Friday 20th February 2026
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Oxford’s subject gender divide

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The gender make up of undergraduate subjects at Oxford continues to show how girls and boys favour certain subjects.

Women continue to dominate men in terms of numbers in English, Modern Languages and Experimental Psychology, while men outnumber women in most science subjects.

Despite continued government efforts to encourage women to study science and maths, females make up a mere 14% of physicists in the 2010 intake.

In 2009 there was just one female computer scientist admitted, out of 16 students.

Miranda Kent, the sole female physicist in first year at Lincoln College, said, “I’ve never counted more than 20 girls in the lecture hall. Me and some of the other girls sometimes play spot the attractive physicist. It doesn’t happen very often.”

However, she explained that there were positives to being a minority in a subject: “You never have to queue for the loo.”

The gender ratio of Maths tells a similar story. Men make up 70% of the 2009 and 2010 intakes, an increase of 4% on 2005. The success rate of male applicants was a staggering 6-8% higher than female ones.

A female tutor explained to Cherwell, “We look at candidates on their respective merit…It just happens that we generally have more male candidates of the highest calibre than female ones.”

She also said, “I believe that males overall are more attracted to or suited by the subject,” though adding that this was “a view my male colleagues do not subscribe to.”

Dr. Sirichai Chongchitnan, a Fellow in Applied Mathematics at Lincoln College, put the gender bias down to a lack of famous female role models, and “the old perception of maths and physics in school as ‘nerdy’ subjects for boys.”

Girls are very much the majority in English lectures, with 85 boys studying the subject compared to 139 girls in the 2010 intake.

Only 23% of first year Engineers are women. Matt Butterworth, a second year Engineer at LMH, commented, “If I could have it exactly how I wanted, I would definitely prefer a more even balance.”
One female Engineer in her third year told Cherwell that the first few lab sessions were particularly challenging for girls, where they are expected to use drills, hammers and other tools with which boys are naturally more comfortable.

She added, however, that “as the course progresses, girls often do better in the presentation and report aspects of the course where organisation and clarity of work are key.

“Boys tend to go with the last minute stand up and improvise approach!”

Similar success rates for male and female applicants to these subjects show that the imbalance is down to a lower number of female applicants.

This is increasingly less true of Chemistry, where 47% of the 2009 intake were female, a rise of 10% on 2005. Indeed, Physiological Sciences is just 33% male in the 2010 cohort.

In the non-scientific subjects, Economics & Management was the stand-out statistic. In 2009, 80% of the intake were male.

Tom Raeburn, an E&M student at Worcester, said that the subject “is seen by some as a boot camp for entry into the City, which in itself is a male dominated environment.”

Rohan Sakhrani, a first year E&M student, commented that in the City “the high male population in such a dog eat dog world is to be expected…although in Pembroke I’d say some of the female E&Mists are quite vociferous as it is.”

However, Reena Virdee of Oxford Women In Business said, “It’s important to stress that you don’t need to do a specific subject to be successful in business….Employers are looking for when rounded applicants from a variety of backgrounds and disciples. So, despite some subjects being male skewed, this doesn’t really correspond to the male to female ratio in business.”

Politics is another profession that has been viewed as the preserve of men, with PPE often described as a “training ground” for Westminster.
The gender balance in PPE does not bode well for increasing the numbers of women in politics. 68% of the 2009 intake for PPE were male, and in 2010 this went up to 70%.

The percentage of female students studying Modern Languages has fallen to 55% in 2010.
First year linguist, Howard McDonald, spoke of “the general feeling that the subject is dominated by a female presence.

“Murmurs can be heard as people shuffle out of the lecture hall, to the tune of, ‘There’s a lot of women in there.’ ”
Men only make up about one third of English students. Henry Golding, a second year English student, said of his female peers, “They’ll all go and have children once they’ve finished their degree, so I guess it’s best that they do something frivolous like English for a few years, rather than something that will affect people’s lives, like law or officiating football matches.”

Moreover, women are a small majority in Law, making up 53% of the 2009 and 2010 intakes. Theology was the most balanced subject in 2009, with 21 male and 21 female students selected from 57 applicants of each gender. In 2010, Philosophy & Modern Languages accepted 9 students of each gender.

Oriel graduate sues law school

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A jurispudence graduate from Oriel College is suing OXLIP, an Oxford based law college, for £100,000, after she failed to qualify as a solicitor at the end of her course.

Miss Abramova, who graduated from Oriel in 2004 with a 2:1, began a legal practitioner’s course at the Oxford Institute of Legal Practice (OXILP), aiming to become a solicitor.

Abramova alleges that OXILP had not adequately prepared her for the exams, and that their “clearly negligent” tuition resulted in her failure to qualify as a solicitor, and subsequent failure to pass the New York Bar Exam.

“I recently decided not to retake that examination,” Abramova told the Court.

She added, “This is because I have found it psychologically difficult to take legal examinations following my experiences on the Course and subsequently, at OXILP”.

Abramova’s barrister, Oliver Hyams, told the court that the law college failed Ms Abramova by only providing “tuition in examination techniques” after she had already failed her first set of tests in May 2005.

A spokesman for OXILP said, “At all times since 2004, the year Maria began her course, [her work] has consistently been graded ‘very good’ or as is the case now ‘commendable’ – the top grade.”

The spokesperson added that of the 357 other students who studied who studied at the Oxford Law School in the same year as Abramova, more than 99% went on to pass the paper over which Abramova is suing.

Josephine Lyall, who is currently studying on the LPS course, said, “You’re not examined on anything you’re not actively taught…[the tutors] tell you everything you need to know”.

Lyall said her previous studies of Classics, at St Hilda’s College, were “much more demanding”. She described her current legal course as “much more programmed”, and added that it is “a lot easier [than Oxford]– you don’t really need to think about it too much”.

Abramova’s decision to sue her Law College after failing to pass her exams has prompted wider concerns that the raise in tuition fees for higher education will usher in a new “consumer culture” among students.

The fees in 2005 for the OXILP course were £8,195 for both home and international students.

OUSU President David Barclay told Cherwell, “This case is a clear signal of how a consumer culture will affect universities.

“As students take an increasingly large financial stake in their studies, expectations of course quality and student experience will undoubtedly go up.

“Oxford University needs to invest now in the mechanisms that will take these expectations into account.

“We need to give students the opportunity to solve their own problems, otherwise this will not be the last time we see [establishments] in court.”

OXILP was established jointly by the University of Oxford and Oxford Brookes in 1993. It became a fully integrated part of Oxford Brookes within the School of Social Sciences and Law in 2008.

Not your average park and bark

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Given the complicated pageantry associated with opera – the lavish costumes and elaborate sets and shining orchestral accompaniments to soloists of outrageous talent and personality – the diva-ness of it all – the circumstances of the New Chamber Opera Studio’s rehearsal last Thursday seem positively spartan by comparison.

Arrival at 21.00 to the Old Bursary at New College: The room is small and square, the stone walls very thick, and the floorboards heavily scarred. A stamped-tin chandelier hangs from the middle of the ceiling, missing half of its electric candles.

My assignment is to uncover, in a pith-helmeted sort of way, something of the opera scene at Oxford, through the medium of the NCOS’s upcoming production of Rossini’s The Barber of Seville at the Sheldonian Theatre. That I know nothing about opera ostensibly mitigates the glaring advertorial potential here, or at least that’s the idea.

The room is dominated by a concert grand piano, which is eight feet long (I looked it up on Steinway.com) and consumes half of one wall. Straight-backed chairs surround the rest of the room, and in these are installed (seated or in one case lying supine) five members of the NCOS’s cast for Barber.

The other two members, Rosina (Esther Brazil) and Dr Bartolo (Sam Glatman), are standing in the middle of the room and arguing about their servants.

(Brief Barber synopsis: Bartolo is Rosina’s guardian and putative fiancé. Count Almaviva (Nick Pritchard) hopes to woo Rosina for himself, and enlists the help of village barber, Figaro (Dominic Bowe). Confusion and hilarity ensue, abetted by the fiendish professor Don Basilio (Tom Bennet) and various low-level interveners (Julia Sitkovetsky and Matthew Silverman).)

But so there is a problem with the argument about the servants.
‘[Rosina,] this constant sort of angry business does not help at all,’ says the NCOS’s founder and director, Professor Michael Burden, who is sitting in one of the chairs opposite the piano. ‘At the very least, if you were always that angry, [Bartolo] would never want to marry you.’

Pith-helmeted discovery number one: Dialogue (vernacular: recitativo) is really important in opera. The bits of sung conversation that link together the main vocal performances do most of the plot work, so they need to be believable. Two-thirds of this evening’s rehearsal is spent on the operatic equivalent of running lines, on which Tom elaborates later when the cast has retired to the King’s Arms.

‘The classic criticism of opera is that the singers can’t act. What you end up with, it’s called ‘park and bark”. Meaning the soloists deliver an indifferent narrative whilst parked at the front of stage, ready to bark their solos at the audience.

This emphasis on opera as music and theatre turns out to be telling of both the NCOS’s unusually high calibre and the ambitions of its youthful cast, which leads to pith-helmeted discoveries two and three.

To begin with the former: Opera at Oxford, like the OB at New College, is a comparatively small world. The NCOS is actually the student-wing of the New Chamber Opera, founded in 1990 by the aforementioned Professor Burden and his colleague, Gary Cooper. It mounts just two student productions per year, to which are added various efforts from the Oxford Opera Society, St Peter’s College Opera and the Oxford Gilbert and Sullivan Society.

Unofficially, the NCOS is the pre-eminent student company, staging the most ambitious and demanding productions. While there are of dozens of choral singers around Oxford who might try for parts (N.B. the reason this clause is even possible has to do with Oxford’s long history of choral music, anchored by choral singing in chapels, and funded by various choral scholarships, which scholarships, again unofficially, are administered not unlike American college football recruitment programmes), Jonathon Swinard, the NCOS’s conductor for Barber, says there are maybe ten to fifteen students who could conceivably cast into the seven roles. ‘We didn’t really have auditions’, he says. ‘For a production like this, you have to head-hunt.’

Indeed, the role of Rosina is so challenging that the NCOS had to reach all the way to the Royal Academy of Music, in London, where Esther currently studies. (Trivia titbit re Esther: Her first big performance was in 2003, when she sang the U.S. national anthem at the Rugby World Cup, in Sydney, Australia.) Esther graduated from Oxford in 2008, but was recalled for a turn in Barber because no current student had the necessary voice.
So that’s pith-helmeted discovery number two about opera at Oxford. Pith-helmeted discovery number three involves the student talent in the NCOS…

…which is just off-the-charts incongruous when you compare the depth and resonance and timbre and sometimes near heart-clutching purity of voice with the otherwise entirely ordinary and even exceedingly youthful stature of the NCOS’s lead singers (all of whom, except for Esther, are Oxford undergrads).

It turns out that, anatomy-wise, the human voice doesn’t fully develop until the mid-twenties, which is when the really serious opera training can begin. This means that (a) most of these singers are a half-decade away from really getting down to business re training, and (b) a career in opera is a long-term investment indeed.

Back to rehearsals, which on Sunday afternoon move into the New College chapel, where the eight member chorus and twenty-six member orchestra (students every one) are finally joined with the seven lead singers. This is the first time the entire production is rehearsed together, just six days before opening night.

Which brings us to pith-helmeted discovery number four, although it’s more a confirmation of what you can probably deduce from everything that’s been said heretofore, which is that opera is expensive. Even the NCOS’s rent-free student ensemble has a hard time breaking even, largely due to the high cost of venue (the Sheldonian is so expensive the group can’t even rehearse there until the morning of opening night). And the fixed-costs are enormous (but, again, largely comped): The NCOS makes use of two concert grand pianos, plus a harpsichord (fun fact: Oxford has it’s own harpsichord manufacturer, Robert Goble & Sons, sixty years and counting), plus rehearses in the New College chapel, and even uses the NCO’s pro-calibre music stands, which have lights powered by individual battery-packs attached to the bottom of the stand and are expensive-looking indeed…

And here we slam right into the word count for this exposition, which is something else you probably saw coming. Suffice it to say, there is some intensely interesting stuff happening w/r/t opera at Oxford, even if you are intensely amateur in your appreciation of same. The notes for this article filled half a Mead notebook, but there are limits to what even interested parties can ask of each other.

New Chamber Opera Studio presents The Barber of Seville, 4-5 February, Sheldonian Theatre, Oxford.

Music replay

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The last 15 years has been an innovative period for music replay. First we saw the advent of the Steve Jobs’ iPod, condensing a room full of CDs into the palm of your hand; and around about the same time came the final crack downs on our beloved P2P file-sharing networks. Gone are the days were one could haphazardly click on a collection of fun sounding tracks on Napster or Kazaa whenever your mate told you about a cool new band.

Instead, we now look to Spotify in these very same situations. Spotify’s viral spread and immense ease-of-use has empowered even the most rapidshare-inept among us with quick and legal access to a huge collection of music. It seems that it will remain the next big thing for a while now, especially with new ‘social’ capabilities they’ve recently added. But the software is far from perfect. Understandably, for free users it’s hard to foresee the application ever dissociating with those pesky ads every 3 or 4 tracks; and perhaps more annoying than the ads is the gaping hole made by the lack of artists of the Warp label, and others of such calibre. Reasons such as these may mean that it could never replace your own library on iTunes.

In view of the future, one thing that comes to attention is the innovation of the very new ‘Playbutton’. It is a small badge sized mp3 player containing the content of a single album, letting the music enthusiast proudly display their taste while supporting their favourite artist at the same time. It aims to bridge the gap between those who want more than just an online download but find the idea of a new CD a bit lacklustre. While the idea seems pleasant enough, it will be interesting to see just how in demand they are in when they’re actually released later this year.

Review: Joan As Police Woman

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Joan Wasser has long maintained a curious position, her tendencies towards the avant-garde always denying her a more mainstream love. The emotional content has never been easy either. The death of her partner, Jeff Buckley, is a constant thread to the Joan as Police Woman aesthetic. Emerging from her work on Antony & The Johnsons’ I Am a Bird Now, she arrived with her 2006 debut Real Life. But it was 2008’s To Survive, a record that almost seemed to slip by unnoticed, that made for truly compelling listening. The manipulation of her classical training to a stunning display of taut craftsmanship found fragile revelation in To Be Lonely, the album’s emotional core. But her 2011 return with The Deep Field, her ‘most open, joyous record’, is a frustrating proposition.

 

David Sylvian and Rufus Wainwright, who both marked her previous musical outing, are nowhere to be seen. And an unfettered Joan Wasser has found a new sound that is hard to appreciate. While the record’s name evokes distant reflection, she now employs a directly confrontational palette that seems to borrow off Laura Veirs’ sound world. It’s right there in the opener Nervous as field recordings weave through chiming and a drifting beat before Wasser hurls ‘I want you to fall in love with me’ through frenzied textures. Overambitious ensemble carries through to The Magic and ends up sounding rather flat. But for the parts of The Deep Field that soulfully wander into muzak, a balance is found in the orchestrated climaxing of ‘The Action Man’ or the pure night music of ‘Forever And a Year’. And the record finds an almost cathartic moment in ‘Flash’, 8 minutes of romantic soundscaping and snatches of the softly spoken. A patchwork of found sound washes through the album in a beautiful backdrop.

 

The Deep Field sees Joan as Police Woman taking uncertain steps away from the emotional loss that informed previous musical explorations. Repeated listening reveals a more challenging sound that will surely find firmer ground in the future. And the fact that artists as far removed as the Unthank sisters constantly name-check her tells you just how pervasive Wasser’s influence is. For all its flaws, The Deep Field is necessary listening. In the week that also saw Adele’s latest sterile offering, you could do a lot worse.

 

Review: Cold War Kids

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Having built their reputation on inscrutable lyrics and dissonant melodies, California indie rockers Cold War Kids have crafted a much more straightforward rock album in their third outing, hiring producer Jacquire King (whose credentials include Modest Mouse and Kings of Leon) in the process. But with their newly acquired studio sheen, much of the charms that made ‘Hang Me Up To Dry’ and ‘Hospital Beds’ indie mainstays in the mid-decade are lost in Mine Is Yours. Gone are lead singer Nathan Willet’s strained vocals – smoothed over by King’s production – removing one of the most alluring aspects of the band’s earlier work. Gone too are the unconventional and often religious lyrical themes, replaced with rather more pedestrian musings. ‘Skip The Charades’ highlights this lyrical blandness, with Willet crooning the likes of ‘I’m the one that’s acting like I’m so strong, you’re the one that’s acting like nothing’s wrong’. Album single ‘Louder Than Ever’ might be a standout were it not for the utter banality of the lyrics; at the close, Willet seems to run out of his trite lines and resorts to mindlessly repeating the title. But, most significantly of all, Cold War Kids’ studio treatment has removed much of the raw sound, borne of their self-recording process, which made them intriguing in the first place. After the breakout Robbers & Cowards in 2005, the band had already mis-stepped slightly with the inconsistent sophomore effort Loyalty to Loyalty. The catchy Behave Yourself EP released last year generated some excitement for a new album and possible return to form, which makes the final product all the more disappointing. Abandoning their rough blues- and jazz- influenced riffs was surely a move designed for a wider audience, and if you enjoyed Kings of Leon’s latest, this may be up your alley. But if you were a fan of Cold War Kids’ distinctive sound, don’t expect to find it here.

Review: Bruno Mars

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Bruno Mars has been buzzing around the airwaves in various collaborative guises for so long that it seems somewhat surprising to realise that he has only just released his own solo effort. Following on from the success of lead singles ‘Just the Way You Are’ and ‘Grenade’, Doo-Wops and Hooligans was always going to attract a certain amount of hype. At the time of writing Mars is in possession of pole position in both the UK singles and albums charts. The question is: why all the fuss? Whilst Bruno isn’t in the business of redefining any far reaching musical boundaries he certainly knows his remit. Namely to produce undeniable melodies and infectious choruses which re-occur in the mind with such incredible frequency that one begins to wonder if he isn’t at the forefront of some kind of psychological research into subliminal suggestion. Compared to the singles most of the tracks on the album successfully hold their own with ‘Marry You’ and ‘Talking to the Moon’ both possessing the potential to be number ones in themselves and, although Mars seems to have deliberately kept the number of collaborations to a minimum, ‘The Other Side’, featuring Cee Lo Green and B.o.B, is also one of the album’s stand out tracks. Perhaps one of Doo-Wops and Hooligans‘ greatest strengths is in its variety. It features a mix of laid back soul (think Jason Mraz) and piano led balladry (think OneRepublic) whilst still retaining, Michael Jackson-esque, an overriding sense of pure pop. There is occasionally a slight tendency to descend into lyrical absurdity with the main culprits of this being ‘Somewhere in Brooklyn’ (while we were waitin’ started conversatin’) and ‘Count on Me’ (you can count on me like one, two, three). Despite this slight complaint it is difficult to get annoyed with Doo-Wops and Hooligans. It has a refreshingly upbeat attitude with enough sincere warmth to brighten even the coldest winter’s day. So whilst Bruno Mars’ debut is unlikely to go down in history as one of the all-time greats it is a skilfully polished package of stylish pop; and there is nothing wrong with that.

Curtains Up: The Red and The Black

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Fiamma Mazzocchi Alemanni interviews the director (Julia Hartley, left) and writer (Tara Burton, right) of this new adaptation of Stendhal’s novel, showing Thursday to Saturday of 3rd week at Mansfield Chapel, 8pm.

Raoul’s Recipes 2: The Mojito

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Raoul’s Manager Jack shows Cherwell how it’s done, mixing and shaking a Mojito cocktail.

Why we can’t afford to cut our libraries

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A recent meeting to discuss the council’s proposals to close 20 out of its 43 libraries saw an impressive turn-out. About 300 people: ranging from students to workers; librarians to library users; the elderly to the very young, gathered in Oxford Town Hall to express their concern. No doubt the kids were mostly there to see Philip Pullman, the most eminent of the four speakers, but nonetheless it says something about the broad public appreciation of libraries. It is not only librarians who will suffer from the planned closures.

Everyone had stories to share about why libraries mattered to them. Librarians told of school children who had neither internet nor a quiet place to work at home, and of eighty year-olds for whom a library might provide the only human contact that day.A lecturer spoke of how his library had inspired him to become the first member of his family to go to university, and of his disabled son, for whom the library was vital. One campaigner read out a statement from a working mother who had spoken little English when she moved here, and found her library one of the only places where she felt warm, safe and welcomed.

Sure, these stories are sentimental, but they are also true. What sort of message do we send to all these people if we take libraries away from them?

The best storyteller was, of course, Philip Pullman. He began with an epic tale of the destruction of libraries in Alexandria, before recalling his own delight as a child in becoming a ‘citizen of the great republic of reading’ at his local library in Battersea. He mocked the government’s plan to put libraries in the hands of volunteers instead of local authorities, joking that Cameron’s ‘big society’ must indeed be big to contain all these volunteers with so much free time. He went on to challenge the wider government cuts, declaring our society haunted by the ‘greedy ghosts’ of capitalism, although he added lightly that ‘he didn’t blame Oxfordshire council for the whole degeneration of Western civilization’.

Whether or not you’re on Pullman’s side about cuts to public spending; whether you consider them a pragmatic necessity or entirely ideological, the assault on libraries seem pretty inexcusable. It is not only Oxfordshire libraries that are facing closure: across the country it is estimated that as many as 1 in 5 libraries are at risk, and in some areas- such as the Isle of Wight, where 9 out of 11 libraries have been earmarked for closure- figures are even more shocking. These cuts reveal just how empty statements such as ‘we’re all in it together’ are: the poor will undoubtedly be hit the hardest. The fact that the library in Blackbird Leys, one of Europe’s biggest housing estates, is set to close, while the library in David Cameron’s own constituency of Witney is safe, completely undermines the coalition’s pretences of fairness.

So what can we do to save our libraries? The strategy taken up by users of one Milton Keynes library- everyone withdrew their maximum allowance of books at once in order to convey the scale of the threat- is probably not the best one, though amusing. Oxfordshire residents were urged to write to their counsellors citing a breach of the 1964 Public Libraries and Museums Act, which requires library services to be ‘comprehensive’ and ‘improving’, to file a formal complaint at the council’s offices, and to join anti-cuts demonstrations in London. One speaker suggested that we calculate the cost to the government in providing bus passes for all those residents who, if the plans go ahead, will no longer be within walking- distance of a library. But then again, maybe they’ll just take away our bus passes.

Perhaps the most powerful thing we can do is to share our stories about what our libraries have done for us; to tell our council, in the words of Philip Pullman, that “YOU don’t know the value of what you are looking after.”