Sunday, April 27, 2025
Blog Page 74

New humanities faculty building to open in 2025

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A new humanities facility, located in the Radcliffe Observatory Quarter along Woodstock Road, is to join the faculty buildings of Oxford University. The Schwarzman Centre is set to open in 2025 and it will house the institute for Ethics in AI and the Modern Slavery and Human Rights Policy and Evidence Centre.

This new facility’s move to the University has been made possible by a £185 million donation by the Centre’s eponymous benefactor Stephen A. Schwarzman, co-founder of the Blackstone Group, as well as short-time chairman of President Donald Trump’s Strategic and Policy Forum. 

The Centre will consist of a 500-seat concert hall, a 250-seat theatre, a 100-seat ‘black box’ laboratory for experimental performance, a café and a new library. It promises to “encourage experiential learning and bold experimentation through cross-disciplinary and collaborative study.” 

In order to comply with the University’s aim to halve carbon emissions by 2030, the building’s construction will adhere to Passivhaus principles, including the use of solar power generation on the roof and high levels of insulation to reduce the heat needed in the building.

Professor Daniel Grimley, head of the humanities division at Oxford, told Cherwell: “It will be a place to share knowledge and ideas, attend events of a varied nature, and ultimately to find innovative answers to the fundamental question of what it means to be human in an increasingly complex world.” 

As well as housing seven humanities faculties, this facility will now host the Modern Slavery and Human Rights Policy and Evidence Centre. It will be moving to the University from its previous host, the British Institute of International and Comparative Law, after having been awarded extension funding from the Arts and Humanities Research Council (AHRC). The centre was created in 2019 to “enhance public understanding of modern slavery and transform the effectiveness of laws and policies designed to address it.”

Professor Grimley told Cherwell: “Working in this innovative manner has helped the centre to influence decision-making at a regional, national, and global level.” The recent example he cited was its work in support of the Global Commission on Modern Slavery and Human Trafficking, chaired by Theresa May, “for which researchers gave evidence at Parliamentary groups, and showed how human and evidence-led research can improve the world in tangible ways.”  

The Schwarzman Centre will also be home to Oxford’s new institute for Ethics in AI. Sir Tim Berners-Lee, founder of the World Wide Web, has remarked: “If AI is to benefit humanity we must understand its moral and ethical implications. Oxford with its rich history in humanities and philosophy is ideally placed to do this.”  

Vice-Chancellor Professor Irene Tracey has highlighted the promise that the Centre holds to “benefit teaching and research in the humanities” and “to be a place which makes a genuine contribution to the local community in Oxford as well as the national and global cultural sector.”

War, Peace and Writing

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Throughout history, art has left an indelible cultural impact on humanity’s collective understanding of war. Picasso’s ‘Guernica’ is perhaps the most famous manifestation of this; but the richer historical tradition is certainly written, with a heritage as far back as Homer’s Iliad and its depiction of the Trojan War. As the outbreak of conflicts in Ukraine and Gaza over the past two years have made the public more cognizant of modern warfare – and while other conflicts continue to elude that public attention, such as humanitarian tragedies in Myanmar, Sudan and the Sahel it seems the right time to reflect on the power of words to poignantly portray the horrors of war for a civilian audience.

Mark Rawlinson argues that modern war literature is “incontestably a literature of disillusionment”, something he attributes to Tolstoy’s War and Peace (1869). This “disillusionment” that comes through in the war narratives was true of Tolstoy’s own military past, fighting in the Crimean War during the Siege of Sevastopol (1854-55); but crucially, it also sets a precedent for modern war writing, which does away with the romantic, top-down narratives of battles that had dominated previously. Despite the grandeur of War and Peace as a ‘historical novel’ (a label its author would have disputed), Tolstoy grounds its scenes in the horrible realities of war and with themes of ignorance and cowardice grounded in a realism akin to Stendhal’s depiction of the Battle of Waterloo in The Charterhouse of Parma (1839). As a historian, Tolstoy repudiated the two most prominent theories of history  that of ‘great men’, and that of Hegelian determinism to demonstrate the helplessness of soldiers against the “antagonistic relation” of their countries. It is through this that Tolstoy gives a bleak picture of war, rooted in its grim realities of unglamorous death and wanton destruction: a picture that had a lasting impact on war literature; specifically, its power to resonate with readers’ emotions and senses of morality. 

Modernist literature of the early 20th century, over which the First World War cast an unmistakable shadow, also reflected a ‘morality’ which was rooted in the ‘reality’ of war. Modernist culture itself represented the “cumulative trauma” (Adam Phillips) of that war, which like War and Peace sought to reject any notions of heroism or romance in the Great War; this was made clear with the powerful anti-war message of Erich Maria Remarque’s All Quiet on the Western Front (1929). The war literature of the early 20th century, while imbued with a distinctly modernist sense of nihilism, also harked back to Tolstoy’s insistence on the futility of war: Andrei’s “jeremiad” (Rawlinson) on page 775 is not dissimilar from some of the poetry of Siegfried Sassoon. Modernism in literature involved the desire to overturn traditional modes of representation in light of war’s horrors, placing the soldier’s experience at the fore to emphasise the true depravity of which mankind is capable. While modern media exposes the terrible humanitarian cost of wars to the public through ever-more-accurate photos and videos. In the days before technology there was something uniquely powerful about the written word in questioning the value, cost and morality of warfare. This literature was a world away from the antediluvian depictions of warfare as glorious and heroic; patriotic accounts by Robert Keable and Ernest Raymond have not made their mark on posterity. 

Indeed, in contrast to the hubristic accounts of victory presented by Renaissance humanists like Leonardo Bruni, modern war literature tends not to see victory as anything more than Pyrrhic; William Manchester’s Goodbye, Darkness: A Memoir of the Pacific War (1979), for instance, presents the reader with horrific accounts of death and human suffering. Even more recent was Sam Hamill’s 2003 Poets Against the War project, which reminds us of the continuing power of literature to act as a cultural bulwark of peace. Yet while the writings of Tolstoy, Sassoon and Martin Luther King present necessarily bleak anti-war messages, we must not lose sight of the power of war literature to bring hope during the bleakness of war itself. As Berthold Brecht pointed out in 1939, there would be singing during the dark times ahead  about the dark times, but singing nonetheless.

Biology department urged to stand against badger culling

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The department of Biology at the University of Oxford is facing calls for action against badger culling in Oxfordshire in a petition presented to the department on April 17.  Cherwell can confirm the receipt of the petition by the Department of Biology. The Oxfordshire Badger Group has accrued nearly 20,000 signatures on change.org. It calls attention to the “misuse’’ of research from the Department of Biology by the government to justify the badger cull, and urges scientists to “[deploy] their scientific authority’’ to help end it. 

Despite badgers being a legally protected wild animal in the UK, the cull is mandated by the Department for Environmental, Food and Rural Affairs (DEFRA) as a mitigation tactic against bovine tuberculosis (bTB). Current DEFRA policy holds that culling is an effective means to reduce the transmission of bTB from badgers to cattle.

Parliament responded to a previous petition against culling in 2016 with over 108,000 signatures by arguing that there was a “broad scientific consensus’’ on the role of badgers in the spread of bTB, and that they were determined to “use all available measures necessary to eradicate the disease as quickly as possible.”

According to DEFRA statistics, over 210,000 badgers have been culled nationwide as of 2024, although badger protection groups estimate a figure between 230,000 to 250,000. Recently, the controversial introduction of “epidemiological culling’’ has been proposed, which could reduce the badger populations to almost zero in high-risk bTB areas according to the Oxfordshire Badger Group. 

The petition was presented with an open letter to the Department of Biology, following the opening of a public consultation by DEFRA on badger control policies. It points out how the research from the University demonstrated that culling badgers would “not help control bovine TB…yet the government simply overturned your conclusions to justify introducing badger culling. Many of you vocally opposed this in 2012 and 2015 but you were ignored. Now 250,000 mostly healthy badgers are dead.’’ 

Oxfordshire Badger Group views the region as “a heartland for badgers over the centuries’’. Previously, the group has also taken to the streets, holding protests outside the Biology Department and some colleges, such as Merton.

Eileen Anderson, trustee of the Oxfordshire Badger Group, told Cherwell: “We think Oxford scientists should give DEFRA the benefit of their expert opinion. Their silence means that the scientific debate is highly polarised. That allows politicians to cherry pick evidence to support killing badgers. That’s not good for science, for badgers or for cattle farmers.’’

Cherwell received the following response from the Biology Department via the University News Office: “As a department committed to scientific inquiry, we prioritise academic freedom of speech and support the right of individuals to engage in constructive discourse around causes they believe in, including relevant petitions.” 

The DEFRA consultation was initially set to close on April 22, but the closing date has since been extended to May 13. Oxfordshire Badger Group told Cherwell that the extension was “in response to legal pressure applied by our friends at the Badger Trust and Wild Justice, challenging the lack of information and problems with interpretation of the consultation.”

Nailed it! The evolution of nail art at our fingertips.

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Nail art has truly taken the world by storm. With over 233 million people sharing their designs with #nails on Instagram, it is clear that this is not just a passing trend. In fact, it is one of the oldest trends to ever exist! Dating back to as early as 5000 B.C, the evolution of nail art is a fascinating exploration of beauty standards through the ages. What is now an obsession with bejewelled acrylics, relaxing manicures and intricate gel designs began as an expression of complicated social expectations. When we delve into this complex history, we uncover the deep political entanglements that come with this ancient trend. It is not as pretty as a pedicure!

Surprisingly, nail art began in an era that was almost as dominated by beauty standards as the one we live in now: ancient Egypt. Henna was used on the hands and nails as not only a way to display status amongst the elite, but as a natural supplement, believed to have medicinal qualities. Women of the lower classes used more neutral shades, while the upper classes had access to deeper, brighter shades that conveyed seductiveness and wealth. This is where nail art’s association with femininity began. 

However, nail art was not exclusive to women in every ancient culture. Male soldiers in Babylonia adorned their nails with black and green kohl as a symbol of ferocity. Archaeologists have even uncovered a manicure adorned with solid gold dating back to this period. In the 21st century, precious metals and gemstones are employed as a fancy decorative feature, but they were originally used as a weapon in these ancient wars. 

The first recorded instance of nail art as we see it today was actually the Inca Empire. Spanning across the 15th and 16th century, the Incas painted their nails with eagles. Although this had much more societal significance than the cartoons we often see nowadays, these intricate and tiny designs have hugely impacted the modern industry. 

A fascinating figure in the history of nail art is the Empress Dowager Cixi of China. During her reign from 1825 to 1908, she was instantly recognisable with her 6 inch long, decorated nail guards, made of solid gold and jewels. These protected her long nails, which were a symbol of her wealth as they indicated that she did not take part in manual tasks that would easily cause breakages. 

The manicure as we know it today stemmed from a European podiatrist, Dr Sitts, who adapted a dental tool for use on nails. This created what we know today as the orangewood stick, a staple tool in any modern nail technician’s toolkit. Sitts’ niece then expanded upon her uncle’s invention, creating a full nail care system and reaching the USA. Salons started to become more mainstream around this time, allowing nail care to become accessible to a wide range of demographics and social classes. Apart from salons, many started doing their nails at home as the first nail varnishes began to hit the consumer market. 

The first modern intricate nail designs began with the advent and emergence of acrylic nails in the 1950s. Acrylic nails in the USA quickly became a sign of femininity and style amongst African American women. Donyale Luna featured acrylic nails on her 1966 Vogue cover; she was the first Black woman on the cover of Vogue. Acrylic nails evolved along the disco culture of the 1970s as artists like Donna Summer, Diana Ross and Millie Jackson sported bright red acrylic nails as part of their style. When Florence Griffith Joyner, a former nail artist, won Olympic gold wearing six inch acrylic nails, news headlines were abuzz with discussions of how her nails matched her running gear. Bright and intricate nails were not yet in the mainstream, therefore Joyner’s nails became a big focal point of her Olympic journey. 

Nail art’s popularity was once again boosted by musical artists in the late 1990s and early 2000s as rappers like Missy Elliot and Lil Kim were seen with acrylic nails in their music videos and concerts. Nail art now is more varied and popular than ever, especially with the rise of social media, as everyone from at home nail enthusiasts to celebrity nail technicians can share their art with the world. Everywhere from Pinterest to Instagram to TikTok is filled with nail inspiration; there is no shortage of designs for every type of person. 

Clearly, the history of nail art is more complex than a gel manicure! It has represented social and cultural values for millenium, before becoming a stellar industry in the 20th century. Much like classical art has developed over time, nail art is constantly evolving and will certainly have a fascinating future. 

SU-supported College Disparities Campaign launches to create equal ‘Oxford experience’

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Following the release of The College Disparities Report, a subsequent College Disparities Campaign has announced its launch. The Campaign uses the findings of the report and suggests solutions to the problems, most notably creating an Endowment Fund, to balance out financial disparities between colleges. An open letter to the Vice-Chancellor, Irene Tracey, will be sent urging the University to take action. On Monday 29th April, a university-wide email from the Student Union (SU) will encourage all students to sign the letter, available to read now on the Campaign’s website.

The report, largely written by the current SU President, Danial Hussain, exposed great financial inequality between colleges, including analysing colleges’ yearly income, academic performance, financial aid systems and accommodation costs.

It also finds a direct correlation between college wealth and high positions in the Norrington Table, which ranks colleges according to the proportion of students receiving each class of degree. Merton College, St John’s College and Christ Church College are consistently some of the wealthiest colleges, and each year they place in the top quarter. The unfair nature of this is highlighted in the report; it also found that one third of students end up in colleges they did not apply to.

Danial Hussain told Cherwell: “the vast disparities in rent are the most materially significant effect of college disparities on the average student.” The report showed that there are higher rents for poorer colleges than in richer colleges. For example, Christ Church offers a subsidised rent of up to 50% for “undergraduates from lower-income households”. Hussain continues, “I will push for a median rent across all colleges – a tangible solution to even out the student experience.”

Co-organisers of the College Disparities Campaign, Danial Hussain and Cem Kozanoglu told Cherwell: “the College Disparities Campaign will build on the report’s findings…” They have proposed a solution in the form of an Endowment Fund. The report explains it as “a sustainable endowment fund which provides reliable funding to the poorest colleges at predetermined rates.” This would come at the cost of disbanding the current College Contribution Scheme, which is a fund that colleges with taxable incomes over £45 million contribute to that poorer colleges can apply for grants from.  

The Campaign stresses that the Endowment Fund would not slow the growth of richer colleges. Instead, their website states that due to richer college’s higher-growth assets, such as stocks and bonds, they will be able “to grow their endowment even after contributing to the Endowment Fund.”

The Campaign’s open letter urges the University to create an Endowment Fund as well as implementing other solutions, such as establishing a College Disparities Committee and revising the 2027 Access and Participation Plan. The letter asks “the University to act swiftly and decisively to address these disparities” so that “all members of the Oxford community have the same opportunities to thrive, regardless of their college affiliation.”

Hussain and Kozanoglu told Cherwell: “Our priority is to mobilise support for our open letter […] to unite the Oxford community – from undergraduates and postgraduates to alumni and academics – in a collective effort to drive change.” On Monday 29th April, this open letter will be emailed to every student by the SU to “encourage them to sign”.

A spokesperson from the University of Oxford told Cherwell: “the central University provides one of the UK’s most generous packages of financial support through bursaries and scholarships” and that ” the Vice-Chancellor has in the last year also increased the funding available to those affected by the cost of living, through Oxford Financial Assistance.”

The Conference of Colleges told Cherwell: “We welcome discussion of how best to ensure an appropriate level of provision across colleges, regardless of their relative resources, and welcome student feedback.” Hussain and Kozanoglu told Cherwell: “The University has also shown a willingness to listen to student concerns in the past […] we’re confident that these recommendations will be seriously considered.”

While the College Disparities Campaign has acknowledged that “real change will take time” since “college disparities have been an issue for decades”, Hussain and Kozanoglu “are optimistic that […] this report and campaign can mark a turning point.”

SU President-elect Addi Haran told Cherwell: “I look forward to continuing Danial’s work, which is a watershed moment for tackling the disparities between colleges, and will make it a central focus as SU president next year.

Cornmarket Street and Queen Street to undergo ‘extensive repair works’

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Oxford’s Cornmarket Street and Queen Street are scheduled to undergo “extensive repair works’’. Andrew Gant, head of transport management, announced at Oxfordshire County Council’s full meeting on Tuesday 16 April that the repairs are expected to take place over the summer.

Oxfordshire County Council told Cherwell: “Extensive repair works are planned for both Cornmarket Street and Queen Street in this financial year.” The plans involve the pavements of these streets being replaced and refurbished, which will start on Queen Street, before extending to Cornmarket Street. However, the initiation of the project is also dependent upon the “delivery of specialist materials from abroad”, and as such there is no confirmed start date yet. Overall, the repairs will take between 9 to 12 weeks, subject to external factors and conditions, such as weather. 

The two streets in the historic city centre were described as being “in a shameful state” in the meeting by Susanna Pressel, Councillor for Jericho and Osney. Pressel pointed out in her question to Gant that these streets were ‘’possibly the most prominent and heavily used streets in the county, at least by pedestrians’’, with Gant admitting they were “a bit of a mess’’ in his response. Following his reassurance that plans to repair the streets were underway, Pressel expressed support, stating she was “very glad to hear’’ of the plans.

The announcement follows a series of other maintenance-related works in the city and wider county. Oxford Road, the main road from Banbury to Oxford, shut for two weeks at the beginning of April to undergo sewer repairs. In the rest of Oxfordshire, pothole-related compensation paid out by the council has nearly tripled to over £230,000, with the authorities blaming “perfect pothole-forming conditions’’. The Oxfordshire County Council told Cherwell that: “The budget estimate [for work on Cornmarket Street and Queens Street] is approximately £600,000.”

Gant has also revealed previously that Woodstock Road will be resurfaced in August, pointing out that the repairs would take place “overnight and during the school holidays to reduce [the] impact.” This work would therefore take place back-to-back with the repair works on Queen and Cornmarket Street.

How to be a vegan – and an Oxford student

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I have a disturbing secret to admit, which might cause people to think I’m crazy, and Katie Hopkins to think I’m smelly: I’m vegan.

I have been vegan for over four years, and I can honestly say I have never found it difficult. Choosing a path of compassion and non-violence feels much easier to me than the alternative, and I firmly believe a vegan lifestyle makes positive contributions towards one’s mental and physical health, both human and non-human welfare, and the environment. What’s more is that one does not need to consume animal products in order to live a healthy life.

I am often reminded how fortunate I am to come from a household that supports my dietary choices, and to have been raised on South Indian cuisine, which can be so effortlessly veganised. I have come to realise this is not the case for my peers from different backgrounds – but university can be the perfect opportunity to assert your independence and choose your own lifestyle.

Despite Oxford being a fairly small city, it has a surprising number of vegan-friendly places. Some recommendations from a certified vegan are: The Coconut Tree, Chick Pea, Delhish Vegan Kitchen, Dosa Park, and of course, Najar’s (they have vegan mayo, ask for it!). A special mention goes to the banana bread French toast at the Handle Bar and the vegan doughnuts at Crosstown. However, I always wish there were more options, especially affordable ones, which perhaps only Najar’s gets points for. 

But what about students who want more than falafel and hummus? Cooking for yourself as a vegan is not nearly as expensive and difficult as people will tell you it is. While realistic meat alternatives can be pretty pricey, many staple sources of protein for vegans, such as beans and lentils, are in fact cheaper than their animal counterparts. Once you’ve secured said affordable vegan goods, a quick google search for ‘easy student vegan recipes’ will show you that you are almost definitely capable of executing a simple dhal or chilli. In fact, there are many cuisines around the world which are not centred around animal products. Ethiopian, Indian, and Mediterranean cuisines, among others, have largely vegan foundations, showing that the idea that one cannot live on a diet that is simultaneously sustainable, nutritious, and tasty, is entirely unfounded.

When it comes to college cuisine, I am privileged to be at St John’s, where hall food is incredibly affordable, and – for the most part – quite nice, with rare (devastatingly bad) exceptions (including a harrowing tempeh dish I still have nightmares about). A special shoutout goes out to the college café, at which the ratio of plant-based to non-vegan options is 2:1, not to mention the fact that there is always at least one vegan cake to choose from. By contrast, although I have generally had good experiences at formals, I have consistently been disappointed by my dessert. I just want to consume a meal that doesn’t inflict pain and suffering on others, whilst still having a sweet treat that looks like what’s in front of everyone sitting around me – is that too much to ask? Apparently so, considering the number of delicately plated fruit platters I’ve reluctantly eaten at the end of a John’s formal. 

My friends make fun of me, I am persistently asked “where on earth do you get your protein from?” and I will, tragically, never have a post-club night kebab. But I will always prefer it to the alternative, and I am proud to be happy, healthy, and 100% plant based.

The ultimate guide to May Morning

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Dating back over five hundred years, May Day celebrations (traditionally) present an opportunity to herald in the arrival of spring. Whilst the tradition is now used as a clever marketing tool by nightclubs to get you dancing to even more cheesy ABBA tunes than usual, the historic element still welcomes in thousands of people from across the city and beyond.

For the clubbers amongst you, as always, options are plenty. With the clubs open for longer, May Day means starting the evening much later – a wise choice if you wish to survive the night to come. Closing times are around five am, giving you the chance to slowly make your way towards the location of the age-old tradition: Magdalen Bridge. As an alternative to the dancefloor, you could set out to conquer an in-college all-nighter with friends – maybe a movie marathon – before heading down to to cross paths with the club-goers.

In either case, as you reach the bridge, eyes occasionally flickering as fatigue sets in, you’ll encounter a wide variety of celebrations. Whether it is moving your sleep-driven body to the rhythms of samba music, or watching the Morris dancers shake their bells in accordance with age-old routines, the High Street is a spectacle for the weird, wonderful and everything in between. Following your arrival, you will await 6am, when Magdalen College Choir will be heard singing hymns for all to hear. After this is completed, you will have tackled the challenge that is surviving May Day. 

And for those who woke up for the occasion, you can treat your adherence to an early start with a breakfast or coffee in the surrounding cafes, who purposefully open to welcome in the celebrants. Whilst you still probably won’t sleep as long as usual in this instance, it can be a wholesome way to enjoy the event and escape the hangover. 

Importantly, for those choosing to sack off sleep for the sambuca, know your limits. Whilst there’s a high chance that will.i.am will try and convince you that ‘tonight’s gonna be a good night’ in the depths of ATIK’s main room, surviving May Day is no mean feat. Make sure to recognise when you need that glass of water from the bar, so that the night remains as good as possible for as long as possible. On a similar note, devise your May Day plans around what works for you. While May Day celebrations can be incredibly enjoyable, facing the dancefloor is not everyone’s idea of fun, and even if it is, five hours will strongly challenge even the hard-core clubbers.

Whether you choose to celebrate with a five hour clubbing session or a night in, followed by an early wake, is up to you – but, at its heart, May Day offers a unique opportunity to embrace another one of the many Oxford traditions.

Sharron Davies, the Oxford Literary Festival, and the place for transgender athletes in professional sport.

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The bell chimed for 2 o’clock on Thursday the 21st of March and the doors closed for the Oxford Literary Festival’s most controversial talk: ‘Sharron Davies, Unfair Play: The Battle for Women’s Sport.’ I stood on the step of the main entrance wearing my ‘festival steward’ lanyard, and contemplating the politics of being a volunteer at what felt like a history-making event. There had been no protest, no commotion, and the courtyard around the Sheldonian was relatively calm, but the moment felt monumental. The memory of philosopher Kathleen Stock’s infamous 2023 visit to the union weighed heavy on my mind. The event was a watershed moment for what has become a particularly intense transgender debate here in Oxford, famously spawning public tensions between faculty and student activists that foregrounded important critical questions about the limits of free speech and the power of student protests. 

The Davies talk was a weird episode in the current history of the transgender debate in Oxford. As festival volunteers, we had the option of attending the event for free whilst tickets ranged from eight pounds to twenty, but the decision to hang around felt loaded. The Easter vacation had essentially flattened the student response to the talk, in stark contrast to Stock’s term-time visit. The ticketed entry seemed to further limit attendance, and although student tickets could be purchased at a discount, the issue of handing money over to figures like Sharron Davies poses its own problems. The student reaction was certainly voiced in a condemning Instagram post by the LGBTQ+ campaign of the Oxford Student Union and an article by Éilis Mathur for Cherwell, but in the quiet courtyard of the Sheldonian, there was not a protester to be seen. And unlike the other events, no members of the press showed up at the door I was ticketing; indeed, reception of the event, both local and national, has been incredibly quiet. It was the subdued atmosphere of the theatre which tipped me towards attending Davies’ talk.  As it seemed the lofty Sheldonian could become a literal echo chamber, it felt important that I take advantage of my free seat and expose the conversation to the wider student community.

Sharron Davies is a former competitive swimmer, who competed for England in three Olympic games. Since retiring from the sport, she has worked as a sports commentator for BBC and was an advocate for London’s bid to host the 2012 Olympics. She is a supporter of the Conservative party, endorsing Kemi Badenoch in the 2022 leadership election. Since 2019, she has become well-known as a vocal supporter of the separation of cis- and transgender athletic spaces, a concern which rests on her experiences swimming in the 1980s at the height of the infamous East German doping scandal. It’s a powerful opener. Davies had been frontline in the affair, racing against no fewer than three East German swimmers who were participants in a program which saw female athletes deceived or bullied into taking ‘vitamin pills’ containing anabolic steroids. Davies outraced two and came in second place behind the final East German swimmer, Petra Schneider. The Oxford literary festival website refers to her as the athlete who “infamously missed out on an Olympic gold.” 

These experiences underline her conviction that Olympic Sport committees, plagued by systemic misogyny, have continually allowed the mistreatment of women to go unnoticed and unchallenged. Part of this misogyny, she argues, is the willingness to turn a blind eye to the ‘unfair’ participation of transwomen in women’s sports. As with the doping scandal, Davies suggests that Olympic boards have not been willing to properly invigilate women’s sports because they do not value women’s victories as much as those of men. This undervaluing of women’s sport has, the argument goes, led to committee boards ‘taking the easy route’ by denying that there is a difference in performance capabilities between cisgender athletes and transgender athletes which she does not find to be a workable solution.

Convincingly, Davies exposes the complications inherent to the debate, identifying that the effects of ‘male’ puberty, which are not reversed by HRT –  such as increasing bone density and muscular development, and a narrower angle between the hips and knees –  can provide an unfair competitive advantage, particularly in fighting sports. It certainly seems important then, to differentiate sports categories in more than simple ‘male’ and ‘female’ categories. Whilst many of us would agree that these categories do not capture such complexities, Davies’ proposed ‘solution’, which involves separating transgender athletes from their cisgender counterparts, fails to convince. 

There is a twofold problem with Davies’ case for a segregated athletic space. As with many of the classic arguments associated with the TERF (Trans-Exclusionary Radical Feminist) position, there is a total lack of intersectional awareness in the argument. The existence of systemic misogyny within professional sport is indubitable. But Davies, despite aiming to appear sympathetic to the transgender experience, mistakenly suggests transgender and cisgender athletes compete for the same space, which they cannot both occupy. As she terms it, “Women already have a small piece of the pie, and it is becoming smaller,” a sentiment epitomised in her suggestion that Lia Thomas was a ‘mediocre’ swimmer when she had competed in the ‘male’ category, and therefore should not have enjoyed such success as she did competing as a woman. This time round, Davies chooses moderate language, but an article from The Times in June 2023 quotes her referring to trans athletes as “mediocre males self-identifying their way out of biological reality to a new status in sport.” It’s not a good look. While Davies claims to put the crux of the issue on Olympic committee boards, not individual athletes, the idea that transgender women are being allowed to ‘take pieces’ of the womanhood ‘pie’ inevitably and unfairly pits athletes against each other.

Moreover, Davies gestures towards biological definitions of womanhood. For example, she talks with sympathy, though not without an agenda, about the tragic effects of the doping program, making specific references to Schneider’s struggles with fertility. Another moment sees interviewer Andrew Billen pose a question about the perceived dangers of allowing transgender women to to share changing rooms with their cisgender teammates, focusing on the presence of male genitalia in ‘female’ spaces and the possibility that there is an inherent power dynamic tipped in the favour of male-to-female transgender athletes. Davies contributed to this narrative by drawing attention to the very real financial vulnerability of often single-sponsor female athletes to the problematic effect of suggesting that they are forced to accept the unwanted or (it is implied) traumatising presence of ‘men’ in women’s spaces. The focus on making safe spaces for women would no doubt be more fruitfully directed at handling the abundant cases of sexual misconduct by cisgender coaches, a much more common and persistent fear for young female athletes. 

In one especially ‘on the nose’ moment, interviewer Andrew Billen asks Sharron Davies if she sees herself as a TERF (Trans Exclusionary Radical Feminist) and she responds by saying that she identifies as a woman, and a mother. It is perhaps no coincidence that one of the only places that the Literary Festival event shows up on the internet (besides the festival website) is in a forum post on mums.net. The appeal to motherhood as an identifier of cisgender womanhood clearly strikes a chord with Davies’ supporters.

A question from an intersex member of the audience provides the first and only real challenge to Davies’ views. The questioner suggests that the language around intersex people in Davies’ book is awkward and dehumanising, suggesting that Davies had implied that intersex was not an identity but a biological abnormality, and asks if Davies has any advice for intersex individuals who feel excluded from professional sport. After some disagreement on the appropriate way to refer to the intersex community (with Davies suggesting ‘Diverse Sex Characteristics, is more representative, whilst the audience member defends their choice of label) Davies then questions why intersex people would feel excluded from professional sport, whether this feeling of exclusion is justified. Her tone – defensive rather than encouraging – and her insistence on the lack of social barriers into a professional sports career is bizarre. I find myself wondering why Davies doesn’t simply apologise for a poor choice of language and exercise some of her inspirational-speaker-meets-life-coach muscle and deliver some token inspiration about chasing dreams and overcoming hardships. Instead, she chooses to argue about the language of a community she does not represent, adopting a tone-deaf approach to an invitation for words of encouragement. Although the end of the talk sees the two shake hands relatively cordially, it is not a flattering or compassionate moment.

Despite all of this, Davies’ talk does leave room for optimism. Although Davies was only directly challenged by one advocate for the LGBTQ+ community, a sense pervaded the event that she is conscious of LGBTQ+ and student sensibilities on this sensitive issue. For example, Davies’ use of gender reaffirming terminology, her tempering of some of her former sentiments about Lia Thomas, and diligence in professing her sympathies for the struggles of the transgender community demonstrate the kind of awareness brought about through protest and activism, such as the interruption of Kathleen Stock’s appearance at the Oxford Union and the SU’s LGBTQ+ campaign callout post. The result was that the voice of student LGBTQ+ activists was ‘present’ in the room, even at an event that saw limited attendance by Oxford students because of the vacation. One comment in the mums.net forum read,Oxford, eh? I hope that a horde of screeching blue hairs doesn’t turn up to ruin the event.” Perhaps we should see this ‘blue-haired Oxford effect’ as a small win for activism.

What should we make of these observations? It is difficult to be an activist. It is often the case that the activist space feels dark and defeatist. Hopefully, the indications that Davies is more conscious and attuned to the sensibilities of an LGBTQ+ audience suggest that activism has worked to the effect of forcing public figures to be held accountable for their language. The movement should take some pride in that accomplishment.

However, the subdued atmosphere at the Sheldonian and the framing of Davies’ potentially trans-exclusionary arguments reflects an uncomfortable reality. There is talk everywhere of a ‘tide turning’ towards the Conservative position on the sports issue. Sharron Davies states her conviction that she would not have been platformed at the Oxford Literary Festival even just two years before. Sports committees are increasingly banning transgender athletes from competing with their cisgender counterparts, without an effective solution having been reached. 

I reflect on the quiet and uncontested filter of people into the Sheldonian, the sparse ticket queues. The event is not even close to selling out. The initial storm of debate about the inclusion of transgender athletes seems to be fading away. I hope that we might capitalise on the increasingly omnipresent concern for accountability to enter a compassionate debate on the right way forward, rather than leaving the decision to be quietly made uncontested in the boardroom of the Olympic committee. It is essential to prevent such significant cultural moments from sliding quietly under the radar. But inevitably we are forced to accept the classic, if hard-to-swallow reality that there is still more work to be done.

Long Day’s Journey Into Night review

I walked into the Wyndham Theatre’s production of Long Day’s Journey Into Night by Eugene O’Neill half-expecting a night at the London Theatre like any other. Beer in hand, I filed in with my family to the gorgeously decorated auditorium and sat watching the stage with the rest of the buzzing crowd, waiting for the show to begin. Initially, there wasn’t much to note- the set is a sparsely furnished wooden room, almost grey in colour, remarkable only in its plainness. The initial action was somewhat slow-paced as well. Brian Cox of Succession fame plays James Tyrone, an ageing Irish-American actor and property developer, with Patricia Clarkson as his wife Mary – recently recovered from an unnamed illness – and Anthony Boyle and Daryl McCormack as his two unruly sons. We’re initially presented with a rather pleasant family set-up, with acting that didn’t stand out – I found Clarkson’s performance in particular rather clunky, though, as later events were to show, this was entirely deliberate on her part.

Image Credit: Thomas Berg / CC BY-SA 2.0 DEED via Wikimedia Commons

It takes time for the plot to unravel in this extremely long play – a three hours and ten minutes run time, with a single interval of only fifteen – but unravel it steadily does. In a series of sinister underhand comments and hints of suspicion and suggestion, O’Neill’s masterful script slowly opens the lid on how fearsomely dysfunctional this seemingly-innocuous family really is. Mary’s recent illness is slowly revealed to have actually been a period of crippling morphine addiction, and Clarkson’s jittery and unsteady portrayal of her at the start is symptomatic of its recent resurgence. Younger son Edmund, played by Boyle, does not have a mere cold, but is likely suffering from consumption as a result of his heavy drinking lifestyle (his depressing story definitely discouraged me from getting another beer in the second half…). Older son James, played by McCormack, is a wayward alcoholic who spends much of his time in brothels, and Brian Cox gives a stunning performance as the elder Tyrone whose ungenerous and unsympathetic character is partly to blame for his family’s ills. The play is long, and slow-paced in the first half, but never boring. With each subtle reveal the tension mounts and mounts, aided heartily by the high-strung performances of all the actors. A perfect storm is clearly brewing – one which finally breaks in the second half.

O’Neill is known to be heavily influenced by Shakespeare, and this is clearly evident in his portrayal of bitter drunken arguments and moments of deep emotional pathos which punctuate the last two acts of this play. They are relentless and they are devastating. I found particularly powerful the conversations between Boyle and McCormack, offering a gut-wrenching portrayal of the simultaneous beauty and destructiveness of familial love. Boyle, McCormack and Cox all offered spellbinding performances in this half, wrought with passion and heightened emotion. But particularly memorable was Clarkson, whose depiction of a mother slowly losing herself in the grip of morphine was absolutely heart shattering. Thankfully, comedy relief is at points offered by an enjoyable performance from the maid Cathleen, recognisable from Derry Girls. All in all, the eventual ending left me emotionally squeezed dry. I truly understood the power of catharsis then – it was so overwhelming as to actually be refreshing upon its close.

Long Day’s Journey Into Night is not an easy play to watch. At times, it is in fact, excruciating. It is not fun, it is not hopeful, and it is totally unrelenting. But it is masterfully written and masterfully acted from all parties, and I left it somehow feeling better about myself. For a Shakespearean inspired tragedy rewritten for the modern era, I would advise you to look no further. Though maybe mentally prepare yourself for the emotional rollercoaster…

‘Long Day’s Journey Into Night’ runs at the Wyndham Theatre, Charing Cross Road, London until 8th June. This play contains themes of alcoholism and drug addiction.