Friday 15th August 2025
Blog Page 1760

Culture Vulture

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Record + CD fair
Town Hall, 21st January
For those still clinging to their antiquated ideas of  physical music ownership, this fair offers the perfect opportunity to top up your collections. 10am-3:30pm

Fairport Convention

Oxford Playhouse, 21st January

The originators of British folk-rock start their UK tour in Oxford, playing old favourites and material from their new album Festival Bell. 7:30, tickets £20

http://www.oxfordplayhouse.com/show/?eventid=2061

Record + CD fair

 Town Hall, 21st January

For those still clinging to their antiquated ideas of  physical music ownership, this fair offers the perfect opportunity to top up your collections. 10am-3:30pm

http://www.oxford.gov.uk/PageRender/decTH/Events_Special_Events_Offers_occw.htm

Nigel Kennedy 

Oxford New Theatre, 22nd January 

Violin virtuoso Nigel Kennedy performs his own unique take on Vivaldi’s Four Seasons and marks the world premiere of his new composition The Four Elements. 7:30pm, tickets £35-£45

http://www.atgtickets.com/Nigel-Kennedy-Tickets/245/1218/

Birdsong

BBC1, 22nd January

The two-parter based on Sebastian Faulks’ novel begins as two lovers are both brought together and torn apart by the Second World War. Stars Eddie Redmayne and Clemence Poesy. 9pm-10:25 pm

http://www.telegraph.co.uk/culture/tvandradio/9025386/Birdsong-BBC-One-preview.html

 

Sunday Roast

The Cellar, 22nd January

The classic indie clubnight hosts its last event (for now) featuring Haiku Salute, Red Shoe Diaries and King of Cats. Cakes and board games also avilable

Doors 8pm, £4 entry

http://www.facebook.com/events/279666538757305/

 

Luke Wright

Corpus Christi Auditorium, 25th January 

The performance poet Luke Wright gives a reading of new material. See next week’s Cherwell for an interview. 7:30. £3 for Oxford Poetry Society members; £5 for nonmembers

http://www.facebook.com/events/173503452757846/

                 
Celebration

Michael Pilch studio, 24th-28th January
Harold Pinter’s last play kicks off the season of student drama, as a dinner party uncovers some unwelcome memories. Doors 7:15pm, Tickets £6/£5

The Psycopath Test

Out now in paperback
Jon Ronson delves into the world of psychopaths and the mental illness industry, and gives helpful tips to spot psychopaths in your everyday life. 
Reduced to £5.49 in Watersones
Spamalot
 23rd-27th January
The Monty Python musical hits Oxford with Marcus Brigstocke and Bonnie Langford in lead roles. Let all rejoice and say ‘NI’!
Doors 2.30/7.30 varying, Tickets £13.50-£38.50.

 

Down and Out in Literary Paris

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This past December proved a sad one for the world of letters, which lost essayist and polemicist Christopher Hitchens, Vaclav Havel – playwright and the first president of the Czech republic – and George Whitman, the 98-year champion of the Parisian staple bookshop, Shakespeare & Co. 

Thanks to Whitman’s legacy, Shakespeare & Co first opened in 1951 under the name Le Mistral, and has become a haunt for young literary pilgrims and Beat-wannabes. Tradition allows people to be given a place to sleep while volunteering in the shop and soaking up the Left Bank atmosphere. Though not the original Shakespeare & Co frequented by the infamous members of the Lost Generation – Hemingway, Fitzgerald, Pound, and Joyce – it does take its name from it. Whitman was a friend and admirer of Sylvia Beach, the owner of the original shop, and named his daughter after her. Ms Whitman formally took over ownership of the ‘new’ Shakespeare & Co in 2003.
I visited the bookshop for the first time just before the New Year and arrived before the shop opened, taking a few moments to ask loitering booksellers about Whitman. They were three young men, all returning booksellers: the first, a Cambridge student, looked like Buddy Holly; the second smoked insouciantly; and the third was a slightly older American who had just finished his first novel and was working on his second.
George Whitman was a bunch of contradictions, said Buddy Holly. Eccentric, said the Smoker. If he was irascible, it was because he was theatrical, switching salt and sugar bowls at one of his Sunday tea parties, or teasingly throwing a book at you. The Novelist called Whitman generous.
When I asked if all bookstore workers were writers, the three agreed that though only a small percentage of people are actually working on a book while they work at the shop, the majority of them nurture aspirations of writing, keep journals, or at the very least are ‘appreciators of literature’.
If  you visit Shakespeare & Co, just across the street from Notre Dame, you can see the tributes to Whitman. Obituaries are fastened to the windows; a large banner with his picture wishes him farewell. These signs salute not only the ‘Don Quixote of the Latin Quarter’, a man who championed young writers, but the fact that bookshops are not yet a thing of the past, still functioning as hives of activity and aspiration.

This past December proved a sad one for the world of letters, which lost essayist and polemicist Christopher Hitchens, Vaclav Havel – playwright and the first president of the Czech republic – and George Whitman, the 98-year champion of the Parisian staple bookshop, Shakespeare & Co. 

Thanks to Whitman’s legacy, Shakespeare & Co first opened in 1951 under the name Le Mistral, and has become a haunt for young literary pilgrims and Beat-wannabes. Tradition allows people to be given a place to sleep while volunteering in the shop and soaking up the Left Bank atmosphere. Though not the original Shakespeare & Co frequented by the infamous members of the Lost Generation – Hemingway, Fitzgerald, Pound, and Joyce – it does take its name from it. Whitman was a friend and admirer of Sylvia Beach, the owner of the original shop, and named his daughter after her. Ms Whitman formally took over ownership of the ‘new’ Shakespeare & Co in 2003.

I visited the bookshop for the first time just before the New Year and arrived before the shop opened, taking a few moments to ask loitering booksellers about Whitman. They were three young men, all returning booksellers: the first, a Cambridge student, looked like Buddy Holly; the second smoked insouciantly; and the third was a slightly older American who had just finished his first novel and was working on his second.

George Whitman was a bunch of contradictions, said Buddy Holly. Eccentric, said the Smoker. If he was irascible, it was because he was theatrical, switching salt and sugar bowls at one of his Sunday tea parties, or teasingly throwing a book at you. The Novelist called Whitman generous.When I asked if all bookstore workers were writers, the three agreed that though only a small percentage of people are actually working on a book while they work at the shop, the majority of them nurture aspirations of writing, keep journals, or at the very least are ‘appreciators of literature’.

If  you visit Shakespeare & Co, just across the street from Notre Dame, you can see the tributes to Whitman. Obituaries are fastened to the windows; a large banner with his picture wishes him farewell. These signs salute not only the ‘Don Quixote of the Latin Quarter’, a man who championed young writers, but the fact that bookshops are not yet a thing of the past, still functioning as hives of activity and aspiration.

Masters at Work

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What were you doing at the time you wrote your first novel, The Opium Clerk?
I was a marketing faculty member at McGill University in Canada. The Opium Clerk was published soon after I started at the Saïd Business School as an academic.
What drew you to the historical novel as a 
genre?
As a young reader I was fascinated by history and historical novels written in my mother tongue, Bengali, as well as those from world literature.  Hugo, Dickens, Tolstoy and Bankimchandra had instilled a taste for intricate human stories enacted against the backdrop of great social change.  They fed my curiosity for unfamiliar worlds.  The reading of history as such opened up a treasure trove, full of shadowy characters, incomplete tales, and tantalising possibilities.
Do you see business studies and literature as being connected at all, and if so, how?
I have never sought to connect my professional pursuit of business academia with my passion for writing.  Life is full of disjunctions, and I’ve left it as such.  What one does for a living should be done well.  But the rest of life is still spacious enough to house a grand passion or two.   
How do you divide your time between academic, professional and creative pursuits?
Through extreme forms of jugglery.  Academic and creative pursuits are jealous masters and demand extraordinary commitment.  Over the last ten years I’ve written five books of fiction and copious amounts of academic articles.  Everything else has suffered: holidays, socialising and sleep.  I don’t divide time strategically, but follow a rule of thumb — to do well, to do what’s most inspiring at the moment.   
T.S. Eliot  said that had he not worked at a bank while he wrote poetry, he wouldn’t have written as he did. Do you wish you wrote full-time?
Unlike T.S., I don’t see any similar effects that come from working in a business school.  There is no direct or obverse inspiration that I draw from it into my fiction.  I have never considered setting a novel in the corporate world, and there’s no secret corridor that connects these two lives of mine.  I am a full time writer by my estimation.  It’s simply that I have doubled the time to do everything I have to do by cutting out the inessentials.
Now that you have published four novels, did you find the process of writing The Yellow Emperor’s Cure to be different?
Despite all being historical novels, they’ve been different in scope, architecture, and method.  I’ve had to rediscover myself as an author each time, which brings great excitement to my writing life.  For Emperor, for example, I’ve had to write about the Europeans and the Chinese from their respective perspectives, treating history as the instrument of discord.   

What were you doing at the time you wrote your first novel, The Opium Clerk?

I was a marketing faculty member at McGill University in Canada. The Opium Clerk was published soon after I started at the Saïd Business School as an academic.

What drew you to the historical novel as a genre?

As a young reader I was fascinated by history and historical novels written in my mother tongue, Bengali, as well as those from world literature.  Hugo, Dickens, Tolstoy and Bankimchandra had instilled a taste for intricate human stories enacted against the backdrop of great social change. They fed my curiosity for unfamiliar worlds.  The reading of history as such opened up a treasure trove, full of shadowy characters, incomplete tales, and tantalising possibilities.

Do you see business studies and literature as being connected at all, and if so, how?

I have never sought to connect my professional pursuit of business academia with my passion for writing.  Life is full of disjunctions, and I’ve left it as such.  What one does for a living should be done well.  But the rest of life is still spacious enough to house a grand passion or two.   

How do you divide your time between academic, professional and creative pursuits?

Through extreme forms of jugglery.  Academic and creative pursuits are jealous masters and demand extraordinary commitment.  Over the last ten years I’ve written five books of fiction and copious amounts of academic articles.  Everything else has suffered: holidays, socialising and sleep.  I don’t divide time strategically, but follow a rule of thumb — to do well, to do what’s most inspiring at the moment.   

T.S. Eliot  said that had he not worked at a bank while he wrote poetry, he wouldn’t have written as he did. Do you wish you wrote full-time?

Unlike T.S., I don’t see any similar effects that come from working in a business school.  There is no direct or obverse inspiration that I draw from it into my fiction.  I have never considered setting a novel in the corporate world, and there’s no secret corridor that connects these two lives of mine.  I am a full time writer by my estimation.  It’s simply that I have doubled the time to do everything I have to do by cutting out the inessentials.

Now that you have published four novels, did you find the process of writing The Yellow Emperor’s Cure to be different?

Despite all being historical novels, they’ve been different in scope, architecture, and method.  I’ve had to rediscover myself as an author each time, which brings great excitement to my writing life.  For Emperor, for example, I’ve had to write about the Europeans and the Chinese from their respective perspectives, treating history as the instrument of discord.   

 

The Rising Star of David

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I love Peep Show. I think it’s the best thing since Fawlty Towers. In fact, (and I don’t say this lightly), I would argue that on a scale of belly-aching laughter Mark Corrigan beats Basil Fawlty. It hardly needs to be said that as star of Peep Show, David Mitchell is my fantasy hero; I therefore had serious concerns about meeting him in the flesh. His character, Mark, is so gut-wrenchingly funny that I feared the actor behind the creation was bound to be a let-down. 
The story of Mitchell’s rise from nerdy undergraduate obscurity to household fame reads like a fairy tale. With his partner in comedy, Robert Webb, he cut his teeth in Cambridge University’s Footlights following in the shimmering wake of some of Britain’s finest comedians: Stephen Fry, Hugh Laurie, John Cleese, Eric Idle and Graham Chapman.  Meeting in a pantomime production of Cinderella, Mitchell and Robert Webb became close friends and after graduating went on to live and work together. They did their time as impoverished writers working on various comedy shows; Mitchell recalls his parents’ loaded reminder that ‘the civil service has a tremendous history of recruiting amateur dramatics’. There followed the inevitable series of pilot shows that never got developed, before they finally won their lucky break, starring as (you guessed it) a couple of juvenile best friends living together in the post-university world as depicted in Peep Show. 
With such a superb background story and with my own towering expectations, I approached the interview with some trepidation. Fortunately, Mitchell is exactly as you would wish him: smart, a little old fashioned, deeply likeable and very, very funny,  from the self-deprecating jokes about his newly-grown beard to the tortured metaphors he employs to describe just about everything. David Mitchell is, in short, only slightly less bumbling and even more amusing than his character Mark Corrigan. So how much of the character is the actor? Mitchell considers: ‘Unfortunately on a physical level he is 100% me. And in small-minded conservatism and anal-ness he is me; it was definitely a part written with me in mind. As Rob [Robert Webb] always says, they wouldn’t have cast us the other way around. But I console myself with the fact that Mark Corrigan has a very different life from me; he is an unemployed loan manager and I am a comedian. And now I have a beard.’
Part of what makes the series so delicious is that Peep Show explores the deepest taboos and anxieties of British society. Following great comic traditions, it seems to specialise particularly in discomfort about sex (Fawlty Towers) and an obsession with class (remember the Monty Python sketch ‘The Upper Class Twit of the Year’ where Vivian Smith-Symthe-Smith, with an O-level in kennel hygiene, competes for the title with Gervaise Brook-Hamster, who is used as a waste-paper basket by his father). Mitchell maintains that class is as relevant today as it ever was. 
‘My character is obsessed with class; his self-esteem is very much rooted in being a manager, a respectable member of the middle class. Jeremy [Webb’s character] would probably count himself as outside the class system, but he too is actually very aware of it.’ Mitchell notes that in British society it is only the middle class who care about class: ‘People who are very posh just aren’t so interested in it – and neither are people at the other end of the scale’. The irony of his own discomfort – his inability to say ‘working class’ – is not lost on either of us.
Another characteristic of British humour perfected by Peep Show is that ever-present sense of tragedy lurking in the shadows (think The Office). The episode where Jeremy and the love of his life Nancy have a threesome epitomises the sadness that pervades the series. Jeremy tries to see the situation as sophisticated: ‘This is good, this is like watching a porno,’ before admitting, ‘But I can’t see anything, I haven’t got a hard-on, and I want to cry.’ As Mark observes, ‘Sure an orgy sounds great, but you’re basically just multiplying the number of people you’re not going to be able to look in the eye afterwards.’ Mitchell maintains that all comedy is essentially tragic. ‘Anything comic is necessarily infused with the fearful human condition. The brilliant thing about The Simpsons is that it so glancingly touches on the futility of people’s lives. Comedy at its best can say more about sadness than tragedy can.’
At school Mitchell had always been ‘funny’ but it was not until university that he began to consider comedy as a career. Even then it seemed unlikely: ‘Footlights was incredibly unfashionable when I was in it … and not just because I was in it. It was exactly the wrong time; after Fry and Laurie left people thought no one funny would ever come from there again. When I graduated I felt that I should keep quiet about Footlights. And I had a 2.2 from Cambridge, which was worse than nothing’. He got a job as an usher at the Lyric Theatre in Hammersmith, under the misapprehension that it would lead to a job as a playwright. He and Webb then began writing various shows that never got made, supporting themselves by writing jokes for TV comedians. So, was the civil service never a temptation? ‘Not really. After a few years Rob and I realised we were treading water with proposals that never got made. We both wrote a bit and eventually I realised that I was making a decent living from the writing – but I wasn’t “making it”.’ 
Just as they’d resigned themselves to no more than a ‘decent living’, Mitchell and Webb were asked to do the pilot for Peep Show. Seven series and eight years later Mitchell still has trouble defining his profession. ‘I’m not quite a proper comedian and I’m not quite a proper actor’ he says, and he has mixed views about each role. ‘I find an actor’s need to pretend weirder than a comedian’s need to show off.’ He doesn’t get much pleasure from watching other comedians: ‘it feels like work. What I look for in a comedian is diverting mediocrity: if they’re dreadful, I’m furious they’ve got this far, and if they’re brilliant I wish they didn’t exist’. 
Whatever his own misgivings, Mitchell certainly appears to be living the dream; as well as Peep Show and his brilliant BBC sketch show That Mitchell and Webb Look (check out ‘Brain Surgery’, ‘Diana Assassination’ or ‘Posh Dancing’ on YouTube) Mitchell writes a column for The Observer, hosts his own Radio 4 comedy show, The Unbelievable Truth, and also makes regular appearances on Stephen Fry’s QI, Have I Got News For You, and The Big Fat Quiz of the Year. Still, even with the fairy-tale career, it must be exhausting to be David Mitchell. After our interview he gives a talk to the undergrads of St Peter’s College. As he stands in front of a packed JCR every sentence he utters provokes uproarious laughter – even when he’s being serious. This blind adulation must be irksome for a man who so subtly observes and finely hones his jokes. But perhaps that’s the price of ‘happily ever after’.

I love Peep Show. I think it’s the best thing since Fawlty Towers. In fact, (and I don’t say this lightly), I would argue that on a scale of belly-aching laughter Mark Corrigan beats Basil Fawlty. It hardly needs to be said that as star of Peep Show, David Mitchell is my fantasy hero; I therefore had serious concerns about meeting him in the flesh. His character, Mark, is so gut-wrenchingly funny that I feared the actor behind the creation was bound to be a let-down.

 The story of Mitchell’s rise from nerdy undergraduate obscurity to household fame reads like a fairy tale. With his partner in comedy, Robert Webb, he cut his teeth in Cambridge University’s Footlights following in the shimmering wake of some of Britain’s finest comedians: Stephen Fry, Hugh Laurie, John Cleese, Eric Idle and Graham Chapman.  Meeting in a pantomime production of Cinderella, Mitchell and Robert Webb became close friends and after graduating went on to live and work together. They did their time as impoverished writers working on various comedy shows; Mitchell recalls his parents’ loaded reminder that ‘the civil service has a tremendous history of recruiting amateur dramatics’. There followed the inevitable series of pilot shows that never got developed, before they finally won their lucky break, starring as (you guessed it) a couple of juvenile best friends living together in the post-university world as depicted in Peep Show. 

With such a superb background story and with my own towering expectations, I approached the interview with some trepidation. Fortunately, Mitchell is exactly as you would wish him: smart, a little old fashioned, deeply likeable and very, very funny,  from the self-deprecating jokes about his newly-grown beard to the tortured metaphors he employs to describe just about everything. David Mitchell is, in short, only slightly less bumbling and even more amusing than his character Mark Corrigan. So how much of the character is the actor? Mitchell considers: ‘Unfortunately on a physical level he is 100% me. And in small-minded conservatism and anal-ness he is me; it was definitely a part written with me in mind. As Rob [Robert Webb] always says, they wouldn’t have cast us the other way around. But I console myself with the fact that Mark Corrigan has a very different life from me; he is an unemployed loan manager and I am a comedian. And now I have a beard.’

Part of what makes the series so delicious is that Peep Show explores the deepest taboos and anxieties of British society. Following great comic traditions, it seems to specialise particularly in discomfort about sex (Fawlty Towers) and an obsession with class (remember the Monty Python sketch ‘The Upper Class Twit of the Year’ where Vivian Smith-Symthe-Smith, with an O-level in kennel hygiene, competes for the title with Gervaise Brook-Hamster, who is used as a waste-paper basket by his father). Mitchell maintains that class is as relevant today as it ever was. ‘My character is obsessed with class; his self-esteem is very much rooted in being a manager, a respectable member of the middle class. Jeremy [Webb’s character] would probably count himself as outside the class system, but he too is actually very aware of it.’ Mitchell notes that in British society it is only the middle class who care about class: ‘People who are very posh just aren’t so interested in it – and neither are people at the other end of the scale’. The irony of his own discomfort – his inability to say ‘working class’ – is not lost on either of us.

Another characteristic of British humour perfected by Peep Show is that ever-present sense of tragedy lurking in the shadows (think The Office). The episode where Jeremy and the love of his life Nancy have a threesome epitomises the sadness that pervades the series. Jeremy tries to see the situation as sophisticated: ‘This is good, this is like watching a porno,’ before admitting, ‘But I can’t see anything, I haven’t got a hard-on, and I want to cry.’ As Mark observes, ‘Sure an orgy sounds great, but you’re basically just multiplying the number of people you’re not going to be able to look in the eye afterwards.’ Mitchell maintains that all comedy is essentially tragic. ‘Anything comic is necessarily infused with the fearful human condition. The brilliant thing about The Simpsons is that it so glancingly touches on the futility of people’s lives. Comedy at its best can say more about sadness than tragedy can.

’At school Mitchell had always been ‘funny’ but it was not until university that he began to consider comedy as a career. Even then it seemed unlikely: ‘Footlights was incredibly unfashionable when I was in it … and not just because I was in it. It was exactly the wrong time; after Fry and Laurie left people thought no one funny would ever come from there again. When I graduated I felt that I should keep quiet about Footlights. And I had a 2.2 from Cambridge, which was worse than nothing’. He got a job as an usher at the Lyric Theatre in Hammersmith, under the misapprehension that it would lead to a job as a playwright. He and Webb then began writing various shows that never got made, supporting themselves by writing jokes for TV comedians. So, was the civil service never a temptation? ‘Not really. After a few years Rob and I realised we were treading water with proposals that never got made. We both wrote a bit and eventually I realised that I was making a decent living from the writing – but I wasn’t “making it”.’ 

Just as they’d resigned themselves to no more than a ‘decent living’, Mitchell and Webb were asked to do the pilot for Peep Show. Seven series and eight years later Mitchell still has trouble defining his profession. ‘I’m not quite a proper comedian and I’m not quite a proper actor’ he says, and he has mixed views about each role. ‘I find an actor’s need to pretend weirder than a comedian’s need to show off.’ He doesn’t get much pleasure from watching other comedians: ‘it feels like work. What I look for in a comedian is diverting mediocrity: if they’re dreadful, I’m furious they’ve got this far, and if they’re brilliant I wish they didn’t exist’. 

Whatever his own misgivings, Mitchell certainly appears to be living the dream; as well as Peep Show and his brilliant BBC sketch show That Mitchell and Webb Look (check out ‘Brain Surgery’, ‘Diana Assassination’ or ‘Posh Dancing’ on YouTube) Mitchell writes a column for The Observer, hosts his own Radio 4 comedy show, The Unbelievable Truth, and also makes regular appearances on Stephen Fry’s QI, Have I Got News For You, and The Big Fat Quiz of the Year. Still, even with the fairy-tale career, it must be exhausting to be David Mitchell. After our interview he gives a talk to the undergrads of St Peter’s College. As he stands in front of a packed JCR every sentence he utters provokes uproarious laughter – even when he’s being serious. This blind adulation must be irksome for a man who so subtly observes and finely hones his jokes. But perhaps that’s the price of ‘happily ever after’.

 

Mephisto: The History

Hannah Blyth and Ruby Riley ask questions about the history of the play ‘Mephisto’ which is being performed at the Oxford Playhouse in 6th week of Hilary Term.

Oxford’s homes increasingly bought by foreign investors

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New statistics have revealed that houses in Oxford are increasingly being sold to foreign investors.International buyers have purchased 40% of the city’s best properties. 

Damian Gray, from estate agents Knight Frank, told Cherwell, “Over the last twelve months we have sold property in Oxford to over 13 different nationalities, with a marked increase of buyer interest from Russia and Asia.”

He suggested that this surge could be due to Oxford’s international reputation as a cultural hub of the United Kingdom, although the economic stability of the city’s property market is also an attraction. 

Gray commented that buyers are also often drawn by the “knowledge that their investment in Oxford would appear to be extremely resilient to any downturn in market conditions.”

Mark Crampton Smith, a partner of College and County agreed, stating that the property market here is “perceived as a safe place both physically and economically.”

Local authorities expressed concerns that the increase in foreign homeowners will have a negative effect on the city. Many of the purchases will be used as second homes, leaving the properties largely uninhabited. 

Councillor Edward Turner told Cherwell that this is “not a new situation,” but “if homes are being bought by foreign purchasers that means there are fewer available for others who need to live in Oxford, be they local families, students or those who are here to work.”

He linked this to the issue of the lack of capacity in the city and an unwillingness to expand, arguing that this was the “real problem, since the coalition government caved into those opposed to new housing to the south east of the city.”

One student shared his grieviances with Cherwell, commenting, “It is frustrating to know that whilst we spend hours searching for affordable housing properties are lying empty.”

Oxford introduce new course

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Oxford University is introducing a new course this year, designed to prepare students considering undertaking a degree.

The Certificate of Higher Education has been described as a ‘stepping stone’ to university and acts as a preparatory course that brings students closer to university standard.

It is aimed at those who are unsure about ‘which students they wish to specialise in, or may lack formal academic qualifications, or may simply need to be able to study part-time and flexibly.’

This is the latest in a series of steps the university has taken to make Oxford education more accessible to students from all backgrounds. Courses will be modular with no written exams; lasting between two to four years. Students would take one predominant subject to combine with a series of modules from other subjects.

The certificate will act as an equivalent to one year of university study, although it does not guarantee a place on a university course.

Nine ‘main’ subjects are to be made available, including History, Literature and Philosophy. Students will also be able to choose modules from a wider variety of subject areas, combining both specific and general interests.

Natalie Tate, who left Oxford midway through a Computer Science degree at St Anne’s college last term commented, ‘I think it sounds like a really good idea, it’ll help people with their confidence and showing that they’re able to get back into education even if they don’t think they possess the skills.’

Ruth Eve, a first year languages student agreed, commenting, ‘I would definitely advocate such courses. The transition between school and university is a challenging leap of independence, and gaining skills such as time management and note-taking can ease the potential pressure and stress in an environment where it is all too easy to feel out of your depth.’

However some students have expressed concerns. One said that the introduction of an Oxford ‘foundation course’ was ‘just another way for the University to gather money to compensate for their loss of government funding.’

A University spokesperson commented that those applying via the CertHE were ‘not necessarily at an advantage’ when applying for a standard degree course. The course will charge a basic registration fee of at least £750 and then will charge per module.

Oxford’s Vice-Chancellor highest paid in UK

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It has been revealed that the Oxford University Vice Chancellor receives the highest salary of anyone with an equivalent position in the UK. 

Andrew Hamilton receives £424,000 in salary, benefits, and pension contributions. His Cambridge counterpart receives £258,000, while the typical teaching academic can expect to be paid £42,263 on average.
The benefits that the Vice Chancellor is able to claim follow the university guidelines for all staff, although part of his total remuneration includes travel expenses to return to the US a certain number of times a year. He is also given health insurance and access to a driver “for work transport only”, although this staff member is not solely for Hamilton’s use.
The Vice Chancellor is required to live in a University-owned residence due to his position. The University gave some justification, commenting that the residence was used professionally, allowing Hamilton to entertain guests. They added that the property was fully owned by the university, so they incurred no costs from this arrangement other than for the property’s general upkeep.
The university stated there are no additional benefits other than these for the Vice Chancellor, who does not receive bonuses. 
Cherwell last year reported that the Director of Oxford University Endowment Management Ltd received a salary of £600,000 in 2010, making her the highest paid university administrator in the country. However in 2011 no member of university staff received a pay packet that exceeded £520,000. 65 members of staff are on a salary that exceeds that of the Prime Minister whereas last year more than 70 University officials earned more than Cameron’s £142,500. 

Andrew Hamilton receives £424,000 in salary, benefits, and pension contributions. His Cambridge counterpart receives £258,000, while the typical teaching academic can expect to be paid £42,263 on average.

The benefits that the Vice-Chancellor is able to claim follow the university guidelines for all staff, although part of his total remuneration includes travel expenses to return to the US a certain number of times a year. He is also given health insurance and access to a driver “for work transport only”, although this staff member is not solely for Hamilton’s use.

The Vice-Chancellor is required to live in a University-owned residence due to his position. The University gave some justification, commenting that the residence was used professionally, allowing Hamilton to entertain guests. They added that the property was fully owned by the university, so they incurred no costs from this arrangement other than for the property’s general upkeep.

The university stated there are no additional benefits other than these for the Vice-Chancellor, who does not receive bonuses. Cherwell last year reported that the Director of Oxford University Endowment Management Ltd received a salary of £600,000 in 2010, making her the highest paid university administrator in the country. However in 2011 no member of university staff received a pay packet that exceeded £520,000.

65 members of staff are on a salary that exceeds that of the Prime Minister whereas last year more than 70 University officials earned more than Cameron’s £142,500.

Vice Chancellors of the elite Russell Group universities saw their pay packets increase by 0.4% last year, although Oxford University said that this rise was reflected in the salary of all staff and was well below the rate of inflation. The rate of inflation was 4.8% in November 2011.

A statement from the Russell Group also gave a defence, stating, “In view of the ongoing financial challenges that universities are facing, many Vice-Chancellors agreed to only very modest increases, pay freezes, or even pay cuts in recent years. The average Russell Group Vice-Chancellor’s pay increase was lower than both UK inflation and the country’s average pay rise of 1.8%.”

However many feel that for the Vice-Chancellor’s salary to have increased in light of the imminent rise in tuition fees and budget cuts across the education sector is an insensitive misjudgement. The average pay of a UK CEO amounts to just over £122,000, less than a third of the Vice-Chancellor’s salary. A third year student regarded this situation as “ridiculous.”

However a university spokesperson responded, “According to most national league tables Oxford is the number one university in the UK. It makes a major contribution to the economic prosperity of the UK and the UK’s position in the world, as well as to tackling global challenges through its research.” He added, “Its research output is vast, it has an almost billion-pound-a-year turnover not including the colleges and OUP, and it has great institutional complexity. Its Vice-Chancellor’s salary reflects that.”

Dr Wendy Piatt, Director General of the Russell Group, also defended the pay of Vice-Chancellors, commenting, “Russell Group Vice-Chancellors lead complex multi-million pound organisations that succeed on a global stage. First-rate leadership is crucial if our universities are to continue to excel in such a challenging economic climate.” She added, “That Russell Group universities still punch well above their weight on the international stage despite being under-resourced in comparison with their international competitors is in large part testimony to the quality of their leadership.”

Comparisons have been made to the pay of the international counterparts of the Vice-Chancellor, since in the U.S. heads of institutions are frequently paid salaries that pass the $1 million (£650,000) mark. This has fuelled concerns that the rising pay-packets of university heads are an indication of the increasing commercialisation of the university sector.

Meanwhile Sally Hunt, the General Secretary of the University and College Trade Union said that the findings meant the government’s crackdown on excessive executive pay should extend to universities. She called for increased transparency and accountability for salary levels. Hunt told Cherwell, “Vice-Chancellors improved pay and perks are bound to raise eyebrows, especially when university staff have taken a real-terms pay cut of 7% since 2009. Unless there is proper scrutiny of vice chancellors’ pay and perks then stories of unaccountable increases will continue to embarrass the sector at a time when it is suffering punitive financial cuts.”

The main political parties are all vying to lead calls for a crackdown on executive pay, with David Cameron saying it made “people’s blood boil.” In light of this, many are calling for the pay of Vice Chancellors to be subject to similar scrutiny, with Ms. Hunt calling for employees and students of universities to be included on the remuneration boards that decide the pay of the Vice-Chancellor.

The Vice-Chancellor’s pay is currently decided by an Independent Remuneration Council which includes academics as well as experts from outside the sector.

 

Numbers of firsts increase nationally

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The national average of students obtaining first class degrees has increased rapidly over the last decade.

A record figure one in six obtained the top qualification last year, prompting fresh concerns about grade inflation and how the value of degrees can be compared between institutions. According to figures released last week by the Higher Education Statistics Agency, 53,215 graduates gained firsts in 2010/11. Just 23,700 gained the equivalent degree in 2000/01.
Although these statistics also reflect the higher number of students in Higher Education, the percentage of graduates reaching the highest qualification rose to 15.5% from just 9% a decade ago.
In contrast, the percentage of students achieving firsts at Oxford has remained relatively steady. 22% of students graduated with a first in 2000/2001, while 29% achieved the qualification last year. This is an overall increase of 30% over the last ten years, significantly smaller than the 75% rise nationally.
Birmingham University’s Professor Alan Smithers commented, “The inflation in degree classes is rendering them almost meaningless. Employers have to look at A-level results and the university at which the degree is being obtained.”
A student from a Liverpool university said that the increase may indicate degrees at some institution getting easier, commenting, “I’ve got a first in all my pieces of coursework so far, without even turning up to a third of my lectures and tutorials.”
One Oxford undergraduate stated, “It’s unfair. When I look at my friends from other universities, the amount of time they spend on getting a 2.1 is disproportionately low compared how much effort a lot of Oxford undergraduates have to put in, to get the same result. I only hope employers recognise that.”
An Oxford spokesperson said they could not comment of the difficulty of other degrees, but that “a degree from Oxford is demanding, intense and in-depth, and a first class degree from Oxford is an extremely strong academic qualification.”
However John Lewis, a leading graduate employer, told Cherwell that for their graduate recruitment scheme, “a candidate with a 2.1 from Oxford University would have no advantage over someone with a 2.1 degree from Reading.”
Conversely,  a spokesperson for Teach First, a charity which aims to recruit “high-calibre graduates”, commented, “Teach First has worked closely with Oxford University since our inception in 2002, and Oxford has yielded significantly more hires than any other university including Cambridge.” Similarly, Deloitte, which is number two on the Times ‘Top 100 Graduate Employers’ list, admitted, “We actively seek applications from Oxford students as they have a very strong track record in passing the selection process, demonstrated by the large Oxford alumni network currently working with us.”
One Oxford student agreed that an Oxford degree tended to be highly valued, saying, “At the company I worked for on my gap year, a 2.1 from any of the top universities would be considered impressive enough to merit consideration. But candidates with Oxbridge degrees, whether a 2.1 or a first, tended to have more impressive CVs, perform better at interview and ultimately be more likely to be offered the job.”
The percentage of students achieving firsts also varies across subjects within the universities. Theology degrees have consistently seen a lower percentage of firsts, with only 11% of Philosophy and Theology students gaining the top qualification in 2010, the lowest of any subject in Oxford. In the same year, only 15% of Classical Archaeology & Ancient History students received first-class honours, while over half of History of Art degrees were firsts.
Philosophy and Theology student Adam Sewell noted that “the lower percentage of firsts could suggest that the exams for Philosophy and Theology are more rigorous.” Alex Chalk, also studying the subject, commented, “For the most part Philosophy and Theology doesn’t seem like a degree that someone would pick due to the prospective employment opportunities it offers, however good or bad they might in fact be.”
Lucy Gray, a Classical Archaeology & Ancient History first-year, told Cherwell that “getting a first isn’t the be all and end all, but it would be nice to think that it was at least achievable.” She continued, “It is slightly disheartening because I know employers won’t necessarily take any of this into account. Although I really enjoy my course, I do want to get a job out of it, and if I had known about how hard it is to get a first in my course I might not have chosen it.”
Undergraduate Xin Fan was less concerned, quipping, “A third-class degree from Oxford should definitely count for more than a third-class degree from anywhere else – we flunk a lot harder. But if John Lewis turned me down, I just don’t know where I’d go. Reading, probably.”

A record figure of one in six obtained the top qualification last year, prompting fresh concerns about grade inflation and how the value of degrees can be compared between institutions.

According to figures released last week by the Higher Education Statistics Agency, 53,215 graduates gained firsts in 2010/11. Just 23,700 gained the equivalent degree in 2000/01.

Although these statistics also reflect the higher number of students in Higher Education, the percentage of graduates reaching the highest qualification rose to 15.5% from just 9% a decade ago.

In contrast, the percentage of students achieving firsts at Oxford has remained relatively steady. 22% of students graduated with a first in 2000/2001, while 29% achieved the qualification last year. This is an overall increase of 30% over the last ten years, significantly smaller than the 75% rise nationally.

Birmingham University’s Professor Alan Smithers commented, “The inflation in degree classes is rendering them almost meaningless. Employers have to look at A-level results and the university at which the degree is being obtained.”

A student from a Liverpool university said that the increase may indicate degrees at some institution getting easier, commenting, “I’ve got a first in all my pieces of coursework so far, without even turning up to a third of my lectures and tutorials.”

One Oxford undergraduate stated, “It’s unfair. When I look at my friends from other universities, the amount of time they spend on getting a 2.1 is disproportionately low compared how much effort a lot of Oxford undergraduates have to put in, to get the same result. I only hope employers recognise that.”

An Oxford spokesperson said they could not comment of the difficulty of other degrees, but that “a degree from Oxford is demanding, intense and in-depth, and a first class degree from Oxford is an extremely strong academic qualification.”

However John Lewis, a leading graduate employer, told Cherwell that for their graduate recruitment scheme, “a candidate with a 2.1 from Oxford University would have no advantage over someone with a 2.1 degree from Reading.”

Conversely,  a spokesperson for Teach First, a charity which aims to recruit “high-calibre graduates”, commented, “Teach First has worked closely with Oxford University since our inception in 2002, and Oxford has yielded significantly more hires than any other university including Cambridge.”

Similarly, Deloitte, which is number two on the Times ‘Top 100 Graduate Employers’ list, admitted, “We actively seek applications from Oxford students as they have a very strong track record in passing the selection process, demonstrated by the large Oxford alumni network currently working with us.”

One Oxford student agreed that an Oxford degree tended to be highly valued, saying, “At the company I worked for on my gap year, a 2.1 from any of the top universities would be considered impressive enough to merit consideration. But candidates with Oxbridge degrees, whether a 2.1 or a first, tended to have more impressive CVs, perform better at interview and ultimately be more likely to be offered the job.”

The percentage of students achieving firsts also varies across subjects within the universities. Theology degrees have consistently seen a lower percentage of firsts, with only 11% of Philosophy and Theology students gaining the top qualification in 2010, the lowest of any subject in Oxford. In the same year, only 15% of Classical Archaeology & Ancient History students received first-class honours, while over half of History of Art degrees were firsts.

Philosophy and Theology student Adam Sewell noted that “the lower percentage of firsts could suggest that the exams for Philosophy and Theology are more rigorous.” Alex Chalk, also studying the subject, commented, “For the most part Philosophy and Theology doesn’t seem like a degree that someone would pick due to the prospective employment opportunities it offers, however good or bad they might in fact be.”

Lucy Gray, a Classical Archaeology & Ancient History first-year, told Cherwell that “getting a first isn’t the be all and end all, but it would be nice to think that it was at least achievable.” She continued, “It is slightly disheartening because I know employers won’t necessarily take any of this into account. Although I really enjoy my course, I do want to get a job out of it, and if I had known about how hard it is to get a first in my course I might not have chosen it.”

Undergraduate Xin Fan was less concerned, quipping, “A third-class degree from Oxford should definitely count for more than a third-class degree from anywhere else – we flunk a lot harder. But if John Lewis turned me down, I just don’t know where I’d go. Reading, probably.”

Oxford bids to be World Book Capital

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Oxford’s bid to become UNESCO World Book Capital in 2014 has received official government support. The move was confirmed by Culture Minister, Ed Vaizey MP, who stated the government’s intention to back the bid, in the hope of promoting the benefits of books and reading throughout the country.

He talked of Oxford’s ‘contribution to world and especially English speaking culture’ in his letter to the bid committee and reaffirmed the benefits that such an honour could bring to both the city and the country as a whole. He also spoke of Oxford as a ‘world benchmark for learning…through institutions such as its premiere university.’

Councillor Bob Price, Leader of Oxford City Council, is enthusiastic about the possibility. He said, “Culturally, it will provide a backdrop to a range of exciting events involving the new Bodleian, the new Oxford Brookes Library, OUP and Blackwell’s. Oxford City Council is about to start working with Oxfordshire County Council and city schools to improve literacy attainment across the age ranges, and the WBC year will stimulate several new initiatives for young people in this respect. We hope that these events would be of great appeal to the people of Oxfordshire. World Book Capital status will shine a global spotlight on Oxford’s pre-eminence as a centre for learning and education, and give us the chance as a city to project ourselves onto a world stage.”

The title of World Book Capital is bestowed annually to a city in recognition of the quality of its programs to promote books and reading, with past winners including locations as varied as Bogota and Alexandria. The application window opened at the start of 2012 with bids having to be completed by April 2012; the winning city is due to be announced at some point over the summer. An important aspect of Oxford’s bid is the redesign of the New Bodleian Library, which will reopen as the Weston Library in 2015; work started in August 2011 and the new library will feature better storage for the library’s special collections and greater access for the general public.

Mike Heaney, Executive Secretary of Bodleian Libraries said, ‘The Bodleian Libraries enthusiastically support Oxford’s bid to be nominated as UNESCO World Book Capital. We are already committed to reaching out to people with a passion for books and our literary culture in the city and beyond. Recognition as World Book Capital will certainly enable us to do so more effectively, by shining a spotlight on all we have to offer. We hope to address our and UNESCO’s agenda to promote books and reading as means of combating deprivation, encouraging cultural diversity and championing freedom of access to information.’

However, not all students share this enthusiasm. Andrew Pickett, a second year Geography student at St Catherine’s thinks UNESCO should look elsewhere. ‘I think that Oxford is perfectly entitled to make this bid, however I would say that given UNESCO’s position, it should concentrate its efforts in countries and cities that do not already have the high profile of somewhere like Oxford. There are many parts of the world that have an equally strong cultural base, but could do with the added boost in publicity and awareness – Oxford is a famous city that already has these things.’