Wednesday, May 28, 2025
Blog Page 2050

Decent term card and costly gategate

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This term’s list of speakers has now been finalised, and despite a few rumours over the vac about a poor term, it turns out it’s not nearly as bad as some people feared (or hoped). The highlights are Rick Stein (chef) Katie Melua (singer, fit), Duffy (singer, not quite so fit), David Coulthard (F1 driver,

quiet) and Catharine Tate (comedian, not quiet enough), along with John Bercow (Speaker of the Commons, and for whom Stuart Cullen should be bloody grateful to a certain Cherwell hack), and the guy who wrote Captain Corelli’s Mandolin, and of course the standard run of minor politicians, journos and general publicity-seeking hangers-on. Some decent debates, too, on censorship, Obama, prostitution (for money, not votes, this time), all-women shortlists, the Empire, and Scotland. Good stuff, and it kicks off this Thursday with ‘This House would Withdraw from Afghanistan,’ the headline speaker of which is General Sir Richard Dannatt, who was the soldier who gave Gordon Brown so much trouble on the Today Programme. Termcards, apparently, to come on Wednesday.

Slightly less happily, it now appears that the Union’s Gategate saga will end up costing it north of £9000. Gategate, you might remember, was begun by the decision of the Union Bursar (who is a full-time Union employee, and not an elected student official) to install a new security system at the Union’s entrance, so that members would have to swipe their cards to gain access. She spoke to a security firm and asked them to build and install a system at the St Michael’s Street gate. She was so enormously busy doing all of this that it appears to have slipped her mind to inform either the President or Standing Committee. When they found out, there was predictable consternation, and the issue eventually went to a poll, in which Union members decided that they didn’t want a security system after all. This was after a hole had been dug in the gatepost, and the machines to fill it had been specially manufactured. So now there’s a big hole in the Union wall, (which some unidentified wag has labelled ‘Lindsay’s folly’), and a £9000 bill sitting on the President’s desk. And, of course, someone has to pay to have the hole filled in again. Folly indeed.

 

Out of Breath Podcasts: The Teacher’s Pet

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Out of Breath Podcasts brings you the first in a new series of original monologues and dialogues.

Written by Julia Hartley, the narrator of this monologue is an English student teacher in Italy with a rather persistent student who, for all his annoying behaviour, has a certain charm.

Performed by Harriet Madeley

 

News Roundup: First Week

This week Antonia and Theo discuss the difference in Finals marks between certain groups according to gender and ethnicity, the controversy surrounding the St Catz porter and the banning of Spotify. Plus a quick look at Fit College and our new Blind Date feature.

Eye Candy: Style, not fashion

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Hanna and Joanna’s fashion statement: Our fashion motto is taken from a PINKO t-shirt ‘style is independent of fashion’. That’s why we like classic clothes which we usually combine with fashionable accessories and unique jewellery (Hanna’s favourite item of clothing is her Prada crocodile-leather belt, while Joanna loves her black Dior ballet flats and her vintage leather jacket).

These two beautiful sisters epitomize French Vogue style. Hannah wears skinny jeans, white plimsoles, a blazer and a snood. For an instant effortless chic she added a trilby hat and a slouchy suede bag. Joanna went for a slightly more casual look: she paired paisley-print top and a beige cardigan with black skinny jeans. They are walking proof that you do not have to follow the trends too closely in order to look great.

 

Americanisms

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I arrived in England two weeks ago Saturday, leaving sunny California and traveling via a 3-week circuitous route through central Europe to Oxford. Though I go to school in California, I’m a native of the state of Ohio, whose state motto is “The Heart of it All,” perhaps equally due to its shape (vaguely heart-lik

e), and its embodiment of the virtues of Middle America.

However, I by no means consider my

self the

typical American, least of all when compared to European stereotypes of Americans: I do not talk, chew, or conduct international affairs in a loud and boisterous manner. Nor am I a devotee of the sport known here as “American football”. While I am perhaps the biggest fan of American action films you will ever meet, and I consider monster truck shows the gift of a benevolent God, aside from this my consumption of American popular culture is limited to pop songs played through the speakers of elevator (lift) cars.

While culturally speaking I may be able to “pass” as European (I was asked throughout my European travels if I was Italian, for some reason), people in the UK nevertheless seem to have no trouble identifying me as American. It still seems odd to me that the key to understanding why this is so lies behind the way I say my a’s and my r’s. Over the past two weeks, the way I speak has become synonymous with an identity, and the minute I open my mouth I can’t help but feel that by some, I am pegged as a Sarah Palin-loving, gun-toting cowboy. These phonetic differences are of particular interest to me as a student of linguistics.

Thinking about this cultural-linguistic synonymy, and the differences between our two Englishes, made me curious about how it all developed, and I did a bit of research. While today, these dialect differences are remarkable oddities and linguistic curiosities, they once were quite important in the very creation of national identity. Arguments over the pollution of British English, on the one hand, and the iconoclastic creation of a uniquely American language, on the other, occupied a good part of 18th and 19th century intellectual life. Our two languages did start as the same language, after all, as early as Roanoke and Jamestown. But over the course of its evolution in a new place, with new ideas and new contacts, the American English of the end of the 18th century had begun to look quite different.

One figure in the debate over American English whom I find particularly fascinating is Daniel Webster. For this man, observing, discussing, and in a sense even creating American English was tantamount to creating America. As he remarked in his unprecedented 1828 American Dictionary of the English Language, “It is not only important, but in a degree necessary, that the people of this country should have anAmerican Dictionary of the English Language… Language is the expression of ideas; and if the people of one country can not preserve an identity of ideas, they can not retain an identity of language.”

It should be noted that unlike linguists today, Webster was a prescriptivist-instead of speaking of how language is (a descriptivist outlook, the one most commonly taken in modern dictionaries), he spoke of how it ought to be. He was a chronicler with an agenda. To this end, beyond producing his dictionary, he also produced a spelling book and a grammar compendium meant for school instruction. His preface to this book is a strongly-worded diatribe against British English:

“Europe is grown old in folly, corruption and tyranny…. For America in her infancy to adopt the present maxims of the old world, would be to stamp the wrinkles of decrepid age upon the bloom of youth and to plant the seeds of decay in a vigorous constitution.”

He likewise wrote in 1817, following the War of 1812 (in a letter to John Pickering, more on him in a bit): “I trust the time will come, when the English will be convinced that the intellectual faculties of their descendants have not degenerated in America; and that we can contend with them in letters, with as much success, as upon the ocean.” He was not exaggerating when he went on to predict that American English and British English would one day be as mutually incomprehensible as Swedish and German.

More than an ideologue, Webster actually significantly altered the way we spell and pronounce English in America. It is no exaggeration to say that the majority of American-British spelling differences are the result of his advocacy in his spelling book, and his influence on pronunciation is likewise great. Thanks to Webster, American English has honor and color; fiber, center, theater; defense, offense, ax, plow, and story. While he also advocated dropping the e at the end of such words as determineand changing speak to speek, these changes were less popular. Such spelling reform was also attempted by Benjamin Franklin, who even sought to produce new characters for writing American English.

Not everyone was so enthusiastic. Many in Britain, as well as many in America itself, likewise prescriptively objected to what they saw as the degradation of the mother tongue. John Pickering was an American who nevertheless subscribed to this line of thought. He compiled the first dictionary of Americanisms in 1816, entitled A Vocabulary, or Collection of Words and Phrases which have been supposed to be Peculiar to the United States of America. Unlike Webster, his purpose in publishing this dictionary was not to celebrate but to condemn: he sought to purify the language of England from foreign influence.

Purists such as Pickering objected to almost any disagreeable English phrase by calling it an Americanism. Samuel Coleridge objected to “that vile and barbarous word, ‘talented’,” adding, “Most of these pieces of slang come from America,” without realizing that “talented” was not from America at all. Similarly with Mencken, who incorrect

ly objected to the non-American word “scientist” as an “ignoble Americanism”. Perhaps the best manifestation of this anti-American purism comes from Basil De Selincourt, who exlaimed “Only when we hear English on the lips of Americans do we fear for its integrity.”

Reaction against the purists was equally vehement: Brander Matthews, in his Americanisms and Briticisms, wrote: “any American who chances to note the force and the fervor and the frequency of the objurgations against American spelling in the columns of the Saturday Review…may find himself wondering as to the date of the papal bull which declared the infallibility of contemporary British orthography, and as to the place at which it was made an article of faith.”

Regardless of whether American English is a polluted or a purified form, the English of America in many ways represents the English of an earlier England-some have argued that in the case of colonies, one finds a sort of arrested linguistic development. While this has been disproved to an extent, phenomena such as the flat a of “class” and the rhotic r of “car” were originally quite prevalent in certain parts of England as well. The purists were thus to some extent greatly misguided.

The debate over these matters has largely cooled. I have come across several articles recently bemoaning the encroachment of American English upon the English of Britain. Similarly with the claim I heard that American English is the English of children’s television. But these are largely the exception – the two sides of the pond seem to have reconciled their linguistic differences… to an extent at least. I’ve personally got to work on not using my fake British accent in public, and I’ve met multiple British people now who insist on communicating with me in a southern drawl…

(I’d like to thank Albert C.Baugh and Thomas Cable for their A History of the English Language)

Dear Fabio, leave Theo Walcott at home…

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Anyone who has watched more than a few fleeting moments of Arsenal’s games this season will notice that Theo Walcott has been, well, rubbish. If his confidence isn’t sky high he appears to forget the importance of changing direction, repeatedly running straight at his full back. That’s if he bothers running at them at all; too often he simply hoofs in a weak cross at Arsenal’s lightweight front men, rather than using that blistering pace to get to the byline or fashion something for himself.

Fortunately for Mr Capello England actually has a rather impressive cohort of wingers. With Gerrard likely to be playing on the left there is little chance that any more than four of the following will make it, and for England’s sake, one can only hope that young Theo doesn’t make the cut ahead of one of them. So, here is a comprehensive list of English wingers who should actually be in competition for a place:

1.Aaron Lennon – Somebody should take Theo Walcott, sit him down in front of television, and force him to watch clips from this man’s season. Lennon has been the shining star of a really quite exciting Tottenham team. Lightning fast and with a devastating drop of the shoulder Lennon has been terrorising left backs all season. Just ask Erik Edman or Sylvinho how hard it is to catch him. Should be an absolute shoe-in to start.

2.David Beckham – Ageing yes, but as his bright start for Milan has shown there is still life yet in one of England’s finest servants. What better alternative to Lennon’s pace and youth than Beckham’s experience and crossing? Beckham can still be a vital option, especially for late set pieces, and of course, penalties. May be his last chance to win something with England, a chance he thoroughly deserves.

3.James Milner – Fabio’s new favourite, and indeed every managers’ dream. By no means the most talented player on this list, but his phenomenal work-rate and new-found versatility should guarantee him a place in the squad at least.

4.Joe Cole – It speaks volumes for the regard with which the above players are held that a man of Cole’s talent may not make the cut. Aside from Rooney, Cole remains the most inventive player in the England set-up. Will be tricky to fit him into the England plan, but Cole’s sheer ability should squeeze him in.

5.Ashley Young – For some reason Capello just doesn’t quite fancy Young. He is quick, a fantastic dribbler, and almost certainly the best crosser of a ball in the league, but has never been able to force himself into the forefront with England. If he is to make it he’ll have to sustain the form he so often finds only in bursts.

6.Stewart Downing – Finally getting some minutes for Villa, and certainly impressing. Quite why O’Neill has been playing him on the left rather than Young is mystifying, but he remains the only genuine left-footed option. And it is quite a special left foot

7.Jobi McAnuff – Well, this one is rather in jest, but his spellbinding run against Liverpool was no fluke. His performances in both the original tie and the replay were full of menace and confidence. What they showed was exactly what Walcott is currently missing. Each time McAnuff got possession he attacked his full back, and actually believed he would beat him. If only Walcott believed in himself as much as MacAnuff he would rocket back up this list.

England’s strength on the flanks should certainly preclude Walcott’s presence at the tournament, but one can only worry that it won’t. That hat-trick against Croatia still manages to sustain him, but unless he sharpens up his form for Arsenal he should only head to South Africa as a spectator.

 

Year One

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It’s very nearly a year since Barack Obama’s inauguration as the 44th President of the United States. Besides Haiti, the big story this week in the US is that his approval rating is now worse than that of any other President a year in to his term except Eisenhower. In the latest Quinnipiac poll, his approval/disapproval score was 45% to 45%. Gallup has him 49-44. To put this into perspective, at his inauguration Obama had a 70-12 rating. The drop off to now is pronounced.

This almost unprecedented decline will form the basis of the commentary over the next few days into how Obama’s first year has gone. That’s not entirely fair. Firstly, his approval was still at 70% in May. Secondly, to focus too hard on the numbers would be a far too narrow approach in judging this President’s first year, and might lead to the wrong conclusion. The famous Lincoln meme, “you can’t please all of the people all of the time”, points to a trend often seen in political approval — the more you do, the more people you upset. And the Obama administration has done a great deal this last year, much of it unglamorous and a great deal of it politically inexpedient. The stimulus is thought by most economists to have been a great help in stabilising the crashing economy, but that hasn’t made people any less wary of the enormous volume of tax dollars spent in the process. Sonia Sotomayor was a well-qualified, historic pick for the Supreme Court, but that didn’t stop the right raising hell in some quarters. The incremental nature of the healthcare reform pursued to date has angered both left and right, and the continued engagement in Afghanistan remains a source of considerable angst.

Much of this is natural to the process of governing — tough decisions are by their nature sources of division. It is significant, though, given what we thought we knew about both Obama and his political machine at the start of his term, that the disconnect has become so distinct. The campaign had shown Obama to be a communicator unmatched by his peers. His political operation was quite possibly the most adept of any presidential campaign of the modern era. But in the government, on policy, the message is often cluttered, unclear. The public does not, it seems, associate Obama with political success, even while, compared with his predecessors, Obama’s first year has been a strong one. Partly this is the product of a gap between expectations and what has transpired; partly it is a simple failure of communication — a failure to provide adequate counterweight to the criticisms directed at the President, or to tout his achievements loudly enough.

The problem is bigger for the Democrats than for Obama himself. There are three years left before his next election, but the entire House of Representatives and a third of the Senate is up for reelection this November. Even in a good showing, the Democrats can likely expect to lose the Senate Majority leader, Harry Reid (who looks set to bomb in Nevada despite a very significant fundraising advantage), in addition to three or four other Senators — enough to lose their filibuster-proof majority. And if the current political climate progresses, legions of House Democrats will suddenly find their safe seats back in play.

As gains in the economy begin to be felt more widely, the national mood will change. But a sustained effort by the administration to recapture the support of the country is needed or the President’s popularity will continue to slip. In year one, they’ve been good at ‘doing’ but bad at ‘selling’. That will have to change or year two will be a rough ride.

Fifty years of Hurt

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John Hurt is an actor who needs little introduction. Over the course of his fifty-year career he has distinguished himself in countless screen roles, from playing unconventional leading men in The Naked Civil Servant and The Elephant Man through a formidable array of memorable character parts in movies as diverse as Alien (where he quite literally burst onto the screen in the film’s most notorious scene), The Proposition and this month’s arthouse gangster flick, 44 Inch Chest. In our exclusive interview he casts an eye back over his life in film:

From what I’ve seen you seem to be drawn to playing characters living on the margins of society?

– Well, they don’t fit in quite as readily as some people, that’s true. I don’t think it was a conscious decision though. I didn’t go out saying ‘This is the way I’m going to do things. This is how I’m going to live my life’…because I’ve never really planned anything. That seems to be how people see me, and presumably that is how I’d prefer to be seen because that is what I tend to do. It’s not intended, particularly, but it’s not denied.

When you say you’ve never planned anything, do you mean then that you fell into the acting profession?

– No, I didn’t. I far from fell into it, really. But I didn’t plan to be in it. I worked to get into it, but I didn’t set out with any ambitions, saying ‘Right, well I’m going to satisfy these first, and these second.’ It’s always seemed to me that people who make plans are people who make God laugh.

You seem to have trends in the films you pick; recently you appear to have switched from making more mainstream movies to stuff that would be considered arthouse?

– Again, that’s not planned, that’s just how it happened. I mean, I can’t really help it if Steven Spielberg rings up and says ‘Do you want to make a film with me?’ [referring to his role in Indiana Jones IV] And I don’t think I can be blamed for saying ‘Yeah, sure!’ So that’s how that sort of happened. In fact I thought it was a hoax! ‘Oh yeah, pull the other one’. But I’m glad I didn’t treat it like that. That would have been rather embarrassing.

How was it working with David Lynch on The Elephant Man [for which he was nominated for an Academy award for Best Actor]?

David Lynch and I worked very closely together. I mean as far as you can. There’s an area of David Lynch that is absolutely specific to himself and nobody is going to work closely with that, you know? He’s seriously auteur. And nobody is going to know exactly what’s in the centre of his thought or exactly what it is he’s after. If you think of yourself there’s surely an area of yourself that you can’t describe to anyone? Well that, when you’re working with an auteur filmmaker, is quite a powerful area – a large area.

Do you get a sense sometimes when you’re making a film like The Elephant Man that it’s going to be special?

Well, yes, I think that sometimes you can feel it. But I think you have to be very careful that you’re not talking about retrospect. I think you know that you’re making something quite special or at least you think it’s quite special. But you can’t necessarily know that it’s going to be something that is commercial – If people are really going to want to go and see it. You can have an inkling that’s going to be the case.

Is there a role of yours of which you’re most proud ?

Generally speaking I don’t really like to compare because the nice thing about them is that they’re different. But I suppose if I was going to choose one out of everything I’ve done, I would choose something that made a difference in terms of the way the audience thought about me, and that would probably be The Naked Civil Servant [in which he played gay icon Quentin Crisp]. But Elephant Man‘s up there, you know.

Is portraying characters who are based closely on real-life figures something that interests you?

– It actually doesn’t, particularly. I mean it does so happen that a lot of the people I’ve played have existed or were even alive when I played them, but I don’t think that actually makes any difference dramatically to the character that one plays. You know, poetic truth is not necessarily the same as fact. Indeed, because it happened to exist does not make it the only purveyor of truth, by any means. If that were the case, where would the poets be? They are a benchmark in terms of truth, in a sense.

Is that how you feel when you play these roles then – you don’t worry so much about imitating the real-life person, you just try and capture the sense of them?

-That’s exactly right. You’ve hit the nail on the head there.

Do you feel as an actor that you’ve accomplished everything that you wanted to?

– Oh, Jesus, no. Not at all, no. I wish I did -that’d be a nice thought. But then that’s not really for me to think, that’s for somebody else to think. I feel that there’s lots more I’d like to say yet.

Do you feel close to the work you’ve done in the past, or once you’re finished with a character do you think you leave it behind?

– Well, that’s a part of it: saying ‘Well, that’s the end of that’ and then moving onto the next thing, but anything that you do hopefully becomes part of you anyway. You might like to think that you’ve got rid of it, but you haven’t actually because it’s hanging about there somewhere.

Is that why you chose to revisit the character of Quentin Crisp in An Englishman in New York?

Well, no, I got the opportunity to do that. I mean, that was extraordinary – that doesn’t happen much in anybody’s lifetime. To be able to go back to a character 33 years later and at the same time be completely justified about it because by that time I was the same age as Quentin was when I first played him from the age of 18 to 68. This time I was 68 and he was long gone.

Did they approach you with the role?

Yes, they came to me. I was the obvious person to come to, I guess, when they had the idea. I was a little bit reluctant to begin with. I didn’t really want to devalue the currency of The Naked Civil Servant. But then when I saw the script and I had had a long conversation with the screenwriter Brian Frillis and Richard Laxton who directed it, it seemed to me that they all understood what the pitfalls were and they had very proper ideas as to how we should make it. And how it would stand, as it were, because you couldn’t possibly expect to do what the first one did because it was a different time in history altogether and this was a different era, and a different area and era in somebody’s life as well. It would have to be of a different nature and a different texture. And I felt that what we all were after was possible.

Is it true that you pick projects based on whether you think they’ll succeed on their own terms?

Yes, that’s almost exactly right. Anything that I do should stand a chance of succeeding on the level that it is intended to succeed on.

Can I ask you about your involvement in the last Harry Potter films?

Oh, that was a lot of fun. But very strange for me, because my involvement was as Ollivander in the first one, and then I didn’t do anything right through the middle until these last two. And of course by that time all those children had grown up. It was really strange.

It must be quite fun filming the Harry Potter movies as well because they’ve got a pretty impressive array of British actors?

Oh yes, well they’ve got pretty much everybody you can think of now. When we started nobody really had any idea whether it would be a successful enterprise or not. Back then there was much more pussy-footing around and being careful, because although the books were hugely successful that didn’t necessarily mean that the films were going to follow suit, but they did – and the rest is history now.

Review: Up in the Air

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The New Year period is the perennial ‘down-time’ phase of Hollywood; a brief respite after the slew of Christmas blockbusters before it all kicks back into gear from March and we’re once again watching big explosive messes. Yet it is in this quiet zone that some of the year’s best movies make their appearance in our cinemas; No Country for Old Man, The Wrestler, and quite possibly, Up in the Air.

By turns comic, tragic, wry and poignant, Jason Reitman’s latest directorial proves to build upon his success in the wake of Thank You for Smoking and Juno.

Up in the Air details the life of Ryan Bingham (George Clooney), who utilises his job as corporate downsizer – firing people whose bosses are too cowardly to do so – to achieve his lifetime goal; ten million frequent flyer miles. If this sounds anodyne, you’d be right; yet Ryan’s world is the model that GQ sells to millions on a monthly basis – crisp suits, expensive hotels, big spender reward cards – and Ryan’s charisma and pop philosophy allows us to buy into it quickly. His life of airport-limbo is one of 50s glamour; cocktails and crooning music, ejecting delayed flights and sweaty queuing for an existence built upon the smiling efficiency of good business.

Scrapping much of the original novel’s story, the plot presents a lightly existentialist look at the validity of Ryan’s lifestyle through his two female companions. The enchanting Alex (Vera Farmiga), is a fellow frequent flyer whose casual relationship with Ryan seemingly confirms his jet-set lifestyle, whilst his begrudging protégé, Natalie Keener (Anna Kendrick), in her sweetly naive belief in romance, provides a strong foil that, when coupled with Ryan’s unexpected feelings for Alex, begin to reveal the possible hollowness underneath his surface gloss.

Anna Kendrick successfully captures the youthful ambition of a graduate go-getter, trying to keep her head up against the quietly devastating nature of her job for the employees fired (well evinced through documentary-style montages), whilst Vera Farmiga’s Alex is, as she so aptly puts it, Ryan with a vagina, matching his own effortless cool with a disarming aloofness that, from their first scene together, makes for great chemistry. The clear star of the show however, is Clooney, who fits right into Ryan’s shoes – the magnetism of his Danny Ocean is allowed to flourish within a strong script that creates natural tension against his smiling rejection of emotional baggage.

Reitman, meanwhile, rightly seizes upon the opportunity to fuse the corporate tone of Thank You for Smoking with Juno’s squashy whimsy, resulting in a visual style that mirrors Ryan’s own awakening emotion; what begins with relentless fast-cuts, sweeping pans and tight angles steadily softens into the shaky camera work and jerking zoom of amateur video, the visuals themselves gaining a sense of humanity as the movie progresses. Ryan’s speech on the need to remove yourself of your ‘luggage’ in order to live sounds increasingly false in its played out repetitions throughout the movie, the central conceit – the need for relationships in order to gain a fulfilled life – given the finishing touch with a soundtrack that swings from Rolfe Kent’s upbeat orchestral pieces to the sombre introspection of Elliot Smith.

Without giving too much away, the Juno haters needn’t fear too much over any excessive mushiness in Up in the Air – whilst the film goes through its occasional lull, there is no denying the polish of the finished product  and the magnetic energy of its leads – there is a reason this film has drawn in Golden Globes and significant Oscar hype. You will, if nothing else, be entertained.

4 stars

 

Week 1: Welcome to our new Photo Blog!

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Fancy yourself as a photographer?

Want your photographs from around and about Oxford seen by the thousands of people who visit the Cherwell website every day?

If so, why not send a few of your snaps into [email protected]?

 

 

Friday: A quiet scull – Iris Kaltenbäck

 

Thursday: Broad Street from above – Wojtek Szymczak

 

Wednesday: Theatrical Waste Disposal – Sonali Campion

 

Tuesday: Seagull – Xiafu Shi

 

Monday: Mercury – Shaun Thein

 

Sunday: Messing around on shoot, Issue 3 fashion teaser – Ollie Ford

 

Saturday: Frosty pegs – Tom Glasspool