Tuesday 1st July 2025
Blog Page 2048

Eye Candy: Flower Power

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Fashion moves fast; so fast, in fact, that when the ready-to-wear shows kick off in New York next month we’ll already be thinking about our wardrobes for winter 2010 despite still feeling the chills from this season! Verity’s ensemble illustrates that, instead of jumping head first into Spring’s barely there whisps of fabric, a transitional look that bridges the seasons can make a real style statement (as well as prevent pneumonia!).

Verity’s dress picks up on the coming trends for eye-popping prints and fairytale florals whilst giving a nod to winter power dressing with fierce leather accessories, all along showing an awareness of what suits her shape with the body-con cut and structured shoulders. This look is no slave to fashion but conquers it by teaming the best of the trends with an innate sense of what suits the wearer. There is a fine line between fashion forwardness and simply being a clothes horse; make sure your style says something about you, not just where you shop.

Dress – axparis.com Shoes – Topshop Necklace – Mikey Bag – boutique in Nice

 

David Coulthard and the Librarians

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David Coulthard yesterday. He was the Scottish one who was never quite as good as Schumacher. Still, nice guy in person. Tall, broad shoulders, hint of a Scottish accent: the perfect racing driver. Then he spoiled it all by admitting he drives a Smart car, – the tiny little city cars that grunt and moan if you try to take them above about 40mph. When he said that, I almost instantly lost all respect for him.

Interestingly, David Thomas was sitting next to James Kingston behind Coulthard while he was speaking. DT was working in the Librarian’s office over the Vac, and despite losing the election to Kinky (partly, it must be said, for a reason that wasn’t entirely his fault, namely the ‘is he/isn’t he the Treasurer’ debacle,) he looks like he’s basically doing all the work associated with being Librarian, short of actually holding the title. So effectively we have two co-Librarians. It’s not so much ‘if you don’t succeed, try, try and try again as ‘if you don’t succeed, just act as if you did and everything will be fine.’ You have to admire the balls.

 

 

News Roundup: Third Week

LMH’s fraudulent student, student jobs, landlords facing tighter regulation and the joys of a cheeky look at Cherwell’s Lifestyle section

The Cherwell Fashion Guide to… Nautical Sailor Tailoring

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Sally Rushton shows you how the nautical trend for this Spring can be dressed up – or down – on a student budget.

The Cherwell Fashion Guide to… Nude Shades

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Cherwell Fashion Editor Joanna Wilkin shows you how to wear the trend for pastels and nude shades on a student budget.

How to Cook… Zesty Crab Carbonara

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Marc Kidson shows you how to cook a variation on carbonara with crab, chilli and coriander – in less than ten minutes.

 

Recipe re-cap:

1 egg
100ml double cream
1 red chilli
Tin of white crab meat
Salt and pepper
Half a lemon
Fresh coriander
Pasta (fresh or dried), linguine or tagliatelle preferable

1. If using dried pasta, put it on to boil in a well-salted pan of boiling water.
2. Break the egg into a bowl, whisk lightly with a fork and add the cream, finely chopped chilli and crab meat. Season to taste.
3. When pasta is cooked, drain and return to the dry pan on a low heat.
4. Add the sauce, most of the chopped coriander and a squeeze of lemon juice. Keep stirring for 2-3 minutes until sauce thickens, but don’t let it scramble.
5. Serve into pasta bowls, grate over some parmesan (if using) and garnish with any left over coriander.

 

United humiliate Arsenal

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“Are you City in disguise?”, rang the cry from the away section at the Emirates Stadium on Sunday. Frankly, had Arsenal successful masqueraded as City, they would have put on a better show than this shambolic performance.

For the second successive home game against their closest rivals Arsenal not so much wilted as capitulated. United were excellent, but their quality was in the simple execution of footballing basics, the bare minimum to be expected from a tie of this nature. They pressed Arsenal hard in midfield, and went narrow when defending their own box, forcing wasteful cross after wasteful cross to be hopefully punted into the United area.

The performance was one typical of United this season; built around some solid foundations (Carrick and Fletcher were particularly excellent) and driven forward by the cutting-edge brilliance of Wayne Rooney. What is most worrying for the hosts is that such an approach forged not a tight single-goal victory, but a dominant humiliation of a side credited just a week earlier for finally possessing a backbone.

It would seem fair to suggest that neither of these sides have the mettle to challenge Chelsea, but on this evidence one side is still criminally behind the other.

Wenger was tactically outclassed, but his team’s attitude was most disturbing. The passing was so poor in the second half that it failed to elicit groans of disappointment. Each loose ball was met with a depressing, accepting silence.

Arsenal’s defending was especially woeful as, much like in the Chelsea game, they went two goals down having faced little pressure. Indeed this time only one shot on goal was required; Manuel Almunia helping Nani’s cross into his own top corner. Certainly, the cross was bound for Park at the back post, but for a Premier League goalkeeper to be unable to get a firm touch on a ball no higher than the crossbar is criminal. Almunia’s position has long been under question for his inability to command his area or make meaningful saves, but if he starts making such serious errors, his days in an Arsenal shirt should be numbered.

Of even greater worry were the abject performances of Gael Clichy, and especially Denilson. The former can at least claim rustiness for his part in all three goals, but he was beaten far too easily by Nani for the first, whilst his failure to at least try and cut out Park’s open run from the half way line for the third was just baffling.

Yet it was the latter in receipt of the fans’ ire. Demoralising it must be to have your substitution cheered, but Denilson deserved it. He was breezed by for the first and gave the ball away for the third, but it was his attitude for the second that really summed up his performance. When Rooney played the ball wide to Nani he was thirty yards from his own goal. Denilson was on his own half way line yet he simply jogged gently back, blissfully unaware that Rooney was storming past him. A fabulous break; shocking defending.

Denilson is supposed to be a defensive minded midfielder, yet he doesn’t tackle, can’t pass over more than five yards and brings no energy to the game. Rooney stormed by his lazy jogging as easily as Sidibe had done for Stoke the week before. An embarrassment to Fletcher and Carrick’s work rate. Scholes was able to pull the strings unmolested, by comparison Fabregas gave the ball away repeatedly, Song alone insufficient to shield him without a willing partner.

In a game which may well do no more than decide second place, Arsenal allowed their limitations to cripple them. United on the other hand, turned theirs into positives. A typical winning mentality, and of course the peerless Wayne Rooney, will at least keep them in the race ’till the death. 

"Do You Think It Costs Much?"

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I was walking to Sainsbury’s recently, and overheard a young woman asking a question to a man, who was presumably her boyfriend, while pointing in the direction of an expensive-looking shop-window pen. The question was common enough — “Do you think it costs much?” – but there was something peculiar in her way of speaking this phrase, something that immediately marked it in my mind as distinctively British. The way it dipped in the middle, and rose at the end, with the middle syllable elongated, was not unfamiliar to me. But I realized something: the way she spoke this sentence (perhaps you can picture it in your mind), combined with the meanings it is likely to have had, would simply have been impossible in American English.

There are at least two possible implications of this phrase, when said in this way. Firstly, we have the serious interpretation, which suggests 1) that the couple should investigate the true price, and 2) that the woman in question wants to buy it. Secondly, we have the sarcastic interpretation, in which 1) The woman is pointing out the sheer ridiculousness of a pen shop and 2) is implying that the pens are likely to be outrageously overpriced. Tellingly, I can think of no way to convey these meanings, much less this ambiguity, in standard American English.

 

So far, in our investigation of British and American English differences, we’ve looked at the historical evolution of the American speech and the differences in the style of politeness. This week, we focus on prosody.

 

It’s time for a bit of definition. Prosody is the study word segments that can be as large as a whole phrase or as small as a syllable. Prosody includes, most basically, intonation, stress, and quantity. Its role is to emphasize words, change the meaning of an utterance, and resolve disambiguity. Prosody can also be used to convey the mood of a speaker. Interestingly, prosody comes before proper human speech—babies can speak nonsense with correct intonation.

 

Intonation can be explained in terms of variation in pitch(the frequency of a sound—high or low) over segments. Intonation marks the difference between a statement and a question, and can signify attitude and emotion. Stress, on the other hand, refers to prominence due to effort. One can stress either a syllable, as we do in distinguishing the noun DIgest and the verb diGEST, or a word, as we see in Neither HERE nor THERE. Finally, we have quantity, which is also known as “contrastive duration”—think of this in terms of the “short” i in “bit” versus the “long” i in “bite”.

 

What does this have to do with British and American English? As Baugh and Cable have noted in their History of the English Language, “There can be no gain-saying the fact that American speech is a bit more monotonous, is uttered with less variety in the intonation, than that of Britain.” This statement came as a bit of a surprise to me at first, but when confronted with questions like those in front of the pen shop, I began to wonder if it may be true after all.

 

Let’s look at the linguistic facts.

 

To get an idea of the scale of the prosody differences, we turn to a 2002 study on computer speech recognition, which has a number of interesting conclusions. In terms of duration, the study attributes the differences between British and American prosody to a tendency in British English to pronounce vowels at the beginning and end of the sentence in shorter time, and to pronounce last syllable of a sentence quickly. In pitch, the study found that British speakers pronounced vowels with lower pitch than Americans. Further, British speakers, the study concludes, have a steeper rise and fall than American speakers, though this range narrows toward the end of an utterance.

More whimsically, though perhaps infinitely more offensively, another study (though admittedly dated 1977) sought to find an explanation for the reason that Americans often find the speech of British men effeminate. The conclusion rested on the function of tone groups, which are groups of words over which intonation is distributed. Briefly, a tone group possesses a head, a nucleus (the strongest syllable in the accented word), and a tail, denoting its place in the group.

The British linguist Halliday has created a hierarchy of prosodic tones, each denoting differing degrees of rising and falling. His rising tone is the one that is relevant here. This is the tone used in asking simple yes/no questions, such as “Are you coming?,”  in the sense of “I don’t know if you are coming but want to know”. 

 

The study found that “the British rising head is interpreted by Americans as a tone used with children, while the rising head in American speech is used to show doubt, and is used mostly by women.” Further, the study notes, what is called “an upglided (here, rising) nucleus” is rare in American male speech, but more common in American female speech. Rising nuclei are common in both men’s and women’s speech in British English, and that could account for the fact that British men often sound effeminate to Americans”.

 

As pointed out in the last post, such generalizations are both inaccurate and outdated in linguistic circles, and in this case, somewhat offensive. But they might just give us insight into cross-linguistic, and by extension, cross-cultural differences. And they shouldn’t discredit the general theory of prosody as a means of investigating linguistic differences.

 

Through the lens of prosodic differences, we can take a look at complex semantic phenomena, as we see with the vexing question the pen at the beginning of this post. Subtle changes in intonation can spell the difference between different modes of speech both within a single language, and, in our case, across languages. That’s it for this week, but to see more on the general intonation differences in British and American English, take a look at this book, complete with cool diagrams!: http://books.google.com/books?id=xFuUFtDyqJsC&lpg=PA28&ots=n7Z32b9V_k&dq=intonation%20differences%20british%20american%20speech&pg=PA28#v=onepage&q=intonation%20differences%20british%20american%20speech&f=false

Laying your head on the writer’s block

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Well, as you may have noticed, the future isn’t bright and it isn’t orange. Journalism has always been notoriously precarious and now, just in time for our generation, it has become that bit wobblier, thanks to the credit crunch and the Internet. The Guardian Media Group, to take one horrifying example, is struggling to stem the haemorrhaging of a £100 000 a day, and even the free newspapers in London, thrust into your hand as you scurry past, have not escaped unscathed as The London Paper and London Lite folded last year.

The sorry upshot of all this for aspiring journalists these days is that a decision has to be made as to whether you can afford such a career, like an expensive hobby in the vein of horse-racing or poker. If Rupert Murdoch smiles upon you and bestows a paid internship for six weeks, you will still need to finance yourself through the career itself. Contracts are often short and you’re likely to be earning, for a number of years, less than the average tube driver. Apart from the big name columnists, it is usually a high status-low pay profession. Even Toby Young in December was offered a paltry £150 to write a weekly column for a broadsheet newspaper, as he lamented in his Spectator column.

In light of this, I would imagine that the trend will continue for those with familial financial backing to be left standing because it seems that you need a rather substantial financial safety net. Without the patronage of your family or sugar daddy (or mummy, of course) living in London is going to be painful. This was certainly my experience of The Times and the Literary Review. Time and time again, I have met journalists who are either closet trustafarians or are making ends meet from other sources of revenue. Suspiciously smart addresses are occupied by hacks on twenty-five grand a year – South Kensington and Notting Hill on that salary? It just doesn’t add up. One assistant editor I encountered, struggling to pay his London rent, was even running SAT lessons after a full day’s work and he had no dependents. If Carrie Bradshaw were real and living in London, she would either be buying her Blahniks with pity money from Mr Big or living the dream in a bedsit in Kilburn, a place where Louboutins are as unusual as unicorns. There are some decent parties to attend if you’re in the arts sections, but one cannot live by canapés and champagne alone. Well actually, let’s not be hasty…

To look at the whole phenomenon in a more positive light, it will probably involve a transfer of medium to the Internet. However, this still has many complications for publications trying to break even. Internet advertising revenue is in fact not as high as one might imagine and unless many of them start charging for content en masse, readers may simply flock to the news outlets that are still free. The BBC website for example will probably benefit, if Murdoch and others start charging subscriptions. Accordingly, privately owned media outlets are terrified that the BBC will just continue to expand, as market forces see off unprofitable publications.

I had a personal wake-up call to my journalistic fantasies, when I bumped into an ex-editor of the Oxford Student. I couldn’t have thought of a more suitable candidate, anyone more primed for success in this volatile field. He had a first class degree, had been nominated for a Guardian Media award and secured an internship at the New Statesman. Having spent only a matter of months there, he rapidly had become disillusioned with the whole profession. Established journalists are unsure whether they are going to have jobs in a few months’ time and he found the pessimism to be monumentally depressing.

You may think that I, as a budding journalist myself, have written this sneaky apocalyptic article to put the rest of you off. However, I think I know you better than that. You know that you should be working for Deloitte and you can’t bring yourself to do it. Well, in the spirit of sinking-ship camaraderie, I am sharing what I have found out so far – getting work experience is not too difficult, getting anyone to pay you for your trouble is the hard part.

There are of course the success stories. Unfortunately, as you may have been told when you were applying to Oxford, “it’s all a bit of a lottery”. However, the wealthier can afford to buy more tickets. It is competitive enough for blatant nepotism to be unusual. The main problem is that most people do not have the funds to live in London and work for months on end without payment. If you want to be a journalist in the immediate future, you can go in armed with all your “charm and cunning” as John Witherow, editor of the Sunday Times, suggested to me. However, I think some kind of nest egg is also sadly necessary. There is the hackneyed saying, “there is always room at the top”, but the question is, can you afford the journey?

Review: Youth in Revolt

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Youth in Revolt is an obsessive tale of young love, its roots echoing as far back as Homer’s Odyssey. A boy falling in love with a girl; her parents being religious fanatics; boy and girl facing soul-searching tribulations in isolation; couple’s eventual freedom being won through arson, sabotage, manipulation, impersonation and misuse of Thanksgiving mushrooms. Perhaps a couple of distinctive twists on the old classic there, but nevertheless a tale made beautiful by the complexities characterising its simplicity, and rendered unforgettable by its mode of telling.

Based on C.D Payne’s series of journalistic novels revolving around teenage intellectual Nick Twisp (Michael Cera), director Miguel Arteta’s adaptation of this introverted character’s literary world achieves a sense of great intimacy between the teenager and his audience, in its on-screen explorations of the flaws he perceives in the many characters who permeate and shape his own. Twisp finds himself thrust back and forth between parents at their convenience, and, in his recognition of his divorced mother and father’s equally pitiable and transparent existences, newly tarred against the unfailing measuring stick of his own new-found love, an extreme detachment from the ugliness and dispassion of reality begins to emerge within him.

The absurd mixture of politeness and manipulation which resonates in Cera’s portrayal of Twisp’s character reflects the teenager’s acceptance and use of the world’s dispassion, whilst enabling him to reach beyond it, remaining steadfastly dedicated to his desire for Sheeni (Portia Doubleday), the girl who entranced him, one holiday, and whom he would risk everything to regain. The perspective and single-mindedness of the teenage mind is an aspect cherished by the film. The power of Twisp’s obsession with Sheeni causes him to reject all that defined his previous life and attempt to rebuild his existence around her. His inspiration being the fact that he does not understand her desires or behaviour, and that complexity is a unique trait to be considered a rarity in modern society, and a purveyor of innocence.

The distinctive nature of this film is extremely laudable, in the powerful surrealism of its humour and style, which at several points melts into pulp-fiction style animation, and the empowering nature of its suggestion that individuals create the reality of their own existence, a point toyed with in the more playful moments of the film. Twisp’s internal creation of a sexual French alter-ego, the ascot-toting, moustache-stroking, cigarette-smoking ‘Francoise’, invokes the potential of the individual to define himself, and the success of his endeavours. Francoise, as an absurd and yet powerfully-effective contrast to Twisp’s external character, finds himself employed by Twisp to deal favourably with the high-stress situations he invariably finds himself in, allowing for considerable comedic potential. This is exemplified by a scene in which an initial fight between Twisp and Francoise, both played by Cera, is umpired by the only surviving remnant of Twisp’s love for Sheeni, their adopted ‘love-child’, and possibly the ugliest dog in the world.

The convoluted and irreverent nature of this film elevates it far beyond the mere status of a teen movie. The repeated moments of bathos, and the exaltation of the freedom inherent to even the most restricted of teenage lives, demonstrated by the competitive manner in which Sheeni and Twisp vie the virtues of their imagined lovers, delve into the intimacy of a teenage world which embraces certain levels of both delusion and indulgence, in which the imaginary is a respected form of communication. The overall unification of this film and its modes of narrative as an intense exploration of the teenage self, experience and potential, render it an extremely powerful and wrenchingly funny experience.

 

4 stars