The Pilot
MICHAELMAS 2024
Editorial
Welcome to the Michaelmas 24 Edition of The Pilot, a journal which hopes to showcase the outstanding work, across the curriculum, of Chigwellians. As always, we are very grateful to Mr Edwin Aitken for his curation of the art you see in this edition. The citations from some academic works have been removed, but a full set of references is available on request. The editorial team wish you a lovely holiday.
CONTENTS
FRONT COVER: STREET
2. Editorial
3. The Market of Fragility
Mehaki Chan
Indira Sarkar
5. Remix (oil on canvas) Oren Noy
6. Doit-on lutter contre l’intégration des mots étrangers dans la langue française? Julianna Zajda
7. Global Warming (photoshop)
Matthew Johnson
8 Can the world buy such a jewel? Gender in Much Ado About Nothing Millie Walsh
10. Rainbow Fish Merzi Davis
11. Programming
13. How heroic is Theseus?
Evan Page
Sarah Demianciuc
14. Fish Collages Max + Edith
15. Fish Collages Maya + Jayan
16. The Placebo Effect
25. Japan T-Shirt
Emily Ellison
Sofia King
26. Art and Americana Roma Pabila
30. Quiet Days Holly Leitch
34. Remix (coloured pencil on paper)
James Holmes
35. The role of La Poncia Tom Rea
39. Festive Mathematics Alex + Isaac
BACK COVER: ALBUM COVER DESIGN
Josie Milroy Ward
Indira produced the following allegory inspired by George Orwell’s Animal Farm. The glass statues are made to represent the role of a woman in society. Victor and the sellers/buyers are made to be those complicit in the exploitation of women through their beauty. The glass represents fragility. The tumbling of the marketplace at the end indicates society crumbling through one woman breaking the oppressive standards of beauty, burying those content to exploit women with it. Cracks appear in the statue because of Victor but Indira also suggests that the internalization of society’s beauty values instilled in a woman causes her to destroy herself from the inside out.
The Market of Fragility
Victor assessed the scene before him with some degree of awe, eyes scanning the archaic labyrinth of stalls and eager vendors willing to catch his eye. The market seemed to be connected through a vast, intricate system of endless taut pieces of silk, intertwined above the bustling arena, loosely connecting each and every stall below, and adorned with many detailed adverts about the market’s specialty (the very thing Victor had made this arduous journey for): their unique glass figurines. Eyes freshly alight with the recollection of the purpose of his visit, he grasped the handle of his briefcase, adjusted his tie slightly and made his way towards the cluster of stalls selling the figurines, navigating the marketplace with some degree of difficulty. Glimpsing Victor’s attire, a nearby vendor directed his attention to a stall labelled ‘The Statues of Beauty’, to where Victor promptly approached – strutting past the ‘The Statues of Resolve’ and ‘The Statues of Intelligence’ with a cynical, denouncing glare and a flare of the nostrils.
Victor scanned and quickly dismissed his first options: he was beginning to think the vendor was trying to insult him by flaunting his least appealing statues. But, Victor made it clear he had standards to maintain through witty remarks such as: “I could never buy a statue with such terrible posture!” and “Those hands are much too coarse!” Impatience growing, the vendor plastered a stiff smile on his face and placed a small, delicate statue on the surface in front of him, praying that this object would be to the strange businessman’s liking, and enough to satisfy his specific tastes. Victor gazed at the statue in a stupor, eyes twinkling with desire as he absorbed her smooth features. One leg was neatly tucked behind the other, her dainty arms were folded in her lap, and her stance was resembling that of a bow. A pair of downcast eyes lay above her pointed nose, small freckles dotting her immaculate complexion. A single thread of silver weaved its way through her long braids, enhancing her intricacy and appeal. The statue was perfect, and Victor purchased it before escaping the maze of a market. The next few days were a blur of yearning sentiments in regard to the statue’s pulchritudinous nature, which seemed to Victor as if they were getting sharper each day. In fact, so many utterances were exchanged that Victor felt reluctant to set out the next morning for work, out of a longing to admire his statue’s features further. However, he did so, and his statue waited patiently for his arrival each day. For a few weeks, this continued, but gradually, his statue became aware of a slight shift in Victor’s affections. Instead of arriving home and whispering loving remarks as he had always done, Victor became somewhat disgusted by her and began to regard her with some degree of scorn, even going so far as to lament over her once-perfect qualities with pity directed towards himself. Because of this, the statue grew disheartened, and, with her entire semblance of being based on physical attractiveness, grew despondent.
Meanwhile, Victor’s accumulating resentfulness manifested itself into violent habits, occasionally lashing out at the statue and pointing out her imperceptible flaws while exclaiming his regret for ever wasting his money on her. From that point onwards, Victor’s statue underwent a process of physical fragmentation. Indiscernible cracks had appeared on her figure, created by his incessant torments, and she grew to dread the formerly precious time of hers when he used to return from his work and look at her with a soft awe. Now, the only time she was graced with his attention was when he needed an outlet for his pent-up rage.
Unwilling to sit idly and feel sorry for herself, the statue threw herself into her appearance, making sure to display only the very best angles of herself to Victor and his ever-searching eyes. But alas, her efforts were in vain, as Victor’s scorn was immovable as ever. Shards of glass started falling from the old statue’s perfectly curved features, ruining her smoothed complexion, and deepening the cracks already lingering inside of her.
Eventually, Victor must have noticed her fragmentation, as he reluctantly made the journey back to the market and proceeded to raise his voice at the kindly vendor asking why his figure wasn’t operating as promised and gesturing at her cracked complexion. Even after enduring all of this, the glass statue kept her bowed stance and stared numbly at the ground in a stupor, unwilling to raise her eyes for fear of the manic reflection she was sure she would see in Victor’s eyes. “You see that coarse skin? That’s not what I paid you for! I was deceived – I thought I was purchasing a perfect doll, but instead I got this deformed eyesore!”
And then the statue broke. Shards of glass flew in all directions, ricocheting across the interior of the marketplace and instilling a sense of panic to all who resided there. A brief chaos ensued, vendors and buyers ducking underneath stalls and protecting their heads from flying pieces of glass. Several of these pieces had penetrated the intricate web of silk holding the market in place, causing everything to collapse into a heaving mess at the bottom of several pillars, Victor buried deep underneath the rubble.
INDIRA SARKAR REM
In preparation for her French A level speaking examination, Julianna has produced the following IRP.
Doit-on lutter contre l’intégration des mots étrangers dans la langue française?
“L’ensemble de ces mots pollue très gravement la langue française. Au fil du temps, ils vont amener à sa destruction.” Ces mots de Jean-Marie Rouart, un membre de l’Académie Française, décrit la peur de la perte éventuelle de la langue française, que beaucoup de personnes dans l’Hexagone partagent. Mais cette peur est-elle rationnelle ?
La langue française existe sous une forme ou une autre depuis plus de 1000 ans. Elle est devenue la langue administrative officielle en 1539, grâce au roi François Premier dans le château de Villers –Cotterêts, récemment devenu Cité Internationale de la Langue Française, et inauguré par Emmanuel Macron en 2023. Le président a parlé alors d’un désir de protéger la langue française. C’est vrai que la francophonie a souffert il y a peu de temps d’un afflux de mots étrangers, en particulier les mots d’influence arabe et anglais. Mais, avec l’augmentation des populations immigrées et le progrès technologique rapide, on pouvait s’y attendre.
L’académie française d’une part, ainsi que la loi Toubon plus récente, ont été créés dans le but de préserver la pureté de la langue française. En effet, cette dernière, inscrite en 1994, interdit l’usage des termes étrangers lorsque existent des termes français, dans tous les documents officiels du monde professionnel. Pourtant, en tant que langue vivante, le français est amené à des changements et des influences culturels, particulièrement venant des jeunes. Par conséquent, est-il impossible ou nécessaire de stopper une évolution inévitable et historique de la langue de Molière ?
Should we fight against the integration of foreign words in French?
“All of these words severely pollute the French language. Over time, they will lead to its destruction.” These words, spoken by Jean-Marie Rouart, a member of the Académie Française, describe the fear of the eventual loss of the French language, that many people in mainland France share. But is this fear rational?
The French language has existed in one form or another for over 1000 years. It became the official language of administration in 1539, thanks to King Francis I in the castle of Villers- Cotterêts, recently transformed into the International Centre of the French Language and inaugurated by Emmanuel Macron in 2023. There, the president spoke of a desire to protect the French language. It’s true that the francophone world has recently suffered an influx of foreign words, in particular ones influenced by English and Arabic. But, with the increase in immigrant populations as well as rapid technological progress, that was to be expected.
The French Academy on the one hand, as well as the more recent Toubon law, were created with the aim of preserving the purity of the French language. In fact, the latter, written in 1994, forbids the use of foreign words to replace already-existing French terms, in all official documents in professional settings. However, as a living language, French is subject to cultural changes and influences, particularly from young people. Therefore, is it impossible or even necessary to stop an inevitable and historical evolution of the language of Molière?
JULIANNA ZAJDA MVI
In this essay in response to Shakespeare’s Much Ado About Nothing, Millie explores how Shakespeare presents Elizabethan gender roles.
In act 4 scene 1, Shakespeare presents men as dominant figures who rule over the women and excessively control them. The men also have extremely strong fraternal bonds and protect their honour and loyalty at all costs. However, the women were presented as objects who were silenced by men and unable to think for themselves. Their virginity was highly valued, and it determined the reputation of them and their entire family.
Shakespeare presents patriarchal society as holding high power over women; there is an imbalance of power and the men abuse this, often unfairly favouring fraternal bonds over women. We can see this in Act 4 scene 1 at the wedding when Claudio steps forward and publicly shames Hero because he thinks she has been disloyal with him. Leonato is disgusted at the accusations towards his daughter and in a fit of rage, exclaims “Do not live, Hero.” These savage words show the extreme authority Leonato has over Hero because it implies that she must pay for her sin by giving up her life. The use of the negative imperative displays how Leonato thinks that this is something he can decide because he is ordering his daughter to die. When Don Pedro comes forward to defend Claudio in the matter he insults hero by stating he doesn’t want “to link [his] friend to a common stale.” The offensive expression “common stale” has connotations of being rotten and unchaste because it implies that Hero is slept around is not worthy of being married to Claudio. Fraternal bonds is also shown as the prince, a large voice of power in the Elizabethan times, defends Claudio like a brother would. The word “friend” shows Don Pedro’s offence to the fact that Leonato is trying to make his friend (a person you love and care for) is linked with common goods like Hero. The reminder that Claudio is his “friend” emphasises the fraternal bonds between the two men as Don Pedro believes he would be breaking this bond if he let Claudio be associated with Hero. The importance of fraternal bonds is reinforced when Leonato asks “would the two princes lie, and Claudio lie?” The repetition of the verb “lie” displays the patriarchal society as Leonato is in disbelief that dishonesty would be correlated with the men; especially the princes. An audience understands why they value fraternal bonds so highly because in an Elizabethan society they believed that it protected the men’s honour and ensured their complete control over their reputation which is all the men cared about in those times. We see these ideas later in the play at the party in Act 2 Scene 1 when Antonio says to Hero “I trust you will be ruled by your father.” The verb “will” is one of modal certainty which displays that he has no doubt that Hero will be controlled by Leonato; as this is what was expected to happen in those times. The word “ruled” has connotations of authority and dominion which further proves how women were expected to abide to the orders of men and had no say in the decisions they make. Overall, the men’s toxic, patriarchal mindset is linked back to the great chain of being where men are placed above women; this suggests why men believe it is acceptable to abuse and dictate women’s lives.
Shakespeare presents the importance of a women’s virginity as the most valued aspect of a women; it plays a role in marriage and reputation and is often monitored by the men. We see this is Act 4 Scene 1, when Leonato is scolding Hero when he believes she is unchaste and he cries out “O, she is fallen into a pit of ink that the wide sea hath drops too few to wash her clean again.” The words “wide sea” creates the hyperbolic image that Leonato thinks that her disloyalty has left her so stained that all the water in the world is too little to return her too her original, pure state. The verb “fallen” has religious connotations of Adam and Eve falling out of Gods good graces which further proves how prominent the virginity of a women is in the Elizabethan society and how it almost leaves a visible mark all over a woman’s body if they are impure. In this fit of disgust and fury Leonato implies he would rather die that live with the shame of having Hero as a daughter and he says “Hath no mans dagger here a point for me?” The severity of the action that Leonato wants to do to himself is highlighted in the word “dagger” which has connotations of death and pain. This displays the centrality of virginity in those times as he is so ashamed and disgusted by Hero’s actions that he wants to die. Furthermore, it shows
how it not only belittles the woman, but it also influences her whole family’s reputation and lifestyle. Shakespeare hints at this idea in Act 1 Scene 1, when Claudio and Benedick are discussing Claudio’s love for Hero, and he asks “can the world buy such a jewel?” The word “buy” has connotations of women being used as currency and items and implies that marriage is a trade and that men commodify and use women for personal gain. The complimentary word “jewel” displays the image that Hero is a beautiful and precious object but based on the ideas of the Elizabethan society an audience member would know that the only reason Hero is valuable is because she is a virgin. Furthermore, we also see these ideas in Act 5 Scene 4 when it is revealed to Claudio that the niece of Leonato that he is going to marry is Hero and she clarifies to everyone that “[she is] a maid” The word “maid” connotes purity and chastity which demonstrates that the only thing she cares about on her wedding day is making sure she has the label of being a virgin and that everyone knows she is clean. As a whole, the idea that a woman has to be a virgin to be married relates back to the fact that marriage is just a way for important families to be linked together and to create a good reputation of themselves; this indicates why it was okay for women to face extremely harsh punishment if they lost their virginity even if (as seen in the play) they were wrongly accused and framed under the influence of strong male fraternal bonds.
Shakespeare presents that the words of women do not matter; they are conveyed as being required to be silent and submissive. This is displayed in Act 4 Scene 1 in one of Hero’s few lines, when she steps forward when being accused of infidelity and pleads “O God, defend me.” The word “god” has connotations of power and was very respected in the Elizabethan times as he was on the top of the great chain of being which was believed to, in those times, hold together the world. By saying this Hero is suggesting that the only thing that can save her is the highest being as none of the men will defend her anymore. In a state of confusion and helplessness Hero questions Claudio after hearing the cruel things he has spread about her and asks, “Is my lord well that he doth speak so wide?” The word “lord” connotes a man of power and greatness which tells us that even though Claudio is destroying Hero’s whole life, the extreme views of the society has trained Hero to be complimentary and submissive even if she is being insulted and ridiculed. This displays the image that the ideal woman in Messina was compliant and conventional; however, Shakespeare does not agree with the idea of silencing women and we see this in the play when Hero, your typical woman, faces punishment and public embarrassment in comparison to Beatrice, an atypical maverick, who is rewarded with happiness and true love. These ideas are hinted at later in the play in Act 5 Scene 4 when Beatrice and Benedick get married and before he kisses her, he tells her “[he] will stop [her] mouth.” The commanding word “stop” displays how as soon as a woman is married to a man, she instantly has no say in the relationship and are not able to make decisions for themselves. This is a huge contrast from earlier in the play when Beatrice is displayed as very outspoken and confident and how this suddenly changes as soon as she falls in love and becomes the ‘ideal’ woman. Shakespeare also presents the same ideas in Act 2 Scene 1 where Leonato is listing his expectations of Hero and he says “daughter, remember what i told you: if the prince do solicit you in that kind, you know your answer.” The phrase “you know your answer” gives us the impression that Leonato is almost manipulating Hero by putting words into her mouth and reinforcing that she will do what he says. It highlights how men, especially fathers of the woman, silence the women so that they have no say in their future or who they get to marry. In general, the extreme silencing of women links back to the reputation of the family because it ensures that the women will not rebel against them and speak their mind. This further proves that they do not care about the happiness or sanity of the woman, only their place in society.
Shakespeare uses Beatrice to show us that women do not have to follow the stereotypical gender roles. Although Beatrice is a rebel and a maverick she eventually does calm down and is rewarded with true love at the end of the play. Whereas Hero, who stays silent, is punished the most as her marriage is wrecked. This is highlighted in act 4 Scene 1 when Beatrice is discussing the anger she has because Hero has been humiliated in front of the whole of Messina and she suggest that they “kill
Claudio.” The verb “kill” connotes violence and death so it may come as a surprise to an Elizabethan audience when Beatrice says this and reverses the gender roles of society. This is because it was usually the male role to condemn behaviour of other men and women were seen as too elegant and useless to be able to make these challenging decisions. The imperative phrase also suggests that Beatrice is testing the fraternal bonds of the men and Benedick’s loyalty to his friends which, as we saw in the first paragraph, were extremely strong and were not aloud to be tested by the women. However, even a rebel like Beatrice realises the limitations of women in that time and this is portrayed when she wishes that “[she] were a man.” The repetition of the quote throughout the scene is an example of Beatrice emasculating Benedick as she is provoking him to betray his fraternal bonds and take revenge on Claudio. This is strategic behaviour as she knows in those times, she would not have the power as a woman to be able to take revenge herself so is forcing Benedick to do it. These ideas are hinted at elsewhere in the play in Act 1 Scene 1 when Beatrice and Benedick are discussing love and she says, “I had rather hear my dog bark at a crow than a man swears he loves me.” Beatrice is rejecting courtly love which would be shocking to a traditional audience as they were displayed as words from heaven. She also has no shame in insulting all men by comparing their words of affection to an annoying disgusting sound. Her unconventional behaviour is counteracted by the men in Act 2 Scene 1 when Beatrice and her family are debating marriage and when she negates it for herself her uncle offends her by saying “cousin, you apprehend shrewdly” the word “shrewdly” has connotations of a vermin like creature which suggest the men are calling her an annoying and nagging woman. The men say these horrible things to her because they are trying to insult her into submission and obedience so that they can force her to marry a suitable husband. Overall, the reason men attempt to silence Beatrice links back to the image of the ideal women who goes along with whatever a male says; also, they are protecting their ego as when a woman insults them it makes them feel less worthy and powerful.
In conclusion, in Act 4 Scene 1 women were generally presented as quiet and passive, however if they spoke out, they would be ridiculed and punished. On the other hand, men were presented as patriarchal and obsessed with idea of a woman’s chastity. Shakespeare disagrees with the Elizabethan views, and this is shown throughout the play. For example, Beatrice finds love after being atypical and insulting men and Hero who was conventional and submissive for the majority of the play is punished by her wedding day being ruined and getting publicly humiliated in front of the whole of Messina.
MILLIE WALSH REM
MERZI DAVIS MVI L
In Computer Science, the students have been learning the basics of Python programming, such as sequence, syntax, and variables. IVth Form student, Evan has applied his knowledge of Python outside of class, in his own time, to build a mini-chatbot. It’s a work in progress, and Evan plans to add “timing” to his program so that the chatbot seems more realistic. All students in Year 8 are completing their own version but Evan did this two lessons ahead of the rest of the year group!
In this piece, Sarah (IV), explores to what extent Theseus can be considered heroic?
Theseus is a fascinating figure in Greek mythology showing both heroic qualities and some flaws. Heroism usually involves bravery, selflessness, and a commitment to justice. A hero often takes risks to help others, stands against evil and inspires people through their actions. Heroism can be shown in different ways, such as physically brave, having strong morals and being able to lead and protect others.
Theseus demonstrates these traits when he boldly enters the labyrinth to face the Minotaur, a monster that has killed many Athenian youths. Everyone in Athens is scared of King Minos and the Minotaur, but Theseus walks in there knowing he will win. He is very courageous since every morning, when all the other young men disappear and get eaten by the Minotaur, because the labyrinth (the Minotaur’s home) lies directly below the king’s palace, sometimes you can hear the cries and screams of those being taken while you eat your breakfast. At that moment, the other men stop eating and panic, but Theseus remains calm and knows everything will be fine. Next, when it is Theseus’s turn to enter the labyrinth, the guards do not need to pull him out of the dungeon to face the Minotaur; he confidently walks there on his own. Finally, by taking on this dangerous challenge and entering the labyrinth, he not only shows great courage but also inspires his fellow citizens, proving himself to be a true hero!
In addition, Theseus acts as a leader by entering the labyrinth and he demonstrates courage to confront the beast. He could have easily chosen to flee and hide, or he could have chosen to stab the Minotaur from a distance, without engaging in a proper fight to avoid getting hurt. Instead, he fought the creature bravely, sustaining some injuries, but he took these risks so that no more young men would have to be killed and eaten. This shows how brave and loyal he is to his people.
However, he also has unheroic moments, particularly when he abandons Ariadne, who helped him navigate the labyrinth by giving him a ball of yarn, her crown, and she gave him her brother’s bronze sword to slay the beast. This betrayal is especially cruel, as he would not have been able to defeat the Minotaur and escape alive without these crucial tools. Furthermore, it broke Ariadne’s heart when he left her at night, only to later laugh and shout that he never loved her. He deserted her on some remote island while he sailed away merrily. This act raises serious questions about his respect and responsibility towards those who support him.
In summary, Theseus possesses many heroic qualities; however, his imperfections remind us that even heroes can make mistakes, making him a complex and interesting character in mythology!
SARAH DEMIANCIUC IV
In her EPQ, Emily explores the placebo effect.
To what extent can the placebo effect be implemented into modern day medicine?
The fascinating phenomena known as the placebo effect occurs when a patient receives an inactive treatment and feel an improvement in their condition, even though they have not actually received medication, they simply believe they have. Examples of materials used for the placebo effect include sugar pills and saline injections, which are commonly used for control groups of participants when testing new medication, to analyse the effects of the medication against a group who has not taken it.
It is becoming an increasingly more popular topic within medicine as they move to a more holistic approach, considering the mental and physical aspects needed for treatment. As the placebo effect covers psychology, biology and medicine, many people within the medical community believe that understanding it will help to understand the role the mind plays on the body, which can significantly influence health outcomes.
This essay seeks to explore the extent that the placebo effect can be implemented into modern-day medicine by considering potential risks and benefits, as well as any ethical challenges its implementation may pose. It is a complex issue and just because something can be implemented does not always mean it should be as it may not be advisable or ethical. This following essay with consider all these points, firstly underlying cognitive and biological aspects of the placebo effect to provide a foundation for the current understanding of how it works. This will be followed by historical applications of the effect and some modern-day uses in medicine, analysing the limitations and advantages of these approaches. Finally, this essay will explore future possibilities for the effect to be used with emerging technologies to enhance patient care. The implementation of the placebo effect must be considered carefully, balancing possible benefits as well as ethical and practical concerns.
Cognitive Aspects
The simple cognitive role of belief is a key part of the placebo effect. If a patient believes that the treatment they are given is completely genuine and will definitely help them their brain can produce a response that aligns with those expectations, in turn creating a physical response This phenomenon is commonly referred to as the ‘expectancy effect’ amongst medical professionals. Price et al. (2008) concluded that the anticipation of relief activate brain regions involved with pain regulation, such as the anterior cingulate cortex, insula and the ventromedial prefrontal cortex. These areas are involved in processing both pain and emotions, suggesting that the placebo effect can influence both a person's physical sensations and their emotional responses. Research by Geuter et al. (2013) further supports the role off cognitive expectation in the placebo effect. In his study he told participants that they would receive a pain-relieving cream. After applying the cream, they reported feeling a decrease in pain compared to those given no cream and therefore no expectation. In reality the cream had no pain-relieving properties and this indicates that mere belief in efficiency of the treatment can lead to physical pain relief, highlighting the powerful influence of cognitive factors on physical health outcomes.
Biological Mechanisms
These cognitive aspects then induce a biological response, mainly various neurochemical changes in the brain and body. One of the most well documented biological responses to the placebo effect is when a patient expects relief, the part of the brain that then activates can release endogenous opioids. These are natural pain-relieving chemicals produced by the brain, providing a biological explanation for how patients feel less pain after a placebo.
Benedetti et al. (2005) demonstrated that placebo-induced analgesia (occurs when the administration of placebos leads to pain relief) involves activation of the brain's endogenous opioid system, particularly in the brain areas associated with pain processing This mainly occurs in the somatosensory cortex in the parietal lobe. In addition, the placebo effect does not only effect pain management. It has also been observed to change conditions in depression, anxiety, Parkinson's disease and even levels of sobriety, where a multitude of neurochemical changes play a significant role. For example, a study done by de la FuenteFernández et al. (2001) showed that patients with Parkinsons disease had improved motor control after receiving a placebo. This is because the placebo effect can cause the release of dopamine, again because of the expectancy effect and simply because the patient experiences an increased level of happiness due to the thought of relief. This dopamine is believed to be crucial for motor function as when dopamine neurons die it results in a decrease in muscle control (Shwarz & Peever) This finding suggests that the placebo effect can have a tangible impact on neurotransmitter systems, further reinforcing its biological basis.
Functional magnetic resonance imaging (fMRI) studies have further provided insight into how placebos can lead to physiological changes. These scans track the oxygenated blood flow to active areas in the brain, clearly showing the location where any processes take place. Wager et al. (2004) conducted a study where participants were subjected to a painful stimulus whilst being given a placebo treatment simultaneously The fMRI showed that patients given the placebo treatment had similar changes in brain activity patterns than those who received actual pain-relieving drugs. In particular there was a reduction in activity in areas of the brain associated with processing pain, which corresponds to the patients reports of decreased pain. These studies all suggest that the placebo effect is not merely a psychological illusion, but that it actually has a real biological basis in the brain's natural pain-relief mechanisms This is typically activated by real medications, but this research proves that pain relief is possible without the need of medication.
Historical Context
The placebo effect has been a part of medical practice long before it was formally recognised and studied as a psychological and biological phenomenon. Historically, people commonly used treatments that had no real value, but were believed to be effective by the patients and practitioners. In ancient times, healing practices often involved rituals, charms and herbal remedies that were believed to have healing properties. For example, in Greece patients often used to seek cures for their illness through prayers and offerings to their gods (Beecher, 1955). This was also widespread practice in Egypt, where designated healers often employed rituals and prayers to heal patients (Harrington, 1997) They wholly believed that their gods would heal them, often leading to improvements in the patient's condition, which can be seen as early examples of the placebo effect.
During the 18th and 19th centuries, as medical science started to adopt more empirical methods, medical practices such as bloodletting and use of mercury were common, often prescribed for syphilis, the patient would use it as ointment which would often lead to excessive cramping, vomiting and diarrhoea, however both doctor and patient concluded that this meant the mercury was curing them. (Hochman, 2023) These treatments often reported improvements, even though many were harmful. The placebo effect was not formally
recognised as a distinct phenomenon until the 20th century when it began to be studied more thoroughly and eventually became common use in clinical trials.
The placebo effect is now being implemented in more systematic ways. Randomised controlled trials (RCTs) became essential in the mid 20th century and marked a significant turning point in the study of the placebo effect. Researchers realised it can be used to evaluate the efficiency of new treatments. In RCTs, participants are typically divided into two groups with one receiving the active treatment and the other receiving a placebo. The outcomes are then compared to determine the treatment's effectiveness. This method has become standard in clinical research and other psychological experiments as it provides a thorough and rigorous way of evaluating new medicines. This historical development of the placebo effect highlights its importance in shaping modern clinical research and medication, showing its potential in modern day medicine.
Evidence of Placebo Effect in Modern-Day Medicine
Drug Trials & surgeries
The placebo effect plays a crucial role in modern day drug trials, where it is used to control a participant's expectations where some receive a placebo and others the actual treatment. It is designed this way to isolate the results of the treatment from those who would not take it to compare its therapeutic response Many studies have shown that the placebo effect can produce improvements for a variety of conditions. Particularly people suffering from pain, anxiety and depression. For example, a meta-analysis by Hróbjartsson and Gøtzsche (2010) reviewed data from over 200 clinical trials and found that pain and nausea were most affected by the placebo effect (patient-reported). This finding underscores the importance of accounting for the placebo effect in clinical trials to make sure that the efficacy of new treatments is assessed accurately.
In addition to its use in drug trials, the placebo effect has also been studied in the context of surgical procedures. Moseley et al. (2002) conducted a very influential study where he investigated the efficiency of arthroscopic surgery for patients with osteoarthritis in the knee. Patients were randomly assigned to either receive the actual surgery or a placebo surgery. In this placebo study patients were put under aesthesia and were given superficial incisions to make the surgery look more believable, but no real surgical invasion. Remarkably, Moseley found no real difference in pain relief or motor function between the two groups a month after surgery. The majority of patients felt an improvement suggesting that the perceived benefits of the surgery were mainly due to the placebo effect. This study highlights the powerful impact of patient expectations and the potential for placebos to influence surgical outcomes.
Clinical Practice
There is considerable evidence to suggest that the placebo effect can be used outside of clinical drug trials. The concept of using deceptive placebos (where patients are unaware they are receiving an inactive treatment) raises ethical concerns, there has been growing interest in the use of open-label placebos where patients are informed that they are receiving a placebo, but that it may have therapeutic benefits. Surprisingly, research has shown that
open-label placebos can still produce positive outcomes, suggesting that it can be implemented without raising any ethical concerns as there is no deception. It also suggests that the ritual of treatment (physically going to a doctor and be prescribed medicine) also plays a big part in the placebo effect as going through the actions taken to get genuine treatment can mislead the brain further as the patient receives it in a medically legitimate surrounding
Kaptchuk et al. (2010) investigated the effects of open-label placebos in patients with irritable bowel syndrome (IBS). In this study patients were randomly assigned to receive no treatment or an open label placebo and be openly informed that it is a placebo drug. Despite knowing it was a placebo this group reported significant improvements in their symptoms compared to those who received no treatment. This finding suggests that the physical act of taking a pill, even when the patient knows it is inactive, can trigger positive psychological and physiological responses, leading to symptom relief. Similarly, research by Kelley et al. (2012) explored the use of open-label placebos in managing chronic lower back pain. Again, those who knowingly received a placebo still experienced a significant reduction in pain and improvements in everyday functioning, which were comparable to those who took conventional treatments. This further supports the claim that the placebo effect can be implemented into clinical practice with complete patient autonomy and transparency, whilst keeping the therapeutic benefits.
There is also potential for placebos to be used as adjuncts to conventional treatments, as studies have shown that combining placebos with active medications can enhance the overall effectiveness of the treatment. Colloca and Benedetti (2005) conducted a study where they administered a low dose of an active painkiller, as well as a placebo to patients feeling pain. The results showed that this method produced pain relief comparable to those who were given a full dose of pain medication. This approach, known as "dose-extending placebos," could potentially reduce the amount of medication needed to achieve the effect of genuine medication, thereby minimising side effects and lowering healthcare costs.
Use in Specific Conditions
The placebo effect has been shown to be particularly effective in treating certain conditions such as pain management, one of the most well-documented areas that the effect has successfully been implemented. Atlas & Wager, (2012) found that in conditions such as chronic pain, migraines and neuropathic pain, placebos produce significant pain relief, sometimes rivalling the effectiveness of active treatments. This is particularly important due to events such as the opioid crisis, where finding alternative pain management strategies is a priority for public health and safety
It has also shown promise in the treatment of depression. A meta-analysis by Kirsch et al. (2008) found that up to 75% of the response from antidepressants is attributed to the placebo effect. While antidepressants are undoubtedly effective for many patients, the prominent levels of placebo response suggest that enhancing the effect through supportive care and positive therapeutic interactions could improve treatments further. This highlights the importance of cognitive therapies for treating depression, instead of biological intervention. These can include CBT (Cognitive behavioural therapy) which includes working with the patient to alter their mindset on themselves and learning how to maintain that belief. The
placebo effect has also been studied in the context of anxiety disorders, research shows that the placebo effect can reduce anxiety symptoms, particularly when the patient expects relief (Petrovic et al., 2005) which can be common practice already, such as someone repeating in their head ‘everything will be fine’ they may feel less anxious because they have convinced their body that they are not in such a threatening situation, reducing levels of adrenaline and heart rate, in turn reducing their level of anxiety This suggests that the placebo effect could be used as part of a comprehensive treatment plan for anxiety disorders, again potentially reducing the need for pharmacological interventions and their associated side effects.
Deception and Trust
The use of placebos in clinical practice raises significant ethical concerns, especially when dealing with the subject of trust between doctor and patient. In the past, placebos have been delivered under complete deception as it was believed to be the only way to successfully administer them. This is problematic as deception can break down the trust that is fundamental to the doctor-patient relationship. Trust is essential in medicine as patients must fully trust their healthcare providers to administer and advise them with accurate information on treatment options, with their best interests in mind. According to the principles of biomedical ethics, particularly those outlined in the World Medical Association's Declaration of Helsinki, ‘Deception in medical practice is generally discouraged unless it is deemed absolutely necessary for the patient’s well-being and no effective alternatives exist.’ (World Medical Association, 2013). This highlights the ethical dilemma of the placebo effect as much conflict lies between the potential benefits and the morality of physicians to be completely honest to their patients. Most doctors would want to help their patients as effectively and quickly as possible and having to administer a treatment that may not work can possibly lead to them objecting against the practice. In most cases, the use of deceptive placebos fails to meet this ethical standard set by the World Medical Association, as other, more effective treatments are often available due to the advances of modern-day medicine and the potential harms of deception (such as loss of trust) outweigh the benefits.
However, with the emergence of open-label placebos, where patients are fully informed that they are receiving a placebo, a potential solution is introduced. As previously mentioned, studies have shown that these open-label placebos can still produce benefits such as relieving pain or anxiety, suggesting that the physical act of taking a pill and the support provided by the healthcare provider can elicit a positive reaction, without the need for deception. This approach respects patient autonomy and honesty, preserving trust while still gaining the benefits of the placebo effect.
Informed Consent and Patient Autonomy
Informed consent is another ethical concern related to the placebo effect. It requires patients to be fully informed about the nature of their treatment, including its potential benefits, risks and alternatives, before agreeing to it. When used at clinical trials it is managed carefully to ensure that the participants are aware that they may receive an inactive treatment as a part of the study. In this way conformed consent is a fundamental principle in modern medicine as it protects a patient's autonomy.
Even though it seems that open-label placebos are the solution to this problem, in clinical practice, obtaining informed consent is less straightforward than imagined. Patients may struggle to understand how a placebo can be beneficial, especially when they know it does not contain any active ingredients. This could lead to confusion or scepticism from the patient, potentially diminishing the effectiveness of the placebo itself. Therefore, healthcare providers must be skilled at communicating and explaining the potential benefits in a way that is very transparent and convincing. This ensures that the patients can make fully informed decisions about their care. However, this level of communication may require more doctor training which cannot be implemented everywhere due to lack of funds or workers.
Effectiveness in Severe Cases
Possibly the most crucial ethical concern is the use of placebos in severe or life-threatening conditions. White they may offer relief in managing symptoms like pain, anxiety and mild depression, to use them in more serious situations is highly controversial. The main concern being that simply relying on placebos could delay or even replace the effective treatments, which could lead to harm to the patients, or worsen their condition as they do not receive the most effective solutions immediately.
For example, using placebos in the place of proven treatments for diseases such as cancer, cardiovascular disease, or severe infections would be unethical, as it is likely depriving patients of life-saving interventions. The ethical principle of beneficence, which is the requirement of healthcare providers to act in the best interests of the patients, dictates that the most effective treatments should be used, if available. This leads to the conclusion that placebos should not be used as a substitute for active medicine in severe conditions. However, if a medication is unavailable, they can act as a substitute until the most effective medicine is required. There also may be situations where placebos could play a supportive role alongside conventional treatments. For instance, placebos might be used to improve pain management strategies in cancer patients, potentially reducing the need for high doses of opioids and minimizing any harmful side effects caused by them. In these cases, the use of placebos should be carefully considered and implemented in a way that the overall quality of care does not diminish for the patient and to ensure that it is not chosen as a replacement for potentially lifesaving treatments.
Cost and Practicality
The implementation of placebos into clinical practices also raised practical concerns, especially when regarding cost allocations. Placebos would be much less expensive than active medicines as they require far fewer materials and research to produce. There is also the cost of integrating them into healthcare systems, training providers and developing proper protocols for their ethical use. Additionally, people will respond to them differently and some may not experience the same level of benefits as others. This variability makes it difficult to predict the effectiveness of placebos on a case-by-case basis, which complicates their routine use in clinical practice.
The appeal of using placebos also varies among areas. Places that have limited resources may find them much more appealing as they are a much more cost-effective way at causing people relief when active treatments are not available. However, in well-resourced healthcare
systems, the focus is typically on providing evidence-based treatments, making the regular use of placebos much less justifiable as more affective choices are available.
Furthermore, implementing placebos in a way that respects ethical guidelines and maintains patient trust requires significant investment in training and education for healthcare providers. Doctors must be trained to fully understand and be able to perform ethical guidelines, while communicate effectively with patients about the potential benefits and limitations of placebos, these must also be able to integrate them into a patient's treatment plan without compromising the standard of their care.
Future Applications and Research
Expanding Research on the Placebo Effect
Future research should be focused on deepening the understanding of the placebo effect to harness its capabilities effectively and ethically. A promising area of research is the investigation of genetic and neurobiological factors that influence people's individual susceptibility to the placebo effect. Some studies suggests that these differences are due to variations in neurotransmitter systems, such as the opioid and dopamine systems, which may influence how strongly a person responds to placebos (Hall et al., 2015). By understanding these differences, more personalised approaches to placebos could be used, where specific treatments are tailored to patients who are the most likely to benefit from placebo responses. Additionally, research could explore how distinct types of placebos (e.g., pills, injections, sham surgeries) impact various conditions and the types of patients. Some forms of placebos may be more effective for specific conditions or situations. This can account for factors such as patient expectations, cultural beliefs and the doctor-patient relationship which can influence placebo outcomes.
Placebo Effect in Digital Health and Telemedicine
Due to the rise of digital health technologies and telemedicine (being able to see a doctor over a device) new opportunities to implement the placebo effect into modern healthcare are being created. For example, easily accessible devices and apps could be designed to enhance patient expectations and beliefs in their treatments, in turn amplifying the placebo effect. This was investigated by Howick et al. (2017) who explored the use of a digital placebo in managing chronic pain. He found that positive feedback and encouragement delivered through a mobile app led to significant reductions in pain and improvements in quality of life. Another advantage of telemedicine is that it can enhance the doctor-patient relationship and thereby enhancing patient engagement as they may feel less nervous at home than in a clinical setting, placing more trust in the doctor This approach offers an easy and ethical way to enhance patient outcomes through digital means.
Combining Placebos with Active Treatments
Combining placebos with active treatments, which is known as "dose-extending placebos," could maximise therapeutic outcomes while minimising side effects. This approach involves using a placebo, that the patient is aware of, alongside a lower dose of active medicine. The goal is achieving the same therapeutic effect as a full dose of the drug, while decreasing the general impact of medicines on the body such as an upset stomach and drowsiness. The
potential benefits of dose-extending placebos also extend beyond pain management, to chronic conditions that require long-term medication use, such as hypertension, diabetes, or depression. In addition, it also decreases the rate that tolerance is developed to a medication For example, if a patient is constantly taking pain medicine for their condition, then get a severe injury, pain medication will be less effective as they have built up a tolerance. Therefore, serious medical situations can be resolved more smoothly as the medicine acts more strongly on the body, if it has not been taken regularly. Future research should explore the feasibility of this approach in various clinical contexts and determine the best strategies for integrating placebos into conventional treatment plans.
Training and Ethical Guidelines
To implement the placebo effect safely into clinical practice, healthcare providers must receive proper training and guidance. Developing standardised procedures on when a placebo should be used and in what way is essential for ensuring placebos are properly integrated to respect the patient and maintain a high standard of care.
Image demonstrates how the attitudes of the doctor can influence effectiveness of placebo/treatment.
These training programs should focus on training doctors on the psychological and biological aspects of the effect. This will allow them to make informed decisions whether the situation is appropriate for a placebo to be used. Effective communication strategies should be put in place and providers should obtain informed consent from patients. This may be done with a form detailing the possible benefits and disadvantages of a placebo, the doctor can then explain how this is beneficial for a patient's specific condition. A patient can sign this form to show that they openly consent to a placebo being used, provided they fully understand what it entails. By implementing this system and properly following ethical guidelines set for all clinical practices, the placebo effect may be implemented into modern medicine.
Conclusion
The placebo effect is a fascinating and scientifically significant phenomenon with the potential to transform modern day healthcare. By demonstrating the minds remarkable way of influencing the body, this effect challenges conventional medicine and highlights the importance of emotional factors in the healing process. It opens a pathway to innovative, less
invasive treatments, which opens a new hope for enhancing patient care in previously unexplored ways. However, its integration into clinical practice must be approached with strict attention to ethical principles, practicality, and scientific understanding.
One of the most controversial aspects of the placebo effect is implementing it into clinical care, particularly in the form of deceptive placebos. Deception, even if intended to benefit patients, risks undermining the essential trust that underlines a doctor-patient relationship. Open label placebos, where patients are fully aware of the nature of this treatment, yet still experience benefits, presents an ethically sound alternative. This approach maintains transparency and respects patient autonomy as well as showcasing the potential of the effect to compliment traditional treatments in a way that also upholds trust and integrity in healthcare.
Furthermore, the concept of dose extending placebos offers a groundbreaking avenue for research and application. This approach could possibly minimise adverse side effects, reduce medication costs and promote more sustainable healthcare practices. However, fully harness the potential of the placebo effect, further research is crucial. Scientists must delve deeper into understanding the mechanisms of the placebo response, how individual differences can affect it and the most effective strategies for its clinical application.
In conclusion, while the placebo effect should not, and cannot, replace evidence-based medicine, it offers essential lessons about the human body’s capacity for self-healing. It is a powerful tool, that when used ethically and strategically, could revolutionise modern medicine. By utilising the placebo effect with clear ethical boundaries and commitment to patient welfare, healthcare professionals can develop new possibilities for developing health outcomes and reducing treatment burdens. The placebo effect illustrates how the minds influence on the body is currently an untapped resource in the pursuit of better health outcomes for all.
In this extract from her A Level coursework, Roma discusses art through lens of Americana and fast food.
During my A-level art, I have created artwork of food. Initially, I started painting food on a newspaper background. As a consequence, I have become interested by the concept of food being a universal feature which is constantly presented within the media.
When thinking about food across different countries, my mind is immediately drawn to America and specifically the contrast in their food sizes to ours. Despite having been to America on multiple occasions, every time I go back, I am in awe of their portion sizes and their supermarkets! Nothing will compare to the amazement I experienced when entering my first Whole Foods supermarket in New York. It blew my mind to think that Americans have that kind of variety when it comes to selecting their groceries.
On average, an American supermarket ranges from 40,000-60,000 square feet (Neiling, 2023) , whereas a UK supermarket ranges from 10,000 to 30,000 square feet. This contrast in size can also be mirrored in the portion sizes. The National Institute of Health has reported that portion sizes in American restaurants have tripled (Larger Portion Sizes Contribute to U.S. Obesity Problem , 2013) in the last 20 years. As food is a primary focus within my A-level art, I wondered how the portrayal of food was depicted in the US; this led me to discover Claes Oldenburg, a Swedish-American sculptor who is best known for his big sculptures of everyday objects, such as food. Oldenburg’s work can be associated with the Pop Art movement, which began in the 50s. His most notable food artworks are ‘Spoonbridge and Cherry’, ‘Floor Cake’, ‘Floor Burger’, ‘Profiterole’, ‘Floor Cone, ‘Two Cheeseburgers’ and ‘Pastry Case’.
‘Floor Burger’ and ‘Two Cheeseburgers’ immediately drew my mind to the food culture within the US. In the US alone, there are 207,827 fast-food restaurants (Fast Food Restaurants in the US- Number of Businesses, 2024), compared to the 48,000 takeaway and fast-food locations in the UK (Number of takeaway and fast food restaurants in the United Kingdom (UK) from 2013 to 2023, with a forecast for 2024, 2024).
Oldenburg’s work draws the viewer’s attention to the fast-food consumerism within the US. Oldenburg’s ‘Two Cheeseburgers’ made me feel a little sick, as the burger does not look appetising. Oldenburg creates his sculptures using the paper-mâché technique, which gives the burger a textured appearance which makes the viewer feel nauseous. At first, I was confused as to whether the sculpture was two burgers or one split in half. The burgers look like a carbon copy of each other which not only alludes to the homogenous, mass production that is the backbone of the industry but led me to start thinking about how it looked like it was multiplying, like the increase in fast food consumption within the US.
I also think the branding of fast-food restaurants has contributed to their success. For example, the bold red against the golden M enabled McDonalds to have packaging that stands out. Psychologically, the colour red induces a sense of excitement, leading to an increased heart rate. Marketing strategists use the colour red, as it is associated with passion and love, invoking a sense of love for McDonald’s food among their customers. When thinking about advertising, my mind is immediately drawn to the artist Barbara Kruger, who is best known for her black-and-white photography, which includes bold, white and red text. These texts include declarative statements, which present a thought-provocative message.
Barbara Kruger is an American artist whose work is a part of the contemporary art movement. Kruger’s work can also be classified as visual art and graphic design. Kruger’s collages draw viewers’ attention to deeper ideas within society. When looking through Kruger’s work, I found an untitled food collage she had made, which is referred to as ‘your taste is within your mouth.’
I think that Kruger refers to the mouth-watering desire you feel when you are craving food. The placement of this message in the middle of the gammon shows how human desire and cravings are central. This ideology of craving food aligns with America’s food culture. I think that this derives from the American Dream, a term coined by James Truslow Adams (in his text, The Epic of America). The American dream links to a person’s desire to achieve. I think that this desire and hunger for more can be linked to food.
Throughout my A-level studies, I have come across artist Julia Stankevych, a contemporary Ukrainian artist who has inspired me to create food artwork with a three-dimensional twist. Stankevych is known for her realistic oil paintings of food, often created on unconventional canvases like newspapers. Her work features a variety of foods, including ice cream, pancakes, and doughnuts, capturing both their textures and colours with intricate detail. Stankevych's unique approach involves preparing the newspaper surface with gesso before applying the impasto technique to give her paintings a textured, almost three-dimensional quality.
Stankevych' art evokes positive emotions, focusing on making food appear delicious and vivid, whether it's a simple toast or an elaborate dessert. I really like Stankevych’s use of newspaper, as I think that the neutral colours of the black and white background, enables the food to stand out and look more vibrant. The bold colours of the food pops against the newspaper, creating a loud effect. This boldness. She has gained significant attention, particularly on Instagram, where her work has attracted a large following. Social media is key in spreading awareness about food. These popular apps such as Instagram, TikTok, Facebook and Twitter are key in enabling people to share their food-related content. This concept of stories can be linked to Stankevych working on top of newspaper. I think that this is a very clever idea, as Stankevych brings to light crucial events. By including articles of events in the background, the viewer is subconsciously aware of the background. This could lead to the viewer reading the finer print and becoming aware of an event. This is why I like Stankevych’s inclusion of newspaper in the background, as her artwork has a deeper meaning than what is just on the surface. Another key idea is that Stankevych’s works aims to capture "the taste, smell, and sensation" of food, transforming everyday objects into striking visual pieces.
Wayne Thiebaud (1920–2021) was an American painter best known for his vibrant, nostalgic depictions of everyday objects, like Stankevych. Thiebaud also paints food but has a focus on desserts such as cakes, pies, and ice cream cones. One of my favourite pieces of Thiebaud’s is “Dessert Tabel”, which features a mixture of sweet confectionaries such as a pie, cake, ice cream and a tart – a configuration that reminds me of afternoon tea.
The use of soft pastels gives a graceful touch, complimenting the desserts. Theibaud’s work is associated with Pop Art- an art movement inspired by commercial culture, particularly in the Western world. Alongside Theibaud, in the Pop Art movement, stands artists such as Andy Warhol and Roy Lichtenstein. Like these artists, Thiebaud’s work stands out for its unique blend of realism and abstraction.
His use of thick impasto, exaggerated shadows, and bright, pastel-like colours gives his subjects a tactile quality, making them appear almost edible and making the viewer crave one of Thiebaud’s creations. His fascination with repetition and commercial imagery connects him to Pop Art, but his focus on texture, light, and painterly technique sets him apart, making his work different. Theibaud’s paintings often evoke a sense of both pleasure and melancholy, reflecting on the American consumer culture while also celebrating the beauty in the mundane. This focus on America’s consumerism can also be linked to the fast-food company McDonald’s. Where McDonald’s uses bright, bold colours, such as red and yellow, Thiebaud’s work differs, as he focuses on using pastels. But both evoke a sense of hunger and desire towards the food/painting. Thiebaud’s legacy as an influential figure in 20th-century American art, continues to inspire artists, due to his work being previously liked with Americana, a term for all things that are related to the United States.
Another artist I have come across during my A-level art journey is artist Christina Kunanets. Christina Kunanet’s artwork has become popular on social media, and she is the artist behind the name ‘UwannaArt’. Kunanet is best known for her intricate and realistic paintings of food on vintage plates. I really like how, within Kunanet’s work, the plate itself is a piece of artwork, often adding to the plate of food. Kunanet’s choice of colour for the plate is crucial, as I think this compliments the food showcased.
The image across is one of Kunanet’s artwork. The plate itself takes on an art décor design. I think that this adds detail to the work. The use of the dark blue matches the blueberries, complimenting the piece. One of my favourite parts of Kunanet’s work, is her use of three-dimensional paint, like Stankevych. I think that the thick paint, acting as whipped cream, adds a unique touch to the piece, moving away from the traditional 2D paintings. Kunanet primarily uses oil paints to create this three-dimensional effect, which make the food look almost edible. Her works include items like avocado toast, croissants, and peanut butter sandwiches, all rendered with a high level of detail and texture.
Her works include items like avocado toast, croissants, and peanut butter sandwiches, all rendered with a high level of detail and texture. Kunanet’s art evokes feelings of nostalgia and familiarity, aiming to trigger memories. Each piece she creates, from food to objects, is filled with personal meaning and hopes to remind viewers of significant moments in their lives, such as a cup of coffee recalling an important conversation. Kunanet’s work is popular on platforms like Etsy and Instagram, where she sells her creations on her account ‘@u.wanna.art’.
ROMA PABILA MVI
Having read of a family tragedy in the news, in this short story, Holly draws on the influence of Earnest Hemingway, his iceberg theory and his quest to find one true sentence.
Quiet days
It was a sunny afternoon, and the girl was playing in her room when she heard a large thump from across the corridor. She stood up and walked to her door. She grasped the door handle and looked into the rest of the flat. She walked towards where she’d heard the noise coming from, looking at where she was putting her feet, before finally arriving in the living room. Her mother, laying in an unnatural position on the floor. Her mother lay face down on the carpet, one arm draped over a table covered in upturned pill bottles. Some of the pills had fallen onto the floor. Her mother’s eyes were open, staring unseeing into the distance, and she was surrounded by the smell of vomit. The girl stared for a moment, then sighed and began walking back the way she came. After all, it was just one of mummy’s quiet days. She knew what to do.
She walked down the corridor and found her mother’s room, the door open. The little girl stepped inside the musky smelling room and, dodging round piles of undone laundry, went over to the bed, on which one pillow was pristine and untouched, whilst the other was messy and used. The little girl came to the edge of the bed and grasped the edge of a worn blanket lying upon it, dragging it downwards and pulling it off the bed, knocking over a glass of water she had left at her mother’s bed a while ago in the process. The glass fell onto the floor and broke, fragments of the cup spilling over the floor as well as the undrunk water, the liquid slowly seeping into the blanket in the young girl’s arms. The girl then quickly walked backwards and out of the room taking the blanket with her. She’d clean up the mess later.
The stopped for a moment when she saw that one of the pictures that had been on the wall had fallen. She looked at the picture. In a forest, dark trees formed the background of the image. Her mother was at the front, a big backpack on her back, looking at the camera and smiling. She looked happy. Like the other pictures in the flat it was ripped in half. The girl couldn’t see the missing part. There was nobody else in the picture. The little girl couldn’t remember the people who had been in the photos when they were whole. She wondered if that was maybe just how it was: that when a person disappeared, so too did their photos.
She stared at the picture for another moment. She turned away and walked towards the living room. The blanket was fraying at the edges. It was stained and its edges were still wet, but it would have to do. The girl brought the blanket over and lay it over her mother the best she could, moving her mother around to cover her with the blanket completely, leaving only her head visible. The woman didn’t react at all to her daughter’s touch, being moved as though she were a rag doll. Once she’d finished putting the blanket over her, the daughter looked down at the stain on the carpet. The smell was worse. The girl’s eyes beginning to moisten the longer she stayed around it. She looked at her mother but was only met with a blank stare. The girl then stood up and walked towards the bathroom.
The girl stared at the door to the room for a moment, fiddling with the edges of her sleeves before taking a deep breath and entering the room. Her bare feet touched the ice-cold tile
floor. The room was dirtier than the others, having not been cleaned in a very long time. Towels laid hazardously across the floor, many wet and showing signs of decay. There was no window in the bathroom, and the girl couldn’t turn on a light. This room smelled bad as well, but it didn’t seem to be because of a stain, the smell just seemed to cling to the air, surrounding the space. The girl quickly went over to a cupboard at the other end of the room and pulled it open, carefully putting her hand in and feeling around to find what she was looking for. She moved away the dirty razors and unused plasters till she saw it. A disinfectant bottle and some dirt covered dish rags. She pulled both out and, standing on her tiptoes, reached up to the rust covered taps of the sink to turn on the water. The taps were stiff and groaned loudly as they were turned before producing a small trickle of water. The girl then lifted the rags and held them under the taps, waiting until she could feel the water covering her hand through the fabric. She closed the door behind her with a loud slam that seemed to echo around the otherwise silent flat.
The girl took a moment to lean against the door before walking into the room where she’d left her mother and training her attention upon the stain. She sighed once again before getting down on her hands and knees in front of the mess. She then picked up the disinfectant and sprayed it on the carpet, watching the white foam settle on the surface of the covering She picked up one of the dripping rags and unceremoniously dropped it on the carpet before placing her hand upon it and moving it up and down repeatedly, in the hopes of making the stain disappear. The girl kept going, up and down, trying to get rid of the stain
Now the carpet was an unnaturally dark colour, damp all over and smelling of a mixture of vomit and chemicals. It was hard for her to think. The little girl finally stopped her movements, looking down to see that her dress, her favourite dress, was stained as well now, covered in the stench of the carpet. The little girl spoke quietly to her mother, knowing that she wasn’t supposed to be loud when her mummy was like this. “You were supposed to take me to the park today mummy” the little girl said. A small line of sick trailed from her mother’s open mouth.
The little girl reached back to grab the rag she hadn’t used on the carpet and brought it to her mother’s face, gently wiping away the sick there as she continued to speak “you did promise. You said that we’d go to the park and that I’d get to have an ice cream, whichever one I wanted. Don’t you remember mummy?” The little girl finished cleaning up her mother’s face and then put the rag behind her, looking back at her mother once again. The was nothing. No response. No movement. She might as well have been talking to her dolls. The little girl let out a huff and stood up, clutching the soiled rags in her hand. They were only making it worse after all. They couldn’t clean up the mess.
The little girl walked over to the kitchen and walked towards the bin There were letters in the bin. Letters with big bold writing on them. Some of the writing was in red and seemed to cover the entire envelope. The girl couldn’t read them, but something told her that these letters were bad, and that was why they had to be in the bin. She dropped them back into the bin and covered them in the wet rags, watching as the letters were stained and fell apart under the rag pile. The girl then closed the bin and took a couple of steps back, rubbing her hands furiously on her dress.
Even though she had left the living room, she could still smell the mess. It was covering her dress, it was underneath her feet where she had stepped on the carpet, she could even smell in on her hands, even though they looked clean. The smell was everywhere. The girl walked over to the kitchen sink, hoping to wash off the stench. When she looked over though, she saw that the sink was full to the brim with unwashed dishes, covered in food and stains and blocking the tap where they all piled on top of one another. It was another job, another mess that she was going to have to clean up.
The little girl found herself struggling to breathe, finding that all she was breathing in was the smell, the smell of the messes that she had to clean up. The smell of the messes that she had failed to clean up. It was too much mess, and too much quiet.
The girl went to the sink. She carefully took out one of dirty plates, looking down at where it was held in her trembling hands. She lifted it over her head and smashed it on the ground, listening to the sound it made as it collided with the floor, shattering it into pieces. She looked towards the outline of her mother on the living room floor: she lay still, not having moved at all. The little girl grabbed another plate. This time she threw it against the wall, watching as it came apart and its pieces flew all about the room. She repeated the action, grabbing plates and glasses and bowls, throwing them over and over and over again until all she could hear was the sound of everything breaking
When she was finished, she stood in the centre of the kitchen, breathing heavily. The whole kitchen was now covered in broken shards, but the girl made no move to pick them up. She would clean it up later. Slowly, she walked back towards the living room, not looking at the stained carpet, or the door to the dark bathroom, or the hallway with its half-finished pictures. Instead, she sat down in front of her mother, looking at her before asking in a quiet voice, “are you tired mummy?”
She didn’t get a response, but she knew the answer. She then moved towards her mother’s face and used her fingers to delicately close her mother’s eyes, so she looked like she was sleeping. Then, in a nearly inaudible tone the girl whispered, “me too” before slowing manoeuvring herself under the blanket, positioning her mum’s arm so it was almost as if she were holding her. The floor wasn’t very comfortable, and the smell was still there, but the girl didn’t care. She was warm and she was tired.
It was there, on a sunny afternoon, that a little girl fell asleep under her mother’s arm in a dark, quiet room.
MVIth Spanish student, Tom, produced this full marks essay under timed conditions.
La casa de Bernarda Alba es una obra escrita por Federico García Lorca, poeta y dramaturgo andaluz y se publicó por primera vez solo dos meses antes de la ejecución del escritor a manos de las fuerzas falangistas. La obra explora los temas de las expectativas de las mujeres y la lucha de clase. Como personaje, La Poncia representa muchos de estos temas claves de la obra y de la España de Lorca, también jugando un papel muy importante como guía para la audiencia.
Primeramente, el papel de La Poncia como nuestro corifeo es imprescindible, especialmente en cuanto al desarrollo del argumento. Se encarga de saber lo que está pasando fuera de la casa y le cuenta a Bernarda y a las hijas, proporcionando una conexión entre la casa y la realidad, la cual es tan rara en la obra. Por ejemplo, se puede ver esto cuando les dice sobre Paca la Roseta, quien fue “hasta lo alto del olivar”con “los pechos fuera”y “Maximiliano la llevaba como si tocara la guitarra.” De esta manera, La Poncia da una voz en contra de la libertad creciente de las mujeres, que según Poncia es “un horror”en este caso. Sus conocimientos sobre el mundo exterior también se trae en la casa cuando excita a las muchachas con su información sobre “los segadores,”que “son capables de dar un empujón para ver quién mira.” Por lo tanto, Lorca usa La Poncia a traer noticias sobre los varones fuera de la casa para añadir a los sentimientos de represión sexual que experimentan las hijas. Poncia no solo ayudar a avanzar la trama de esta manera sino que también nos deja guiños y va levantando sospechas sobre la relación secreta entre Pepe el Romano y Adela aún antes de que la descubra cuando le pregunta a Angustias “A qué hora dejaste anoche?”y cuando la descubre, se enfrenta Adela, diciendo “Mata esos pensamientos… no vayas contra la ley de Dios.”Al principio de la obra, La Poncia se retrata Bernarda, describiéndola como “tirana de todos los que la rodean,” lo que presagia la crueldad de Bernarda antes de su apariencia en el escenario (que se hace también en el teatro clásico.) Aunque juega este papel como un corifeo y está al centro de los acontecimientos de la obra, La Poncia se puede ver como algo de un personaje antipático al fin de la obra , dado que no hace nada para salvar Adela cuando ella es muy consciente del peligro inminente y la llegada de Pepe cuando Adela anuncia que “Me despertó la sed.”Así, Lorca usa La Poncia como un vehículo por el cual él puede contar su historia – está claro que, sin La Poncia, el fin trágico de la trama no podría sucedir, pero esto significa también que ella es un transeúnte inútil, como su tocaya Poncio Pilato: alguien con el poder para que la tragedia sea evitado pero no hace nada.
Por añadidura, La Poncia tiene relaciones muy complejas con la protagonista, Bernarda, lo que también revela el tema muy significativo de la lucha de clase. Al principio, Poncia deja claro el hecho que aborrece a Bernarda ya que es una jefe “capaz de sentarse encima de tu corazón y ver como te mueres.”Además, sabemos que trabajar para Bernarda es un trabajo ingrato cuando Poncia revela que ha pasado “treinta años lavando sus sábanas, treinta años comiendo sus sobras, noches en vela cuando tose, días enteros mirando por la rendija del portón para espiar a los vecinos y llevarle el cuento.”Esto también relata al tópico de ‘el qué dirán’ y introduce la importancia de que le da miedo a Bernarda. A pesar de su crueldad, Poncia tiene que ser sumisa a su jefe dado que se siente en deuda con Bernarda y depende de ella para su sustento y lo de sus hijos que trabajan en las tierras de Bernarda. Teniendo este hecho en cuenta, podemos observar la razón más egoísta por qué “quiere vivir en casa
decente.”Este hace hincapié de la lucha que viven las clases bajas durante la época de Lorca – si Poncia perdiera su trabajo, no tendría mucho más oportunidades laborales, así que debe proteger su trabajo y su reputación (“no quiere marchar[se] de vieja.) De hecho, una de las razones por su odio de Bernarda son los recuerdos constantes de su sitio en la casa y la jerarquía societal. A pesar de que han pasado treinta años conjuntas, Bernarda la sitúa en su lugar, diciendo, “No tenemos confianza. Me sirves y te pago. Nada más.” Sin embargo, el papel de La Poncia no es completamente revelar el carácter de Bernarda y su odio por los pobres que son “como los animales.”En la obra, La Poncia representa la visión mientras que Bernarda es un símbolo de la ceguera. Poncia le da consejos y avisos sobre “una cosa tan grande” que está pasando, sugiriendo que debería “abrir sus ojos.”Esto podría ser un mensaje politico de Lorca sobre la ceguera de los líderes de España hacia la pobreza así como el creciente conflicto en el país.
Finalmente, un tema clave en el desarrollo del argumento de Lorca son los roles de género que se representa por La Poncia. Por un lado, tiene la “misma escuela de [su] madre”y afirma las expectativas de las mujeres – “Látigo y mula para el varón. Hilo y aguja para las hembras,”y esto se puede ver claramente en sus descripciones de las mujeres como Paca la Roseta que tienen la libertad sexual. Además, echa la culpa a Adela en cuanto a su relación con Pepe el Romano, diciendo que “debió sentarse en su sitio y no provocarlo.” Su hipocresía en relación a los roles de género se hace clarísimo cuando paga por prostituos para su hijo ya que “los hombres necesitan estas cosas.” Por otro lado, tiene un pequeño espíritu de rebelión en contra del sometimiento de las mujeres a las rígidas normas y convenciones de la sociedad. Esto se puede ver cuando describe cómo pega a su marido y “mata sus colorines” y usa lengua vulgar y abiertamente sexual.
En conclusion, La Poncia se sirve de un personaje esencial para Lorca a avanzar el argumento de su obra como el corifeo de la audiencia y introduciendo muchos temas imprescindibles en la comprensión de la obra y la época en el que se basa.
The House of Bernarda Alba is a play written by Federico García Lorca, an Andalusian poet and playwright which was first published just two months before the writer's execution at the hands of Falangist forces. The play explores the themes of the expectations of women and class struggle. As a character, La Poncia represents many of these key themes of the play and of Lorca's Spain, also playing a very important role as a guide for the audience.
First of all, the role of La Poncia as our coryphaeus/guide is essential, especially in terms of the development of the plot. She is in charge of knowing what is happening outside the house and tells Bernarda and the daughters, providing a connection between the house and reality, which is so rare in the play. For example, you can see this when she tells them about Paca la Roseta, who went "to the top of the olive grove" with "her breasts out" and "Maximilian carried her as if he were playing the guitar." In this way, La Poncia provides a voice against the growing freedom of women, which according to her is "a horror" in this case. Her knowledge of the outside world is also brought into the house when she excites the girls with
her information about "the reapers," who "are capable of giving a knock [at the window] to see who is looking." Therefore, Lorca uses La Poncia to bring news about the men outside of the house to add to the feelings of sexual repression that the daughters experience. Poncia not only helps to advance the plot in this way, but also leaves us hints and raises suspicions about the secret relationship between Pepe el Romano and Adela even before she discovers it when she asks Angustias "What time did you leave last night?" When she discovers the truth, Adela confronts her, saying "Kill those thoughts... do not go against the law of God."
At the beginning of the play, La Poncia portrays Bernarda as "tyrant over all those around her," foreshadowing Bernarda's cruelty before her appearance on stage (which is also done in classical theatre.) Although she plays this role as a corypheus and is at the centre of the events of the play, La Poncia can be seen as something of an unsympathetic character at the end of the play, given that she does nothing to save Adela when she is well aware of the imminent danger and the arrival of Pepe when Adela announces that "I was awakened by thirst." Thus, Lorca uses La Poncia as a vehicle by which he can tell his story – it is clear that, without La Poncia, the tragic end of the plot could not happen, but this also means that she is a useless bystander, like her namesake Pontius Pilate: someone with the power to prevent the tragedy but who does nothing.
In addition, La Poncia has a very complex relationship with the protagonist, Bernarda, which also reveals the very significant theme of class struggle. At first, Poncia makes clear the fact that she hates Bernarda as she is a boss "capable of sitting on top of your heart and watching you die." Moreover, we know that working for Bernarda is a thankless job when Poncia reveals that she has spent "thirty years washing her sheets, thirty years eating her leftovers, sleepless nights when she coughs, whole days looking through the crack in the gate to spy on the neighbours and bring her the story." This also relates to the topic of 'what will they say'/ ‘el qué dirán’ and introduces the importance of Bernarda's fear of this. Despite her cruelty, Poncia has to be submissive to her boss since she feels indebted to Bernarda and depends on her for her sustenance and that of her children who work on Bernarda's land. With this fact in mind, we can observe the most selfish reason why she "wants to live in a decent house." This emphasizes the struggle that the lower classes experienced during Lorca's time – if Poncia lost her job, she would not have many more job opportunities, so she must protect her job and her reputation (she does not want to have her name stained as an elderly woman.) In fact, one of the reasons for her hatred of Bernarda is the constant reminders of her place in the house and the societal hierarchy. Despite the fact that thirty years have passed together, Bernarda puts her in her place, saying, "We don't have confidence/mutual trust. You serve me and I pay you. Nothing more." However, La Poncia's role is not only to reveal Bernarda's character and her hatred for the poor who are "like animals." In the play, La Poncia represents vision while Bernarda is a symbol of blindness. Poncia gives her advice and warnings about "such a big thing" that is going on, suggesting that she should "open her eyes." This could be a political message from Lorca about the blindness of Spain's leaders to poverty as well as the growing conflict in the country.
Finally, a key theme in the development of Lorca's plot is the gender roles that are represented by La Poncia. On the one hand, she has the "same school as [her] mother" and affirms the expectations of women – "Whip and mule for the men. Thread and needle for the females," and this can be clearly seen in her descriptions of women like Paca la Roseta who
have sexual freedom. In addition, she blames Adela in terms of her relationship with Pepe el Romano, saying that "she should have stayed in her place and not provoked him." Her hypocrisy regarding gender roles becomes abundantly clear when she pays for prostitutes for her son since "men need these things." On the other hand, she has a small spirit of rebellion against the subjection of women to the rigid norms and conventions of society. This can be seen when she describes how she beats her husband and "kills his pet birds" and uses vulgar and openly sexual language.
In conclusion, La Poncia is an essential character for Lorca to advance the plot of his work as the coryphaeus of the audience and introducing many essential themes in the understanding of the work and the period in which it is based.
TOM REA MVI
LVIth Mathematicians use their skills to with festive cheer.
ISSAC MATHISON LVI
