MSJ - The Chronicle - Edition 3 by Malvern St James

thechronicle ISSUE 03 / JUNE 2016

ISLAMOPHOBIA

How can we make sure that our impact on the world is constructive not destructive?

TAGS

BY MARGARITA BONDARCHUK

There is no reason, no evolutionary purpose of downgrading people, other than perhaps just generalising our vicious behaviour under a grey area of competition.

omen are given tags in order to define them, they are not things that actually reflect them as human beings but rather they are things that:

■ ■

make it easier for society to categorise and judge take away individual identity and annuls it and confine it to a simple word

I think at one point we have all experienced this to varying degrees; be it, being skinnier than your classmates and straight away being labelled ‘anorexic’ or having acne and being called ‘ugly’ or other hurtful words1. There is no reason, no evolutionary purpose of downgrading people, other than perhaps just generalising our vicious behaviour under a grey area of competition. Be it competition for the attention of males or simple competition between girls to earn respect from their community and their fellow female friends. It seems that we are never allowed to live for ourselves;

rather we are made to fit into someone else’s view, to keep them comfortable rather than being able to embrace who we are. Now, more than ever, women or girls are greatly defined by how they are seen in the global media and social media. We (as women), representatives of a species that has been evolving for 2 to 6 millions of years, are forced into a factorymade and artificial image of perfection. There is no apparent explanation of why or how this came to be the case, yet, the consequences of disobedience to the constantly implemented idea of ‘perfection’ are very clear. We are made to doubt ourselves everyday we go on Instagram, Facebook, Tumblr and other examples of social media. We are either too skinny, or too fat; too Tumblr or too hipster; too socially aware or too uninterested - there is never a balance or place to just be. This idea of competition and categorising goes far beyond ideas of physical image and appearance. Our own minds come under question. Making a statement about your identity is

thechronicle simply waved off as a ‘phase’, or as a consequence of watching too much American Horror Story or Tumblr. But how is that not supposed to affect us? We are unfairly judged for copying personalities, copying ideas and copying identities and that is not the case in many situations. A person can gather ideas, and through use of media, books and movies find themselves. She can realise that what she feels has substance and is of value. This is not something to be dismissed as an unimportant phase that occurs before reaching the conventional set of beliefs that makes your personality just a bit more exciting. Instead of embracing the tags people tie onto you, embrace the ideologies already implemented within you - that are part of your skin and part of your mind. Saying something like ‘everyone is beautiful’ or that ‘everyone is perfect’ is cliché and does not transfer any message. However, everyone has the ability to rip-off the tags by helping each other, by defying the common notion of competition and supporting each other’s successes rather than gossiping about them, by complimenting each other rather than criticising. Every woman is different, every woman is unique and every woman should be proud of that. This piece has also appeared on https://www.tumblr.com/ blog/halloftwotruths 1

http://www.hnsblog.com/

THE POWER OF THE INTERNET

BY EMILY DAVIES

ocial media is great if you want to communicate with friends and family when you are not with them and using apps like IM (Instant Messaging) enables the process of sending and receiving a message to be very efficient. However, we do have to accept that the internet and social media can and does destroy relationships. In some instances something just as simple as talking to old friends can cause break ups and divorces due to things such as jealousy and cheating. The results from a survey on Divorce-online UK found that, “one in three divorces resulted from social media-related disagreements.” 1 Even innocent comments on photos and statuses can cause difficulties in relationships leading to feeble bonds and tangled trust. Analysts of the survey suggest that, “It should become a policy to censor yourself on social media.”2 Building and maintaining trust is the key. All over the web photos are posted of celebrities and models with “flawless” bodies. To many children and young people their role models are celebrities. As they are influenced by their role models they would do anything to be exactly like them, they are still discovering who they are3. This influences teenagers and young people to starve themselves in order to get

this “flawless” body that they think their role model has4. But they have fallen into a trap. The photos have really been photoshopped to make the person appear (unhealthily) thin. This obsession with, and pervasion of, the culture of celebrity can lead to teens ruining their health 5 and to issues like anorexia and eating disorders which if they get serious enough can become life threatening. In February 2015 it was found that 725,000 people had an eating disorder in the UK and almost 50% of people with eating disorders are also diagnosed with depression which can then lead to extremely serious thoughts like suicide which are hard to control6. The internet is so powerful that it can help to convince vulnerable teenagers that behaviour such as drugs and drinking is normal. This occurs because of pictures on social media; teenagers posting pictures online of themselves drunk can make other teenagers feel pressurised to do what everyone else is doing. The internet can have both positive and negative affects however, the effect it has on your life in the end is down to how sensibly you use it.

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MOMENTS

BY CHARLOTTE SAMBROOK

I took the beach photos above on Winchelsea beach, Sussex. I wanted to capture the effect that the light made on the water as a storm came over the beach. I thought there was an intriguing balance between light and dark, which created a good contrast for the photographs. I also liked the subtle colours on the rocks and the sand in the dimmer light as well as the darkness of the water. I took this photo as I loved the colours that were brought out in the petals and the contrast with the darker background. I thought the intimacy of colour became more intense the further into the flower it went and wanted to capture this with a macro lense as it added more detail than we would usually see it.

BEAUTY TRENDS FROM THE INTERNET: FRIEND OR FOE?

BY IMY TOWNSEND

very month or so I stumble across an article or a link to a video online, titled with a sentence such as 'You won't believe this new beauty hack trending online.' You can't believe everything you read on social media, but when you see a video of a man holding a blowtorch and using it to cut a woman's hair 1, or read an article about snail slime reducing the appearance of ageing 2, perhaps itâ&#x20AC;&#x2122;s time to look a little deeper. Examples of these trends include ear candling, when a hollow tube coated with paraffin or wax is inserted into the ear and then lit in the belief that it will remove ear wax and relieve many other symptoms, however the benefits of this homeopathic remedy have never been conclusively proven, although there is much debate either side.

Another trend is waist training, which is basically the idea that if you continually constrict your waist with a corset, it will end up shrinking. However, this is hard to do safely and this 'trend' can lead to fractured ribs, impaired breathing and displaced organs3. 'Brazilian Blowouts' are new hairdressing treatments that stay in longer than the normal blow-dry. However what most are not aware of is that the process involves using large quantities of formaldehyde. The Food and Drug Administration4 in the USA has warned against this beauty treatment, its advice to consumers is, â&#x20AC;&#x153;Skin sensitivity can develop after repeated contact with formaldehyde-related ingredients. When formaldehyde is released into the air it can cause serious irritation of your eyes, nose, and lungs. The greater the exposure, in terms of both duration and concentration, to products that contain

thechronicle myMagazine formaldehyde-related ingredients, the higher the health risks.” And these are just a handful of trends that take the internet by storm. Many users and customers may argue that these treatments really work for them, that they are perfectly healthy after using them and they enjoy the experiences but it is difficult to know the authenticity of reviews written on an internet page. People have the right to do what they want to their bodies, but is it worth it? It is worrying to think that someone could embark upon a new beauty regime without being aware of all the risks. From my perspective, these continuously new trends can seem bizarre and also ridiculous. Have

normal beauty techniques really become so dull that we feel the need to replace them with strange chemicals and unscientific methods? So, next time you watch a video or read an article about a beauty hack, my advice is to steer clear if it involves fire, toxic chemicals or any other methods that, when you think about it, are completely insane. Try following someone like Ella who uses natural products like honey, cucumber and coconut oil for a healthier and safer beauty indulgence.

“Of course a healthy glow does come first and foremost from the inside, not just from your beautiful personalities, but from what you eat – that’s the real secret of glowing skin!”

http://www.dailymail.co.uk/news/article-3344251/Fancy-cut-blowtorch-Real-life-Edward Scissorhands-uses-samurai-swords-fire-specially-claws-achieve-perfect-hairstyles.html

http://www.thedermreview.com/snail-cream/

http://thescienceofeating.com/2015/04/20/dangers-of-shapewear-waist-training-on-the-body/#

http://www.fda.gov/Cosmetics/ProductsIngredients/Products/ucm228898.htm

woke up with my eyes first noticing the escaping rays of the rising sun on the horizon. That cold autumn evening it rained hard. We had to move my cot to the living room, because the roof in my room was so rotten it sent waterfalls of acidic precipitation down my white holed walls. Jason was muttering something to himself about seashores and camellias, while I was sitting on the wooden floor and reading an ancient magazine probably from half a century ago. The light from the kerosene lamp created the most unimaginable figures on the lacerated blinds, the veil of the night slowly eradicating the colour of the cloudy heavens. Jason invited me for a walk along our desolate neighbourhood. I took half an hour to find my wellies, coated in mud, and one black umbrella with hundreds of microscopic tears on it. When we came out, the umbrella was suddenly turned inside out by a powerful gust of wind. My raincoat was stuck to my skin, the harsh hands of frost biting my nerves. Nonetheless, Jasonâ&#x20AC;&#x2122;s face was peaceful and still like the desert after a sand storm - as always. His hair was muffled and needed a wash. I laughed to myself hysterically for no apparent reason. Jason just ignored me - or was he deep in thought? We continued our late night promenade as far as the gates of the park.

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FACES BY MARGARITA BONDARCHUK

Next to one of the rusty green gates sat an elderly man with his beard covering most of his face. He was wearing rags, and had only one leg. The only things he owned were probably the soaked cardboard he was sitting on, a plastic cup with some pence in it and a shaggy dog. He was humming something incoherent - the tune somehow reminded me of Mozart. I tried not to look at him, but it didn’t work. My curiosity took over my brain. We passed him silently. He just smiled when he noticed us, his face cracking with wrinkles, and three yellow teeth showed from behind chipped lips. His eyes were like a cat’s in the darkness, flashing with the colour of pepper highlighted by some blue streaks. We walked on.

We proceeded until the lighthouse and then headed back. I didn’t feel my fingers: they were numb from the cold. The rain was more forceful now. As we were passing a café, I noticed a man on the corner: he was sitting on the ground, mud surrounding him, wearing a three-piece suit with one sleeve torn off. He was writing something in the dirt, or drawing perhaps. While we were passing him his sketch resembled a vortex, weird formulae surrounding it. The rain was washing the grit from his face, his eyes reflecting the darkness, like torches. His eyes drifted from the floor, to me, to Jason and back. They glistened in the morning light as if he knew some great secret.

We passed the sea, which was illuminated by the crescent moon appearing as a ghostly silhouette on the blanket created from the clouds. A seagull cawed somewhere in the night. The lampposts guided our way. When we were strolling past an abandoned pier, the lights were buzzing like bees - it looked like an oasis in the middle of a desert. I saw a head peek out of the sweet shop. It was a young girl with her golden locks swishing chaotically around her, her eyes pure green. She came out right after we passed the shop. She stood under a lamppost and her irises became tiny dots. I turned my neck to see her better and saw that she was standing in front of a dead dog spread out on the pavement like a pentacle. Crimson liquid still dripping around the carcass of the mammal, the rain washing away the blood into the sewage. Someone was yelling in the distance, the sound slowly approaching the girl. She didn’t scream or shout - just stood there underneath the light, her eyes mimicking the sea.

That morning I fell asleep looking at the clouds and remembering the eyes. I saw their twinkling in the moonlight and their pupils contracting from the brightness of the light. When they were supposed to be melancholic they were joyous regarding every moment of existence with the simple appreciation of being alive. When the gaze had to portray panic it was peaceful, overviewing the present in a pure way. When nothing else was to be discovered except for insanity, they were intelligent, depicting genius. I drifted into my dreams thinking about the heavens being a universal memory and that all the clouds floating are our faces entering and escaping that memory. All of our feelings: anger, joy, ferocity, happiness, hope are a way of expression. Expression of who we are, making us what we are. Making us alive.

FEAR We all fear something. To be afraid is an integral part of human nature1. With school or public exams on the horizon for many of us, or university and beyond, we all feel the pressures of stress and anxiety. We have worries about grades, failure and the stress of living up to the expectations of others. Although we would like to think of ourselves, especially in our youth, as invincible and fearless without vulnerabilities, when a person has nothing to fear, they have nothing to lose. When we are forced to act out of fear, the lengths we can go to are of just as much concern. It's good to be scared; it means you still have something to lose.

BY FLORA BARBER

he creatures of science fiction, for example the Cybermen of Doctor Who, are machines and have no capacity for fear. It is something instinctual and integral to survival in an unpredictable world. In today's society we are all interconnected through social media, constantly updated by news reports full of scare-inducing headlines, whether it's the latest health scare or terror attacks fueling our fears. However, in avoiding those situations that are a step outside our comfort zone, we risk stunting our development as a person. We think we are who we think we are. It scares us then when we consider the possibility that we are, or that we may become, something that we perceive we are not. In failing to recognise the constant impermanence in the world we refuse to accept how the world is always changing. Fear related to identity is more of a common issue than just this. The fear of not existing anymore or of oblivion has become an unsatisfactory answer to the purpose of our lives. This shake of reality is more than just unnerving, it can undermine all that which we hold true. We like to have "control" over how we look when we present ourselves on the world-wide stage, but then when you have been confronted with someone who can see through the mask we all wear and stare deep into our soul, we are left vulnerable to the truths of what and who we really are. We are constantly worried that we will not be accepted for our true nature, and therefore we suffer immensely on a daily basis trying to fight it. After all, without our mask to shield us what would we be? We are defiant of our fears and lie to ourselves and others. We are trying to be brave and courageous, yet when faced with ourselves all alone, we are at the mercy of our imagination. If only we were able to admit to being terrified.

FEAR is an acronym for 'False Evidence Appearing Real'2. Human beings are naturally resilient to change but in their unacceptance of change

thechronicle comes misunderstanding that leads to fear and hatred of the unknown. If we could instead accept the truth of the world, that it is okay to be terrified, then we could instead focus on what really could kill you such as physical dangers. In conquering ourselves we can master our fears, take control of our lives and become leaders. Only then will we truly understand the meaning of vincit qui se vincit (she conquers who conquers herself) and achieve our full potential. Whilst in certain amounts fear can destroy, it also has the potential for character building. The exploitation of fears and fear conditioning are used as forms of mental torture and manipulation. Being kept in a constant state of fear can lead to PTSD. TV shows and films play on this fine balance, testing our deepest fears in, perhaps, unrealistic ways but ways that still have a profound effect. It is important to note the difference between fear and phobias, the latter being a type of anxiety disorder. As defined by the NHS, "A phobia is an overwhelming and debilitating fear of an object, place, situation, feeling or animal."3 This may be caused by a genetic tendency or a learned response, but either way it is more than just fear. Home has perhaps become synonymous with the feeling of safety, that which can defeat even the strongest of fears. It does not matter if home means a boarding house or a country thousands of miles away, we still find sanctuary there. In the Doctor Who episode Listen, fear is a thread running through the episode that has been faced, challenged and ultimately accepted:

"Fear doesn’t have to make you cruel or cowardly. Fear can make you kind. You’re always gonna be afraid even if you learn to hide it. Fear is like a companion, a constant companion, always there. But that’s okay because fear can bring us together. Fear can bring you home.... Fear makes companions of us all."4

Fear is an illusion that provides limits and boundaries in the form of pain, whether it be mental or physical. Fear can become associated with pain or traumatic experiences and so it exists as a preventative measure to stop us from encountering the same trigger and the same pain again. In a life or death situation however, the absence of fear enables us to do whatever a human body can take in order to stay alive – our core instinct. This 'fight or flight' response system has been programmed into nearly every creature in the world, establishing a survival instinct so strong it defies boundaries between species. Fear then becomes a superpower we all possess, allowing us to do incredible things in such situations. Our strength can, for example, be temporarily increased by up to 30% as hormones are released to counter any chances of us feeling the pain when we exceed our normal strength boundaries. Similar chemicals make us more alert so that our better focus, as recorded by kinesiologist Vladmir Zatsiorsky5 creates a time dilation effect. This was investigated by neuroscientist David Eagleman6 who suggested that it seems to occur because more memories are created in order to better record events for future reference. Perhaps then, fear is not as negative as we first perceive, as after all it is fear that keeps pushing us forward to do something extraordinary, to learn something new about ourselves and to unite us with others. Once we realise how small fear is, why should we let it take over our lives? Whilst it may seem paradoxical, it is true that we are vulnerable yet strong when we are afraid.

"Courage is not the absence of fear, but rather the judgement that something else is more important than fear. The brave may not live forever but the cautious do not live at all." So be brave.

http://science.howstuffworks.com/life/inside-the-mind/ emotions/fear3.htm

http://www.oprah.com/spirit/transform-your-fear-into-courage

http://www.nhs.uk/conditions/Phobias/Pages/Introduction.aspx

Spoken by Clara in Listen, Doctor Who Episode 4, Season 8. 2014

https://www.psychologytoday.com/blog/extreme-fear/200912/ superhuman-no-just-very-scared

https://www.psychologytoday.com/blog/extreme-fear/201003/ how-the-brain-stops-time

Winner, The Rotary Young Writers Competition.

THE VIEW BY FLORA BARBER I am sitting on the old, rusting, iron gate looking over the sloping fields. The wind is rippling through my hair, tickling and tossing wisps into the air and across my face. On my left the sunset is cresting the hill behind my house and the horizon bursts into colour; a miniature supernova scattering shards of fire through the leafless trees, like light through stain-glass windows. The warm, gentle glow embraces my cheeks and I let its breath fill me up with joy. On my right the hills are burning in the autumn evening haze, casting deep trenches of shadow. Like birds migrating, a flock of leaves dance and skip, tumble and twist in perfect synchronisation in front of my eyes. They come down in great cascades, as if from a waterfall in the age old oaks, floating on endless tides and currents. I look to those that have already landed, their undersides speckled with miniature orbs of dew. The sky, like a glacier-fed lake, camouflages itself into its surroundings, shredding the azure coat for a rich sea of glittering gold, burgundy, crimson, taupe and violet. Smokey plane trails etch themselves into the fabric of blurred the hues above me, forming a unique tapestry. It lasts for a fleeting second before it melts creating an ever evolving animated display of beauty. It cannot be repeated, it cannot be replayed; this briefness of life wonâ&#x20AC;&#x2122;t allow it. As the world blossoms into darkness, punctuated only by the blackbirdâ&#x20AC;&#x2122;s call, the diamonds of the night glisten above watchfully. They have been eyeing our world all day, but only in the absence of light can we see their true magnificence. I look up and wonder. Wonder what their stories are. What do they see? There is so much life out there, in that constant flux. If I blink I will miss a unique moment, lost to the world; I will miss the murmurings of the wind, the wink of a star or the cry of an owl. Time evaporates from existence as I close my eyes and breathe in this perfect moment. I have no paintbrush, no camera, no pencil, no way of capturing what I can see. This memory will fade and be forgotten, as will I. We become no more than the whispers on the breeze. These borrowed seconds have their price, one which we all must pay. Yet this beauty is immortal and it will surpass every gaze that looks upon it, every generation that meets it and every heart that is moved by it.

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STARRY NIGHT

BY VANESSA LAW

STARRY NIGHT - VAN GOGH

The pale yellow eclipse, Shimmering in the sky. Blue dragon snarls its body, Furiously swallows the eleven stars. The silhouette of the desperate, shadowy tree against the sky. Biting wind, sparkling stars, drowned town. What I hear are silent sounds of soul and Rustling dying leaves calling for help. In this starry starry night, I look up into the blue dome of heaven, Not hoping for eternity, But hoping for evanescence. 19

Birth Order AND HOW IT AFFECTS

BEHAVIOUR AND PERSONALITY

By Jade Chernel

I am one of two children in my family and often I have found myself wondering how I might have behaved if I were the younger sibling: would I like the same things; have the same hobbies; do the same sports; be good at the same subjects? Would my personality differ from how it is now? A popular perception is that birth order can affect a child’s personality, competitiveness, behaviour and even the type of social situations that the child prefers to be in. These ideas could come from the theories of famous psychologist Sigmund Freud, “Birth order has a powerful impact upon children's behavior, their emotions and their personality development. Freud said that birth order is the most important piece of information that you can have about an individual.” 1

As for the last born, Dr Goss’s view is that these children are usually less micro-managed and less fussed over by parents, which naturally gives them a greater sense of freedom to explore, “If you're the baby, your parents are already confident in their role as a caregiver, and therefore are more lenient and don't necessarily pay attention to your every move or milestone as they did with your older siblings”. Some traits commonly associated with being the youngest are; relating strongly with the first born as you have both shared in the feeling of being special and entitled and being generally more mischievous and perhaps more cheeky than older siblings as a response to the more relaxed parents. There are factors of personality and behaviour that may correlate with sibling age and the way in which they are parented but as each child is unique it is no surprise that each child develops and responds differently. However, in order to support the conclusions reached by Sulloway, further scientific studies need to be conducted and investigations like those of Joshua K. Hartshorne, Harvard University4, have produced some interesting results that do suggest that certain personality traits such as social ability and creativity do directly relate to birth order. However not all the studies are in agreement. Rodica and Brent (2015) state that,

But why is birth order important? It is in the view of Frank J Sulloway, author of ‘Born to Rebel’ that: “the personalities of siblings vary because they adopt different strategies in the universal quest for parental favour”.2 Could it be that our personalities are dependent on the intensity of the competition we have or could it be that our parents approach us and parent us each differently, essentially becoming a different parent for each child? First-time parents can tend to micro-manage, be cautious and careful, which naturally will have an effect on the way the firstborn will behave. Because firstborns have had so much attention from their first-time parents, they can become responsible, reliable, well-behaved and careful people; modelling the way that their parents have behaved towards them. First born children can be seen as the ‘pioneer’ child for younger siblings; testing the boundaries of parental receptivity i.e. what they should and should not to. It is a common belief that the middle child is likely to receive the least attention

“Although the direction of some of the effects supported the hypothesised relation between birth order and both personality and intelligence, we would conclude that the magnitude of the effects would indicate that birth order is not an important consideration to either of these outcomes”.5 In my experience, I was interested to note how the personality traits of birth have matched what I had seen first-hand with my family and friends. Recently, my sister and I stayed with some family friends; a family with three siblings. I was able to notice certain quirks and mannerisms with each sibling and compare them with the way my sister and I behaved in relation to each other. However, I also support the view that a child’s behaviour is influenced by parenting techniques. It makes sense that an overly-cautious approach when bringing up the first-born child would affect that child’s personality and that as the parents have more children, they become more confident with their parenting methods.

Meri, W. (2013). Eight Steps For Raising A Happy First-born. [online] Psychology Today. Available at: https://www.psychologytoday.com/blog/how-raise-happy-cooperative- child/201301/eight-steps-raising-happy-first-born [Accessed 10 Feb. 2016].

Sulloway, F (1998) Born to Rebel. Abacus

Goss, G. (2014). The achiever, the peacmaker and the life of the party: how birth order affects personality. [online] The Huffington Post. Available at: http://www.huffingtonpost.com/dr-gail- gross/how-birth-order-affects-personality_b_4494385.html [Accessed 12 Feb. 2016].

Hartshome, J K (2010) How birth order affects your personality.[online] Scientific American Available at: http://www.scientificamerican.com/article/ruled-by-birth-order/ [Accessed 12 Feb. 2016].

Rodica, D. & Roberts, Brent (2015). The associations of birth order with personality and intelligence in a representative sample of U.S. high school students. [online] Sciencedirect.com. Available at: http://www.sciencedirect.com/science/article/pii/S0092656615000525 [Accessed 12 Feb. 2016].

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and so perhaps feel more comfortable in a smaller and more intimate circle of friends. It is within this small friendship group that this child may be able to access the attention they desire. Furthermore, Dr Gale Goss, a Human behaviour and Family dynamic expert expresses, “You and your older sibling will never excel at the same thing. The personality trait that defines you as a middle child will be opposite of that of your eldest and youngest sibling.”3 This is an interesting perspective that suggests that the middle child whilst eager to learn how to behave by observing the eldest sibling, is also keen to branch out and try different things thus separating him/herself from his/her elder sibling. This draws back to Sulloway’s view that children essentially behave in a certain way in order to gain the ultimate prize; that of parental favour. In this case gaining favour from excelling in a particular area that highlights the difference between themselves and their siblings.

OUT OF AFRICA Life as an International boarder

By Filipa Yenkini

s an international boarder, I have found myself lost in a different world at times, having to adapt to a new country, new language and new people. Being away from home being the most difficult adaptation that I have had to make as it’s not easy to leave the bright sunshine of the African coast to spend most of my days in the dark gloomy country that best describes England. However, life away from home has meant a new found independence. Sharing the house and most of my free hours with people brought me closer and closer to them until I realised that I had a new “family of friends” around me. As an international boarder, I found myself integrating with people from other nationalities and from other backgrounds. MSJ has certainly given me the opportunity to develop strong working relationships with my teachers. As friendships developed, the weekend times became more fun as most of the girls gathered around the main room with snacks ready to watch movies or have conversations with each other.

As you would expect being an international girl, people are curious about my background and what it is like to be from Angola. However, when asked about Angola, the questions are often centred around the political unrest or rather the “unrest” that the media presents1. Despite only having one political party in power since independence, 37 years ago – Angola is not full of greedy, power hungry politicians. This is not the full picture, ‘The World Travel Guide’ describes Angola as, “Youthful and energetic, fun-loving and eager to impress, it is a country still shaking off its troubled past while looking firmly at the future.” 2 To me, Angola is a place where anyone can feel at home, meeting strangers and feeling as if you’ve known them for years. A place with a real feeling of home, happiness and liveliness yet an appreciation for peace and tranquillity after the Civil war of 1975. “With its gleaming skyscrapers, grand government buildings and palm-lined promenades, downtown Luanda’s prosperity probably comes as a revelation to many visitors”. 3 The unique diet in Angola originates from a mixture of foods of the indigenous people with the essence of Portugal, needless to say, much like the country it is something special. When boarding, I find myself missing and craving the sweet flavours of Angola including savoury dishes such as funge de carne seca, a traditional dish featuring cassava, meat and sauce and musse de maracuja, a passion fruit mousse. I’m sure that girls from other countries have the same

sentiments; missing home and all the quirks that England just simply doesn’t have. This is my fourth year at MSJ and looking back I can remember how it felt to be around and share a house with new people. It was scary for the first minutes but the tide certainly turned very quickly. It was easy to adapt as I was surrounded by people who have made my experience incredible in many ways. Being at a girls’ school is encouraging as they have high expectations of what I can achieve. Being a boarder allows me to know girls from different backgrounds, different countries and continents. It made me see that although we were all here for the same purpose, everyone was different in their own way. Being a boarder certainly helped me understand others and support them whenever they needed me. It helped me grow as a young women, being able to depend just on “myself”. It also gave me a platform to expand the views of Angola and deepen people’s understanding of what it is actually like as opposed to what it is portrayed to be like. In the same sense I have also become more aware of other cultures and other nationalities, it is such an enriching experience, in my opinion. Looking back now I realize that being a boarder has made me stronger. It has taught me to never be scared of anything new. It has encouraged me to fight to achieve what I wish for myself. It helped me be independent.

http://www.bbc.co.uk/news/world-africa-13036732

http://www.worldtravelguide.net/angola

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Caroline Copeland NEUROSCIENTIST AND OLD GIRL

hen I met neuroscientist, Doctor Caroline Copeland, UCL Pharmacology graduate and a Research Associate in the Department of Bioengineering at Imperial College London, any stereotypes that I had held about scientists completely vanished. I met a woman, who informed me that when she was at MGC, she had snuck tea into Mr Harris’ chemistry lessons and who literally beamed from ear to ear in exhilaration at the memory of eating the amusingly named dining room tea-time treat ‘dead dog’ . Working in a laboratory for 8 hours a day may not, on the surface, sound like an exciting career, but for research scientists like Caroline, who enjoy the thrill of doing the seemingly impossible, it means the prospect of being on the verge of a new discovery every single second. As a post-docotoral research associate in a Neural Coding Laboratory, she is presently investigating the neuropathological mechanisms associated with schizophrenia. In addition, as part of her role, Caroline has the privilege of being able to travel all over the world for work. Caroline is a successful female scientist in an arena that does not reflect the amount of women who take STEM related degrees; statistics show that although more women than men complete undergraduate and postgraduate degrees only 41% of women make up the science workforce . This, and the predicited demand for more scientists from industry , may be a factor contributing to the high profile promotion of science particularly towards female students who may fear the potential of being discriminated against in what they perceive is a maledominant industry . To find out more, I asked Caroline about working as a scientist: Do you think it is difficult for female scientists to reach a high position in the field of science?

By Jadie Luo

Caroline: I wouldn’t say it was as difficult now as it has been in the past. There is a definite increase in the recruitment of women. From a personal viewpoint, I have never felt discriminated against or felt that anything that has ever held me back. In fact, I may have been given more opportunities, as sometimes women are encouraged to put themselves forward. This can, of course, result in getting offers because you have stepped up. At Imperial, they like to have women on the Undergraduate interview panels, for example. Without a doubt, many pupils at MSJ are aiming for high ranking universities, would you say that the university we go to can or will have an effect on the job we are able to get when we finish? Caroline: In certain ways, it can do, especially if you want to continue to further your education. I have noticed that when I email from my UCL or Imperial Address and from my Gmail address, I receive very different responses. A good tip to remember for future job applications. I felt inspired after meeting Caroline, she has made me realise that there will always be changes and challenges, but there will also be new and more exciting journeys awaiting us around the next corner. Like Caroline, who has found her passion in studying brain cells in an attempt to cure psychiatric diseases, we will also find our passion out there in the world that is meaningful for us. ‘If the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason. And that means you have to be here for some reason, too.’ We can then come back, like Caroline has done, and share our story and memories with the next generation.

1 ‘Dead dog’ was the rocky road of our day, a gooey but solid chocolate cake/ biscuit snack that had fruit, nut and biscuit but no marshmallows 2

https://www.ibms.org/go/nm/iwd2016

https://www.gov.uk/government/uploads/system/uploads/attachment_ data/file/452078/15.01.05._UKCES_Career_Brochure_V13_reduced.pdf 3

https://www.theguardian.com/science/occams-corner/2012/sep/25/2

"How have we arrived, in the relatively prosperous developed world, at least, at a cultural moment which values autonomy, personal freedom, fulfilment and human rights, and above all individualism, more highly than they have ever been valued before in human history, but at the same time these autonomous, free, self-fulfilling individuals are terrified of being alone with themselves?"SARA MAITLAND 1

Susan Cain’s Ted talk2 in February 2012 made me question my opinions on introverts. I have always believed that this noun applied to the few who are considered to be slightly more shy than the average person. In school, group projects, discussions and presentations are widely used methods to show and share learning. Teachers are also expected to be interactive and kinaesthetic in their pedagogy. However, research shows that society might be simply biased towards extroversion since about a third to a half of the population actually claims that they are introverted3. Why does our society treat introversion as abnormal?

and happiest during times alone. In addition, introverts can be interpreted as being ‘self-centred’ as their habit of spending more time alone stimulates them to do things in the way that suits them best. However, this preference may also lead to ‘over-thinking’ which builds up stress. On the other hand, self-awareness means that introverts have general traits of being ‘controlled’ and ‘sensible’ since they are independent and thorough thinkers. Many cases show that they are not absolutely isolated from society, in fact, being calm, considerate and having We live in a world where a person who voices his/her opinion is more a good understanding of themselves means likely to gain understanding and support. Introverts tend to have a that introverts make great friends6. Without 4 a doubt, withdrawing from constant chatter smaller social circle and prefer to engage in small group activities , some people might choose to change or hide their introversion to can encourage thoughtfulness and reflection, avoid discrimination against those who are quieter. which is vital for the development of new ideas in art and science. However, it is not bad at all to be an introvert. In psychological terms, introverts are those people who are reluctant to seek social Of course, I am not suggesting that everyone stimulation and have the tendency to focus their energy inwards5. needs to become an introvert as extrovert What this means is that many introverts are simply most efficient qualities are also valuable and many people

http://www.theschooloflife.com/melbourne/blog/2014/12/how-to-be-alone/

Susan Cain: The power of introverts https://www.youtube.com/watch?v=c0KYU2j0TM4

http://www.bbc.co.uk/news/magazine-17510163

http://www.huffingtonpost.com/sophia-dembling/nine-signs-that-you-might_b_2251932.html

https://www.psychologytoday.com/blog/the-introverts-corner

BY JADIE LUO

are not 100% introverted. However, I would like to emphasise the importance of having some ‘introversion’ in our lives; boredom, daydreaming and sleeping are all inevitable parts of living which force us to be alone. But with advances in technology this is an age where we are constantly bombarded with information. Distractions on the internet keep us busy communicating and interacting on a virtual level, yet this social activity can serve to reflect the emptiness in our real lives. Referring to the philosophies of Bertrand Russell and Arthur Schopenhauer7, idleness can be seen as the result of not having

anything to desire. Once we have found something we want, we have meaning in our lives and we do all we can to achieve this goal, but once we have satisfied this need, we are left with nothing to do again. The cycle continues however the more exciting one’s life is, the ‘stronger stimuli are needed to give the thrill that has come to be thought of as an essential part of pleasure’8. The most significant dilemma with our avoidance of ‘introversion’ is that we are refusing to face ourselves: ‘people who grow bored in their own company seem to be in danger, from a self-esteem point of view’. In conclusion, many of us have an introverted side and perhaps we should try to embrace it as part of building our character. Meditation or mindfulness is one way of connecting to yourself. I encourage you to empty your thoughts before sleeping and upon waking don’t listen to songs; let your mind drift, but don’t fall asleep. Spend time with yourself. You can try out a test online such as The Quiet Revolution Personality test9 that will give you an indication of your introvert, extrovert and ambivert tendencies.

http://www.huffingtonpost.com/2015/09/01/introvert-myths_n_3569058.html

https://www.brainpickings.org/2015/01/21/bertrand-russell-boredom-conquest-of-happiness/

http://www.quietrev.com/the-introvert-test/

thechronicle myMagazine

INTROVERTS

WhyRACE children TO GROW UP BY HOLLY HARVEY

hildren always look forward to their birthday; they enjoy the presents, a special cake, all the attention and, most importantly, being a year older. Acting like a ‘grown-up’ is viewed as being desirable and something to aspire to. But why do children want to be older when they could just enjoy the freedoms of childhood? Because we live in a culture where we are surrounded by technology, children are constantly being bombarded with images. Toddlers are given iPads1 to keep them quiet in restaurants and are instantly exposed to advertisements and trailers for products. An 8 year old flicking through YouTube can easily stumble across a reality TV show or a social media star and see how these adults present themselves and place value on items such as fake eye lashes and trendy clothes. Children are easily influenced and this makes them targets for top brands. Adverts show them the ‘coolest looks’ and in turn they are influenced to want to be cool and ‘grown-up’ too2. Many people try to reassure parents that little ones will not remember these adverts and will not be influenced by them. However, an article by “Childwise” states that “children’s brains simply aren’t developed enough to cope with the art of persuasion because they lack the cognitive skills and abilities of older children and adults. They do not comprehend commercial messages in the

same way as more mature audiences do and hence are uniquely susceptible to advertising influence.”3 Clothes designers are also part of the problem. They make children’s versions of adult clothes meaning 5 year old girls are wearing off the shoulder t-shirts and little boys wearing bow ties and snap backs. One blogger, who is a Mum comments that, “I hate shopping for my girls. It seems like everything is always too tight, too short, too revealing, and just overall too grown up.” Children wear these adult clothes and consequently want to behave like adults too. Children are not mentally equipped to deal with peer pressure and the pressure of advertisements. They have not learnt who they are as individuals and that you do not have to buy everything you see on TV or have what your friend has. Parents can and should, to an extent, shield children from these pressures and teach them how to deal with them, although it can be argued that children do need to be exposed to advertising so that they can learn how to deal with it in the future. Children should stop being viewed as blank slates and understand that they do take in information from the world around them including adverts, pink sequins and consumer bargains.

http://www.macworld.co.uk/feature/ipad/is-it-safe-for-kids-use-ipads-3598052/

http://www2.le.ac.uk/research/discoveries/the-influence-of-brands-and-celebrity-culture-on-children

http://www.childwise.co.uk/reports.html 26

thechronicle myMagazine We live in a country where children can feel pressured to do well by parents. For example, some children have to sit entrance exams into nursery schools. This pressure from a young age can encourage children to want to grow up quicker. Some parents fill playtime with spellings and learning games on the iPad, which can make the child feel like they are working constantly rather than encouraging their children to take part in imaginative play. If parents hurry their children into growing up, it can be damaging and contribute to low self-esteem and in extreme cases teenage depression. Many children who are pressured into excelling by parents or teachers may gradually withdraw and in extreme cases shut down. Children may think they're not important or loved enough unless they're perfect4. In conclusion, I think that children race to grow up because they are influenced by the material that they access using modern technology. It gives advertisers a lot more freedom to put their adverts where they are most likely to be seen by children and to influence their thoughts and choices. Children also have access to adult television that gives them role models that they look up to. However, as Dr Pilcher states,

â&#x20AC;&#x153;It is unrealistic to expect the nature of childhood to stay the same when society itself is changing and becoming dominated by consumerism and celebrity culture.â&#x20AC;?5

http://news.nationalpost.com/life/parental-pressure-may-cause-more-harm-than-good

http://www2.le.ac.uk/research/discoveries/the-influence-of-brands-and-celebrity-culture-on-children

"Mummy,

I WANT TO BE JUST LIKE BARBIE!" By Oluwatobi Cole

Imagine this: you are watching television and an advert appears on screen. The model is beautiful, radiant and appears completely spotless. You stare at her in awe. Now imagine this: all her make up simply melts off, revealing her spots, blemishes, pores and imperfections. The advert appears in its original form, rid of all enhancements. Shocked? Many advertising companies are the main culprits of this growing problem and all we are seeing are the effects of digital manipulation, using modern editing programs like Photoshop, to enhance the way a model looks in a photo. The women who see these enhanced models in magazines then believe that is how all women should look and this may lead women to strive to become something that is physically impossible. Advertisers imply that the product they are selling brings positive results by using airbrushed photos of models who look staggeringly un-human, as they are perfect. Are women really aware of the airbrushed photos? There have been controversies about women not being made aware when a model has been airbrushed, leaving them ignorant to the fact that that the photo has been digitally enhanced and very much distorted. Using

'The kite mark'1, a diamond shaped symbol that is placed in the corner of the photograph to indicate whether the photo is airbrushed, could be the way forward, as it will alert women to whether an advert has been enhanced or not. However, I cannot help but wonder whether this new solution will be abused by the companies as well. The Dove Campaign for Real Beauty released a short film called ‘Evolution’2. It shows a deep insight into the transformation of a model before her picture goes onto the billboards. It gives women and young girls a clear picture of what really goes into looking that beautiful and shows that striving to be “the woman in the magazine” is simply an unachievable goal. This is good. By doing this more and more women will become aware of the process that a photo of a model goes through before it gets on to the billboards. If more companies do this, it will build even more awareness. If the women we see in magazines are not real, this clearly shows that

Statistics show that exposing women and young girls to ultra-thin models in the media has increased rates of body-dissatisfaction. When photograph manipulation erases spots, wrinkles, freckles and other ‘imperfections’, females see the end result and compare themselves to this. When they cannot match up to this idea of perfection, then insecurity in the way they look starts to kick in3. Ever heard of Barbie? Barbie is perfect. Even her name is perfect. Everything about her just reeks of perfection: blonde and skinny. She is seen to have the perfect height, perfect size and perfect shape. Barbie also has a perfect life, house, car and even a perfect boyfriend. She is incredibly beautiful therefore making her the ‘total package’ in the eyes of young girls. Everyone wants to be Barbie but, did I mention that, actually being Barbie is 100% impossible. Nickolay Lamm4, artist and researcher, created a life size 3D version of Barbie. It was found she could not even stand firmly on her own legs because of her unbalanced body proportions. This just shows how fake the Barbie body is. To have the same size features as she does is completely unnatural therefore giving young girls toys like Barbie, to play with is feeding them false ideas. Although the effects of giving young girls such toys may not be obvious until they begin to grow older, having toys like Barbie around will gradually start to have a negative effect on them. Two British women, Sarah Burge and Charlotte Hothman5, had a total of 100 cosmetic surgery procedures between them in order to replicate the Barbie doll image spending at least £10, 000. Yes, that’s right they spent thousands of pounds! When asked about this, the two women stated that their idolisation of Barbie dolls started when they were young girls. They had been eager to look just like her ever since. It is truly awful that these people feel that they must spend their money in this way in order to imitate an object. Students from both the University of Sussex and the University of West England carried out an experiment, ‘Does Barbie make girls want to be thin?’6 162 girls aged five to eight were given images of Barbie dolls or no dolls at all. It was shown that those who were exposed to the dolls had lower self-esteem and a burning desire to look thin than the girls who were not exposed to the dolls. So who’s to say that digitally enhanced models in adverts are not having the same effect on even adult women? The YMCA7 also carried out another survey and found that 36.8% of adult men and 50.4% of adult women would also like their bodies to look like those they see. This shows that this has also affected adult women as well as young girls. However, in spite of this some may say that digital enhancement is manageable as long as it is used in moderation and not to make dramatic changes. Those who support digitally enhanced adverts

say that doing this makes the products they are trying to sell look more desirable to the customer, making the customer want to buy them and thereby increasing the company’s sales. MAC cosmetics, a company well known for producing airbrushed adverts on billboards, had an income of $274.8 million8 in the last year increasing the company’s net make up sales by 13%. A company making sales with that rate helps the economy. Nonetheless, having a natural looking model in an advert free of any enhancements still remains appealing to the customer because then the customer can relate to the model advertising the product instead of feeling intimidated. In addition, companies that are not deceptive could become the most successful companies in the near future. Issues magazine9 published ‘Tackling Body Image’ and carried out a survey on how women respond to unnatural looking adverts and it was found that 30% of the young women think these adverts : EALouEt aiDrbrushing REV are completely truth ab unacceptable and 31% believe it is slightly unacceptable. A staggering 70% of teenagers are estimated to have little or no body confidence.

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In my opinion, not only do the women reading ADDICTED TO SOCIAL MEDIA? the magazines GIRLS CONFESS ALL need to be more Mums interviewed! informed about They tell us what they REALLY worry about when a photograph has been enhanced but the model or celebrity in the magazines should also be aware. This is because most celebrities do not approve of the outrageous editing of their image. Many celebrities such as Kiera Knightley, Kim Kardashian and Jessica Simpson are all part of the American Medical Association’s campaign to ‘take a stand against rampant photo retouching, declaring the practice detrimental to your health.’ This shows that this issue does not just affect the self-esteem of the people who see these airbrushed adverts but also the celebrities who star in them as well. One solution could be to legislate for a nationally recognised symbol to be placed in the corner of every advert that has been through even the slightest airbrushing. This could offer a way forward in terms of awareness of airbrushing, but I believe that airbrushing is not acceptable because it is rarely used in moderation, so really it should not be used at all. Otherwise, sooner or later, the next generation will not be able to live in their own skin without feeling insecure. Do not be unaware of this problem. Next time you see an advert, please don’t be fooled!

http://www.issuesonline.co.uk/articles/pretty-as-a-picture-5250 https://www.youtube.com/watch?v=iYhCn0jf46U Dove Evolution film 3 http://www.theguardian.com/lifeandstyle/2012/jun/10/body-image-anxiety-eva-wiseman 4 http://nickolaylamm.com/art-for-clients/what-would-barbie-look-like-as-an-average-woman/ 5 http://www.therichest.com/buzz/11-living-mattel-barbie-dolls/?view=all 6 http://willettsurvey.org/TMSTN/Gender/DoesBarbieMakeGirlsWantToBeThin.pdf 7 https://nickigordonwattsmiamieng.wordpress.com/2012/10/17/body-image-in-the-uk/ 8 http://www.fastcompany.com/57688/mac-cosmetics 9 http://www.issuesonline.co.uk/articles/pretty-as-a-picture-5250 1 2

thechronicle

there truly is no such thing as perfection. If models, the tall and size 0 figures that you and me both look up to in awe still have physical imperfections that need to be 'touched up', then who really is perfect? For this reason the word ‘perfection’ should be not be used if no one is capable of achieving it.

DOES LITERARY CRITICISM DO US ANY GOOD?

BY LUCINDA HOBDEN

Christopher Marlow prize in English for the Cambridge University Corpus Christi Essay writing competition

ow can we best reach the most precise and complete knowledge of a literary work? Ought we to take in to account the historical, political and social contexts surrounding the writing and reception of the work? Are we to trust the avowed intention of the author, or disregard it…or even contradict it? Which approach – feminist, Marxist, formalist, linguistic, psychoanalytic – is most effective in making sense of a text? Such questions are the cause of critics’ incessant pounding at typewriters, their scribbling and scrawling over the classic works of centuries past, in another attempt to more fully comprehend a text already appreciated. While almost all criticism dates from the 20th Century, such a quest for deeper and more comprehensive meaning in literature can be traced back to Plato’s The Republic and Aristotle’s Poetics, which pose questions still of prime concern to critics today. From Plato’s distrust of the poet, whose literature, he believed, can only mislead the veritable seeker of truth, to Aristotle’s defence of literary art as useful: to have failed to reach a conclusion two thousand years later seems a frightening indictment of critics’ inherent inability to leave a legacy or make true headway, even after hours of research and pensiveness. Ought we thus simply to banish the parasitic critic, feeding on innocent creativity to fuel his own career, while polluting the minds of the reader and author, from our printing presses? Although such a solution may well be simplest, the world of literature would ultimately be impoverished. French philosopher and author, Jean Paul Sartre, recognised that “a work is never good unless it escapes the artist in some way.” (Sartre, 1965). If it escapes the critic too in some way, therefore, is it not truly magnificent? Although criticism, as of the 20th Century, has taken on a more significant role in academia, it ultimately remains a discipline devoid of concrete answers. Truth in literary criticism is an elusive quality, since it instead must be viewed as a science of communication and discussion. Through such a discussion over the minutiae and larger themes of a text, comprehension of an otherwise complex and oblique work can be fostered. Literary critics, rather than murderers of flowing poetry and profound prose, in fact are life-giving. As well as providing an explanation, critics allow for creative reinterpretations of age-old texts in light of changing social contexts and insightful new perspectives. By way of these in-depth discussions, critics elevate the status of a work, drawing to our attention weighty themes battled in the text. Although dissenters of literary criticism remain who condemn the discipline’s formulaic reduction of art to study, these people ought merely to disregard the critics, and leave the rest of us to enjoy their insight in peace.

In contrast to the elegiac stanzas of Keats’s Odes, or the melancholic, contemplative stream-of-consciousness inherent to Woolf’s Modernism, the formulaic discussions of literature produced by critics are often resented for reducing art to study. Enforcing hermeneutics – fallacious and overly convoluted readings that engulf an artwork and begin to destroy it – Sontag, in her famous essay, Against Interpretation, sees the modern style of interpretation as harmful, instead wishing to return to a primitive and sensual appreciation of art. “In place of hermeneutics, we need an erotics of art” (Sontag, 1994). By this, Sontag advocates that, rather than interpreting artwork, stripping it to its bare and unattractive bones, we make love to it. For Sontag, criticism never represented the life-force of literature, but rather a hostile purveyor of overly complex interpretations that poison our own sensibilities – “the intellect’s revenge upon art” (Sontag, 1994). While the formalist criticism of Shklovsky, or the structuralist considerations of Levi-Strauss could be seen to undermine the ease of understanding and relatableness which authors may primarily have sought, criticism must not be seen as “revenge”, but rather a prop to our understanding which we are entitled either to respect or to disregard. Though a copy of Wuthering Heights is surely to be found on a bookshelf in most households, rarer are those who would claim to have read Terry Eagleton’s enlightening study Myths of Power: A Marxist Study of the Brontës. To say that the wealth of criticism surrounding Brontë’s classic novel, which “reads like the history of criticism itself” (Nestor, 2003), somehow prevents our ‘love-making’ with it seems naïve Rather, as the reader’s liaison with the 350 page novel must inevitably end, the critic offers the lovelorn lector a further source of fulfilment. Sontag proposes a ‘one-nightstand’ relationship with literature, where one ought to enjoy the rush of emotions which comes from this ephemeral reading experience, then simply move on to the next novel to find another source of pleasure. Literary criticism, however, offers an alternative: it allows us to build on our knowledge and appreciation of the text, to foster a longer term and more sustainable love affair with our favourite literature. Though Eagleton’s style may differ considerably from the flowering Gothicism of Brontë, rather than the poisoner of our sensibilities Sontag would vilify them as, critics too must be respected as artists who do not hinder our enjoyment of the text in isolation. Instead, critics allow us to maturely maintain a deeper relationship with literature. Literary critics do not dictate our relationship with literature, but rather allow us to more fully consider our connection through communication and discussion. The functions of literary criticism are diverse, stretching from the reviewing of books in biweeklies to systematic theoretical discussion that forms the lifework of scholars. Though reviewing does not enshrine a novel’s failure or success commercially – a prime example being Herman Melville’s Moby Dick which went on to sell widely despite critical hostility – it at least allows

Although literary criticism does not profess to offer concrete answers to the nebulous and philosophical concerns in literary works, it acts as a support to allow the reader to make sense of otherwise incoherent and overwhelming texts. Since the end of the 19th Century, particularly in Germany, England and the United States, literary criticism has become an academic study even at the doctoral level; philology, linguistics, folklore study and myriad other disciplines have allowed modern criticism to achieve an unprecedented level of detail to foster our comprehension of the world of literature. Described by the Cambridge Online Dictionary as “explaining the importance and meaning” (Dictionary and Thesaurus, 2016) of works of literature, academic criticism at its most fundamental level acts as an explanation. New Criticism, for example, has proven instrumental as the methodological counterpart to the strand of Modernist literature which is characterised by its opacity - paradox, allusiveness and disjointedness - thus allowing even the layman to profit from the profound yet otherwise unintelligible insights of authors such as T.S. Eliot and Virginia Woolf. Indeed, literary creators themselves have seen the importance of literary criticism, writing illuminating commentary on their own principles and aims. Perhaps most famously, T.S. Eliot’s The Waste Land is accompanied by several pages of the author’s own notes. After receiving the manuscript in 1922, the poem was referred to by lawyer, and patron of Modernism, John Quinn as a poem “for the elect or the remnant or the select few or the superior guys, or any word that you may choose, for the small number of readers that it is certain to have” (Eliot, Eliot and Haughton, 2011). Eliot’s notes, however, purport to explain the plethora of metaphors, references and allusions vital to the comprehension of the work. Citing sources as diverse as Dante’s Inferno to Baudelaire’s Les Fleurs du Mal, without Eliot’s footnotes, such allusions would likely escape the common reader and leave the poem with an even smaller and more select body of readers than even Quinn anticipated. Added after his publisher requested some longer explanation to justify the publishing of The Waste Land in a separate book, these notes thus embody the value added by criticism to an otherwise complex and elitist poem. While poets such as Eliot, Pound and Valery, playwrights as respected as Bernard Shaw, Artaud and Brecht, novelists as esteemed as Proust and Lawrence, have all offered the public enlightening insights into their own thought processes, most often, it remains the duty of the critic to allow the public to share in the revolutionary thoughtfulness of authors less adept at turning their own hands to the art of literary criticism. By delving into deeper layers of meaning and providing a fresh perspective, critics are able to immortalise literature via creative reinterpretations, as the literary criticism itself becomes a work of art. As historical and social contexts fluctuate, criticism of texts varies in accordance, allowing a fluid timelessness of works, and acting as a lifeforce. Rather, therefore, than serving solely as an explanation, literary criticism also functions as creation. Even Shakespeare himself, an author never lacking in either

creativity or innovation, has profited from diverse readings of his works, such as Northrop Frye’s construct of ‘the green world’. Following neglect by Victorian audiences which recognised it as ‘a mere romantic comedy’ to be enjoyed, Twelfth Night has since been the focus of much diverse and profound academic study. In the 1950s, literary critics, schooled in anthropological approaches, such as structuralist Northrop Frye and anthropologist C.L. Barber, began to examine Shakespeare’s romantic comedies in the context of social myths and rituals. Rather than mere punning and innuendo, devoid of deeper significance, Frye posits that comedy subconsciously embodies the “cyclical movement” of the seasons of the year, where “life and love [triumph] over the waste land” (Frye, 1958). Frye’s views on this seasonal movement were picked up by Kenneth Branagh in his 1988 film adaptation of Shakespeare’s Twelfth Night, as the set moves progressively from the snowy stagnancy of Illyria populated by mournful characters, to the bright vibrancy of summer in the denouement. In this way, rather than merely parasitic and pedantic, critics creatively foster new interpretations of age-old classics which enhance them with greater significance and depth, thus allowing for their immortalisation. Through perceptive and creative criticism, which battles substantial and challenging themes, critics are able to elevate the status of a work beyond its supposed superficial frivolity. Traditionally denigrated in the academy, it is often posited that it is simply due to the absence of an important treatment of the genre in the Classic tradition that comedy, for example, occupies a lesser status than tragedy. Andrew Stott recalls that “in Hellenic philosophy, comedy was thought to belong to the lower human instincts, and, as such was to be avoided by reasoning people” (Stott, 2005). Critics such as Stott cite the loss of Aristotle’s sequel to Poetics, thought to explain comedy’s significance, as a major factor in comedy’s inferior position in the academy. In the 20th Century, Umberto Eco’s novel The Name of the Rose imagines the existence of this sequel, which lends comedy intellectual legitimacy. As the characters of the novel panic over the possibility of “the operation of the belly” becoming “an operation of the mind” (Eco, 1983) due to the existence of such a work, Eco depicts an almost dystopian world where comedy is viewed as equally significant to tragedy – a fate made possible only by literary criticism. Aristotle, as the author of Poetics, thus serves as an icon as to the power of criticism to elevate a whole genre’s status (either for the better or for the worse!) – a marker of the importance of literary criticism to affirm meaning and significance to justify what may otherwise be seen as low-minded or inconsequential art. In conclusion, literary criticism, though bringing with it a plethora of seemingly unanswerable questions, ought not to be disregarded. While it may forever be faced by hostile opponents such as Sontag who call for a sensual appreciation of art itself, instead of the concoction of erroneous interpretations which pollute our sensibilities and intellect, literary criticism ought to be viewed as a companion to our favourite works of literature. Acting as explanation, literary criticism allows the reader to build a firmer relationship with a loved work of literature. In Sontag’s hedonism, she seeks a ‘onenight-stand’ relationship with literature, whereas critics promote a stable and more appreciative relationship, blossoming further as time moves on and understanding deepens. Through in depth study, academic criticism is able to elevate the status of literary work, attaching significance to themes which otherwise, as Sartre recognised, may have escaped the author. Critics, far from being pedantic parasites draining creativity and insight from authors and readers alike, themselves act as creator. Similarly to theatre directors, critics foster new and creative interpretations of age-old texts, breathing life back through otherwise dusty covers.

thechronicle

us to understand the cultural revelations and shifts which facilitate this change of mind-sets. In The Liberal Imagination, Trilling concludes that literature possesses an independent value and the deepest faithfulness to reality. It is when viewing criticism as the hallowed truth that critics become the “perennial target of resentment” (Crews, 2016), as their far-flung theories are perceived as overly complicated, thus undermining, or even disrespecting, the original intention of the author. Indeed, Crews perceives a period of literary criticism which was “not always…distinguishable from…censorship” (Crews, 2016). In an era of liberalism and free speech, however, criticism rather acts as a science of communication and discussion, where disagreement is welcomed and viewed constructively. Instead of acting as lawmakers, declaring which works deserve respect, critics recognise themselves as open to dispute and in this way facilitate progressive and beneficial discussion of literature.

@malvernstjames Call 01684 584624 admissions@malvernstjames.co.uk www.malvernstjames.co.uk Malvern St James, 15 Avenue Road, Great Malvern, Worcestershire WR14 3BA