Thursday 26th June 2025
Blog Page 1443

Preview: Cyrano de Bergerac

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The real Cyrano de Bergerac was famous in 17th Century France for many things: his wit, his free-thinking, and his stubbornness. In the play his courtly enemies, stinging from his refusal to bend to them, are driven to picking on the one thing he cannot disguise with his swagger – his big nose.

Cyrano is a man who, when he is insulted in the lowest way possible, gives back his weight his witty, wordy, self-deprecating comedy. In one such scene, we are treated to a good few minutes of him listing all of the other possible creative insults his antagonist could have used instead of calling his nose ‘big’. Inspecting the noses of his peers and even of the audience, he diagnoses two chimneys with smoke puffing out of them, a writing desk, and even a couple of flats for rent sheltered in a pair of nostrils.

Just because Cyrano busies himself by larking around with wordplay, it doesn’t mean he doesn’t have time for a love interest. However, Roxanne is also the object of Christian’s desires. Christian looks could kill as well as his sword-fighting, but he is sadly, well, stupid. He cannot even write a love letter to Roxanne – and that’s where Cyrano comes in.

Using his poetic mastery Cyrano crafts the courtship of Roxanne and Christian through his words, but is obviously made to face the crushing reality that he cannot have the girl so enchanted by his letters. Here is where the tragedy rears its head. Set against the background of war, the conflict of Cyrano’s and Christian’s love for Roxanne shakes out the deeper side to their human fragility: Christian is all pretty casing around a brain made of air, whereas Cyrano’s witty strength is punctuated by the physical protrusion in the centre of his face.

Although minimal props are used, the stage is usually either full of action – thanks to the wide cast of agile actors – or forgotten under the steady flow of fluent poetry. Anthony Burgess’s modern translation of Edmund Rostand’s play, selected by French director Callyane Desroches, preserves the elastic charm of the wordy original, and the St Hilda’s Drama Society give it a living spark.

Apart from the well-chosen help of live piano music, strobe lighting for the war scenes, and some real steel (yes, sword fights!), the evening of entertainment is mainly left up to the actors themselves, who slip in and out of the tragic and comic roles as effectively as a costume change. Go for the foils, stay for the lines.

Cyrano de Bergerac will be performed at 7:30pm in the St Hilda’s JDP on Weds 27th, Friday 29th and Saturday 30th of November. Tickets are available here

 

Preview: Pericles

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It’s fair to say that there are quite a few Shakespearean plays about travel. And about mistaken identity. And about family relations. And about dreams. But put these together in a new and surprisingly under-performed combination and the result is Pericles: the new production taking over the BT.

The play itself is no small undertaking; I’m reliably informed that this particular cast have managed to condense fifty-seven characters into just seven actors and actresses. But don’t worry – we won’t get confused because apparently they’re all very good at doing accents. Gender, age and nationality are no boundaries for this ambitious crew. Plus, every time an actor or actress changes character, they have a different accessory to wear over their all-black costumes: I’m particularly looking forward to what has been described as a “mouldy faux-fox-fur” which marks out the evil step-mother figure Dionyza.

Added to this audience-friendly use of props, the different countries of Pericles’ travel (and there are quite a few), are separated by their own colour palettes on stage. Antioche, for example, is red. That’s because it’s soon revealed to be the city of incest, lust, and love; complex and sensitive topics which are played out engagingly and thoughtfully by James Moore (Antiochus) and Connie Greenfield (Antiochus’ daughter).

Without giving too much away, I’d get ready for a historically apt use of mime and tableau in this production. Against this neat framework, which arranges an episodic play into something resembling a carefully ordered narrative, director Edwina Christie has interestingly chosen a setting of visual chaos.

The backdrop is a huge white canvas which the cast get to scribble on and graffiti throughout. The props are minimal but actively used: a set of sticks will morph from swords into fishing rods and from truncheons into walking sticks. But as the play progresses, the sticks are discarded by the actors on stage, the white canvas backdrop is covered over, and we are left with a physical and emotional accumulation of all that has gone before.

We are also left with Gower: that real-life pinnacle of English literature who narrates the play. I saw Ariel Levine act this important part only for the length of the Prologue, but even in these brief moments he leapt, Puck-like, around the stage, and with enough enthusiasm to sustain even the most packed auditorium at the Burton Taylor Studio.

If you’re a fan of the metatheatrical, this play certainly does not ever let its audience forget that it is a play. What it does let us forget is that it’s a student performance on a relatively small budget in an even smaller theatre — a combination of imagination and enthusiasm render all of this irrelevant. As Gower says, “New joy wait on you!” And it will, if only you head down to the BT in seventh week.

Pericles is on at the Burton Taylor Studio from 26th-30th November. Tickets are £5-6 and are available here

Preview: Ruddigore

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In a small town in Cornwall called Ruddigore, a terrible curse abounds. Long ago a witch, burning at the stake, jinxed the place so that henceforth each Baronet of Ruddigore must commit a crime a day or else be tortured to death by ghostly ancestors.

The belle of the town, Rose, is in love with Robin. Robin is in love with Rose. But, of course, they are each oblivious to the other’s love and Rose marries another. An evil baronet arrives, a mad woman named Margaret sings, Robin becomes cursed – and after a lot of chaos and comical upset set to music, all ends well. Knowing that everything will be happily resolved makes watching a delight. Though not as well-known as Pirates of Penzance or The Mikado, this show by the Gilbert & Sullivan society looks to be genuinely warm and funny.

The first meeting between Robin and Rose is sweetly awkward. Rose is played by Emily Brinson, whose voice is simply stunning; very feminine and clearly powerful; even holed away in the music room up miles of stairs in Queen’s College, she was enchanting. She laments the fact that she “may not hint” at her love for Robin because her Book of Etiquette forbids it. Robin (played by William Yeldham) arrives and seeks her advice, playing that old trick of pretending his friend is lovesick; she plays along and of course we all know that the ‘friends’ they speak of are themselves.

This scene of true love unspoken contrasts nicely with a scene later in the play, where Mad Margaret (Lydia Ellis) and her old love, the no longer evil Sir Despard (Christopher Pyrah) finally get married. Their song is called ‘I once was a very abandoned person’ – their strutting about the ‘stage’ and wildly exaggerated facial expressions are very comical and the ability to act and sing is a quality seen throughout. This is clear in Mad Margaret’s earlier scene: Lydia Ellis’s voice is perfect for her role, warbling when she wants it to be but not weak; her eyes roll as she spits plosive bouts of spiteful comments across the stage area and her creeping, vague smile screams ‘mad cat lady’.

Despard too, before their marriage, has an equally amusing scene of his own. He plods on stage and in a deep, rolling voice demands (in song, of course) what actually seems sadly pitiful: “why am I moody and sad?” But the play is not all romance. There is also a bromantic scene between Robin and Richard, Robin’s foster brother (played by Oliver Shaw). Richard is a laddish type who tries to alleviate Robin’s pining (reminiscent of Romeo’s for Rosaline) with a good few slaps on the back and some cheering words. Predictably, it doesn’t have quite the desired effect.

If you’re wondering how to get yourself in a Christmassy mood several weeks premature, or just can’t wait for Oxmas, then going to see this is probably the answer.

Ruddigore is on at Corpus Christi Auditorium from 21st-23rd November (with matinees). Tickets are £6-£8 and are available here

Control of online content does not mean censorship

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David Cameron’s comments, this October, over Facebook’s decision to allow graphic videos on its site – in particular, one depicting the decapitation of a woman, thought to be in Mexico – have added fuel to the debate on internet censorship. In an article in the New Statesman, Laurie Penny succinctly skewered Cameron’s choice of words: that Facebook “must explain their actions to worried parents”. As Penny points out, it is the victims of violence that our primary concern should lie with, and hiding crime to soothe fretting parents does nothing to protect these real victims. “Somewhere out there a woman in a pink top may be lying dead. That her corpse can no longer frighten children on the internet will not comfort her family – and it should not comfort us”. The brand of censorship suggested by Cameron’s phrasing is, indeed, one that we should ward against – censorship as closing our eyes to reality, of choosing the privilege to forget.

Does this then mean that the instinct to censor is entirely misguided? Penny is right that if people are horrified and disturbed by a beheading video, that is surely the only natural reaction, and not one that ought to be apologised for. Yet part of the danger of uncensored, unlimited viewing is that it encourages not horror but apathy – an image loses its power to shock, once it has become interweaved into the fabric of our everyday lives. Many of us have left the room for our tea break during a TV appeal for African poverty, or thrown a leaflet on the fate of refugees onto the same recycling pile as the pizza adverts that it came with. In so doing we are not trying to be callous. But it is impossible and exhausting to maintain an emotional engagement with such extremities during every minute of every day – to do so would leave us unable to function. This is why format is so important.

Just as many of the unsanitised images of pain brought to our attention by charity appeals have now become ubiquitous and, thus, no longer shocking, so too may the kind of graphic violence witnessed in the Facebook beheading. It is disconcerting how quickly an internet search can yield promises of terrifying degradation. In just 0.36 seconds (according to Google) I can watch “various masked men assault a man with a bat and electric stungun”, “two partners […] castrated and beheaded” – all part of the proliferation of Mexican cartel (“narco-killings”) videos. Nor have I had to do the pervert’s handshake and enter some shady corner of the web for this – this site is the first result, right below the smiling colours of the Google logo.

It is part of learning about the world around us that we must confront disturbing images. We have all visited exhibitions on the Holocaust, sat through documentaries on trafficking and prostitution. But when we visit a museum or sit down to a serious programme, we are agreeing to approach its material with a particular mindset – to take the time to think seriously about something, its context, its ramifications, and to try and understand all those involved; to meet them halfway, in a sense. The internet often requires no such effort on our part. We do not need to allocate a time to mentally commit in this way, but are all too easily washed through a stream of links. We can end up viewing terrible things out of nothing but morbid curiosity, because it is there – easily and cheaply offered to us, to tempt our disbelief. If what we see troubles us enough to disrupt our day, we can at least take comfort in the fact that we have not lost our sense of wrongness. But the more exposed we are, the more desensitised we will become.

The act of censoring the internet may be impossible. We can only penalise higher profile sites, like Facebook and Twitter, while content will continue to flourish elsewhere. But large, mainstream companies of Facebook’s kind arguably do still have a responsibility, if not in censoring violent material entirely, then in framing it or controlling its access in such a way that viewing it must be a thoughtful and responsible decision on our part. It is unacceptable to have a world in which the extreme suffering of some becomes the mere viewing fodder of others, abandoned as soon as day-to-day distractions call. When it is also easy to sleep with eyes open, we must defend our capacity to be horrified. 

Atheist Churches: A Response to a Response

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Last Sunday, an article written by Leo Mercer published on the Cherwell website described how the new Sunday Assembly or “atheist church” is no contradiction and turns out to be a way of revitalising the atheist movement to become an inclusive community of those who want to celebrate “what it means to be human” through literature, music, scientific discovery and a dash of comedy.

Then comes the president of OICCU (Oxford Intercollegiate Christian Union) along with an article which essentially says “Atheism is stupid, nerrrr”.

So here’s a blow by blow of what he said and what I have in response.

new atheist church in Oxford? Praise God! Who wouldn’t want a movement that’s committed to making a positive impact in our community?

We’re guessing Josh Peppiatt?

It’s wonderful to hear of the Sunday Assembly’s desire to be ‘a place of love that is open and accepting’. Leo Mercer argued last week in these pages that the Sunday Assembly ‘offered those things that religion provides, though without dogmas or liturgy’. He mentioned some of those things that the Sunday Assembly seeks to emulate: ‘community, a place in which to reflect, a sense of purpose, and so on.’

Wow Peppiatt, you’re really selling this to me – where can we sign up? We’re guessing that by “emulating” you mean doing right?

And yet I wonder:

Oh right, that was just a set up for why this is a bad idea. Damn you, Peppiatt!

Are the wonderful aims and desires of the Sunday Assembly really compatible with its self-conscious atheism?

Our atheism is SO self-conscious. It thinks it’s overweight and keeps comparing itself to unrealistic irreligious types presented in the media like Dawkins and Hitchens and Fry (phwoar).

Community and purpose aren’t ideals that Christians have happened upon, disconnected from what it is we believe; rather they flow from our understanding of the world – the ‘dogmas’ the Sunday assembly wants to do without. The two are inseparable.

Whoooa, hold on there, sailor! We know the Bible is big on community and purpose (Bear one another’s burdens, and so fulfill the law of Christ. Galatians 4:9-12. A brilliant message slightly spoiled towards the end) but to say that the two are inseparable? We’re pretty sure the pre-Jesus Jews were pretty community based and had purpose as did the ancient Egyptians or Hindus and pretty much everyone, ever.

Actually, come to mention it, we’ve got a sense of community and purpose. People are fucking lovely and we’ve got purpose falling out of our ears. In fact, we’d go one further and say that humans don’t even have a copyright on “community and purpose”, let alone Christians. Have you ever watched ants? They’re always together striding around with great purpose. If anything they need to chill down and get some ‘me’ time. Then there’s the whole “community is important guys, but remember to fuck up anyone who the man up top doesn’t like!” thing. For more read 1 Samuel 15:3!

I’m not surprised by the Sunday Assembly’s desire to build inclusive communities. The urge to gather in community is common to all humanity.

Wow, we must have been retroactively convincing there. Far from Christianity and community being inseparable, all of humanity gets the social urge now.

But can an organisation that states ‘we come from nothing and go to nothing’ really have any basis for affirming that we should ‘live better, help often, wonder more’?

Yes. We will respond to this point properly when you make one. Enclose an SAE.

By contrast the Christian understanding of humanity being made equally in the image of God was the bedrock of the human rights we all cherish.

While “There is neither Jew nor Greek, there is neither slave nor free, there is no male and female, for you are all one in Christ Jesus,” totally rocks our socks, we can’t help but think that it’s not entirely sincere. A book that says that slaves are equal to owners but doesn’t make that little extra effort to suggest getting rid of the barbaric notion of person-ownership is setting itself up for a fall. But of course we mustn’t forget the more explicitly unequitable:

  • “ ‘Cretans are always liars, evil brutes, idle bellies’. He has surely told the truth”
  • “Let the woman learn in silence with all subjection. But I suffer not a woman to teach, nor to usurp authority over the man, but to be in silence.”
  • “An Ammonite or Moabite shall not enter into the congregation of the LORD; even to their tenth generation shall they not enter into the congregation of the LORD for ever;”
  • “Happy is he who repays you for what you have done to us – he who seizes your infants and dashes them against the rocks.”
  • “Slaves, submit yourselves to your masters with all respect, not only to the good and gentle but also to the cruel.”

Yeah, that’s a much better bedrock than JS Mill.

Couple that with the Christian understanding of us as flawed, yet unconditionally loved by God, and you have a strong basis to treat others respectfully and lovingly despite inevitably being let down and letting others down.

At the heart of atheism lies science and the scientific method, and at the heart of science is the ‘understanding of us as flawed’. We’re all fucked up. Humans have blind spots because our eyes are wired wrong, most of us can’t rub our tummies and pat our heads, Justin Bieber has sold 15 million albums. You don’t need to tell us that we’re all messed up in our own special ways.

The being loved by God thing is a bit rich when the only reason you suggest people should be nice to other is because He’s threatening everyone with eternal torture or offering them an utterly selfish way out of the real world as reward, rather than everyone genuinely wanting to help their fellow person to live a better life.

Of course, in practice atheists are often more loving and generous than Christians – but in principle, with an atheistic understanding of the world, there’s no basis for affirming love instead of hate, or helping instead of hindering.

Evidence: “atheists are often more living and generous than Christians”

Claim: “there’s no basis for affirming love instead of hate, or helping instead of hindering”

Nice. You know, maybe you’re wrong, maybe we have actually worked out a basis for affirming love. Maybe it was one of the philosophers. Maybe it was a Romantic poet? Maybe it was Greg Wallace?

You know what, it seems that we don’t even need a well thought out basis for all those things because we seem to be doing preeeeeeetty well without one. There’s likely a hell of a lot more love in the world now than 1000 years ago and it’d be surprising if the number of atheists back then was higher than it is now. It’s pretty bloody bold to claim that those who don’t believe in the Christian god are without any basis for moral behaviour, when that’s just clearly nonsense.

I fear that in their search for loving community, the Sunday Assembly have mistaken the trimmings for the Sunday roast: I’m not connected with this stranger sitting next to me because I’m singing a Disney song with them,

Hey Josh, let’s not say something we’re going to regret here. Are you saying that singing Disney songs doesn’t bring people together? What about Jordan and Peter Andre’s “A Whole New World”?

but because we both know that through Jesus we have been made right with God and are now in his family together.

That’s definitely why people feel community in Church. Cos of Jesus. You know, Harry went to church for a number of years as an atheist and he felt a greater sense of community with the good people of St Martin’s Laugharne than he did in the years before. Peter spent most of the time in church as a kid colouring (still his favourite past-time) and wasn’t too taken in by the God thing, but he did love a good harvest festival.

The same goes for meaning and purpose. Jesus says that we are to love God with all we are and have, and to love our neighbour as ourselves.

But with all my God-lovin’ how are we going to love our neighbour? Aaaaaaagh.

And he provides powerful motivation for those who seek to live out this generous teaching by setting us the ultimate example: loving us so much that he died for us.

Wow, how fucking generous of you Jesus for telling us to love one another. We hope we didn’t put you out of your way to get here?

And how is Jesus dying for us a “motivation”, exactly? It’s definitely an example of (misplaced) selflessness but I wouldn’t say it’s a motivation. Are people thinking “ooo if only I love my neighbour more maybe one day I’ll get the ‘Lover of the Month’ and end up on the big shiny cross”? And what about the fact that even though the guy supposedly dies for our sins but we’re also supposedly still in the shit with the big man and might get “ACCESS DENIED” at the pearly gates? Bit of a waste.

But if we ‘don’t do God’ then can there be ultimate meaning?

TELL US, JOSH, TELL US!

Sartre seemed to recognise this tension in Existentialism and Human Emotions: ‘If I’ve discarded God the Father, there has to be someone to invent values. [You’ve got to take things as they are. Moreover to say that we invent values means nothing else but this:] life has no meaning a priori. Before you come alive, life is nothing; it’s up to you to give it meaning, and value is nothing else but the meaning you choose.’ [In that way, you see, there is a possibility of creating a human community…].

We’ve helped Josh out a bit here and included the rest of the quote in the closed brackets. Clearly he was pushed on the word count and didn’t get the chance to include Sartre’s conclusion: that we CAN create our own values. We wouldn’t even agree with Sartre to say that our created values are entirely arbitrary – We (and many others) believe there is some robust set of morals that we can derive without needing a man in the sky. But that’s just us (it’s not).

Can we honestly feel the depth of this predicament and yet continue to celebrate life with integrity?

So Josh is saying that if we celebrate life, and don’t believe in the Christian god, that we need to feel guilty. That the ‘predicament’, being the lack of any reason to assume some inherited morality from a mystical sky wizard, is even something we should be worried about more than any other philosophical question. Sure, it’s certainly a good thing to make sure we get it right, but why on earth should we feel guilty for wanting to find out those answers properly rather than take your word for it that you’ve got it all wrapped up nicely in a book.

I wish the Sunday Assembly every success as it seeks to impact our city for the best.

You sure gave that impression.

And yet the question remains: can the reality of an atheistic worldview sustain the goals the Sunday Assembly longs for?

No… yes…shit. Your rhetorical questions are confusing!  Also, atheism isn’t a worldview, although you probably know that seen as you’re the president of the Christian Society.

Could it be that the Christian understanding of the nature of reality and the human condition is actually the only basis for living better, finding purpose and building community, ideals that are the centre of what it means to be human?

You know what, everything else you’ve said up to this point has been fine by me. We don’t particularly care too much. But what you’re saying here is that everyone other than Christians, All 6 billlion of them, ALL OF THEM, are completely incapable of living better, finding purpose and building communities. Now you just offend me. We’re not just saying this on behalf of atheists but on behalf of Muslims, Buddhists, Hindus, Jews, Sikhs, Humanists, Shintoists, Bahá’í, Zoroastrians, Jains and even, God help me, the Scientologists.

Are you suggesting that all of these people have been going along without the ideals at the centre of what it means to be human? That’s quite a claim. We hope you’re willing to receive 6 billion angry letters from these sub-humans demanding to know why you didn’t tell them sooner that they don’t have an understanding of the human condition.

In other words, Josh, you’re making Christians come across as arrogant. You claim dibs on a bunch of ideas that predate religion and suggest that non-Christians are not moral. That they cannot celebrate life, that they cannot feel the need to help their fellow human. I’ll admit that the The Sunday Assembly does sound a little odd, but it does nothing other than to try to bring people together as a community, to recognise the wonderful things in life and to provide a way of doing all of those things without all the unpleasant add-ons or the arrogance to suggest they’re the only ones who have got it right.

But all is not lost for Mr Peppiatt. On behalf of all those people above we ask for an apology. An apology for the suggestion that every other group of the world is failing as a human by not following the principles of the Bible. And in return, we’ll follow Matthew 18:21

“How many times shall I forgive my brother or sister who sins against me? Up to seven times?” “I tell you, not seven times, but seventy-seven times”

Provision for disabled students is woefully inconsistent

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At the end of fifth week, Cherwell published an investigation into the provision for disabled students across the University, with the somewhat unsurprising finding that “lack of coordination between University and College authorities is currently the biggest hindrance to provision for disabled students”. Good intentions and well-meaning policies fall somewhat flat when implemented.  

Last week, it was Disability Awareness Week and only the third week of this term in which I was able to hear my lectures. I am one of about two million people in the UK who rely on hearing aids to compensate for hearing loss. I am also a keen tuba player, lovingly tend to a Bromeliad called Sven, and appreciate a good bit of knitwear, and so hated when I had to be defined instead by my hearing impairment, as my life revolved around bringing together disparate people and departments in order to sort out basic arrangements for my needs.

I am a second-year music student, and second and third year music students often share lectures in Examination Schools (namely the North and South Schools). The issue with these rooms for a hearing impaired person centre on the fact that they are large and have a boomy acoustic. Unlike our ears, hearing aids are fairly unsophisticated at picking up important sounds and fading out background noise. As a result, often that one person with the seemingly incurable cough, or who appears to be noisily making an origami chinchilla out of the handout, can be better heard than the lecturer. It is also harder to lip read, a dubious skill to rely on at best, as there is still some distance from the lecturer to the front row. This is made less of a challenge, if not totally sorted, by the use of a T Loop.

Hearing Induction (T) Loops are a system used to amplify sound from a particular source via a magnetic field that can then be picked up by hearing aids. Their provision is required where reasonably possible by the Equality Act 2010. In the case of lectures they are invaluable as, once turned to the ‘T’ setting, hearing aids will only pick up sound heard by a single microphone. They are fairly ubiquitous – all lecture halls have them installed, but also places like taxis, post offices, theatres and churches make use of T Loop technology. I was surprised, therefore, when I encountered so little knowledge of the system when I first went to lectures at Exam Schools.

Before my first lecture, I enquired as to the nature of the T Loop system in my exam hall, as often they require neck-pieces to pick up the signal and transmit it to the hearing aids. After explaining to the steward what the T Loop was, he followed with a few minutes of confused walkie-talkie conversation with a colleague, and I was informed that it should all be fine. Having disclosed my disability to the DAS, and being known as a hearing impaired student in the music faculty, I was surprised that my asking about provisions hadn’t been expected, and that the staff at Exam Schools hadn’t been informed of my needs. Unsurprisingly enough, given the confusion, the T Loops weren’t working, so I again approached the Information Desk and was told that if I arrived early for my next lecture, they would ensure that it was turned on in time.

I turned up an hour early, again was told that it was switched on and should be fine, and again it wasn’t. I was informed that a sound engineer would fix the problem before the next lecture. More lectures without T Loops, and each time I approached the desk I was told something different – to try sitting in a different place, getting the lecturer to move closer to the microphones on the lectern and so forth. I managed to find the sound engineer who stated that the T Loop systems had been installed some time ago and that he’d just assumed that they were on all of the time, but now that I had brought it up, he would check. By now it was second week, and I was already beginning to get behind on work.

By this point I had also approached the Disability Advisory Service about getting some temporary portable T Loop systems to tide me over, and while they were going about sorting this out, I had a lecture where a microphone obviously set up as part of the T Loop system had appeared by the lectern. It still didn’t work. On approaching the Information Desk, once again, I was informed that actually the system did involve a neck-piece, that this was on order, and that it could arrive at any point between a week’s and a month’s time. The member of staff running the desk, with whom I’d become well acquainted by this point, acknowledged how poor this was. I couldn’t help but agree.

However, a well-timed email to the DAS detailing how much work I now had to catch up on seemed to somehow speed up this process, and by my next lecture, a neck-piece was waiting for me at Exam Schools, which I now pick up and drop off after every lecture.

Comparing this farrago of information and action at Exam Schools to my treatment at college – where they researched technology like vibrating fire alarms and T Loops before I came, and always are concerned about my welfare – the dichotomy in treatment is obvious and frustrating.

I cannot be the only deaf or hard of hearing person to ever have had lectures in Exam Schools, and I am concerned for those who would not – or could not – kick up the fuss that I had to. Sensory impairments, by their nature, affect communication with other people, and my concern is a standard one – that people afraid to speak out will just fall through the net.

Julius Tomin protests in Oxford

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Cherwell learned of the visit after several of our staff received unsolicited invitations via email to an online lecture in lieu of one Tomin had been hoping to host in Balliol. He said in the email, addressed to Oxford students, “May I appeal to you: Would you raise your voice in support of my request?”

In the emails, he claimed that he asked the Master of Balliol for a platform in the college to present a lecture on “Human Spiritual Nature and the X of Neurophysiologists.” He claims he was refused a public platform by the college.

In response, Tomin travelled from his home in the Cotswolds to stand outside Balliol on Monday. He then spent two hours discussing philosophy with passers by.  He held a sign with the words, “A philosopher from Prague appeals to Oxford academics: LET US DISCUSS HUMAN NATURE’.”

Tomin has a long history of engagement with the University. Balliol College invited Tomin to Oxford to give a series of lectures in 1980, hoping to afford him some political protection at home but knowing that permission to travel was likely to be denied.

In September 1980, he  succeeded in reaching the UK. Balliol paid a stipend and supported Tomin for six months; a society for the protection of learning gave funds for another eighteen months; and finally some academics used their own funds channelled through a charity to support Tomin while he applied unsucessfully for jobs.

However, Tomin’s connection with Oxford is complicated. In 1979, responding to an invitation from Tomin, several academics travelled to Prague (in solidarity with him) to lecture at Tomin’s unofficial seminars. These were repeatedly disrupted by the police, and some of the academics interrogated and expelled, though not injured. Tomin alleges that even at this early stage some of the visitors were keen to expose his ability to translate and read aloud in Greek, in an effort to discredit him.

Undergraduate classicists contacted by Cherwell were reluctant to comment on Tomin’s visit. Barbara Day’s book The Velvet Philosophers, which details the story of how academics in the former Czechoslovakia   worked with their Western contemporaries in secret, references an Oxford don who found Tomin “ill equipped to deal with the competitive academic world of the west.”

The professor told Cherwell, “I don’t think anything is to be gained by going once more into this sad case.”

Other members of the University, speaking off the record, saw Tomin’s confrontational style of debate as the underlying cause of his alienation from Oxford academia.

Julius Tomin ran underground philosophy seminars in Prague, and was visited by prominent academics from Oxford including William Newton-Smith, Anthony Kenny and Kathy Wilkes. However upon reaching the UK he failed to find academic work and has since complained of being side-lined because of his radical theories on Plato.

Academically, Tomin’s main departure with mainstream Classical thinking is over the dating of the Phaedrus, relative to other works by Plato. Tomin, uniquely among scholars, dates it as Plato’s first work, which if true would undermine a substantial body of accepted scholarship on the subject. He also insists on studying texts in the original Greek without translation, and out loud whenever possible. His website offers Greek recordings of the New Testament as a study aid for  students.

Through the internet and email, Tomin has been able to publish open letters and papers freely, where before he struggled to have his work published in British journals.

Images of Oxford past and present

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A new online image library hosting a collection of past and present images of Oxford was launched last Thursday.

The database, called ‘Oxford University Images’ currently holds around 6,000 still images and pieces of video footage of Oxford. Amongst the older images in the collection are illustrations of the Bodelian Library and a photograph of students skating on the frozen Thames at Port Meadow. Some of the modern images show students protesting on Cornmarket street and walking around at the Fresher’s Fair.

The project was set up as a partnership between departments and colleges of the university, the Ashmolean Museum and the Oxford University Museum of Natural History.

The collection also contains a variety of images courtesy of the Oxford Historical Centre.

A spokesperson for the University of Oxford explained why the collection was created. He said, “There is huge demand for images of Oxford, with the city hosting around 10 million tourists each year and being the centre of numerous films, TV programmes and books.

“We wanted to bring together our wonderful collections of rich and varied images from across the University into one easily searchable library. 

He noted that, “This resource will be of benefit both to members of the University and commercial organisations who want to have access to high-quality, correctly captioned material.”

First year Keble student, Alex Tsiotias, observed from the photos that the biggest difference between being an Oxford student now and 100 years ago is the clothing. He said, “The striking thing is the difference in appearance in terms of clothing between then and now. This is quite understandably due to normal changes and progression in fashion, but the juxtaposition between how people then and now look in everyday circumstances are nonetheless particularly notable.”

The images can be seen at www.oxforduniversityimages.com 

Stephen Fry becomes Professor at Catz

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Stephen Fry, the comedian, TV personality, author, presenter and national treasure, has been appointed as a Visiting Fellow of St Catz as the Cameron Mackintosh Professor of Contemporary Theatre.

The Professorship is an annual award given to a public figure who delivers termly lectures on topics of their choosing under the theme of contemporary performance. Fry will succeed a former artistic director of the RSC, Sir Michael Boyd. The post has previously been held by public thespians and broadcasters such as Sir Patrick Stewart and Lord Attenborough.

In a press release on the college website Fry stated, “This is an extraordinary honour… I really look forward to engaging with students who are enthusiastic and passionate about the performing arts. Dance and music will feature little in my time there, I am sorry to say, but I hope to help students devise comic and dramatic pieces, talk through rehearsal, writer-performing techniques and procedures… Above all, I hope we’ll all have fun. It’s not by accident that dramatic pieces are actually called plays, and that in Shakespeare’s day actors were players.’

Mr Fry will deliver the inaugural lecture on the 20th February at the Bernard Sunley Lecture room in Catz, the event is open to everybody and tickets will be released in advance online. St Catz will release further details on ticketing options nearer the time. It is expected that Mr Fry will deliver a further workshop or seminar in Trinity term, beyond the initial lecture Mr Fry is under no further obligations.

The Master of St Catz, Professor Roger Ainsworth cited “Stephen’s highly acclaimed return to the stage in the 2012 production of Twelfth Night at Shakespeare’s Globe” as one of the reasons for his appointment, as well as his popular appeal among the student body.

Robert Natzler, head of Cabal student productions, lamented Fry’s appointment, “He’s great and famous and all, but he’s not exactly a Jez Butterworth, is he? The decision seems to be more driven by populism than a genuine desire to celebrate some of the great writers and directors out there who don’t get Fry levels of exposure. Jonathan Church, Ian Rickson – hell, even one of those blokes from Punchdrunk – the list of braver, more exciting candidates is pretty extensive.”

When asked via Twitter if he would like to comment on his appointment, Mr Fry replied “No.” However, when pressed further, he expanded on his response by tweeting, “@jackprescott_ Sorry, but you see I don’t ever do print media. Not even for lovely fluffy students.”

Council turns down St Cross extension

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A contest-winning extension to the St Cross West Quadrangle has been turned down by Oxford City Council.

The proposals put forward by St Cross to Oxford Council in July of this year included plans to build 53 new student rooms, a lecture theatre and a library as part of the large-scale work.

The decision, made by the Council’s West Area Planning Committee, overruled the recommendations of its own officers. One of the main objections cited for the rejection of the planning proposals was that a fin-de-siècle boundary wall that stands on the extension’s proposed site would have to have been demolished.

An Oxford City Council spokesman commented that the current extension proposal, “involving the demolition of the walls, would cause harm to the heritage significance of the structures that is not justified by any public benefits deriving from the works.”

Another problem with the plans cited by the council was that the Pusey House Chapel’s west window would have been blocked from view by the new building. Pusey House is Grade 2 listed, and so the college’s building plans were not seen as in keeping with the local context.

Sir Mark Jones, Master of St Cross College, said, “We were disappointed by the refusal of planning permission because we believe that St Cross Students would benefit from the creation of more accommodation on our central site and we know that the College needs more library work spaces and better facilities for seminars and lectures.”

Dr Joel Shapiro, Fellow of St Cross College, shared similar sentiments, saying, “I am obviously disappointed by the decision.”  

The Council’s objection has also drawn criticism from some St Cross students. Lei Xie, MPhil in Economics, said, “I fail to see how the boundary wall possesses sufficient historic and aesthetic value to merit the status of a significant heritage structure.”

He added, “St Cross already faces substantial space constraints. The Quadrangle feels incomplete and the existing facilities do not match the standards of many Oxford colleges. I hope another remedial solution can be found in the immediate future.”

The college extension, however, has received a more muted response among local Oxford residents. Jericho and Osney Councillor Susanna Pressel said, “I didn’t object but the residents felt [the extension] was too tall and I hope that a compromise can be reached. I know the college was very disappointed and its architects were very prestigious.”

Niall McLaughlin Architects had won a St Cross College competition to design the West Quadrangle in November 2012. The St Cross Governing Body voted almost unanimously in favour of McLaughlin’s entry.

Following the Council’s decision, Sir Mark Jones concluded, “The College has not yet decided what to do next but we certainly hope to find a way forward in the not too distant future.”