Sunday 30th November 2025
Blog Page 2075

The Pro

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Where to start with someone who describes their worst characteristic as “wanting to do everything”? In only her second term at Oxford, Hertford’s Izzy Westbury has been elected to the Union, is in the Hockey Blues team and was, last week, selected for the England ‘A’ women’s cricket tour to India. Quite an achievement considering sometimes she “wonders whether I am actually studying Physiology as well”. When you consider that she has lived in Malaysia, Syria and now Holland, was head girl at Millfield and would like to pursue a career in the Foreign Office – cricket permitting – she has certainly not had an average upbringing.

For such a sporty individual the Union seems an unusual path for Izzy to have chosen to take at Oxford. She has loved the opportunity to “say what I think” and describes how speaking in the upcoming ‘healthcare debate’ is at the moment both nerve-racking and exciting. Blues hockey has been her other focus at Oxford, and she talks with excitement about her potential Varsity debut, though she admits to feeling guilty that in playing her second sport for the university she is perhaps depriving another the chance.

Cricket is without a doubt her priority. Her introduction to the sport came when, aged twelve and newly arrived in Holland, she learnt that she was not allowed to play football at the “local very traditional club that backed onto our garden and so turned to cricket because I loved competing with the boys.” Her progression through the upper levels of the sport began when she represented Holland aged fifteen in an ODI which she describes now as “horrific and premature”, although does credit Holland’s women’s set up for her flourishing career. A week after being selected for the England women’s ‘A’ tour to India you get the impression that whilst Izzy sees it as a great honour and opportunity, it is far from her final ambition. The England side is what she has her sights set on although she feels that, with “three years left in the England academy it maybe a way off”.

For the time being then, when actually in Oxford, look out for her in the cricket nets, the hockey pitch, the Union debating chamber, or perhaps even every once in a while in a tutorial or lecture.

For such a sporty individual the Union seems an unusual path for Izzy to have chosen to take at Oxford. She has loved the opportunity to “say what I think” and describes how speaking in the upcoming ‘healthcare debate’ is at the moment both nerve-racking and exciting. Blues hockey has been her other focus at Oxford, and she talks with excitement about her potential Varsity debut, though she admits to feeling guilty that in playing her second sport for the university she is perhaps depriving another the chance.

Cricket is without a doubt her priority. Her introduction to the sport came when, aged twelve and newly arrived in Holland, she learnt that she was not allowed to play football at the “local very traditional club that backed onto our garden and so turned to cricket because I loved competing with the boys.” Her progression through the upper levels of the sport began when she represented Holland aged fifteen in an ODI which she describes now as “horrific and premature”, although does credit Holland’s women’s set up for her flourishing career. A week after being selected for the England women’s ‘A’ tour to India you get the impression that whilst Izzy sees it as a great honour and opportunity, it is far from her final ambition. The England side is what she has her sights set on although she feels that, with “three years left in the England academy it maybe a way off”.

For the time being then, when actually in Oxford, look out for her in the cricket nets, the hockey pitch, the Union debating chamber, or perhaps even every once in a while in a tutorial or lecture.

ere to start with someone who describes their worst characteristic as “wanting to do everything”? In only her second term at Oxford, Hertford’s Izzy Westbury has been elected to the Union, is in the Hockey Blues team and was, last week, selected for the England ‘A’ women’s cricket tour to India. Quite an achievement considering sometimes she “wonders whether I am actually studying Physiology as well”. When you consider that she has lived in Malaysia, Syria and now Holland, was head girl at Millfield and would like to pursue a career in the Foreign Office – cricket permitting – she has certainly not had an average upbringing.

The Pro

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Where to start with someone who describes their worst characteristic as “wanting to do everything”? In only her second term at Oxford, Hertford’s Izzy Westbury has been elected to the Union, is in the Hockey Blues team and was, last week, selected for the England ‘A’ women’s cricket tour to India. Quite an achievement considering sometimes she “wonders whether I am actually studying Physiology as well”. When you consider that she has lived in Malaysia, Syria and now Holland, was head girl at Millfield and would like to pursue a career in the Foreign Office – cricket permitting – she has certainly not had an average upbringing.

For such a sporty individual the Union seems an unusual path for Izzy to have chosen to take at Oxford. She has loved the opportunity to “say what I think” and describes how speaking in the upcoming ‘healthcare debate’ is at the moment both nerve-racking and exciting. Blues hockey has been her other focus at Oxford, and she talks with excitement about her potential Varsity debut, though she admits to feeling guilty that in playing her second sport for the university she is perhaps depriving another the chance.

Cricket is without a doubt her priority. Her introduction to the sport came when, aged twelve and newly arrived in Holland, she learnt that she was not allowed to play football at the “local very traditional club that backed onto our garden and so turned to cricket because I loved competing with the boys.” Her progression through the upper levels of the sport began when she represented Holland aged fifteen in an ODI which she describes now as “horrific and premature”, although does credit Holland’s women’s set up for her flourishing career. A week after being selected for the England women’s ‘A’ tour to India you get the impression that whilst Izzy sees it as a great honour and opportunity, it is far from her final ambition. The England side is what she has her sights set on although she feels that, with “three years left in the England academy it maybe a way off”.

For the time being then, when actually in Oxford, look out for her in the cricket nets, the hockey pitch, the Union debating chamber, or perhaps even every once in a while in a tutorial or lecture.

For such a sporty individual the Union seems an unusual path for Izzy to have chosen to take at Oxford. She has loved the opportunity to “say what I think” and describes how speaking in the upcoming ‘healthcare debate’ is at the moment both nerve-racking and exciting. Blues hockey has been her other focus at Oxford, and she talks with excitement about her potential Varsity debut, though she admits to feeling guilty that in playing her second sport for the university she is perhaps depriving another the chance.

Cricket is without a doubt her priority. Her introduction to the sport came when, aged twelve and newly arrived in Holland, she learnt that she was not allowed to play football at the “local very traditional club that backed onto our garden and so turned to cricket because I loved competing with the boys.” Her progression through the upper levels of the sport began when she represented Holland aged fifteen in an ODI which she describes now as “horrific and premature”, although does credit Holland’s women’s set up for her flourishing career. A week after being selected for the England women’s ‘A’ tour to India you get the impression that whilst Izzy sees it as a great honour and opportunity, it is far from her final ambition. The England side is what she has her sights set on although she feels that, with “three years left in the England academy it maybe a way off”.

For the time being then, when actually in Oxford, look out for her in the cricket nets, the hockey pitch, the Union debating chamber, or perhaps even every once in a while in a tutorial or lecture.

ere to start with someone who describes their worst characteristic as “wanting to do everything”? In only her second term at Oxford, Hertford’s Izzy Westbury has been elected to the Union, is in the Hockey Blues team and was, last week, selected for the England ‘A’ women’s cricket tour to India. Quite an achievement considering sometimes she “wonders whether I am actually studying Physiology as well”. When you consider that she has lived in Malaysia, Syria and now Holland, was head girl at Millfield and would like to pursue a career in the Foreign Office – cricket permitting – she has certainly not had an average upbringing.

The Pro

0

Where to start with someone who describes their worst characteristic as “wanting to do everything”? In only her second term at Oxford, Hertford’s Izzy Westbury has been elected to the Union, is in the Hockey Blues team and was, last week, selected for the England ‘A’ women’s cricket tour to India. Quite an achievement considering sometimes she “wonders whether I am actually studying Physiology as well”. When you consider that she has lived in Malaysia, Syria and now Holland, was head girl at Millfield and would like to pursue a career in the Foreign Office – cricket permitting – she has certainly not had an average upbringing.

For such a sporty individual the Union seems an unusual path for Izzy to have chosen to take at Oxford. She has loved the opportunity to “say what I think” and describes how speaking in the upcoming ‘healthcare debate’ is at the moment both nerve-racking and exciting. Blues hockey has been her other focus at Oxford, and she talks with excitement about her potential Varsity debut, though she admits to feeling guilty that in playing her second sport for the university she is perhaps depriving another the chance.

Cricket is without a doubt her priority. Her introduction to the sport came when, aged twelve and newly arrived in Holland, she learnt that she was not allowed to play football at the “local very traditional club that backed onto our garden and so turned to cricket because I loved competing with the boys.” Her progression through the upper levels of the sport began when she represented Holland aged fifteen in an ODI which she describes now as “horrific and premature”, although does credit Holland’s women’s set up for her flourishing career. A week after being selected for the England women’s ‘A’ tour to India you get the impression that whilst Izzy sees it as a great honour and opportunity, it is far from her final ambition. The England side is what she has her sights set on although she feels that, with “three years left in the England academy it maybe a way off”.

For the time being then, when actually in Oxford, look out for her in the cricket nets, the hockey pitch, the Union debating chamber, or perhaps even every once in a while in a tutorial or lecture.

For such a sporty individual the Union seems an unusual path for Izzy to have chosen to take at Oxford. She has loved the opportunity to “say what I think” and describes how speaking in the upcoming ‘healthcare debate’ is at the moment both nerve-racking and exciting. Blues hockey has been her other focus at Oxford, and she talks with excitement about her potential Varsity debut, though she admits to feeling guilty that in playing her second sport for the university she is perhaps depriving another the chance.

Cricket is without a doubt her priority. Her introduction to the sport came when, aged twelve and newly arrived in Holland, she learnt that she was not allowed to play football at the “local very traditional club that backed onto our garden and so turned to cricket because I loved competing with the boys.” Her progression through the upper levels of the sport began when she represented Holland aged fifteen in an ODI which she describes now as “horrific and premature”, although does credit Holland’s women’s set up for her flourishing career. A week after being selected for the England women’s ‘A’ tour to India you get the impression that whilst Izzy sees it as a great honour and opportunity, it is far from her final ambition. The England side is what she has her sights set on although she feels that, with “three years left in the England academy it maybe a way off”.

For the time being then, when actually in Oxford, look out for her in the cricket nets, the hockey pitch, the Union debating chamber, or perhaps even every once in a while in a tutorial or lecture.

ere to start with someone who describes their worst characteristic as “wanting to do everything”? In only her second term at Oxford, Hertford’s Izzy Westbury has been elected to the Union, is in the Hockey Blues team and was, last week, selected for the England ‘A’ women’s cricket tour to India. Quite an achievement considering sometimes she “wonders whether I am actually studying Physiology as well”. When you consider that she has lived in Malaysia, Syria and now Holland, was head girl at Millfield and would like to pursue a career in the Foreign Office – cricket permitting – she has certainly not had an average upbringing.

Awesome Oxford Photography: Week 4

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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: Latest Snowfall – Michelle Tan

 

Thursday: The beauty of her shapes – Anna Rybacka

 

Wednesday: Library Snooze – Ollie Ford

 

Tuesday: Fruit – Niina Tamura

 

Monday: The Philantropist – Wojtek Szymczak

 

Sunday: Treble Clef – Michelle Tan

 

Saturday: Tegan in Gold – Rachel Chew

 

Interview with Jon Snow at OxFID 2010

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Jon Snow speaks to Cherwell Editor Antonia Tam about his personal motivations in journalism, traveling to Haiti in the aftermath of the earthquake, and the “privilege” of being a journalist.

Review: Ruddigore

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The sound of singing leads me to the seminar room in mazelike Wadham. Through the windows I can see the cast of Ruddigore rehearsing energetically, the windows thrown open to bring air into the cosy space. Halfway through my evening’s entertainment they are closed again – someone has obviously decided that Gilbert and Sullivan isn’t the right accompaniment to their essay-crisis.

Ruddigore is one of the lesser well known Gilbert and Sullivan operettas, and this evening I’ve been given the opportunity of a sneak peek at the production-in-progress. The play tells the story of the house of Ruddigore, a family of Baronets whose eldest son is cursed to commit a daily crime or else die horribly. The latest first-born disguises himself in order to win the hand of the pretty yet priggish maiden of the village, and hilarity ensues along the familiar lines of hidden identity and misplaced affections, with a chorus of professional bridesmaids and singing ghosts thrown in.

Even without costume or set, the cast manage to bring to life the characters: the noble hero, the villainous brother, the virtuous maiden. But this scene I’ve been invited to watch is a moment of tipping identities – the virtuous maiden gets a leg up, the villainous brother renounces his wicked ways and the noble hero’s lie is revealed, all captured by the cast’s excellent physical acting. Tom Wade (Robin/Ruthven) brings a poise and energy to his performance that captures the fresh-faced young lover, and there is clear dynamic between him and the clear-voiced Alexandra Coghlan (Rose). One of the most striking elements of the production is how well the ensemble acting is pulled off. Although Rory Pelsue’s choreography felt cramped in the seminar room, the cast worked well together, and the movements were tight and controlled, visually interesting, moving from one tableau to another dynamically and making use of all the space available to them. It will be exciting to see how this is developed on the traverse stage at the O’Reilly.

On the night there will be an orchestra as well, replacing the single key board of the rehearsal. Despite the reduced musical accompaniment, the singing was powerful and vibrant, with strong, clear performances from the soloists, important when the whole story is told through song. Only occasionally did words become lost in the chorus singing, something that will hopefully improve in the better acoustics of the theatre.

As a break from some of the deeper and perhaps more topical plays around Oxford, Ruddigore promises to be a thoroughly enjoyable evening, and I look forward to seeing the polished production in the theatrical setting it so deserves.

What you’ve been missing

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Since Walter Benjamin promoted its ‘emancipatory potential’ in 1935, film and video have increasingly become the thinking man’s medium when it comes to contemporary art. Of course it has its technical difficulties, like how to deal with the audience missing the beginning or walking out half way through a painstakingly structured piece. Artist Steve McQueen notably caused a stir at last summer’s Venice Biennale by restricting viewing of his film Gardini to timed slots, but what unfurled was an arrestingly atmospheric, lyrical film, well worth the wait.

Conversely, Andy Warhol’s long still films include Empire, an epic eight-hour study of the Empire State Building, designed so that you could chat, cough or even look away and the slowing moving images would still be there.

It wasn’t really until the late 1960s that artists began manipulating film as an artistic medium in its own right. Since then it has evolved harnessing new technologies and producing its own very unique visual language. Arguably there is an element of mysticism surrounding this genre of art, in that little is known of the workings behind the camera. The viewer is forced to almost work ‘backwards’ from the moving images presented in order to interpret the intent behind video art films. The use of video is a way of both turning the focus onto the behavioural patterns and the cognitive psychology of the viewer. Video art pioneer Peter Campus once said: ‘The screen is like a sedative, it quietens the eye and brainwaves down’.

There is a plethora of places to seek out video art. One is the current show at Raven Row gallery, Against What? Against Whom?, which presents the works by Harun Farocki ranging from as far back as 1995 to 2009’s Immersion, a video piece that uses a dual screen projection to address the treatment of soldiers traumatized by their experiences in Iraq. He has produced films about everything from the prison system in America to the production of bricks, and his work maintains a high level of critical engagement as well as a clear sensitivity to the medium he so adeptly manipulates.

‘In this world but not of it’

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A week ago, a hundred thousand candles of memory twinkled across the world, on Facebook statuses, on literary blogs, in earnest conversations between sixteen year olds. J.D. Salinger, iconic novelist, eternal convert and Charlie Chaplin’s cuckold, had died at the ripe old age of ninety-one. Yet many of you could be forgiven for asking just what all the fuss was about. So he wrote a book encapsulating teenage angst and then went into hiding for sixty years; what’s the big deal?

The big deal is that throughout his career Salinger kept the one thing that is essential to every cultural legend: mystique. The Catcher in the Rye itself is as much of an enigma as its author. Its narrator is Holden Caulfield, a rebellious schoolboy who despises the weak figures of authority and ‘phony’ kids around him. Expelled from his prep school, he takes the train to New York, where he spends three days in a blur of loneliness, encountering girls, museums and his old English teacher, all the while his disaffection increasing. He dreams of becoming a noble savage guarding children from the lousy hypocrisy of the adult world: he will wait at the edge of the rye field to ward them away from the cliff.

The book was a Molotov cocktail cast into the middle of postwar America. Caulfield’s instability, his encounter with the prostitute Sunny, and above all the graphic language of his narrative drew savage opprobrium and fanatic admiration to the boy hero. The Catcher in the Rye was the USA’s Lady Chatterley’s Lover: a teacher was fired for putting it on his curriculum, and there was a national censorship controversy. For his devotees, Caulfield was the original icon of teenage angst, and he is thought to have inspired cult films like The Graduate, Donnie Darko and Igby Goes Down. Billy Wilder, Jack Nicholson and Leonardo di Caprio are all thought to have begged Salinger for the chance to play Caulfield in a film adaptation.

Salinger, as laconic as his fictional creation, bluntly refused. He published more than thirty stories during his long career, but something of Caulfield’s wariness and misanthropy clung to him, and he was a notorious recluse. After fighting in the D-Day campaign alongside Ernest Hemingway, he was admitted to an army hospital with severely shaken nerves. It was in that same year that Caulfield made his first appearance, in a short story simply titled I’m Crazy. The Catcher in the Rye followed in 1951, and spent thirty weeks on the bestseller list. From then on, he isolated himself and his young wife in New Hampshire and dabbled in short stories and a bewildering sequence of faiths, from Buddhism to Hinduism to Dianetics. He stopped publishing in 1967, although he jealously hoarded a great wealth of unpublished material. He shunned attention so much that his family would not hold a service when he died.

He once remarked that he was ‘in this world, but not of it’: much of his cult came from this otherworldliness, this brooding, Byronic charisma that bled from his life into his books, or perhaps vice versa. Intransigent, brilliant, lunatic: the world tends to remember men who defy it, and Salinger will not easily be forgotten. 

Auschwitz-Birkenau-Bambi

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Miroslaw Balka’s installation How It Is currently fills the Tate Modern’s Turbine Hall. Perspective and identity fade as you disappear into the vast steel container, enfolded in a desensitising darkness. The Polish artist presents an excellent foil to this piece with his video-based exhibition Topography.

The first piece, Carrousel, sets the viewer in the middle of four large projectors playing whirling footage of a disused military base. You can sense immediately that this was once a concentration camp. The whistling of the wind past the video camera transports the viewer, who, glancing from one screen to the next, comes to feel part of the artist’s filmic process.

The footage spins around the barracks ever faster until it reaches a crescendo of disorientating intensity. Carrousel feels like a frantic search for meaning. You strain to impose some sort of narrative, but the looping video undermines any attempts to fix and comprehend the images presented. Balka seems to suggest that the atrocities of the Holocaust cannot be rationalised, but that it is the duty of the artist to record them nonetheless. As a final tease, the al-Jazeera logo is painted beside the far projector. Connotations spiral off in every direction – witness reliability, religious tension between East and West – and any stable interpretation is undone.

Such indeterminacy is crucial to Flagellare A, B, and C. The artist has filmed himself whipping a reflected beam of light onto a concrete floor, then projecting the footage onto three rectangular salt beds. The first is placed by itself; with the sound turned off, the low radiance of projection gently illuminates the room.

The other two are set in a small room to the side, and the effect is entirely different. The harsh crack of the whip, now at full volume, has an aggressive, unsettling rhythm. The positioning of the salt beds creates an awkward path between the two, and there is a real sense of claustrophobia. Is this a futile act of exorcism, or do the Christian references point towards a redemptive value? These questions apply throughout an exhibition so heavily influenced by the Holocaust.

In the main room, whose atmosphere is at once solemn and chaotic, Bambi toys with ideas of innocence and knowledge. We see a herd of deer playing in the snow around the buildings of Auschwitz-Birkenau. As the video focuses, it becomes clear that we are watching from behind a barbed wire fence, the jagged lines dissecting the field of view. Balka develops the black humour in Carrousel, revelling in the perversion of childhood associations. But there is something more profound at work. The film Bambi was made in 1942 while deer still roamed uncomprehending through the Birkenau woods as the trains full of prisoners arrived. The juxtaposition of the banal and the terrible reminds us that, for all this suffering, life goes on regardless. It is hardly a comforting thought.

Topography belies Adorno’s claim that there could be no poetry after Auschwitz. This is hauntingly beautiful work, and puts Pawel Althamer’s lacklustre Common Task in the shade.

Topography is at Modern Art Oxford. Admission is free. 

Drama Briefing

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This year, Hugh Grant turns 50, Chekov is 150 and OUDS is 125. But only one of these anniversaries has spurred our supreme commander Roland Singer-Kingsmith into action. First, he drew up a five point plan. Now he’s marshalling his forces with military precision. He was last seen emailing almost anyone who’s ever set foot on the Oxford stage, asking for strategic advice on how to celebrate. A huge campaign fund has been raised, former alumni have been conscripted – even Thelma Holt’s been drafted in to provide backup. The resulting gala event at the Playhouse should feature more big names than Matt Maltby can drop in a week’s worth of Thespionage.

Also at OUDS, plans are under way for a social event, which could be coming soon to a theatre (?) near you. With such regular socials in mind, as well as talk of a large donation in the pipeline, many will view this year as the beginning of a renaissance in Oxford drama. On top of this, there’s a new phenomenon on display: student shows making serious money. First it was West Side Story; now Equus looks like it may have smashed OFS box office records.

Equus had better watch out, however, because there’s more than a whiff of scandal hanging over the OFS at the moment. See Cherwell News for more information about this, but we hear they’ve been handing out serious fines for last minute cancellations of plays. Adding insult to injury, at least one of last term’s OFS shows still hasn’t been paid. When the ageing studio finally closes, few students will mourn its departure.

For all this gossip, the serious business of making plays seems to have been sidelined: in Fourth week, there’s only a single play on. Thankfully, it’s Our Country’s Good, which looks extremely promising. For many audience members this will be the first sight of sawdust Casanova Alex Jeffery, while others familiar already with Rachel Bull will prepare once again to see her dash to the theatre, resplendent in rowing gear, with minutes to spare. The only other play with no competitors will be 8th Week’s Knives in Hens. But as Adam Baghdadi’s involved, we can be sure of one thing: either people are going to be terrifyingly thrilled by this tale of a woman murdering her adulterous husband – or just terrified.