Tuesday, April 29, 2025
Blog Page 588

Riding into the Record Books

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The first Grand Tour of the cycling season got underway on Saturday as the first time trial of the Giro Italia was held in Bologna, Italy. 2018 was a huge year for British cycling, and we can only hope that this year matches it, as Britain is defending all three of the Grand Titles from last year.

Last year’s winner of the Giro Italia, Chris Froome, has opted to sit out this year’s event in order to focus on reclaiming the Tour de France title, as last year he had to make way for fellow Brit Geraint Thomas. In the Giro this year, Britain’s best bet for success is Simon Yates, from Bury, who led for much of last year’s event before blowing up in the later stages of the race. However, he achieved subsequent success by winning La Vuelta in Spain towards the end of the season. Despite being a British rider, Simon Yates rides for the Australian team Mitchelton-Scott and is joined on the team by his twin brother Adam.

Geraint Thomas is keen to repeat his Tour de France success this year but will naturally have strong competition from his teammate Chris Froome, and it remains to be seen which of the two will lead the team charge. Both men will be riding under the newly formed Team Ineos, who recently bought out Team Sky. The new team have inherited Team Sky’s management structure, led by the now legendary Dave Brailsford, and so it is safe to say that we can expect business as usual.

Nevertheless, this takeover has been labelled as highly controversial as Ineos is a British chemical company who is one of the largest manufacturers of chemicals and oil products in the world, including the production of solvents, biofuels, plastics, synthetic oils and insulation materials. The company is also involved with fracking in the north of England and the East Midlands, so naturally this takeover has caused outcry from many environmental campaigners.

Despite 2019 hopefully being another successful year for British cycling, we cannot discount challenges from other riders in the Grand Tours. The French are improving annually and Romain Bardet will be a strong threat for the British riders if he can remain injury-free. Australia’s Richie Porte will be more than a match as well, whilst other strong riders such as Tom Dumoulin, Nairo Quintana and Mikel Landa will also be hoping to find some glory.

Although at the moment British riders seem to be dominating the world of cycling, this certainly has not always been the case. The Tour de France was the first of the Grand Tours, having been established in 1903, and it has certainly cemented its way into the record books, as it is the most widely attended annual sporting event in the world. The Giro Italia was established shortly after in 1909, with La Vuelta finally taking shape in 1935. Britain has had a poor history of having any sort of world class riders, and the greatest success came from Chris Boardman in the 1990s, having won three stages in his Tour de France career.

Before Boardman came Tommy Simpson, who became the first British rider to wear the yellow jersey in the 1962 Tour de France and won two stages of La Vuelta in 1967. Unfortunately, Simpson’s career was cut short as in the thirteenth stage of the 1967 Tour de France, he collapsed and died during the ascent of Mont Ventoux at 29 years old.

Britain’s first real success came in 2012, with former track cyclist Bradley Wiggins winning the Tour de France in 2012. Since then, the Tour de France has been won by a British rider on six occasions, with the success culminating last year when Chris Froome won the Giro, Geraint Thomas won the Tour and Simon Yates won the Vuelta. Chris Froome stands out as the dominant British rider, having won six Grand Tours so far, while no other has won more than one, and this places him 7th in the all-time rankings.

However, this success has not just sprung from nowhere. At the turn of the century, the UK Sports Council consciously made the decision to pump more money into cycling. Consequently we saw a huge improvement in British cycling, initially on the track, as British riders became a force to be reckoned with. Many of Britain’s track cyclists then began to look for new challenges and turned their attention to road races, and therefore we have also been able to develop a string of world class road riders.

Although the Grand Tours are the highlight of men’s road racing each year, there are still no three week races similar to these on the women’s road cycling circuit. The only comparable race for the women is the Giro Rosa, which is a tenstage Italian road race, and is the only race that is treated as broadly equivalent to the Grand Tour. Britain’s Lizzie Deignan has been a source of success in recent years, becoming the World Road Race Champion in 2015, the 2014 Commonwealth Games Road Race Champion, and picking up silverware at the 2012 Summer Olympics. Despite this, it remains to be seen whether she will be back on top form for this year’s circuit, having recently given birth to a daughter.

Giving thanks to football

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Mauricio Pochettino’s first words following his side’s second-half comeback against Ajax, despite being 2-0 down at half-time, and 3-0 on aggregate, were: “Thank you, football.” After Hakim Ziyech’s fine strike in the 35th minute, the tie looked all but over. It would have taken a stunning effort to overturn what appeared to be an insurmountable scoreline at the break, and it did.

But Tottenham Hotspur simply found a way to win when they needed it most, aided by the incredible performance of Lucas Moura, who became the very first Brazilian to score a hat-trick in a Champions League semi-final. Each goal was finished with his left foot, despite in fact being right-footed.

Many would have touted this the greatest Champions League comeback of all time, if it was not for an even greater remontada just 24 hours beforehand. It is incredible how Tottenham’s comeback against Ajax was not the performance of the week.

This title must surely be handed to Liverpool, who appeared dead and buried after the first leg in Barcelona, trailing 3-0 and without a single away goal. Missing arguably their two most important players in Mohamed Salah and Roberto Firmino, Liverpool went into the tie at Anfield looking not to concede, and to avoid serious embarrassment, or so we thought.

What followed in the next 90 minutes can only be described as unprecedented and may well be recognised as the greatest comeback the Champions League has ever seen. To beat the reigning Spanish champions FC Barcelona, who have five-time Ballon d’Or winner Lionel Messi in their team, is a serious accomplishment on its own, and had not happened previously in the Champions League this season.

Yet Liverpool turned up on that passionate night at Anfield with incredible mental strength, and Jurgen Klopp’s set-up worked to perfection. Liverpool were superb in every area, from Alisson to Origi, and with the creativity and drive of both Trent Alexander-Arnold and Georginio Wijnaldum, they were spurred on to a 4-0 victory in front of the Anfield faithful on the night, and 4-3 on aggregate.

Not only do these two astounding results display the quality of English sides in Europe (coupled with Arsenal and Chelsea’s progression to the Europa League final in Baku), but they show the world the unpredictability of football.

For the neutral, it was pure, enthralling entertainment. For the supporters, it was either wild shock and jubilation, or absolute heartbreak. In previous years, a 3-0 victory in a Champions League semi-final against one of Europe’s best teams would all-but secure a team’s progression to the ultimate showpiece, the Champions League final.

But this year, the script has been rewritten by both Liverpool and Spurs. Not once, but twice, did we see a great Champions League football comeback in the last week, and football will now never be the same.

It can be argued that the era of possession-based football is now over – Barcelona and Ajax, both who have used this tactic on repeated occasions throughout the tournament, were undone by enthralling, entertaining counter-attacking football. In fact, Ajax were so taken aback by the presence of Fernando Llorente in the second half against Spurs that they failed to cope with him, and he was the centrepiece of each and
every attack that Tottenham made. Playing fast, attacking football with Lucas and Son linked together by a tall centre-forward was not something that Ajax expected, but it was certainly something they paid the price for.

In the same vein, the way that Liverpool attacked, using both Alexander-Arnold and Robertson to bully Barcelona down the flanks made it impossible for Barcelona to press, as Liverpool’s fast-paced and decisive football won the day.

There is nothing like the emotion that one feels through football. Both Liverpool supporters’ and Klopp’s sheer disbelief at the final whistle summed up the momentous event that had just occurred. Pochettino’s tears, Dele’s emotion and even Kane’s sprinting were unexpected – but this was their reward for a sensational comeback.

For the players and supporters, there is nothing that comes close to this. The extremities of emotion are exposed in football, both through success and through failure, and even the neutral were this week moved by what they had witnessed.

Both Liverpool and Tottenham have earned their place in the Champions League final, and the showpiece will certainly be spectacular, with both teams playing fast, entertaining, counter-attacking football.

The winner will deserve the trophy but given the sheer number of surprises in this season’s Champions League, you would be naïve to suggest that it will be easy for either Liverpool or Tottenham.

It may be unlikely that we will witness another surprise in the final, or that we will ever see another Champions League like this. But as this season has taught us, it is impossible to rule out. Because in football, anything is possible.

Interview: Peter Singer

Over Skype, Peter Singer is the consummate philosopher: calm, reasoned but possessing a distinct alacrity when answering questions pertaining to his work. It is striking that such a rational mind was the architect of Effective Altruism, a mode of thinking that he considers both a philosophy and a social movement. At first glance, one could assume that Effective Altruism concerns our emotional, passionate domains rather than our logical faculties. What Singer clarifies throughout our conversation, however, is that his work is principally the result of rational observation. He maintains, over 40 years on from the publication of his first work, that Effective Altruism, as well as what it entails, simply is the appropriate moral code for us humans. There is no reasonable alternative. I ask him first to explain exactly what Effective Altruism is.

“The philosophy is the idea that at least one of our aims should be to do good, to do good in the world. In doing that we should use whatever resources we bring to it as effectively as possible, be that time or skill. From a social perspective, it is an emerging movement, about ten years old now, of people who have chosen to live in this way, forming organisations and groups to discuss what is the best thing to do and how to do it.”

With this in mind, Singer proceeds to tell me about his own personal, original motivation for pursuing such a philosophy, citing his renowned article Famine, Affluence and Morality from 1972 as a starting point. 

“I wrote that because I was concerned that we were not doing enough for particular crisis situations, such as the crisis in East Pakistan, which is now modern day Bangladesh. There were nine million refugees in need of assistance, and that just got me thinking about what our obligations are as people in affluent societies when it comes to helping people in great need elsewhere in the world.”

He is quick, however, to state that Effective Altruism must be a continuous ethical standard, not just a convenient one at a moment of crisis.

“It’s not just when there is a big crisis in the headlines that there are people in great need. There are people in great poverty now in countries where there is no war, where there is no particular drought or famine. Their lives are not the types of life we think human beings ought to have. This broader understanding now motivates a lot of people. It’s not just this crisis or that crisis, but a situation in the world that we can do something about.”

I ask him about the media’s role in all of this, considering their proclivity to exploit humans’ natural orientation towards flash headlines and sudden disaster. He agrees that this might be a problem for the movement.

“The media has a certain bias towards things that will generate headlines, towards particular events that may, in fact, be far less important. You get dramatic headlines if there is a shooting that kills fifty people, you don’t get such headlines when five million babies die before their first birthday in the last year. It is not easy to overcome that, it is a matter of educating people. It’s a constant struggle, but the movement has made significant progress.”

“It is also really important to notice and make known the positive changes happening in the world. If people are left unaware of the impact movements like ours have, they can get discouraged, they can feel that money has been given and it has not done any good. If newspapers just report the negatives, you might well get that feeling. Back in 1960, when the world’s population was a lot smaller, twenty million babies died before their first birthday. So we have made very good progress in reducing that number. We need to get that positive message across too.”

Given that there is still much work to do, it is vital that the movement continues to gain popularity. I question Singer on whether rational discussion can really draw in large swathes of people who may be governed by more emotional desires.

“I think it’s important that people not only act from their passions but they draw on their reasoning ability as well. But I don’t expect people to let go of those emotions, because I don’t think it would be good if they did. They may become less motivated to act at all. However, we need to get people to pause and think about what they are doing. It can’t all be blind emotion.”

He briefly mentions the role of students who are more willing to reflect on their own values and actions. He proudly recalls how many of his own students have been turned towards Effective Altruism and have decided to integrate it into their future lives. He then briefly alludes to students’ political leanings, and I decide to probe a little further, asking, more generally, about how the philosophy plays out in the political domain.

“It’s clearly political in so far as it is trying to get away from the views of people on the right, like Ayn Rand. It is a movement away from the idea that it is good to be selfish, that somehow under capitalism people thinking and acting selfishly works under this hidden hand to do the most good. It doesn’t do the most good, and we need to think about directly aiming at doing good for people who don’t have the same chance to get into the global economy. So in that sense it is taking a stance against a certain political and economic thinking. On the other hand, it is also taking a stance against the idea that the solution to all these problems is a revolutionary overthrow of the capitalist system. It is saying, look, capitalism has been around a long time, it doesn’t look like we are going to overthrow it very soon and it is not clear what the best alternative would be. So while we are here, let’s try to do what we can within that system. In fact, it is kind of ironic that sometimes Marxists object to this, and yet that is exactly what Engels did. He was a capitalist running a factory in Manchester, and without his financial support, Marx wouldn’t have had the leisure to write the works that he did.”

On this note of extreme ideological thinking, he quickly dismisses anyone who aggressively, or even violently, tries to push their own agenda, even if that agenda is something like Effective Altruism. 

“You understand why people get carried away with the importance of the issue, but they really need to think more about the consequences of the way they are talking to people.”

A common charge thrown at Singer is that his philosophy is invariably opposed to a bias towards egoism that all humans possess, as a result of our evolutionary history. He discusses the issue with typical composure, always focussing on the vital role of rationality.

“The crucial thing to remember is that for most of the existence of our species, and the species from which we descended, we lived in small groups, of around a hundred to two hundred people. We evolved responses to those circumstances, which meant that if there was somebody who needed our assistance who was a part of our group, we’d be likely to help them. That helped us form cooperative relationships and helped us survive, as well as ensuring the survival of the rest of the group. We developed a tendency to help people in need, especially if it was someone close to us. Now of course the world has changed: we live in far vaster communities, and so we don’t have the same emotional response to help people we don’t know. If I was to tell you that a very effective way to save the lives of children is to donate to the Against Malaria Foundation so they can prevent mosquitoes infecting children, I can’t show you the child who you will help. That’s a big problem when trying to persuade people to react. That’s why we need to use our reason. Yes we have an emotional concern to help people in need that we know, but if we can help more people even when we can’t see them, then we need to bring our reason into play there.”

The conversation soon naturally progresses to animal rights, an area in which Singer has been an authoritative voice since the publication of Animal Liberation in 1975. He jumps onto the topic eagerly.

“When I became a vegetarian in 1971, I hadn’t met a vegan, I don’t really think there was a vegan society. There were certainly no vegan restaurants. It’s been a huge change.”

I ask him how much being a figurehead for the animal rights movement has affected him personally, and how proud he is of how far it has gone.

“It certainly affected me. In that area I became far more involved in activism than I had ever been before. I did become a spokesperson for the movement, and I think we’ve made significant progress for animals, not only in changing attitudes but also in the legal system, where there have been attempts to improve conditions for animals. The great tragedy is that while this has been happening in a positive way in the European Union and some parts of the United States, there has been a huge boom in meat consumption in China, in particular. They are adopting some of the worst factory farming practices without the laws and regulations of other counties. Therefore you have to say globally the situation has not really improved, but it’s good that people’s attitudes have changed, and hopefully that will soon spread to China and other parts of East Asia as well.”

Curious about the origin of this development in Asia, I ask Singer why such an influx of meat eating has occurred. As expected, the topic is dealt with carefully.

“It’s a little odd because China has Buddhist traditions, which were far in front of Christian teachings for most of the history of Christendom. I suppose in China there is just such a great drive to produce more and to feed people more that the ethics regarding how animals are treated is not taken very seriously. Interestingly, in Taiwan there is much greater awareness. Perhaps that’s the Buddhist tradition coming through. Around 10% of people in Taiwan are vegetarians, actually. So it’s not really an Asian versus Western thing; it’s something to do with people emerging out of relative poverty and wanting to eat meat. The government just feel like they have to satisfy them.”

Inherent in Singer’s work on animals is the quantification of pain and pleasure. With such a focus vital to any piece of utilitarian moral thinking, it has become incumbent on philosophers in the 21st century to think beyond the animal world, into the realms of artificial intelligence. It becomes clear that he has thought closely about what the introduction of AI will mean for the future of humanity.

“Well if are convinced that artificial intelligence has achieved consciousness, that they are not just clever digital algorithms that are responding to what we are saying in ways that mimic the way a human might respond – and it’s an interesting question how we could tell that – then we would have to give consideration to those beings and minds. We would have to regard them as having desires and preferences, as being capable of pleasure and pain. It would be a significant change. It is also going to change the social landscape regardless of these machines are conscious. It is certainly going to alter employment. We have to think about what we are going to do when we get replaced by AI. We have to think about how we are going to support that society. Are we going to have a universal basic income? These are very important questions that we will be grappling with over the next decades. However, I don’t think it will fundamentally alter the moral landscape. it wouldn’t undermine what we believe now, that pain is bad whether it is felt by humans, animals, or even artificial intelligence. We will still be concerned with giving all sentient beings good lives, with stopping unnecessary suffering when it can be stopped.”

Perhaps the more controversial aspect of Singer’s utilitarian work lies in his analysis of euthanasia and abortion, so much so that he has been labelled the ‘most dangerous philosopher in the world’. He quickly corrects me.

“It was actually the world’s most dangerous man. This was just polemics at Princeton. The conservatives who are against abortion and euthanasia gave me this label to get Princeton to withdraw their offer of a chair, and to persuade people that I am dangerous because I want to undermine the sanctity of life ethic. It might have been an interesting tagline, but there was nothing behind it.”

“With the secularisation of society, those conservative beliefs that dictate their views on abortion and euthanasia are steadily decreasing. In many countries, such as Australia and the U.K., abortion is not really a serious issue anymore. They may be opponents of abortion around, but in terms of actually trying to stop women having abortions I think they have more or less given up. In the USA they haven’t, and that’s perhaps because of the stronger hold religion has over there.”

On the subject of the United States, I can’t help but ask Singer about his opinion on the president. 

“I have many worries about Donald Trump: he is putting conservatives in the Supreme Court, and they will be there for a long term and that’s very problematic. But there are many other worries regarding him, especially with climate change.”

As we wrap up our conversation, I was interested in finding out his views on Oxford. Having obtained a BPhil here in 1971, he speaks highly of the university.

“I thought Oxford was a terrific place, both in terms of the assemblage of people you were learning from and also your fellow students. The friends I met there are still hugely influential on me.”

Sibling rivalry: St Hugh’s take on Clare College

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A balmy, blue-skied Saturday last weekend saw a hotly-contested Oxbridge encounter take place on a playing field in Summertown; however, in this instance, the atmosphere was not that of watching elite rowers race down the Thames, or the fierce rivalry bordering on animosity found at many such Varsity occasions.

Fifty of Clare College, Cambridge’s finest sportspeople had made the journey down the motorway to visit St Hugh’s for the inaugural sports day between the two sister colleges, and the prospect of a day of relaxing, socialising, barbecuing and relaxed sporting competition. With no formal prize for the outcome of the day, this was an opportunity for two colleges from the UK’s oldest universities to engage in competition over four sports: football, lacrosse, netball and cricket.

So what is to be gained from these low-level Varsity clashes? Big events such as the rugby match at Twickenham and the iconic boat race on the Thames are often thought of when the Oxford-Cambridge rivalry is cited, but this sort of friendly competition seems more quintessential of the relationship the two universities hold. While competitive, the day had the ultimate aim of improving relationships between St Hughs’ and their sister college all whilst enjoying both sport and sunshine. Other colleges host similar events each year: Worcester, for example, holds an annual sports day with St Catharine’s College, Cambridge.

However, this appears to be a concept that more colleges could make the most of. Most students at Oxford will never compete in a blues-level fixture against Cambridge, and bringing the mantra of ‘shoeing the tabs’ a little closer to home gives some reality to the fabled historical battle of intellect and athleticism that exists between the two universities.

The day kicked off, quite literally, with a football match held at Cutteslowe Park. The competitiveness of both teams was intense, and some important calls had to be made, but with two members of Clare acting as referees, the decision-making was in good hands. The visitors managed to net two goals, while Hugh’s finalist Nick Kelly managed to score twice in his last match before graduation. The match ended at 2-2, meaning the result eventually came down to penalties, much to the delight of the spectators, and although finalist Paddy Byfield managed to emulate Paul Pogba in his technique for the first successful Hugh’s penalty, the home side ultimately lost 4-3.

Mixed lacrosse was up next – a sport most aren’t as familiar with as football. This was an opportunity for some novice players to try their hand at the game, but resulted in a no less enthusiastically fought match. Clare ultimately came out victorious with a 4-0 win, but the match was well contested and maximum effort was exerted by both sides.

A similar series of events unfolded on the netball court in the early afternoon, as the whole contingent now relocated to the Hugh’s-Keble sports grounds on Woodstock Road. The Clare team were ultimately too strong for the Hugh’s side, and they came away with another victory.

While the barbecue, appropriate for the unusually sunny day, heated up, the final event of the day – the cricket – began. Hugh’s batting got off to a slow start, but picked up over the course of the two innings. As the afternoon wore on, and the sun drew lower in the sky, it was a scene of idyllic sporting bliss.

Hugh’s firmly established their lead in the cricket while the spectators enjoyed the glorious weather and Clare’s generosity in providing Domino’s pizza for everyone. The local Co-op was drained of all its alcohol supplies, and an ice cream van even turned up to provide more refreshment to the assembling crowds.

As the cricket came to a conclusion, with the Oxford side finally gaining a win to finish the day, everyone, home crowds and visitors alike, started to walk back to college, connected now by the bond only a shared Domino’s pizza can bring. The visitors from Clare, a college founded in 1326, looked around the grounds of Hugh’s and its mixture of Victorian elegance and brutalist modern architecture, before ending up in the JCR to finish the final tinnies of the day with their hosts.

Overall, although a veil of supposed enmity exists between Oxford and Cambridge, at a basic level we as students have plenty in common with our East Anglian counterparts, and events such as this serve both to affirm the gentle rivalry between us and share mutual respect over an enjoyable day of sport. Although Hugh’s didn’t come out on top this time, the results only provided, as commented by Matt Daloisio on the college’s JCR Facebook page, “more of an incentive to get revenge on Clare’s home turf next year.” The sunburn may fade (eventually), but the bonds formed between the colleges will last many years to come.

Preview: A Woman of No Importance – ‘promises an informed, thorough and hilarious production’

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There are few more apt choices for a Magdalen College garden play than Oscar Wilde’s A Woman of No Importance. Light-hearted, witty, and finished off with a healthy dose of melodrama, the play promises to be a perfect remedy for those exam-induced Trinity term blues. When I speak later to the director, Henry Sleight, he points out the play’s suitability for the setting (the President’s Garden in Magdalen College), as it is uninhibited by theatrical limits. And, of course, Magdalen College being the alma mater of Oscar Wilde, the choice is also an overt nod to the college’s esteemed alumnus. Indeed, the Oscar Wilde connections don’t stop there. As she takes me to the rehearsal room, the producer, Amber Seaward, informs me in the past they have even had the privilege of rehearsing in the college’s so-called ‘Oscar Wilde Room’ – something which strikes me as wonderfully meta.

A satirical examination of 19th century English nobility, A Woman of No Importance transports the viewer into a world of Lords, Ladies, Archdeacons and flirtatious dandies – a world where gossip is the main pastime and scandal bubbles beneath the surface. The events of the play commence at the Hunstanton Estate, headed by the overbearing and snobbish Lady Hunstanton (Olivia Krauze). The key players are: Gerald Arbuthnot (James Geddes), a young clerk at the estate; Hester Worsley (Flora Blissett), a young American Puritan who is visiting the estate and who is – naturally – Gerald’s love interest; Mrs Arbuthnot (Gerald’s unmarried mother, played by Amy McCall); and Lord Illingworth (Greg Benson), a powerful and flirtatious man of means, who at the beginning of the play intends to make Gerald his secretary (news which delights Gerald greatly).

The production company, Magdalen Players, grants me a preview of the show just over a week before the first performance. There is no obvious sign of pressure quite yet: upon entering their rehearsal room just across the road from Magdalen College, I am greeted to friendly, communal atmosphere. I spy a box of chocolate muffins and a Victoria Sponge cake on a table off to the side (I am informed later than it is the Assistant Director Emily Osborne’s birthday). When I enter, the cast and crew are all standing in a circle, which I assume is a pre-rehearsal discussion – or perhaps ritual. At the instructions of Sleight to begin scene, they disperse over the room, all armed with copies of the script, and I watch on as the rehearsal of the fourth and final act begins.

The act begins with a long-winded discussion between the Lady Hunstanton and Mrs Allonby (played by Imogen Front), in which hilarious quips and social commentaries are exchanged (“Most women in London, nowadays, seem to furnish their rooms with nothing but orchids, foreigners, and French novels,” declares Lady Hunstanton). Several chairs have been commandeered to function as the furniture in Mrs Arbuthnot’s sitting room.

Front is particularly convincing as the flirtatious and amoral Mrs Allonby, reclining back with a sigh (on what I imagine to be a chaise longue) as she laments the fact that that Lord Illingworth won’t allow her to be his secretary as she is not “serious enough”. Krauze’s performance too is worthy of praise. As the high-pitched, babbling Lady Hunstanton, a character essentially a caricature of herself, she drives the conversation animatedly, barely pausing for breath, sitting on the edge of her seat. Her speech delivers “rushed conversational whiplash”, as Sleight aptly describes it.

Without spoiling the plot by detailing the intricacies of the act I previewed, all I will say is that, as the fourth act unfolds, it is clear the plot consists of a slow gradient from comedy to tragedy – in Sleight’s words, the play will leave the audience feeling “sucker punched”. To be sure, the play probes some deeper and darker themes – from the wicked side of dandy figure, to the disparaging view of illegitimate children at the time – which Sleight is keen to tease out in the performance.

Indeed, what strikes me immediately when watching the rehearsal is not only how involved Sleight is in the minutiae of the production, but, more importantly, how he makes sure everyone else is equally as involved. Upon my arrival, both Sleight and Osborne apologise in advance for any interjections that might ensue during the rehearsal, but they don’t need to. Those which do occur stem from an evident familiarity with the play and impress me greatly. With a copy of the play on his lap, full of post-it notes and pencil scribblings, and pen in hand, Sleight frequently stops the performance to offer constructive criticism. I watch on as he advises the actors to emphasise the nuance of a certain line, to change the pace of its delivery, or be more conscious of their movement across the stage.

Being a farcical satire, punchlines are naturally – and rightly – given attention, and they are rehearsed until the nuance is exactly right. Where the potential interpretation of a line is unclear, Sleight invites the fellow members of the cast and crew to offer their thoughts on how the meaning should be conveyed – he tells me later that he is averse to micromanaging as a director, instead more interested in listening and learning from the people around him.

Ultimately the involved directing style is a promising one. It is indicative of the thoroughness of the production and how seriously Sleight and the rest of his team are taking this, in an attempt to make it the best production it can possibly be. The show which the audience will observe next week is the product of hours of poring over the script, of teasing out the subtle comedic nuances for a seamless performance. On the topic of the script, I am intrigued to hear Sleight’s thoughts on its relevance today and so steal him away to talk about it whilst the rest of the cast and crew eat the aforementioned birthday cake. I cannot help but wonder – is A Woman of No Importance out of date? Are its jokes too crude for a modern audience? How much has Sleight adapted it?

Sleight’s response is further indicative of the thoroughness of the production and the thought that has gone into it. Yes, the script has been adapted – but for good reason. In his words, when a character who isn’t redeemable in the play’s eyes (such as the unscrupulous Mrs Allonby) makes an offensive remark, Sleight has cut it from the script for fear of legitimising such views. An example he gives me is Lady Hunstanton’s unsavoury remark about domestic abuse from the second act. “It’s not just that they’re remarks which might cause offense,” Sleight points out, “it’s because they are horrendous things to say.”

Ultimately, my preview of A Woman of No Importance promises an informed, thorough and – more importantly – hilarious production in fourth week. I leave the rehearsal with a chocolate muffin in hand and make a mental note to book my ticket for the opening night.

A Woman of No Importance is being performed at the President’s Garden, Magdalen College from Weds 22nd – Sat 25th May (4th Week).

Sustainable Summer: the best eco-friendly swimwear

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Graphics by Eloise Newman

As summer rolls around and the days get (mildly) sunnier, it’s easy to get sucked back into the culture of buying a whole new summer wardrobe. Not only does your bank account cry out, but the climate around environmental issues and awareness makes it clearer than ever that consumers have to take as much initiative as they can, becoming more conscious of unnecessary consumerism. With that in mind, here are some sustainable swimwear options for men and women. While the cost does tend to be higher, the durability and ethics of these pieces makes them an excellent investment for the environment and for yourself.

Women’s Swimwear

allSisters (price: £), designed in Barcelona, allSisters pieces utilize textiles from Italy recycled using the Made in Green certification and upcycled garments made of stock from local factories, to support local economies.

Ohoy (price: £) was set up by two Scandinavians and its provider is a small family-owned factory in Sri Lanka, where the pair regularly spend time ensuring fair working conditions are in place. Made of 100% Econyl yarn, remade from discarded nylons (like fishing nets), Ohoy products are twice as resistant to substances that would decrease its lifetime, such as chlorine and sun cream.

Woodlikeocean (price: ££) make their swimwear out of all recycled or upcycled materials, which uses two-thirds less energy than it would using virgin materials. To keep packaging to a minimum, they offer the ‘Dirtbag’ which your swimwear gets folded into and which will biodegrade in 3-6 months in your compost.

Natasha Tonic (price: ££), based in California, is made with a natural hemp fibre that is anti-microbial and UV resistant to make it durable and better for the skin. The pieces can double as lingerie, bodysuits or activewear in an effort to minimise the consumer’s wardrobe. 5% of every swimsuit goes towards cleaning plastic from the ocean.

Kowtow (price: £££) are dedicated to sustainably producing their products using organic cotton and as much recycled material as possible, which are all explored in depth on their website. To limit waste, they offer a mending programme to expand your swimwear’s lifetime and then will take back the pieces after the owner has decided they no longer need them.

Men’s Swimwear

Panareha (price: £) is based in Lisbon and provides board shorts handcrafted by artisans in Portugal. Partnering with some of the most responsible logistics companies, Panareha is committed to minimising its impact on the environment. The shorts are made from recycled plastic bottles while the packaging materials are made from recovered waste paper.

Riz Board Shorts (price: ££) set out to create ‘the most beautiful and sustainable swim shorts in the world’ with a ‘British-Hawaiian style’ from its base in London. Each pair is made from Eco-Friendly 100% recycled fabric, is printed using non-toxic inks and is triple stitched to ensure it is long-lasting. Sea-themed prints remind the consumer of the need to protect the ocean, too.

Naeco (price: £££) is passionate about educating consumers about where its materials come from and how the production process works. The shorts are made of rescued and recycled plastic, that can be recycled again after use. Naeco monitors its daily business practises, including lighting, working conditions and fabric dying, in order to limit the influences that all of these have on the environment.

Dream Worlds

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In the days following the blaze that engulfed the Notre Dame, a fluke fire which sent the cathedral’s iconic spire crashing down as all of Paris looked on in horror, I came across a lithograph by Marc Chagall, Le Dimanche (1954), and in viewing the work both mourned the downfall of a building that has stood and endured a range of near-disasters for nearly 900 years, and subsequently admired the widespread acclaim this cathedral has received via its transition into a symbolic extension of France itself.

This vibrant work is charged with human emotion, manifested in the rich colours that bleed into different sections of the composition: an effervescent yellow casts light over the Parisian skyline below, now sunk into an enveloping purple gloom as the contrast in complementary hues imbues the work with a striking luminosity. Furthermore, I was forced to reflect upon the nature of Chagall’s mastery, and whether or not it exists as an illustration of reality of fantasy.

Its expressionist style harbours a mystical atmosphere, and the pictorial iconography has been drawn from the folkoric memories of his Russian-Jewish childhood in the town of Vitebsk. Chagall’s creative spirit is expressed powerfully, commenting on the modern world as experienced through the eyes of the artist. By observing the juxtaposition of rabbinical figures and synagogue steeples with flower bouquets, farmyard animals, dancing peasants and brides, we are granted access to Chagall’s fantastical realm of art. It provides us a sense of catharsis.

In the aftermath of the Paris fire, Le Dimanche became the subliminally sought-after vehicle for my emotional release, and thus Chagall’s artwork doubled as a form of escapism, both for the artist himself and for the viewer.

The element of fantasy pervading Chagall’s work is rooted in the world of nostalgia, accessed through his characteristic incorporation of Hasidic Russian folklore. He has continuously woven the memories of his early life into his artwork, and it offers a new dimension of meaning for his audience. Born into a Lithuanic Jewish Family in 1887 in what was then part of the Russian empire but is now Belarus, Chagall was one of nine children and received his initial education at the local Jewish school. His desire to become an artist came from a natural fascination with drawing, which he initially sated by copying pictures from books in his school library. He uses the ephemeral quality of nature’s beauty to merge two cultural worlds, Vitebsk and Paris, and the subsequent fantasy realm that is created is bound by no set of societal regulations or conventional expectations.

In the Cubist manner of his painterly style, Chagall explores a dreamlike version of reality, and as a result achieves a feeling of magical realism in his work that is inherent in the contradiction between the ordinary and the quaint. In his nostalgia-soaked work I and the Village, Chagall bestows the role of a “dreamer” on the viewer, for they are required to experience the ethereal process of metamorphic developments and displacements, as in a dream. Yet his work is almost gentle, in contrast to the disturbed, Freudian representations of the subconscious by Chagall’s contemporaries, the Surrealists.

Chagall was renowned for his reputation as a fantasist and expressionist, and was not limited by the boundaries of the more orthodox Surrealism. His versatility as an artist was proven through his success across a diverse range of media, from stained glass to painting, printmaking, murals and tiles: Chagall was a man whose work never fell short of a spectacle. André Breton acknowledged the artist’s innovation when he wrote, “with Chagall alone…metaphor makes its triumphant entry into modern painting.”

Yet Chagall himself rejected such literary explanations that others superimposed onto his artwork. He is said to have stated that “the theories which I would make up to explain myself and those which others elaborate in connection with my work are nonsense.” In a much more authentic style, the artist uses Romance, pushed to the point of fantasy, as an outlet for emotional expression: “My paintings are my reason for existence, my life, and that’s all.”

“Vagina.” There, I said it.

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Maude: Does the female form make you uncomfortable, Mr Lebowski?

The Dude: Is that what this is a picture of?

Maude: In a sense, yes. My art has been commended as being strongly vaginal, which bothers some men. The word itself makes some men uncomfortable. Vagina.

The Dude: Oh yeah?

Maude: Yes, they don’t like hearing it and find it difficult to say. Whereas without batting an eye a man will refer to his dick or his rod or his Johnson.

The Dude: Johnson?

– The Big Lebowski, 1998

Julianne Moore as Maude Lebowski, with her crisp trans-Atlantic accent, is one of the most memorable of the Coen brothers’ characters, and this is how we meet her: detailing her work, which she describes as vaginal. To be pedantic, I think it’s more likely to be vulvar than vaginal, but the effect is the same. It’s funny, pretentious, and unarguably modern.

Maude is a male fantasy in some sense. She’s sexy, blazing, powerful, and in the most obvious sign of her fantasy status, she’s the subject of The Dude’s extended dream sequences. But she has also come to represent a different fantasy: of feminist sexual agency and control. Why else would Beyoncé choose to include the French dubbing of one of Maude’s scenes in Partition? It is quite easy to take her at her word, and to see her as a satirical embodiment of the many modern female artists who reclaim the vulva.

But the subject isn’t new. As long as there has been art, there has been yonic art. The paleolithic Venus of Hohle Fels may well be the oldest surviving artistic representation of a human, and she has a much-exaggerated vulva. It has been interpreted as a representation of fertility and sexuality, but other vulvae in art seem to be purely sexual fantasy. For example, Gustave Courbet’s L’Origine Du Monde (1866) shows a faceless woman, her legs spread apart to display her genitals, lying wrapped in bed-sheets that are lifted to show her breasts. Courbet has removed all the parts of the woman that aren’t obviously erotic.

Though worrying, female objectification is rarely the main theme of a piece of art, and should not be taken as such. Consider Henri Gervex’s Rolla. It is inspired by a poem by Alfed du Mussett, in which the young aristocrat Rolla spends one last night with a prostitute, Marie, before taking his own life. Marie lies on the bed with her legs apart, in much the same way as the faceless woman of L’Origine du Monde. Rolla’s top hat sits on the pile of clothes beside the bed, implying that Marie in her eagerness was entirely naked before Rolla had even removed his hat. The element of sexual fantasy is obvious, but so too is the anguish in the face of a man on the brink of suicide. Gervex ultimately portrayed a moment of tension, both sexual and personal.

Men painting women’s bodies and genitals was never the problem. The problem was that only men painted women’s bodies and genitals and that they excluded women’s identities as they did so.

This is something that feminist artists have challenged, using the vulva as subject – Hannah Wilke’s Needed-Erase-Her (1974), Megumi Igarishi’s genitalia-shaped kayak (2016), and Candice Lin’s The Moon (2010). Often the first example given of vulvar art is Georgia O’Keefe’s flower paintings, usually Black Iris (1962). That these flowers are really vulvae is so well-established that she has become something of a by-word for the genre.

The trouble with this is that O’Keefe herself always denied it. There was a Freudian fantasy in the idea that O’Keefe must have been painting genitals. The association did not come from O’Keefe, but instead from her husband Alfred Stieglitz, and this is no small thing. There is a marked difference between a female artist’s declaration that “I am a woman, I am an artist, I have a vulva and I will paint it” and an observation that “You are a woman, you are an artist, you have a vulva, so that must be what you are painting”.

The most famous example of vulva-in-art that was meant to be vulva-in-art is probably Judy Chicago’s installation The Dinner Party (1979). It’s an immense triangular dinner table, representing the womb, with place settings for 39 women from history and myth. Each woman has a plate painted with an abstract yonic design. This is a fantasy too, of course. How else can you describe a dinner party with Ishtar, Sappho, and Mary Wollstonecraft, if not as fantasy? But it’s one where woman play all sorts of roles, roles beyond being a body – a fantasy grounded in the subjectification, not objectification, of women.

Sojourner Truth’s plate, however, has faces rather than vaginal imagery. Alice Walker, among others, criticised this, suggesting, “perhaps white women feminists, no less white women generally, cannot imagine black women have vaginas.” It’s also a bit disquieting that Chicago centred real women around their genitals, without their knowledge or consent. Chicago’s own fantasy of female empowerment was not the fantasy of all other women.

Our record of human art begins with a vulva. Art is concerned with sex and bodies and occasionally with female genitals – this has never changed. But the way it is portrayed has changed. Vulva art is still evolving, particularly with feminist artists who acknowledge the experiences of transgender women and consider a more nuanced approach to the female body. A modern, engaging, inclusive feminist approach does not need to reject all references to the vulva. It needs to centre the discussion around women’s individual relationships to their genitals, in full awareness of the immense variety of this experience, rather than clinging to an outdated fantasy of a universal female body.

Oxford MP Layla Moran announces decision not to run for Lib Dem leadership

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Layla Moran has announced to party members in her constituency, Oxford West and Abingdon, that she will not be running for Liberal Democrat leader when Sir Vince Cable bows out.

The announcement comes less than two weeks before the European Elections.

She said: “I am grateful to the large number of constituents, supporters, party members, and elected representatives who have encouraged me to throw my hat into the ring in the forthcoming Liberal Democrat Leadership contest.

“As a relatively new MP, however, my first priority has to be to serve my constituents to the best of my ability.”

Moran’s departure leaves former minister Jo Swinson as clear favourite. She would become the Lib Dem’s first female leader. Sir Ed Davey, the former Energy Secretary, is now Swinson’s main rival.

In the recent local elections in England, the Liberal Democrats gained 703 seats. Current leader Vince Cable described every vote as “a vote for stopping Brexit.”

In an article for New Statesman, Layla Moran said of the result: “It’s good to be back, isn’t it? The Tories and Labour, those cracking leviathans of the two main parties, have (rightly!) been given a drubbing at the polls by voters frustrated at the absolute mess they have made of Brexit.”

Moran has been contacted for comment.

C. S. Lewis’ fantasy worlds: holding the mirror up to nature

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Being a Brasenostril, it has almost become part of my daily routine to shuffle in and out of groups of tourists huddled round a tiny door, emblazoned with golden fawns guarding its frame. This stubby passageway, it is alleged, was the inspiration for that famous encounter in C. S. Lewis’ The Lion, The Witch, and the Wardrobe. So pervasive has fantasy become as a genre that, just yesterday, I saw a group blanketed by their Gryffindor scarves stop at St Mary’s Passage to pay homage to a world of fantastical creatures and happenings that their beloved Daniel Radcliffe wasn’t remotely involved in. Fantasy has become as much of a staple of the literary and cinematic canon as that passageway has of every Oxford guided tour but has this persistence been for the same shared need for escapism through the ages, or is fantasy the discreetly blunt cultural mirror sometimes used to reflect on our reality?

During the aftermath of the Second World War and the less than jovial task of rebuilding the nation from rubble, there emerged a new focus for literature, especially among novels aimed at children. While some European countries began a sustained period of cultural reflection, such as that of the Italian neo-realismo movement, Britain, having been on the winning side, saw a much faster transition to seemingly escapist literature. It took until only 1950 for Lewis’ The Chronicles of Narnia to get underway with unashamed use of Greek mythology, talking animals, inter-special warfare, and a plethora of magical spells and ablutions. Though on the surface this highly-fictionalised world seems to be turning its back on harsh post-war conditions and discussions, C. S. Lewis was arguably the father of a sub-genre of fantasy that has since played a key role in the British literary canon: complex childfiction.

While the world of Narnia is fictional, its is not without parallel to the world in which C. S. Lewis was writing. Indeed, at the time of Tilda Swinton’s portrayal of the maleficent Queen of Narnia, film critic Stella Papamichael remarked that: “As the cold-hearted White Witch, Tilda Swinton sets the tempo for this bracing adventure. She is a pristine picture of evil, like the spectre of Nazism that forces the children out of London to the sanctuary of a country manor.” Though the dichotomy of absolute good vs. absolute evil perhaps lacked subtlety in viewing Britain as an unrivalled force for righteousness during the Second World War, symbolic undercurrents of that war and its aftermath embellish and shape the fruitful fantasies of Narnia, the most prominent of these being Christianity. It is a rather easily deduced theme of The Chronicles, particularly in The Lion, The Witch, and The Wardrobe wherein Aslan dies, only to be reincarnated and save the people of Narnia forevermore. Far more interesting though is the reason for its inclusion; the importance of contextual echoes in fantasy of this type become much clearer when we analyse the why instead of the what.

T. S. Eliot’s Wasteland, a slightly less optimistic fantasyesque prose-poem written post-First World War, descends from the moral and geo-political turmoil that resulted from the conflict. Lewis’ Narnia stems from the same literary endeavour: a chiming in on a possible solution to the vacuous space that inhabits any global sphere after such a large conflict. If the White Witch was an embodiment of Nazism, it was Aslan’s patriotically zoomorphic embodiment of British and Judaeo- Christian values that killed her and allowed for Narnia to live in peace thereafter. The preservation of loving thy neighbour and the stiff upper lip was the backbone of Narnia, and thus the post-war world it reflected; a mirror distant in its worldly content is not necessarily always different in its worldly needs. Such a bold, and not altogether very subtle moral to a bedtime story was not entirely uncontroversial even at the time of writing. Not only was fantasy as a genre still frowned upon, but the highly moralistic tone of the story was hardly comparable to the spiffingly fun and sanitary, knee-length skirt adventures of Enid Blyton.

Thus, Tolkien’s Lord of the Rings trilogy, published later that decade, though perhaps even more fantastically adventurous (hairy-footed hobbits and repugnantly ugly orcs are remarkably less common than centaurs or fawns in fantasy tales) already marks the success of novels that leant towards escapism without pulpit-prose. By 1954, the cogs of the British empire had rusted to near unworkability: with the Suez crisis just around the corner and the jewel of the Empire’s crown already independent, it was clear that Britain was declining in spite of Lewis’ beloved Aslanic values. Tolkien was not entirely without his religious symbolism: Gandalf the Grey coming back as Gandalf the White acting as the saviour of Middle Earth on many an occasion is not too dissimilar from Aslan and neither are the vices particular to each race in Middle Earth incongruous with the Seven Deadly Sins. However, by the time of publication in a world where the stubborn cold war was setting a new global order, and cultural engagement became more widespread, the need for fantasy as a reflection on society, or as an aspirational prophecy, was already diminishing. The need for an escape, where things can easily be classified as good and evil (and where good tend to eventually win), was already increasing.

The emergence of fantasy in film and television in the ensuing decades saw this trend continue. Cult classic fantasy films, such as Willow and Highlander, see a greater devotion to character complexity, narrative tension, and nitty-gritty combat. By this point, the genre has become far more grounded in narrative reality, but with far less attention to societal reflection or moral motivations. This is in part due to the art form: a fight on film is far more enjoyable to watch than a fight in print is to read and films in general are far more popular amongst the general public. But this is also due to the shift in society, especially in the engagement of classes in culture: gone are the days when, to be able to afford books and nights at the opera meant you were almost definitely also concerned with the politics of the day. Culture had ceased to be an elite domain, and so readers and viewers who needed an escape more than a reflection began to form the majority of fantasy consumers.

Jump forward the remaining decades until the present and it is clear that our fantasy narratives have taken on almost purely escapist forms. Harry Potter, though enjoyed by old and young alike as Narnia was, lacks any allegorical meaning: Harry Potter is no more a comment on New Labour than Game of Thrones is on Donald Trump. Though both emotionally and narratively complex, they are parallel worlds designed exactly as that: parallel, with paths never meant to cross.

As the media through which fantasy can be created have become far more widespread, so too has the audience; gone are the days when to be interested in culture often necessitated interest in politics. Instead, in culture, people increasingly sought an escape from daily life: as the globalist curve of modernity rendered individuals less and less important on a large scale, so their escapist desires increased. How often do we hear nowadays that people are going on weekend escapes to detox from society? Chances are they’ll take a book or a boxset with them.

If they want a real escape though, they’re best to avoid delving too far into history lest they find a moral treatise on British Christianity hidden amongst Minotaurs and fawns.