Saturday 19th July 2025
Blog Page 6

Form, function, and art in the cultural weight of architecture

Larissa Chan
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Form, function, and art in the cultural weight of architecture

With roughly 55% of the world’s population living in cities, the urban world – the brainchild of architects – has become what most people recognise as home. Studies have suggested that architecture has a direct impact on an individual’s mood, assigning it an emotive power analogous to art. 

However, unlike poetry or painting, architecture cannot be entirely self-expressive or individualistic. Buildings are inherently public; they are designed to be used by others. At the same time, the choice of which buildings to create and which ones to tear down is an expression of that power. For example, during the Cultural Revolution in Beijing, 4,922 out of 6,843 officially designated places of cultural or historical interest were destroyed in an effort to rewrite history in line with contemporary political ideology. As unapologetically visible structures, buildings are the clearest expression of power and history we see in day-to-day life. Buildings have power – in defining which stories are told, in defining which spaces are available to whom, as repositories of history, as shapers of memories and mood. This is a power that purely functional entities, like a drain, or highly individualistic and expressive disciplines, like art, do not possess.

Art and function converge within architecture to reflect the attitudes and ideologies of the time. Neoclassical architecture heavily referenced ancient Greek and Roman motifs, from Ionic columns to direct depictions of the Classical world’s gods. Neoclassical architecture hit its height in popularity in 18th-19th century Europe, which overlapped with the Enlightenment. This movement emphasized symmetry and harmony, moving away from the ornate look of the preceding Baroque and Rococo periods, and arguably acting as a visual embodiment of the Enlightenment’s emphasis on order and rationality. Neoclassicism also overlapped with colonial expansion. Colonial architecture often incorporated aspects of neoclassicism, perhaps in an attempt to signal that they are the ‘new Roman empire’. These design choices reflected the discriminatory ideologies of the time, which associated Europe with reason and civilisation and the colonised with intellectual and cultural inferiority. 

Another example of architecture capturing cultural attitudes is ‘anarchitecture’, in which the architectural structure itself becomes the art. In the 1970s, Gordon Matta-Clark exemplified this approach by drilling wall-sized circles into disused buildings to express his discontent with urban disrepair. Architecture can even comment on how humans relate to nature. For instance, the meticulously curated gardens of Versailles reflect humanity’s desire to control and dominate nature, while the Art Villas of Costa Rica are designed to blend into the greenery, emphasising its coexistence with the neighbouring rainforest. In these cases, architecture can crystallise the cultural attitudes and values of contemporary society. In this case, the relationship between art and function is symbiotic – art serves the function, the function feeds the art. 

The relative lack of embellishment central to most modern (broadly speaking, post-WWII) architectural styles does not necessarily imply an artistic vacuum. In fact, functional designs can heighten the artistic presence of architecture. Shifts in longstanding power structures, such as the dismantling of the British Empire and technological advancements like the accessibility of photography pushed many art forms, from painting to film, toward the metaphysical. 

The Barbican, for example, evokes the feeling of a fortress – imposing, impenetrable to outsiders, a city within a city – without being a pastiche of a fortress. Brutalist icons, like Balfron Tower in London and the Toblerone tower in Belgrade, have cemented their place in architectural history due to their distinctive silhouettes. The bare, unembellished nature of concrete creates a certain starkness that draws attention to the building’s composition and its relationship with light, absence, and presence. Through composition, shadow, and light, the artistic aspect of architecture extends far beyond embellishment. Functional design, then, can feed into the artistic presence of architecture.  

Overall, architecture is both form and function; whether you think it’s more one or the other hinges on the present state, mood, and needs of the living. A cynic might say that today’s world is reliant on mass production where individuals own very little. Think, for instance, of the meteoric rise of subscription-based models and buy-now-pay-later programmes. This might be reflected in the often-complained-about homogeneity of some new buildings. An optimist might say that the homogeneity of architecture comes from a cultural shift: that identity and culture have moved from the tangible forms of buildings to the intangible forms like the internet, a sentiment similar to “the book will kill the building” found in The Hunchback of Notre Dame. One way or another, architecture has a unique power that rises beyond art and function, and is definitely not the sum of art and function playing tug-of-war against one another. 

The cantatas of Bach with New Chamber Opera

Samuel Oliver-Sherry
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The cantatas of Bach with New Chamber Opera

Recently, students from the University of Oxford have blessed the city with several performances of cantatas by the great Johann Sebastian Bach. On Wednesday 7th May, the Orchestra of the Age of Enlightenment collaborated with the Choir of New College in three cantatas exploring the theme of ascension. Last Monday, my own early music ensemblem, Vocatio:Responsio, performed the famous Herz und Mund und Tat und Leben, paired with a cantata by Christoph Graupner, the two composers being candidates for the Thomaskantor position in Leipzig in 1723. 

And then, in a late-night concert at New College’s stunning chapel, it was New Chamber Opera’s turn. With three more Bach cantatas, it’s fabulous to see such enthusiasm for this broad range of repertoire covering such a variety of themes, while also providing immense reward for performers. NCO’s cantatas appeared to discuss the theme of God being above all else – how humanity should strive to walk with and in God’s footsteps as opposed to any other external forces. This is my own theory, though, with no clear programmatic motivation indicated at any point.

The first cantata, BWV150, Nach dir, Herr, verlanget mich (For thee, O Lord, I long) spoke of a feeling of uplift, strength and power, for with God at one’s side he acts as a shield against the outside world. The opening movements were weak as the adrenaline of live performance kicked in and the ensemble adjusted to the acoustics. The Sinfonia was untidy and not together, and in the following chorus the bass instruments were overbearing in volume. However, the group quickly focused, and the soprano solo movement featured Alaw Grug-Evans’s understated excellence; her stunning tone made her one of the concert’s standout stars.

Apart from an extremely messy Terzetto movement where the three soloists failed to coordinate, the rest of the cantata was assured. I especially admired how musical director Rudyard Cook maintained the cantata’s momentum by minimising the gap between movements. This allowed the narrative to maintain its trajectory, with soloists even moving during the final orchestral ritornello.

The second cantata, BWV106, Gottes Zeit ist die allerbesteZeit [God’s time is the very best time] was intended for a funeral: known by the name “Actus Tragicus”, it speaks of joining God in heaven, gaining wisdom and strength in entering God’s home. This featured two recorders, played by Molly Skeil and Matt Rogers, who were both excellent. However, they could have perhaps stood up for a greater projection over the ensemble, especially in the sonatina. 

In the solo for four voices, Cook used his stage ingeniously in placing the soprano on the opposite side against the alto. Meanwhile, the tenor and bass soloists were kept on the left, as musically the soprano sings the chorale melody over commentary-like figures from the other three. If only the transition had properly worked, as the tenor and bass initially didn’t give room for the alto singer to join them. Some audience members were left momentarily bemused by the situation. 

Being one of the rare cantatas that omits violins, violists Ynyr Pritchard and Julius Klin brought their trademark characterful playing, boasting an exceptional tone and intonation throughout. Nevertheless, they were guilty of overplaying less important lines and rushing their fast passages. As a result, there were sometimes losses of balance and of coordination that should have been avoided with more sensitive accompaniment.

The final cantata, BWV182, Himmelskönig, sei willkommen[King of heaven, welcome] was composed for Palm Sunday. With themes of Jesus’ strength as he faced death alone, the cantata is characterised by a series of three solo arias in succession with dwindling accompaniment forces (representing reduction from full crowd to individual believer). Ed Freeman’s bass aria was well delivered, but the tempo was slightly too fast with the venue struggling to accommodate the forces at play. This particularly affected violinist Jemima Price:, a slower tempo would have given her time to provide more shaping to the phrase and produce a more gorgeous sound. 

Alto Anneka Vetter was next, who’s acting skills drew the audience into her plot. Even better, though, were the fantastic embellishments in Skeil’s recorder accompaniment. Although sometimes slightly overdone in getting in the way of the text itself, they were still beautifully tasteful. The last of this triplet was Elliot Gregg’s tenor aria, who exhibited remarkable musicianship and storytelling in his dramatic piece. Perfectly accompanied by cellist Miriam Alsop, she was outstanding all evening, keeping everything grounded as a solid and virtuosic continuo player. My only general complaint was the transition between arias being too hurried, as these are much longer pieces than in BWV150 and the soloists didn’t allow the audience to fully recover from the preceding movement’s mood.

One last word must go to the musical director, Rudyard Cook. Cook is clearly a more technique-focused conductor, boasting clear, precisely indicated cues. He also exuded confidence on the podium with a strong handling of tempo. To take a group of singers and instrumentalists from scratch and produce such an accomplished intonation, blend and tone (in only two days of rehearsal!) is a remarkable achievement that Cook should be proud of.

However, his less existent musical gestures (rarely demonstrating things like dynamic variation, balance regulation or phrasing) limited what his ensemble could achieve musically. Particularly in the longer choral movements, where there is less musical variety anyway, I could sense things were plodding along in a “samey-samey” manner. Unfortunately, this eventually spiralled into a cauldron of noise that the acoustic (and the performers) struggled to regulate. 

On the one hand, in terms of technical execution, NCO’s performance of Bach cantatas was among the greatest triumphs I have seen here. On the other, the musical interpretation was often bland, and NCO must take greater care in this area to progress further.

Underground Bar to open on George Street

Arina Makarina
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Underground Bar to open on George Street

Underground Bar, a “grassroots alternative music venue” is set to open in the basement of 29-31 George Street. It will aim to support “local bands, independent music communities and alternative subcultures”.

The venue, previously home to Cirkus nightclub, is located below Gourmet Burger Kitchen. It will include a lounge area with fixed seating, a dance floor space with a DJ booth, and a cloak room. The bar will be open to serve alcohol from midnight to 2.30am every day of the week with “occasional live music” from 5pm to 11pm on weekdays.

Oxford City Council granted a license for the opening of the premises and the licensing for the bar on Wednesday 4th June.

The application was submitted by Yola Kucel, a former co-manager of Kiss Bar on Park End Street. Prior to Kiss Bar closing last December after 23 years of operating, Ms Kucel previously hosted the Goth night, “Intrusion” at the venue.

The George Oxford Hotel, which is located on the upper floor of the same premises, objected to the application, citing public nuisance and public safety as concerns. Thames Valley Police also originally objected to the application due to concerns of crime and disorder, but no longer have any significant issues with the scheme, praising Ms Kucel for being “very engaging and very supportive” in running Kiss Bar.

As stated in the application, Underground Bar would be a place to “host those who like to socialise with like-minded people within a safe and controlled environment” to ensure they can “freely express themselves regardless of gender, race or sexual identity”. The venue will be a space for “the alternative music side of night life” hosting live “rock, metal, indie, goth music and other genres of music”. The bar is intended as a space “for all of Oxford’s residents, students and visitors alike”.

City councillor Anna Railton supported the application, saying: “If you value things you’ve got to protect them and that is true for live music venues for all genres.” 

Oxford’s music scene was described by Railton as “part of [its] amazing culture”. Notable bands that originated in the city include Radiohead, Supergrass, and Glass.
This news follows the closure of many music venues in Oxford, such as SJE Arts and Atik.

Review: Crocodile Tears – ‘Techno-futuristic, but why?’

Peter Chen
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Review: Crocodile Tears – ‘Techno-futuristic, but why?’

There is a lot to like about Natascha Norton’s Crocodile Tears. Female lead Elektra Voulgari Cleare is both electric and effortlessly elegant, and male lead Flynn Ivo delivers a gripping performance that is both emphatic and earnest. I was particularly moved by the opening scene (on screen), where the chemistry between the actors felt piercing and palpable. The lighting, led by Felix Gibbons with assistance from Euan Elliott, masterfully blends the on-screen material with the real world, skilfully bridging the digital divide.

Indeed, I was drawn in by the multi-media nature of the production, a format that is both new to me, and to student production in Oxford generally. Norton and the Director Rosie Morgan-Males must be applauded for boldly taking an experimental approach to theatre, and the misgivings expressed here should not discourage them, or any aspiring artist from pursuing boundary-breaking experiences that challenge our conventional understanding of this ancient medium.

However, whilst I was impressed by the technological experience, I was at times distracted by the abrupt transitions between screen, stage, and sound. For example, within a single scene there would often be dialogue that is spoken, played, and shown on screen. Although this was an interesting idea, I wasn’t entirely sure why this decision was taken: why was it necessary for the actors on stage to suddenly stop speaking and for their dialogues to be played? For example, in one of the scenes where the characters were having an intensive dialogue about their relationship, the female lead suddenly stepped off the screen into real life in order to converse with her digital interlocutor. This transition took me out of the emotional elements of the scene, which were otherwise well done.

I was also puzzled by the themes of this production and the medium through which Norton had chosen to deliver it. Labyrinth Productions has frequently chosen plays which focus on questions of intimacy and relationships, having just come off a high-anticipated run a few weeks ago with the play Closer. Crocodile Tears is no different. The overriding conflict in the story was between two main characters – or perhaps I should say a lead and her supporting actor, as Cleare had significantly more stage time than Ivo – and the gradual breakdown of their relationship over an undefined period. It is therefore curious that Norton chose this techno-futuristic format to deliver this production, as it did not immediately seem clear to me what the added value of partially digitised dialogue is.

This choice reflects a broader trend in contemporary theatre towards digital integration. As Jesse Green wrote for the New York Times recently during the Tony awards, “virtual scenery reached critical mass on Broadway.” It is no secret that stage productions are increasingly adopting digital formats, often due to lower costs as well as to appear more modern. And modern this play certainly was, integrating amongst other things a dialogue between the female lead and ChatGPT. My misgivings about AI in theatre aside, I was disappointed by how the chatbot was used, as it produced generic sounding responses that could very easily have been spoken by a human (and not the sycophantic rant these models tend to give). And indeed, much more work could have gone into the sound engineering, as the films shown on screen were both too loud and too quiet at different moments.

Speaking to members of the audience after the production, many shared their confusion at the plot of the story, which was convoluted and fragmented: the relationship appears suspended in time, with neither a clear beginning nor a satisfying resolution, and the tensions in each scene was never resolved. Of course, I suspect that plot was not the focus for Norton in this production; the programme simply invites us to enjoy the ‘haunting soundscapes and Virginia Woolf-style lyricism.’ Ultimately, though, Crocodile Tears does too much of everything to fail at mastering anything, an admirable attempt at abolishing anachronism that ultimately ends in aimlessness.

Review: ART – ‘Charm, jazz, and friendship at its wittiest’

Lara Machado
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Review: ART – ‘Charm, jazz, and friendship at its wittiest’

ART is charming. Centred around long-time friends Yvan (Ronav Jain), Marcus (Rufus Shutter) and Serge (Jem Hunter), the play not only raises pertinent questions about modern art but tries to unravel what exactly makes people stay friends, even when they grow to have little in common. When Serge buys a white canvas for 200,000 francs, long-simmering tensions rise to the surface and threaten to destroy their friendship. 

I think it is only appropriate to start by turning my attention to the designers behind ART who should be very proud of what they’ve achieved. Oli Spooner and Theo Joly, the play’s producers, directors and sound and costume designers – a truly impressive juggling of departments – clearly had a strong creative vision for the play. 

The Burton Taylor Studio (BT) was almost unrecognisable. Using thrust seating, set designer Clara Sancha turned the space into a “deconstructed” – as Serge would say – living room. There was a simple wooden desk centre stage and everything around it was white, the walls of the BT being completely covered in white cloth. An easel, placed upstage, served as a clever way of indicating changes of place without the need for major set changes: when inside Serge’s home it held the white canvas, and when we were in Marcus’ apartment a more traditional view of Carcassonne replaced it.

The costume design was one of my favourite aspects of the play: it was simple yet intelligent. The three friends wore identical outfits, except for their t-shirts: white but each splashed with a different primary colour (red, blue and green), serving to highlight their fundamental differences in character and taste. The costume design was aligned with Felix Gibbons’ highly successful lighting design, which flashed red, blue, and green alternately.

In ART, there are moments when the characters step out of their conversations to confide in the audience. However, instead of trying to make such a contrived theatrical convention natural, the directors leaned into the artificiality of the asides completely. When characters interrupted their dialogue with each other we got a short burst of jazz and a flash of coloured light – disrupting the otherwise white lighting state – corresponding  to the colour on the character’s costume. The result was surprisingly effective. 

More than anything else, ART demands a strong cast of performers who can walk the line between comedy and drama. In this respect, the cast delivered. Although not all the dramatic beats landed entirely, this production of ART was undeniably successful at humour. With so many of the play’s laughs hinging on the wittiness of the dialogue, I was struck by how well the cast managed physical comedy. Jem Hunter was particularly successful at this, endowing his character with all sorts of affected mannerisms that the audience thoroughly enjoyed. As he stepped onto the stage, his dramatic flick of the white cloth which covered the BT’s walls immediately seemed to win everyone over. 

Although both Jem Hunter and Ronav Jain gave great performances, Rufus Shutter’s Marc was the gravitational centre of the play. He brings an emotional depth to the character, an embittered self-absorption that intensifies all the play’s moments of tension. When Marc is forced to drop his sardonic facade, his emotional vulnerability is palpable and moving. 

However, perhaps appropriately, the play’s piéce de resistance is a collaboration between all its creatives. As an argument between the three friends evolves into a physical fight, the jazz soundtrack becomes cacophonous as the lights flash violently. It is vibrant and chaotic. This is ART at its best. 

Whether you’re a fan of contemporary art or not, this production is a guaranteed evening of fun, which may or may not make you rethink some of your friendships. 

Oxford Union town hall TT25: Meet the candidates

Cherwell News
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Oxford Union town hall TT25: Meet the candidates

With polls open for the next set of Oxford Union elections on Friday, Cherwell spoke to the two candidates running to be President in Hilary 2026. Rosalie Chapman and George Abaraonye spoke about their campaign promises, their dream speakers, and their reasons for running.

Introduce yourself briefly.

Rosalie: I’m Rosalie Chapman, a final year Human Sciences student at Hertford College. I’m also a first-generation university student, a Crankstart Scholar, and an Access Member here at the Oxford Union.

I lost my father when I was 3 which left my mum as the sole breadwinner in my family. Growing up in a single-parent and low-income household, I entered this world of academia feeling like an outsider. But it was in that sense of displacement that I found a purpose – fighting for those who often feel unseen, and fighting against injustice. 

Over the years, I’ve poured my energy into the Oxford Union, serving six terms across committees, from Access Committee, Finance Committee to the Governing Body, where I’ve helped create tangible reforms – be it introducing the role of an Anti-Sexual Violence Officer or expanding access membership for postgraduate students. 

George: Hey, I’m George – a second year at Univ. Some of you might know me from basketball, hip-hop nights, or just voi’ing about with my headphones on. 

I’m not the loudest in the room, but I’ve been putting in the work: serving on Standing, Secretary’s, and Library Committees, and helping make the Union run behind the scenes.

Why are you running for President?

Rosalie: I’m running for President because I believe the Oxford Union has the power to be a more inclusive, dynamic, and transformative space. Through my work over six terms, I’ve seen the potential for this institution to lead on crucial issues, but we need leadership that’s committed to pushing past the status quo. 

I’ve worked tirelessly to bring about positive change. I’ve helped arrange nine debates – including on important issues such as Rejoining the EU, Rode v Wade, Euthanasia and on the International Courts. I’ve helped fundraise over two annual Membership Drives, including helping to fundraise £750,000 for the union. 

I expanded eligibility criteria for access membership, meaning more students can buy membership at more affordable prices. Most importantly, I want to take the Union into a future where every voice, no matter their background or privilege, has a seat at the table. 

George: I’m running independently because I believe this Union can be better – less about politics, more about its members. It’s time to reset the culture: less noise, more focus on delivering great events and building a real sense of community.

All year, we’ve watched debates get derailed, headlines spiral, and members feel pushed out or unsafe. And the truth is, a lot of us have just stopped enjoying it. The Union feels more like an episode of Succession than a student society.

I’m running to get us focused on delivering good events for the members. To rebuild trust, restore balance, and bring some joy back into this space. At the end of the day, the Union offers so much to members, but we seem to focus on the bickering among hacks.

What experience do you have outside the Union?

Rosalie: Beyond the Union, I’ve built a track record of leadership and advocacy. As Vice President of the Oxford Student Union, I represented over 25,000 students, driving welfare reforms and policy changes across the University. 

I advised on a University-wide £18 million Supplier Budget and drafted a Responsible Procurement Policy for the University. I also spearheaded the relaunch of the Safe Lodge Scheme, which provides critical support for vulnerable students, particularly women, in need. 

Additionally, I’ve overseen a major student women’s campaigns addressing sexual violence. These experiences have shaped my ability to lead, advocate, and manage large-scale projects – skills I would bring to the Presidency of the Union. Importantly, my leadership has always been defined by leading with my heart – pushing me to fight injustice, expand access and platform marginalised voices.  

George: As a Crankstart Scholar who grew up on free school meals and spent time in special education units, I know what it’s like to feel like spaces like this weren’t built for you. I feel incredibly privileged to be here, and I want to make sure that opportunity not only exists but feels real for others like me. That means making sure people from similar backgrounds feel safe enough to show up, be seen, and thrive.

Practically, I’ve been President of a music society, Vice President of a cultural society, Welfare Officer at University College (YEA UNIV), Events Officer for ArabSoc, and Co-Chair of CRAE. I’ve performed in a student production, helped organise college balls and student events for hundreds, and played basketball for the University and football for my college.

Whether through sports, welfare, or culture, I’ve always focused on bringing people together and creating spaces that are safe, fun, and genuinely welcoming. That’s the kind of energy I want to bring into the Union, too.

If you could only keep one of your manifesto pledges, which would it be?

Rosalie: The Union is for life, not just for your time in Oxford, and that’s why it’s a life membership. If I could only keep one pledge it would be to introduce an online alumni network, so that you can benefit from the incredible mosaic of people that pass through the Union, and offer networking and skills support as we all go forward with our further careers. 

I’m the first in my family to even go to a Uni, so I know how invaluable this would be to me, and I think it would be able to tangibly help so many others. 

George: Fixing the disciplinary process, without question. If we don’t have a fair, independent, and functional system for addressing harm or disputes, nothing else can work properly. It’s the foundation of a safe and accountable society.

Right now, that system is broken. People deserve clarity, justice, and closure, not endless confusion, silence, or delays. And honestly, it’s the root cause of many of the issues that have escalated in the Union over the past year. If we had a process that people trusted, 90% of the problems we’ve seen since last Trinity wouldn’t have spiralled the way they did.

What’s something you would change about the Union?

Rosalie: The Union, I feel, can at times be too in-groupie – a bizarre political society that only a few hacks seem to care about or understand. That’s why I want to change it to be even more open across financial, cultural and geographic boundaries, and it’s why I’m so proud to be running with such a diverse and representative slate, who are striving to make the union more representative, more open, more friendly. 

That’s something I think my dream and I can do, and it’s something that I think would change it for the better.

George: The culture. Right now, too much of the Union feels like a power game. People seem to care more about the next election than simply enjoying the space they are in. I want to bring back the good vibes that made me want to join in the first place – where students come to laugh, to learn, and to breathe. 

That doesn’t mean compromising on seriousness; it just means not taking ourselves so seriously all the time.

Name something you admire about your opponent.

Rosalie: When I first met George, I was inspired by his kindness and charisma. If anyone had told me when I first met him that he would be running for President, I would have voted for him. In particular, I respect his focus on increasing the Union’s visibility and outreach, and it’s been a pleasure watching him grow since I first met him as a fresher. 

George: Rosalie is experienced, resilient,  hardworking, and clearly cares deeply about the Union. We’ve both put in real hours to keep this place running, and I respect that. Even if we disagree on vision or approach, I believe in giving people their flowers. It takes courage to put yourself out there in a position of scrutiny, and I commend my opponent for being willing to do that.

If you could invite three speakers during your term, who would they be?

Rosalie: Jacinda Ardern, Ursula von der Leyen and Sir Michael Moritz.

George: First, AOC – she’s doing incredible work in the US trailblazing a path within the Democrat party despite her ‘controversial’ views. Second, Dave – one of the most talented men in the UK making music with wisdom well beyond his years. And third, Lebron James – as perhaps the biggest global sports star in the world it is only right we bring The King back to the Union.

What’s one debate you would host during your term?

Rosalie: Designer babies – the Union is at the forefront of debates on issues that will shape the future. I think that in time genetic modification will introduce new class boundaries in society if allowed to develop unchallenged. 

As someone who has had to fight against the existing class structure so hard just to get here, I think it’s an important debate to be had.

George: “This House Believes Oxford is failing its students.” I want us to discuss the cost of rent, mental health crises, culture on campus and why so many still feel like they don’t belong or were sold a dream when they applied. This is meant to be a university of changemakers but when students protest, rather than being engaged with, they’re punished. 

The system is outdated and built for the few.  This debate would be student-led, with Ordinary Members able to give paper speeches. No sugarcoating, just real talk about access, welfare, and accountability. It may be uncomfortable for universities, but it is a necessary outlet for students to voice valid concerns about a global institution.

Anything else you want to add?

Rosalie: My candidacy is driven by my belief in the power of the Oxford Union to shape the future of this university. Through my leadership experience both within and outside the Union, I’ve developed the skills, vision, and passion needed to lead the Oxford Union into a new era – one where inclusivity, diversity, and relevance are at the forefront of everything we do. 

I believe that the Union can be a transformative space for all students. If elected, I will be dedicated to making the Oxford Union not just an institution welcome for a privileged few, but a place where every student can speak, debate, learn, and grow.

George: Just this: the Union doesn’t need another hack. It needs someone who knows when to speak, when to listen, and how to rebuild. I’m not promising perfection, I’m promising presence, purpose, and a plan. 

If you’ve ever felt like this place wasn’t for you… then maybe, this time, it actually can be.

MML Faculty cuts almost half of special subject final options

Cherwell News
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MML Faculty cuts almost half of special subject final options

Over 40% of Modern Languages Special Subjects have been cut for those sitting finals next year, with up to eight out of eleven options being cancelled in certain languages. The options for Paper XII are dependent on teaching resources across languages.

Those reading Portuguese are among the hardest hit, as only three out of the possible eleven options are available. One of those options, however, is limited to ten places. Last year, those studying Portuguese were also limited to four out of a possible eleven options. Languages such as Italian, however, have had no cancellations to their original nine options. In fact, Italian have added a new paper on gender and sexuality in modern Italy.

In addition, students reading Slavonic are limited to just four options out of eleven, though two of those will not be taught. Last year, by contrast, Slavonic had double the number of options, and all of them offered teaching. 

Some options have been outright discontinued, including the French Rousseau special subject, as well as others being suspended. Last year, no papers were highlighted to have been discontinued or suspended.

One third year MML student told Cherwell: “Given the ongoing confusion around changes to exams, a decreased choice of special subjects will probably make final year even more difficult for many students.”

Modern Languages students are made aware that Paper XII options are subject to change due to “the availability of teaching resources”, and special subjects are made available one year before examination. The MML Faculty refused to comment on this year’s cuts.

This announcement follows the Faculty’s recent decision to move to in-person, closed book exams due to concerns over AI and plagiarism. The shift in examination conditions will affect the same cohort as the Paper XII cuts, who will be sitting finals in 2026.

Oxford City Council proposes unified Great Oxford Council

Mair Andrews
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Oxford City Council proposes unified Great Oxford Council

Oxford City Council have released details on a suggested proposal to abolish Oxfordshire’s six councils and replace them with three new ones: Greater Oxford Council, Northern Oxfordshire Council, and Ridgeway Council.

This proposal was in response to a government request for councils across England to suggest ways to simplify the structure of local government in their regions.The last time local government was reorganised in Oxfordshire was in 1974.

The reshuffling aims to redistribute administrative control to residents. The Greater Oxford boundary closely follows the line of Oxford’s ‘Green Belt’, which spans from Bicester in the North to Abingdon in the South. Currently, almost all of the Green Belt sits outside of the city’s administrative boundaries. The proposal for a Greater Oxford council would give local residents authority over the Green Belt for the first time since its creation in 1975. 

Councillor Edward Mundy, Leader of the Oxford Community Independents told Cherwell that this unification would mean that “residents across the greater Oxford area get a say in the political decisions that impact them and where they live and work.

For a city like Oxford, which is not in a built-up or urban part of the country this loss of local agency could be particularly pronounced.”

The proposed benefits for the county include 40,000 new homes to be built near existing jobs and community facilities by 2040, 40% of which would be required to be council homes if following existing planning policies. The Council also says it would extend public transport routes to reduce congestion, as well as widen the access of leisure and outdoor pools to all Greater Oxford residents rather than to city residents exclusively.

The proposal has met opposition within the county. Emily Kerr, Local Councillor for the Green Party, told Cherwell that this proposal is “simply a non-starter” unless the National Government’s stated criteria for population size changes. Greater Oxford would cover a region with a population of about 240,000 people today, rising to about 345,000 by 2040. The Oxfordshire Green Party voted to oppose an Oxfordshire unitary authority, opting to support the ‘Your Oxfordshire’ suggestion which offers a new unitary authority on existing county boundaries. 

Councillor Mundy also highlighted some disadvantages of the unified council system, but said: “To do nothing and submit no proposal was an option, but that would have effectively given up on Oxford having its own Council, possibly even on the continued public use of our Town Hall.”

Regarding the likelihood of these plans going ahead, Councillor Kerr told Cherwell that she hopes that either decision will “decentralise decision making” but “to a large degree, it will be out of our hands as it is a Westminster decision.”

Independent Councillor David Henwood also told Cherwell his thoughts on the restructuring. A single unitary authority for Oxfordshire would “improve cost efficiency, strategic planning, increase bargaining power and simplify governance” but also “lose local responsiveness, democratic disconnect and transition complexity”. 

He added that three smaller authorities split into rural and city unitaries would provide “better local identity, improve accountability, balance power”, but would also cost more than a single unitary, whilst also causing potential boundary disputes.

The public consultations regarding this proposal will take place in June and July to submit the final proposal to the Government in November. 

Possible delay to Oxford’s only winter ball despite ‘committed’ students

Conor Walsh
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Possible delay to Oxford’s only winter ball despite ‘committed’ students


Merton College is understood to have asked students on the winter ball committee to consider delaying Merton’s Michaelmas ball in order to allow more time for planning. Despite concerns from the College, the organising committee is “committed” to delivering the ball in November as planned.

Speaking with members of the MCR committee, Cherwell understands that the College are “extremely concerned” that the planning of the ball is behind schedule despite it being over six months away. As a result, the College might vote to cancel the ball in its current form, requiring the organising committee to postpone the ball until Hilary term. 

Merton’s Winter Ball is renowned for being Oxford’s only white tie winter ball. The ball takes place every three years and is organised by JCR and MCR students at the college. Postponing the ball to Hilary would be a first in Merton’s history.

In reply to concerns about the ball’s postponement, the organising committee told Cherwell that: “while it is true that there were some initial administrative challenges, particularly around clashes with college building works, the committee has made significant progress and remains fully committed to delivering a memorable white tie ball. 

“At present, the date of the ball is yet to be finalised, as we continue coordinating with the college and vendors to ensure the best possible experience for attendees. The committee has been hard at work behind the scenes and are assembling an exciting lineup of vendors and entertainment. We are confident that the final result will meet and exceed the high expectations traditionally associated with this event.” 

The College governing body, which will determine the fate of the ball is yet to meet, so no official verdict about the ball’s postponement has been reached. However, Cherwell understands that the College’s provisional calendar for the 2025/26 academic year lists the Winter Ball as taking place in November.

Merton’s last Winter Ball was held in Michaelmas 2022 and included headline acts from the singer-songwriter writer Dylan, as well as Capital FM’s Will Manning. 

According to the committee, tickets for this year’s ball are expected to go on sale over the long vacation.

Merton College was approached for comment.

The Journal of a Chambermaid: The greatest novel you’ve never heard of

Richard Kuehl
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The Journal of a Chambermaid: The greatest novel you’ve never heard of

It is easy to suppose that the greatest authors of the 19th century have all already been discovered. Especially when it comes to French literature, one notices the same names come up over and over again. Yet for every Balzac, Flaubert or Zola, there is at least one author who has been forgotten by history, brushed aside, and reduced to a footnote. That need not mean that these authors don’t have compelling stories to tell which are still relevant to this day. 

A good example of this is Octave Mirbeau. The French journalist was a prolific writer and at the centre of Parisian intellectual life. As an art critic, he was an early supporter of Van Gogh’s and good friends with the likes of Claude Monet and Auguste Renoir. Some of his plays, like Les affaires sont les affaires, were highly successful at the time and are still performed by the Comédie Française today. In 1900, he released his fifth novel, Le Journal d’une femme de chambre, which instantly became an example of the notorious ‘succès de scandal’ genre. Nonetheless, Mirbeau’s extensive work has largely been forgotten over the past 100 years.

It was not until the 1980s and the onset of second wave feminism that Mirbeau and his substantial literary oeuvre began to gain some recognition. But still, even to this day, Mirbeau is rarely talked about, despite having been admired by many peers, including Tolstoy. His books, although in print, are rarely on offer in bookstores. This, to me, is scandalous, because the quality of Mirbeau’s work rivals that of any of his contemporaries. His Journal of a Chambermaid in particular is one of the greatest novels of its time. Its humour and social criticism are as relevant today as they were 125 years ago. 

Its narrative centres around Célestine, a witty young woman who works as a domestic servant in the household of the Lanlaire family. In her diary, she records the idiosyncrasies of her bourgeois employers as well as of the people around her. She is the constant object of male desire, yet she is able to use this to her own advantage. The resulting image is that of a sexually empowered and independent woman. In the end, she escapes her position as a chambermaid by going to Cherbourg with the brutish gardener Joseph, a bittersweet end at a time when social mobility was out of reach for many domestic servants. 

If the novel is so good, why has nobody heard of it? I believe this has to do with the way that we perceive literature today. People like to place authors within a literary canon that is subdivided into movements. It is easy to label Balzac a ‘Realist’, Zola a ‘Naturalist’ or Hugo a ‘Romantic’. Yet when it comes to Mirbeau, none of these labels easily fit. He stands out from the Symbolist and Decadent currents popular during his time, and this inability to place Mirbeau within the literary landscape has contributed to his disappearance from textbooks and literary journals. 

However, there are other elements that make the novel unconventional and subsequently less attractive in the eyes of some literary critics. On the one hand, Mirbeau’s characters in Le Journal d’une femme de chambre are mostly caricatures who, through exaggeration, enable Mirbeau to introduce both humour into the story and underline his political commentary. On the other hand, the novel’s plot focuses on an independent working class woman who, whilst very critical of the people around her, has insight limited to her immediate environment rather than society as a whole. The novel’s detractors have thus sometimes argued out of pure prejudice against a book whose female narrator makes them uncomfortable. 

I would advise everyone to pick up a copy, if they can. Especially those who have access to the French original, who will find it to be both an entertaining and eye opening read. We live at a time in which people are rediscovering voices from the past previously misunderstood or silenced. The best way to support such authors is to read their works. Who knows how many lost Balzacs or Zolas we might uncover in the process.

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