic in the world. Pop music – in the broadest sense of the phrase – is one of Britain’s most vital cultural exports. 6Music nurtures, documents, celebrates and educates people about it. I am the station’s biggest fan. It’s a hard time for the arts at the moment. I am concerned - for smaller organisations as well as large ones like the BFI’ (British Film Institute).

Laverne’s enduring support for the music industry and the arts as a whole are only the thin end on the wedge of her political interest. She co-hosted Channel 4’s Alternative Election Night in 2010. Laverne’s hometown of Sunderland is considered a Labour safe seat. And presumabley she was cheering along as the Houghton and Sunderland South constituency retained the tradition of being the first seat to declare its results.

Although her political interest has undoubtedly developed since her time as indie girl rocker Laverne certainly has a reputation for being outspoken. She memorably referred to the Spice Girls as ‘Tory Scum’ after Geri Halliwell saw fit to call Thatcher ‘the original spice girl’. Her passion hasn’t wavered: ‘It’s a good thing to be politically conscious, to vote, to be involved in the way the country you live in is run. That’s not to say you have to ram your opinions down everyone else’s throat. I would never say that about the Spice Girls now. I was a moody teenager responding to a rather fatuous comment one of them had made about Margaret Thatcher at the time.’
Despite the empty Clapham high street and newfound short life expectancy of police cars, Laverne does find positives in the increasing amount of political awareness or, at least, involvement, ‘As I see it, it’s a combination of things. We’re in a recession – hardship and inequality politicises people but there are also mechanisms allowing people to make themselves heard more easily these days – technological tools that are changing the way people can exchange opinions, protest and disseminate information and news stories.’ This is clearly a reflection of Laverne’s role on 10 O’Clock live. And, despite criticisms of it, surely the fact that an, albeit satirical, news programme is on prime time TV aimed at young people is something quite telling.

Laverne seems to slip effortlessly between categories — from sparky presenter on pop music shows to political commentator. All the more impressive then that Laverne doesn’t seem to feel the need to pigeon hole herself. She’s one of a sadly small number of women in the media that doesn’t seem to fear being thought vacuous if she wants to do a programme on fashion, or that she can’t have a voice in politics if she does so. Thankfully, as she told the Guardian: ‘I take a no-brow approach to culture’.

Lauren Laverne will be presenting 10 O’Clock Live from 8th February.

Art-inerary: Hilary Term 2012

1st week

1st Week
WRITE TO BE PUBLISHED: 
A workshop with Nicola Morgan
Blackwell’s Bookshop,
Thursday 19th January
£20 registration1st Week

WRITE TO BE PUBLISHED: A workshop with Nicola Morgan

Blackwell’s Bookshop

Thursday 19th January. £20 registration

 

2nd Week

GROUP 2012: New writers group est. by Blackwell’s, Hersilia Press & The Oxford Editors

Blackwell’s Bookshop 

Tuesday 24th Jan, 7pm

 

3rd Week

 KEEPING TIME: TAMARIN NORWOOD

A Study in Choreography, Instruction and Transcription

Modern Art Oxford

 

4th Week

 VISIONS OF MUGHAL INDIA: THE COLLECTION OF HOWARD HODGKIN

Ashmolean  

5th Week

GUERCINO: A PASSION FOR DRAWING —THE COLLECTION OF SIR DENIS MAHON

Ashmolean

6th Week

CAROLINE MAAS: Exhibition from a local printmaker 

O3 Gallery at Oxford Castle

7th Week


YOU ARE WHAT YOU WEAR: Dress and Costume in Renaissance and Baroque drawings 

Christ Church Picture Gallery

8th Week

AUDIOGRAFT : Festival of sound, art and contemporary music

Modern Art Oxford 

Silence remains golden

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Right now, silent film is the talk of the town. Scorsese took as his inspiration for Hugo the psychedelic fantasy and visual trickery of Georges Melies’ experimental films at the turn of the century. The long stretches of original footage Scorsese included stole the show. The Artist, a quite incredible 100 minutes of silent, black and white melodrama celebrating the late silent era, received six Golden Globe nominations and is expected to perform very well in the UK box office this month. French director Michel Hazanavicius cited as some of his inspiration a number of sensational silent dramas, including Murnau’s Sunrise (1929), John Ford’s Four Sons (1928), and Chaplin’s City Lights (1931). 
The reason behind such a revival of interest is hard to descry. Perhaps the attraction to silent film is dependent on some level of estrangement, the age-old selling point of nostalgia and the ‘vintage’. As we occupy the 100-year mark since these films were made, the enthusiasm with which we greet any big anniversary is clearly present. The current appreciation of early special effects — stop motion, time lapse, multiple exposures — could either represent a longing for earlier simplicity and charm in this current age of breathtakingly expensive CGI, or a recognition of a similar time of technical discovery and excitement to our own. 
However both Hugo and The Artist zone in on the melancholic passing away of the silent era, a sad but inevitable side-effect of transient popular tastes, and indeed we are unable to watch silent footage on a modern screen without the awareness that there is no talking. The films originally from this era are nonetheless magnetic because of what they can do, not what they can’t. The great three physical comedians of the 10s and 20s — Buster Keaton, Harold Lloyd and Charlie Chaplin — embody this joyful exhilaration as they explore the possibilities of their medium though their scrambling, dangerous and occasionally horrifying stunts (combined with some startlingly intimate and subtle acting). The most sophisticated example of this genre is probably Lloyd’s Safety Last! (1923), but Buster Keaton’s short films are always dense, funny and astonishing. The films remain immersive, perhaps more so than talkies due to the level of audience participation required — you are forced to strain your imaginative ears to fill in the gaps, and, as some modern adverts have twigged, a sudden silence can be more arresting than the rest of the clamour put together. 

Right now, silent film is the talk of the town. Scorsese took as his inspiration for Hugo the psychedelic fantasy and visual trickery of Georges Melies’ experimental films at the turn of the century. The long stretches of original footage Scorsese included stole the show. The Artist, a quite incredible 100 minutes of silent, black and white melodrama celebrating the late silent era, received six Golden Globe nominations and is expected to perform very well in the UK box office this month. French director Michel Hazanavicius cited as some of his inspiration a number of sensational silent dramas, including Murnau’s Sunrise (1929), John Ford’s Four Sons (1928), and Chaplin’s City Lights (1931). 

The reason behind such a revival of interest is hard to descry. Perhaps the attraction to silent film is dependent on some level of estrangement, the age-old selling point of nostalgia and the ‘vintage’. As we occupy the 100-year mark since these films were made, the enthusiasm with which we greet any big anniversary is clearly present. The current appreciation of early special effects — stop motion, time lapse, multiple exposures — could either represent a longing for earlier simplicity and charm in this current age of breathtakingly expensive CGI, or a recognition of a similar time of technical discovery and excitement to our own.

However both Hugo and The Artist zone in on the melancholic passing away of the silent era, a sad but inevitable side-effect of transient popular tastes, and indeed we are unable to watch silent footage on a modern screen without the awareness that there is no talking. The films originally from this era are nonetheless magnetic because of what they can do, not what they can’t. The great three physical comedians of the 10s and 20s — Buster Keaton, Harold Lloyd and Charlie Chaplin — embody this joyful exhilaration as they explore the possibilities of their medium though their scrambling, dangerous and occasionally horrifying stunts (combined with some startlingly intimate and subtle acting). The most sophisticated example of this genre is probably Lloyd’s Safety Last! (1923), but Buster Keaton’s short films are always dense, funny and astonishing. The films remain immersive, perhaps more so than talkies due to the level of audience participation required — you are forced to strain your imaginative ears to fill in the gaps, and, as some modern adverts have twigged, a sudden silence can be more arresting than the rest of the clamour put together. 

 

Masters at work

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Oxford has a long tradition of men and women who twinned the ability to think intellectually with the ability to create literature, laying side by side the long divided capacities to be artist and thinker. 
Among the best-known examples are Charles Dodgson (Lewis Carroll), mathematician and the author of Alice’s Adventures in Wonderland; JRR Tolkien, a philologist and Anglo-Saxon don who wrote the fantasy epic Lord of the Rings,; and Iris Murdoch, tutor in philosophy at St. Anne’s and the author of award-winning novels like The Sea, The Sea. 
Perhaps these drives — the critical and the creative – are not incompatible. Over this Hilary Term, Cherwell will be interviewing Oxford’s academics who write novels, plays, and poetry. We’ll be asking about their beginnings and their current projects, whether or not they see their disciplines interacting, and how they divide their time between academic, professional and creative pursuits. We hope you find yourself inspired.   

Oxford has a long tradition of men and women who twinned the ability to think intellectually with the ability to create literature, laying side by side the long divided capacities to be artist and thinker. Among the best-known examples are Charles Dodgson (Lewis Carroll), mathematician and the author of Alice’s Adventures in Wonderland; JRR Tolkien, a philologist and Anglo-Saxon don who wrote the fantasy epic Lord of the Rings,; and Iris Murdoch, tutor in philosophy at St. Anne’s and the author of award-winning novels like The Sea, The Sea. 

Perhaps these drives — the critical and the creative – are not incompatible. Over this Hilary Term, Cherwell will be interviewing Oxford’s academics who write novels, plays, and poetry. We’ll be asking about their beginnings and their current projects, whether or not they see their disciplines interacting, and how they divide their time between academic, professional and creative pursuits. We hope you find yourself inspired.   

 

Leonardo’s sketch show

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Leonardo Da Vinci was undeniably a man of ideas and his capacity for innovation carries over beautifully into his painting. 
In the National Gallery’s current exhibition, Leonardo’s technical skill, not only in painting but in sketching and anatomical recording, is showcased in a way that highlights his fresh and unique (for his time) concentration on the humanity of his subjects: their characters, personalities and the nuances of their expressions. 
In the very first room of the exhibition (if you have been lucky enough to procure an audio guide), your attention will be breathily directed to Leonardo’s Portrait of a Young Man, painted in 1486 and described by the voice-over as ‘revolutionary’ in his time. The three-quarter profile of the subject was a radical departure from the traditional convention of portraiture, the profile view. Leonardo’s young man poses naturally and accessibly. His features and expression are more pronounced and characterful; he is absolutely ‘human’. 
This humanization of his subjects carries over into his unconventional paintings of women.  As with The Young Man, Leonardo softens his subjects, turning them to face out of the frame. By imbuing their faces and postures with character and personality, he makes their stance inviting rather than imposing; as the excitable voice-over eulogises, ‘you can fall in love with’ the women of Leonardo’s portraits. 
To achieve such vividly human depictions in his paintings, Leonardo made copious sketches and studies of the varieties of human expression and pose largely from life, occasionally from sculpture and, infamously, from dissected bodies. In this exhibition, the curator, Luke Syson, has made a careful and inspired decision to surround the famous (although admittedly few) paintings of Leonardo with the preparatory sketches that built up to them. Wandering around a room in the exhibition, you see a stranger built into a Madonna in several stages. It is in the last room, dedicated to The Last Supper, Leonardo’s greatest and yet most disappointing masterpiece, that this relationship is best showcased. 
A series of sketches line the walls and for each one there is a depiction of where this sketch has been worked into the final painting. Thus, we can see an old man’s head transformed into a disciple; and a dramatic sketch of a group of grotesquely depicted gypsies worked into Leonardo’s depiction of Judas. 
The Last Supper is the ultimate exemplar of the painter’s skill: each figure in the painting is dynamically realised. Bursting with character and emotion, they are essentially recognisable. We ourselves have felt the emotions we see played out on that artistic stage. 
Therein lays Leonardo’s genius: enabling identification. The viewer of his paintings can very naturally identify with the subjects he depicts because we can identify with their humanity, even when the subject is divine. In Leonardo’s paintings the divine is rendered as human, and thus the human becomes divine. It is the ultimate humanist agenda for art and it is proof of Leonardo’s genius that he was so radically ahead of his time. 

Leonardo Da Vinci was undeniably a man of ideas and his capacity for innovation carries over beautifully into his painting. In the National Gallery’s current exhibition, Leonardo’s technical skill, not only in painting but in sketching and anatomical recording, is showcased in a way that highlights his fresh and unique (for his time) concentration on the humanity of his subjects: their characters, personalities and the nuances of their expressions. 

In the very first room of the exhibition (if you have been lucky enough to procure an audio guide), your attention will be breathily directed to Leonardo’s Portrait of a Young Man, painted in 1486 and described by the voice-over as ‘revolutionary’ in his time. The three-quarter profile of the subject was a radical departure from the traditional convention of portraiture, the profile view. Leonardo’s young man poses naturally and accessibly. His features and expression are more pronounced and characterful; he is absolutely ‘human’. 

This humanization of his subjects carries over into his unconventional paintings of women.  As with The Young Man, Leonardo softens his subjects, turning them to face out of the frame. By imbuing their faces and postures with character and personality, he makes their stance inviting rather than imposing; as the excitable voice-over eulogises, ‘you can fall in love with’ the women of Leonardo’s portraits. To achieve such vividly human depictions in his paintings, Leonardo made copious sketches and studies of the varieties of human expression and pose largely from life, occasionally from sculpture and, infamously, from dissected bodies. In this exhibition, the curator, Luke Syson, has made a careful and inspired decision to surround the famous (although admittedly few) paintings of Leonardo with the preparatory sketches that built up to them. Wandering around a room in the exhibition, you see a stranger built into a Madonna in several stages. It is in the last room, dedicated to The Last Supper, Leonardo’s greatest and yet most disappointing masterpiece, that this relationship is best showcased. 

A series of sketches line the walls and for each one there is a depiction of where this sketch has been worked into the final painting. Thus, we can see an old man’s head transformed into a disciple; and a dramatic sketch of a group of grotesquely depicted gypsies worked into Leonardo’s depiction of Judas. The Last Supper is the ultimate exemplar of the painter’s skill: each figure in the painting is dynamically realised. Bursting with character and emotion, they are essentially recognisable. We ourselves have felt the emotions we see played out on that artistic stage. Therein lays Leonardo’s genius: enabling identification. The viewer of his paintings can very naturally identify with the subjects he depicts because we can identify with their humanity, even when the subject is divine. In Leonardo’s paintings the divine is rendered as human, and thus the human becomes divine. It is the ultimate humanist agenda for art and it is proof of Leonardo’s genius that he was so radically ahead of his time. 

 

Holmes Viewing

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olly good yarn’. ‘Witty banter’. ‘Romp’. All could be applied, quite appropriately, to Sherlock Holmes: A Game of Shadows – the sequel to Guy Ritchie’s 2009 reimagining of Britain’s favourite genius-detective (reprised gleefully by Robert Downey Jr). There’s a slick continuity of style here, and the slow motion trick is used with particular relish. ‘Slower than a plodding tortoise’ it appears, is the new ‘faster than a speeding bullet’. In certain places this works well, and it was easy to be sucked into the mania, music and merriment of the fight scenes, for the simple fact that Downey Jr. is so engaging to watch. I was having fun, so much so in fact that I forgot to pay attention. And that is a dangerous thing to do in A Game of Shadows. Not because the overriding plot is difficult to follow, but because the individual sequences of Holmes’ brilliance are just a little too tenuous. J

‘Jolly good yarn’. ‘Witty banter’. ‘Romp’. All could be applied, quite appropriately, to Sherlock Holmes: A Game of Shadows – the sequel to Guy Ritchie’s 2009 reimagining of Britain’s favourite genius-detective (reprised gleefully by Robert Downey Jr). There’s a slick continuity of style here, and the slow motion trick is used with particular relish. ‘Slower than a plodding tortoise’ it appears, is the new ‘faster than a speeding bullet’. In certain places this works well, and it was easy to be sucked into the mania, music and merriment of the fight scenes, for the simple fact that Downey Jr. is so engaging to watch. I was having fun, so much so in fact that I forgot to pay attention. And that is a dangerous thing to do in A Game of Shadows. Not because the overriding plot is difficult to follow, but because the individual sequences of Holmes’ brilliance are just a little too tenuous. 

 

The film is nonetheless peppered by moments of joy which manage to redeem the slightly clumsy story development. There is not a bad word to be said for the Holmes/Shetland pony pairing; the progress of which, over beautifully filmed French and German countryside, I could happily watch for the full feature time.  The development of Holmes and Watson’s relationship (excellently played again by Jude Law) is also heart-warming to watch; boyish, tender, they act best when they act together and bring out the subtler elements of Ritchie’s shoot-‘em-up world. Stephen Fry is spot-on as the genius aristocrat Mycroft Holmes, lovingly exposing Holmes and Watson for what they really are; highly educated ruffians caught up in tomfoolery and bromance. The dynamic works well, even if Fry and Downey Jr. do make the most unconvincing of siblings. 

There is even a spot of nudity, though unlikely to create as much of a feminine flutter as that of Benedict Cumberbatch’s towel drop in Stephen Moffat’s sensual Sherlock last Sunday (no offence, Mr Fry.) The Holmes boys, it seems, like to get their kit off. But that could be the only similarity between these small and silver screen portrayals, and it’s unfortunate that these second part-ers emerge at similar times. 

The legendary intellect of Ritchie’s Holmes is entirely physical, limited to pre-empting fights and concocting hilarious disguises.  Compare this with Cumberbatch’s more cerebral sleuth, and Downey Jr.’s take isn’t the workings of a beautiful mind so much as the machinations of a powerful body, which means that the battle of wits so long promised between Holmes and Moriarty culminates in just another fight. And Jared Harris is brilliant, but underused, as the part-Lenin-part-Milo Minderbinder Professor Moriarty. Jolly good fun it may be, but there is no encouragement to really think in A Game of Shadows. There is only so much hitting that can be done before an adaption of a cerebral character starts to miss. 

 

Culture Vulture

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Shame
Released 13th January
The latest collaboration from  Hunger director Steve McQueen and star Michael Fassbender, Shame is the story of a 30-something sex-addict unable to control his urges. Also starring Carey Mulligan.

Shame

Out now

The latest collaboration from Hunger director Steve McQueen and star Michael Fassbender, Shame is the story of a 30-something sex-addict unable to control his urges. Also starring Carey Mulligan.

Read a review here: http://www.cherwell.org/culture/film/2012/01/13/review-shame

War Horse

Out now

Steven Spielberg’s new release tells the story of a horse separated from its owner against the backdrop of World War One. Starring Jeremy Irvine, Tom Hiddleston and Benedict Cumberbatch.

 

Sherlock

BBC1, 15th January

The acclaimed modern take on the Victorian sleuth ends its second series, as Moriarty and Holmes finally clash in the culmination of their long-running battle of wits. 9pm.

See the Culture section for feature on Holmesian adaptations 

 

 

Josie Long

The Cellar, 16th January

The quirky comic returns with a mix of political activism and good-natured sweetness in her new show,  The Future is Another Place. Doors 7pm, Tickets £12. 

 

 

Sleeping Beauty/ Giselle

New Theatre Oxford, 16-18th January 

The Russian State Ballet of Siberia  comes to Oxford for three days only with two very different performances- one a children’s story, the other a heart-rending tale of love and loss. 

 

Supermarket

Babylove, 19th January 

One of Oxford’s premiere club nights; if you don’t already know what it is then you probably don’t want to go.10pm, £5/£3 (with flyer)

 

Write to be published

Blackwell’s, 19th January

Award-winning writer Nicola Morgan offers advice and experience in the murky realm of book publishing, whatever the genre. 7-9pm, call 0186533361 to book, £20.

 

Re-fashioning 

Oxford Town Hall, 19th January 

Flex your fashion muscles at this eco-friendly event. Bring clothes to recycle, swap, sell, or adapt and snap up a bargain or two. Also featuring fashion shows and sewing lessons.  

1-7 pm, free.