Sunday, May 11, 2025
Blog Page 963

One thing I’d change about Oxford… Cars

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Oxford has been around a long time, and it got by for centuries without cars. What has changed to make them necessary now? Why do we give up our precious road space for things that just want to kill us? I would give roads back to the people and their bicycles, improving our mental and physical health and saving countless lives from the torment of trying to cross St Giles on a Friday afternoon.

There would be real benefits to health. How many times have you been caught behind a bus cycling up Cowley Road, unsure of whether to go for the overtake or not, and then, just as you decide to take the plunge, a mini comes the other way at 600 mph and honks because apparently you’re in the way? This exact scenario happens to me every day of the week, and it’s severely stressful. On top of my two essays a week and mountain of reading, none of us has time to be killed in a road accident.

Yes, it does mean you’d have to walk back to college from Bridge rather than get a cab, but think of how fit you’ll be! And a long walk home allows for a much more extended period of social bonding with your peers than a short taxi journey where you’re trying to make awkward small talk with the driver to distract them from your friend vomiting out of the window. We would be better friends and better people without cars.

How many car accidents were there in Oxford in the 17th century? None. Were we still one of the best universities in the world? Yes. I don’t think we would lose anything from outlawing vehicles from the roads, and we’d be saving countless tens of minutes per person by not having to wait to cross the road.

Oxford’s best centuries are behind it, buried beneath screeching rubber and blaring horns and a never-ending stream of Brookes buses. Students are a persecuted people preyed upon by hungry vehicles with no concern for the welfare of us hard-working pupils, and this tyranny must end.

Trump’s trump card: a twisted tale

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Trump. That simple, thudding, monosyllabic surname perfectly capturing the singular, elemental force of personality which has changed everything forever. He is the man who is one step away from becoming the most powerful person in the world, and he got there simply through brazen self-confidence and determination (talk about fulfilling the American Dream). Whatever issues his ascendancy might raise pertaining to matters democratic, Trump has single-handedly rendered political satire redundant, shattered the American Right and been the star of the greatest reality show on Earth. Politics is performance, and Trump is its Brando. Rolling Stone recently put out an article suggesting that Trump was simply there at the right time: a time of peak distrust and polarisation. Yet while the stage was certainly set, this plot has been driven in unprecedented directions largely thanks to one man.

It’s funny—for the last year, he has been the most ubiquitous and discussed issue, one which has been dissected and analysed with all manner of hot takes, and yet he continues to mortify and repulse. Every time one might think he’s peaked, he goes one better, happily defying every prediction in the process. We were first assured that by denigrating Mexicans, he proved himself a clown who would have little impact on the race. We were then told his comments on McCain would be his undoing, but despite his willingness to be openly racist and generally unelectable, Trump allowed himself to attain his party’s nomination. Next was the popular expectation that Trump, reformulated as a canny political operator, would pivot to the centre after winning the nomination. He could have done that. He did not. Is this, then, one man’s epic mess of neuroses and insecurities? Is Trump being himself, stumbling from one absurd twist to the next, desperate to preserve his ego? Tempting and possibly true, but not exactly true.

Laurie Penny tells us Trump represents a crisis in masculinity—the view that he is the disempowered white working man’s protest against a society in which his job is being outsourced, his religion sneered at, his traditional values unravelled and, most infuriatingly for him, where women are granted equality. Then there’s the argument put forth by leftists like Sanders that Trump is a form of economic desperation, the fury of the left-behind at poverty and inequality, turning to extremism due to the failure of moderates. Most common is the view that he is simply the “inevitable” conservative counterrevolution to globalisation, lambasting free trade and the weakening of the nation. These are popular explanations because they reinforce the existing beliefs of those who espouse them and because they comfortably explain scary things.

Yet although Trump is repugnant toward women, as far as traditional values go, he remains to the left of Ted Cruz and Marco Rubio on abortion and gay marriage. His character is certainly misogynistic, yet until the scandalous 2005 tape was released, he did comfortably amongst the same white married women who had backed McCain and Romney. Viewing him as the Men’s Rights Activists candidate is too simplistic. Moreover, the notion that he is an expression of penury is untrue, not simply because he had wide support in the primaries amongst all socioeconomic groups, but because those most in tune to him are not the poorest, but what we in the UK might term the lower middle class, especially in communities which are predominantly white.

In a sense, Trump is not so much the riposte to actual decline, although outsourcing and wage stagnation presumably play a part, than to perceived or anticipated decline. Although it is understandable to view him in terms of his sexism, Trump’s rise is much more down to racism. His is a demographic born popular protest, one built upon foundations laid by the Tea Party and Republicans going back decades. What do his supporters chant about? Tariff proposals or tax plans? They chant about the wall. Some, not least Trump himself, seem to object to the very existence of black and brown people. When racism is expressed not merely by the poorest but by the comfortable Republicans too (and even now, Trump’s support amongst the core Republican vote is resilient), can we really ascribe the American culture war to economics?

There is another problematic component to Trumpism: authoritarianism. Although comparisons to European dictators are crass, the strong-man ideology is blatant, repeatedly making the case that “I”, not “we”, will restore greatness. The policy proposals, bombing, banning, building, are potent and physical, appealing because they are grandiose gestures of power, something precious for those who feel powerless.

But third and most importantly, Trump is just a brilliant comic performer. He concluded his Republican National Convention speech with, “We will make America great again—thank you and goodnight!” Trump is so much closer to resembling George Carlin than he is to Hillary Clinton. Audiences have long crowed with delight when a sneering stand-up comedian “destroys” politicians with some simple populist critique. Trump has simply taken this facile political commentary to the next level, injecting it into the political sphere. It is perhaps this, more than his racism and authoritarianism, that forms Trump’s great innovation. He does not care for such etiquette as the party line: he happily speaks of special interests and retweets conspiracy theories; he makes a joke about his genitalia to mock Marco Rubio’s pathetic attempts to look tough. Although culture has worked tirelessly to reflect him, the most accurate representation of Trump predates his rise: the Black Mirror episode “The Waldo Moment” encapsulates the nature of this ingenious innovation. It’s political satire gone mad.

The final twist, then, is for the Trump moment to survive, it has to lose. What would have happened if he’d won? Disappointment and failure. Wish fulfilment fantasies break upon impact with reality. And so, November is not the end. Any Republican who believes they can simply go back to the old bread and butter of faith and free market fundamentalism is in for a fright. Whether he will maintain his campaign through a new media network or some other venture, Trump’s mobilisation of the “deplorables” who share his worldview has astronomically expanded his audience. Trump went into this election to attain a raised profile and grow his fanbase. He’s won.

Should subfusc remain mandatory in Oxford?

YES: Subfusc may be anachronistic, but it is one of the many traditions that make the university unique

Daniel Villar

It isn’t every day that you find a Wadhamite defend tradition. Indeed, most of my fellow members of Wadham College would likely disagree with what I am about to say, considering that a few years ago when the continuing use of subfusc for exams came to referendum, within Wadham it lost. Thankfully it won in the university as a whole. But there you go, odd things do occur. I am a Wadhamite for subfusc.

Subfusc is one of those myriad of odd details which separates Oxford from other universities. Like formal hall, tutorials, and the Union’s No Confidence Debate, it is a tradition which harkens to an age when Oxford was a rather different institution than it is today. Which is no doubt why many students would like to get rid of subfusc.

The subfusc is a tad anachronistic. It is a sort of robe that we all have to wear, which has no apparent use other than to make our Facebook feeds look pretentious (especially when we wear it while punting down the River Isis and drinking Prosecco). Yet anachronism isn’t a reason in and of itself to remove something from usage.

Think of how dull life would be if we were to tear down every anachronism around us. The medieval structures of many Oxford colleges would have to go, since they aren’t as efficient in housing students as modern cement blocks would be. Many of the libraries would have to have bonfires of their collections now that they can have their collections fully digitised—why, perhaps this whole university is an anachronism, in this internet age where anyone can learn anything with access to the world wide web.

Anachronism is no argument for abolishing the subfusc. But by the same token things shouldn’t be blindly defended because they are anachronisms. Indeed, there are two sorts of anachronisms; there are harmless anachronisms and there are pernicious anachronisms.

A pernicious anachronism is one of substance, which can have an actual palpable effect on life. Examples of such anachronisms would be the ancient public schools, the electoral college, and the House of Lords. In each of these cases the defenders of these institutions call upon a Burkean defense of tradition to defend institutions whose influence on society is, on the whole, negative. Respectively, they lead to a system whereby the school your parents could afford to send you to dramatically alters your life chances, or create a system whereby the looser can win the presidency and subvert the ideals of democracy.

But while pernicious anachronism ought to be done away with, things aren’t so simple for all anachronisms. Issues of style are harmless anachronisms, which aff ect the veneer of life. These include formal hall, printed books, and subfusc.

Each of these is a relic of the past, and in some cases is superfluous. After all, ebooks could replace printed books, we could all just have dinner in cafeterias, and we at Oxford could do as other universities do, and not have subfusc. But in doing so we would be throwing away a beautiful tradition.

Traditions such as subfusc serve a myriad of purposes, but one of the most important is to ground us. When we all walk into the Sheldonian Theatre, dressed in subfusc, we become grounded in the history of our university.

Generations of students at Oxford have done as we do, wearing subfusc, and hearing Latin phrases. It reminds us that no matter how long we spend here, we are just moments in the history of this university. It is at that moment that we become equal to the greats who stood as we do, dressed as we do, who went here.

Yes, subfusc is a bit anachronistic. Yet so is most of what makes life worth living. Live showings of Shakespeare, an old edition of the Oedipus Rex, bow ties, all these things are a tad anachronistic. Yet who would want to abolish them all? Subfusc should be kept in order to keep Oxford being Oxford. Getting rid of it would just be one step towards making Oxford like any other university, making it duller and less interesting. Subfusc is unique to our university: we should be proud of that fact.

So next time someone complains of having to wear subfusc, just tell them that if it annoys them so much, there are good universities in American without such traditions!

 

NO: Subfusc reinforces the view of Oxford as an institution that is selfimportant and out of touch

Tess Leyland

Everyone has their pre-exam ritual. Some people go for a run, some go to breakfast, others read over their notes. Desperately hunting around my note-ridden bedroom for a ribbon is not, I hope, something that will continue to be part of my ritual.

Some argue that wearing subfusc for your exams is a helpful part of the process. It allows you to enter the right frame of mind, to do the best that you can. I would disagree with this position. Rather, I found the process to be intimidating and patronising. Other than prelims, the last time I had been required to wear a uniform for exams was during my GCSEs. I find this makes the whole experience significantly more intimidating; memories of my sixteen-year-old self nervously filing into the exam hall, desperately trying to remember basic physics, reared their head. Not thoughts that are particularly steadying when you are about to take an exam at one of the world’s leading universities; confidence is, supposedly, key.

But it seems as though the university is intentionally trying to diminish that all important confidence on exam-day. Not only are you treated like a teenager facing their first exam, but you are presented with a fresh set of elaborate worries that have not been dealt with before. Where’s my ribbon? My mortarboard? Am I meant to wear it during exams? It is true that some colleges demand varying levels of academic dress for collections—but the fear of being turned away from your examination due to incorrect dress is an unnecessary stress.

Yet the trials of subfusc do not end there; rather, the Oxford student is faced with another humiliation before arriving in their exam hall. Walking down High Street. Exams are taxing enough without hoards of tourists lining the streets to gawp at you, to take photos and point. I remember the feeling of being a performing monkey, a crowd pleaser. Leading me to wonder, is subfusc really anything more than another piece of the ‘Oxford’ show? Something to keep the tourists coming back?

Not only are there practical issues with subfusc, but more fundamental ones too. Subfusc takes away your choice. Examinations are stressful, and students should be allowed to feel as comfortable and relaxed as they possibly can. They should be allowed to control something about their situation. If they wish to wear academic dress, then great, but if not, they should not be forced to do so. Individuals are comfortable with different things, and to enforce a compulsory academic dress is to disregard that. We have all proven that we are more than able to work well in our own clothes; through tutorials, lectures and labs. We are all adults, and have been able to dress ourselves for a long time—the university should be concerned with our essays, not our outfits.

Furthermore, Subfusc is simply one more element of Oxford life that serves to alienate the institution from the rest of the world. Whilst most universities have academic dress for graduation, few demand their students to purchase it upon arrival. Yes, these quirks may have their charms; I am not denying that walking into the Sheldonian Theatre in your subfusc on matriculation is quite the experience. But this compulsory dress simply serves to further reinforce the view of Oxford as a self-important, out-of-touch, elitist institution. We strive to separate ourselves from other universities based on our dress; a dress that is intentionally anachronistic. We have to remind the world that we are different, that we are better.

Oxford has recently been confronted with its problem with access and admissions, with the Sutton Trust releasing a survey this week stating that 4 in 10 state school teachers would advise against applying to Oxford or Cambridge. But while traditions such as these still exist, why are we surprised by such statistics? They simply service to perpetuate the image of Oxford as a posh, public school haven, a world that is only for the select few. An image that students are forced to conform to during their time here, whether you wish to wear such uncomfortable formal wear or not.

Subfusc is one of the most visible signs of Oxford’s ‘unique’ nature that simply serves to consolidate the idea amongst state schools that ‘Oxford isn’t for me’. What may seem a tradition that is at best comic, and at worst inconvenient to many, has far reaching implications.

Subfusc is not an element of Oxford life that is crucial to our experience. Rather, it is one we would do better without.

Backstage with Claudia Graham

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What does working in production involve?

A lot of people think that producing is just about the money side of things, because you do have to put together a budget, and that is a large part of the role. You have to get the money and decide how to distribute it between set, costume and venue. But there is also an element of logistics, setting up meetings and making sure that everyone in your crew knows what they are doing and getting on with the tasks. It can be creative as well: you need to work out what you want to do versus what is possible, and you have to get around budget problems. I enjoy seeing something through from the very beginning to the end product.

Which shows have you been involved in?

Last year I produced Thark, Pripyat, and The Weir and I production managed for A Christmas Carol which was a non-student production. I was also the co-producer on XX which we took to Edinburgh Fringe!

How do you secure funding for a production?

There are a few different funding bodies, some of which are specifically for student drama. So you have to put together a bid, which includes mini biographies of your team, your vision for the show, some set designs, and why it is financially and logistically viable. You bid for a venue and you’re in competition with other shows, and once you’ve got it, you send your document to the funding bodies and ask them for money.

What’s difficult about your role?

Being the person that says ‘no’. Directors sometimes have outlandish ideas, and you just have to say ‘that’s not going to be feasible’ or ‘we can’t afford that’. Which is really hard to do, especially when you think that it’s a good idea! You have to be the realistic one. For example I’m part of a theatre company called ‘Poltergeist Theatre’ which I set up with Jack Bradfield. He’s a great director, but he’s definitely someone that I have to rein in… (laughs)

What did you expect when you started producing?

I started accidentally so wasn’t expecting all that much. I underestimated how close you get with your cast and crew. You become such a team because you spend so much time rehearsing together and everyone feels so proud of the end product.

Is there anything you are currently producing which we should look out for?

Much Ado About Nothing in 7th week of Michaelmas. There will be a Christmassy feel to it. We are focusing a lot on what the characters see and what they misunderstand, which is where a lot of the comedy comes from. We also have some surprises instore with the set which I won’t divulge now – it’s going to be very exciting!

Do you have any advice for people wanting to get involved with drama?

People shouldn’t be put off by how insular it seems. People look at the drama people as separate, but they’re all nice people and you should get stuck in if you’re interested!

Profile: Ji-Hyun Park

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The gangrene was ripping through Ji-hyun Park’s leg. She was so close to death that the guards threw her out of the camp, after which she was trafficked to China for the second time in her life. This time she would make it all the way to the UK.

The experiences she has lived are of an incomprehensibly difficult life. She is one of few people who has managed to escape North Korea twice. Earlier this week, I had the chance to hear her story and speak with her in a talk hosted by Oxford International Relations Society.

“My story is the story of every woman in North Korea”, Ji-hyun accentuated at the beginning. She first defected from North Korea in 1998 with her brother after he was almost beaten to death for leaving the military. With their father’s help and urging, they made it to China.

Soon, she was separated from her brother and forced to marry a Chinese farmer by the human traffickers who got them across the border. Later, Ji-hyun and her arranged husband, who treated her like a physical and sexual slave, had a child, who was proclaimed stateless by the Chinese government. After neighbours discovered her identity, she was deported back to a North Korean labour camp and separated from her child. In 2008, she finally managed to escape North Korea permanently, reunite with her son, and settle in the UK.

Sharing her story to students of Oxford University was obviously an emotional experience for Ji-hyun, which showed both in her speech and the reaction of an enrapt, hundred-person audience.

Ji-hyun’s talk was filled with anecdotes of the horrifying conditions and human rights violations in North Korea. She described how she wished to hide her past when she came here. She told the hall how she couldn’t look people in the eye because, back in North Korea, guards considered eyecontact disrespectful.

Someone from the audience asked whether Ji-hyun finds anything in North Korea better than in the UK. Her immediate and definite answer was “No.”

When I got a chance to meet with her after the talk and ask her about her day-to-day life before she defected, I learnt that her experience had been immensely inhumane.

Her daily routine consisted of 20-hour shifts of hard, agricultural labour in horrific conditions. While there, she and three other women would regularly have to push tonnes of agricultural product in a cart.

“We were treated like animals”, Ji-hyun said. “The hygiene was terrible and we never had the chance to wash up”, Ji-hyun said, highlighting the difficulty of being a woman in these conditions. “I never thought about the future”.

They often did not have food, but would be told they can be fed on political ideas when actual food runs out.

It was here that she developed gangrene and nearly died after a severe beating by the guards and a festering infection due to unhygienic standards. She managed to convince the doctors not to amputate and was released to an uncle.

She’s said in the past that she only began to relax and plan for the future when her plane touched down at Heathrow after years of limbo, escape and trial.

Through her time in prison camps and early life in North Korea, she received no information about the outside world. “North Korea is closed”, Ji-hyun noted simply.

In many way, the state exists essentially separately from the rest of the world. “It would be important to send reliable information to North Korea”, she continued. “Today, many people in North Korea do understand that the government is problematic”.

Ji-hyun also emphasized how the change has to happen within North Korea and its people, “North Koreans must stand up and fight the North Korean government”.

Lack of information on the country extended to Ji-hyun’s knowledge of her family’s whereabouts. Ji-hyun still doesn’t know what happened to her father, whom she had to leave behind, when she first defected. On top of that, when she got sent back to a North Korean labour camp, she also couldn’t contact her child until she left the country again.

Sharing information has another big role in Ji-hyun’s life. When asked how to best raise awareness of the human rights violations in North Korea, Ji-hyun answer was: “We need to share our story”.

She stresses that those who have managed to get out need to spread the word of their experiences in order to raise awareness for North Korean people still in the country. Today, Ji-hyun works as a human rights activist for the European Alliance for Human Rights in North Korea and is developing their outreach program.

With a line out the door and a big crowd lingering behind to have a chat with Ji-hyun after the talk, it’s obvious people are interested in knowing about somewhere like North Korea and spreading its realities, as she does, is possible. In addition, Ji-hyun’s story sparked many questions from the audience ranging from censorship in North Korea to YouTuber Fun For Louis’s recent videos about the country.

Noting the increased interest in human rights violations from reporters, Ji-hyun lamented that many of these journalists were insensitive, wishing they would treat her more compassionately when asking for interviews about North Korea.

“We are also people”, she said simply.

Today, Ji-hyun has finally had the chance to experience happiness in moments many of us shamelessly take for granted, like a comfortable life in Manchester with her family.

“When I first came to UK, the most shocking thing was couples holding hands in public, kissing even”, Ji-hyun said. “It was shocking—and also amazing”. Ji-hyun described how her time living in England starkly contrasted with her experiences in North Korea. For example, public displays of affection were unheard of and it is deemed proper to exhibit very little emotion, even to one’s own family. It’s taken her time to get used to the cultural shift, but it’s getting easier.

“Nowadays, sometimes we even hold hands in public with my husband when we are shopping.”

In the end, Ji-hyun learned English to get closer with her kids. “One day my children brought home a letter from their school and homework, but I couldn’t help them”, Ji-hyun said. “I decided that I want to learn the language, as I couldn’t show emotion to my children otherwise.”

It is these kinds of remarks about happiness and emotion, which makes it so hard to imagine what kind of background Ji-hyun has. Yet, after hearing her story, it’s hard not be stricken by her composure and strength as she has waded through such difficult times only to make it out and, to use her words, share the story.

A treasure trove of unrequited love

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Unrequited love has become something of a hobby. I say ‘love’ for ease and aesthetics— ‘infatuations borne out of lust, boredom and having read too many romance novels’ doesn’t quite have the same ring to it. Unrequited love is something to make your toes tingle in an odd sort of way, something to push me to the bitter edge of my emotional capacity and draw me back down to Earth again. It often doesn’t even hurt. It’s just something I do to switch my brain off. My equivalent of knitting, Twitter or Suduko.

There may be times when the habit of unrequited love passes that fine line between enjoyable melancholy and real, raw, searing pain — and that is when you end up snottily crying in a stairwell, wishing you’d just played Candy Crush to pass the time instead.

On the bright side, my pathetic peccadillo has given me a treasure trove of unrequited love songs. It started with Kate Nash’s ‘Nicest Thing’, which captures the latent narcissism of unrequited love. It is not enough to find someone who is wonderful and savour the small golden things about their personality.

You need them to feel the exact same way about you. Nash sings about how she wishes her beloved would map every mole on her body and be unable to sleep or eat without her. She wants to be valorised and obsessed about in a way that is hardly realistic, or healthy. Yet her series of bratty demands, reaching a desperate crescendo alongside whining violins, perfectly encapsulate that secret human desire to be utterly, irrevocably and unconditionally adored.

A similar kind of bitter yearning pervades so much of Radiohead’s music. In ‘All I Need’,

Kate Nash

the mind-numbingly heartwrenching In Rainbows track, Thom Yorke evokes the self-destruction that often underlies our obsessions with people who will never want us back. When he laments “I am a moth/ Who just wants to share your light/ I am just an insect/Trying to get out of the night”, he seizes upon how unrequited lovers believe that all their happiness lies in a certain person, without realising that, like the unfortunate moth, their desire can never be anything but damaging.

Rufus Wainwright sings about a girl who falls for ‘The Art Teacher’; Rembrandts, Turners and John Singer Sargents feed into and inform her love for the man who opened up this world for her. Years later, she has swapped uniform for a pant-suit yet is still devoted to him. This is the stagnation of unrequited love, which, never having the chance to reach the logical conclusions of reciprocal love affairs, often never truly dies. Wainwright’s besotted teenager has grown up, but her outfit is still “uniformish”, gesturing towards the vulnerable, younger self so many of us still carry with us, especially in relation to our old, unfulfilled loves.

Review: The River

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9/10

Jezz Butterworth’s The River demonstrates an acute awareness of the anxieties that plague human relationships, and Tallulah Vaughan’s 2nd week production at the Burton Taylor Studio retains every inch of this. We are invited into a cottage at an unspecified rural location by our similarly unnamed protagonist, a nod to the play’s embrace of universal themes. The protagonist is in the throes of an early romance with a woman he has enticed to his riverside cottage to introduce her to his foremost joy in life: sea trout fishing. However, after a scene change in which we witness a similar interaction with a previous lover we realise that this routine is, indeed, routine for him: and so begins a long series of lies that threaten to undo the parallel relationships we witness during the 80 minutes.

The cast is superb, with palpable energy and chemistry sustained between each of the couples throughout. This is in part aided by the intimacy of the Burton Taylor Studio as a performance space: no body language goes unnoticed by the audience, with each glance and hand placement adding to the intensity of the relationships portrayed. Charlie Tyrer plays the almost psychopathic ‘Man’ with commendable intensity, clearly conveying the complexities of an individual who struggles to approach his love for women with the same commitment as he does his love for fishing. He and Megan Thresh (The Woman) perfectly capture the awkward eager-to-please stages of an new relationship, keen to ‘do things’ for the other – ‘describe this sunset’ ‘read this poem’, and most importantly, come fishing – in attempt to engage with one another’s interests and passions. However, this exposes most clearly the metaphor of fishing for ‘reeling in’ women: just as she discovers she is by no means the first woman brought to the cottage, she reveals that she has been able to fish since childhood, prompting, albeit in a very comical scene, a rage comparable to her own. Thresh’s performance is excellent and very believable, with her tolerance being pushed ever closer to its limit.

Scene changes are handled cleverly and smoothly; the Woman leaves to shower whilst the Man prepares dinner, and the Other Woman (Ella Jackson) returns. This relationship is just as expertly acted, and Jackson brilliantly handles the emotional blow of romantic dishonesty. In the second half the script begins to drift into cliché, and Butterworth is at times too self-consciously literary: a kiss on the neck is like ‘gold shining down my spine into my stomach’ and the Man has ‘no next breath’ without saying ‘I love you’. This threatens to undo the subtlety of the first half, but the play is saved by the exceptionally engaging performances and right amount of ghostly tension that pervades the drama throughout. Overall the play is watertight and not worth missing: mysterious, comical and poignant in all the right doses.

Self-harm prevention app launched by Oxford students

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An app has been developed by Oxford University students with the aim of preventing students from self harm. Funded by the Oxford IT Innovation Challenge, Self-Heal is an anonymous and independent application that allows students to access motivation for recovery independently.

Self-Heal uses distraction tasks which are “inspired by techniques used in dialectical behavioural therapy (DBT), which is the frontline psychological therapy used in the UK to treat self-harm”. A gallery of over 750 different images and captions is used to motivate recovery, whilst the app also provides “distraction” techniques which is a key coping strategy to combat self-harming. Distraction methods include meditation and relaxation techniques, activities, and thought-provoking videos. Useful websites, articles and contact numbers are also available on the app at a click of a button in case of emergency.

It is estimated that 10 per cent of young people self-harm, with higher rates among women of which almost 1 in 5 between the ages of 16- 25 self-harm, which also leads to an increased risk of suicide.

Hadassah Buechner, a biomedical science undergraduate, has been working on the team to develop the app since July 2016, concerned about the stigma surrounding mental health issues like bipolar and schizophrenia. She argued that Self-Heal provides more immediate and accessible care than other support systems.

Buechner told Cherwell she wanted to widen the variety of support concerning mental health, emphasising that raising awareness about mental health problems should be a “top priority” for all Universities as academic stress has significantly contributed to its increase. Although the discussion about mental welfare and support is available in Universities, Buechner argues that this discussion “hasn’t yet reached its goal.”

The University currently offers both individual and group counselling services, a Peer Support Programme and weekly work shops such as mindfullness, combatting insomnia and overcoming panic. OUSU also provide mental health support through campaings such as Mind Your Head. Students can also see counsellors within college or their college doctor for mental health advice.

This news comes amid recent reports that demand for student mental health support including counselling has risen by 50 per cent in the last five years. First-year and international students are par- ticularly vulnerable, with higher proportions seeking counselling.

Keith Hawton, Professor of Psychiatry at Oxford, who has focused his research into self-harm told Cherwell that self-harm is an “extremely important public health issue” with a major impact on families, friends and colleagues.

Dervla Carroll, welfare representative at St Anne’s College JCR, sees the app as a step forward for mental health in Oxford. She told Cherwell, “We need to recognise the necessity of creating tools which are effective in managing ongoing mental health issues while simultaneously allowing easy integration into students lives. People who self-harm often struggle with a variety of triggers. For example, some people struggle with certain times of the day. In my opinion, this app is a natural step towards improving resource accessibility, which can only help to empower those struggling with self-harm.”

This follows recent improvements in how Oxford University is responding to mental health challenges. Student minds, a mental health charity for students, runs workshops at the start of every academic year. Nightline is a number that any student can call throughout the night for reassuring words. The service is free, anonymous and completely independent. It’s staffed by students from Oxford and Oxford Brookes from 0th week to 9th week running between 8pm and 8am.

The app is available now to download for free on Android and Apple.

Hash-up breakfast at the Randolph

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Oxford’s Randolph breakfast has come under fire from top food critic Giles Coren, who branded it “unfit for consumption in all but the grisliest prison”.

The five-star hotel located on Beaumont Street charges £21.50 for its fry up, which the Times writer awarded a 0 and branded “scandalous” in a tweet of the fry-up last Saturday.

The Randolph Hotel hit back at the review saying it was “disappointed” that Mr. Coren’s experience did not reflect its high standards.

It was also pointed out that for this price of £21.50 the food critic could have helped himself to 58 different products, including a range of cheeses, cold meats, pastries and cakes.

Despite his scathing review of the fry-up, columnist did give the hotel, which is situated just across the road from the Ashmolean Museum, a ten for its location.

In his review, he compared the mushrooms in the cooked breakfast to “cuttings from the scrotum of a tanned badger”.

He also added that the sausage was partly burnt and the single hash brown cold in the middle, claiming it is the “worst meal” he has been sold.

To test the accuracy of Coren’s claims, Cherwell sent an undercover reporter to the Randolph Thursday morning to sample the hotel’s full English breakfast. “To be honest, the bacon was undercooked, which is a cardinal sin,” he said. “But the breakfast did come with complementary tea and orange juice, so I think that’s more or less a wash. The eggs, as it so happened, were overcooked: I like a good runny egg, but the yolks were almost hardboiled. I have no complaints against the hash browns, black beans, or mushrooms, but I don’t think that says much at all. It is hard to butcher beans.

“More fundamentally, it remains unclear to me why anyone would enjoy an English breakfast at all. And the fact that the Randolph in no way impacted my view on this probably shows the meal wasn’t worth the £24 post-gratuity.”

News summary – 1st week

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