Friday 27th June 2025
Blog Page 2199

Exquisite Sheldonian ceiling back in place

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The Sheldonian Theatre ceiling has been repaired following four years of restoration work.

The 32 ceiling panels of the theatre had been temporarily removed in 2004 to allow essential repairs to the historic building. It was then discovered that the panels were also in need of work.

Restoration work on the ceiling was completed in summer 2008, and the project to put the panels back in place commenced at the beginning of this year.

Created by King Charles II’s court painter Robert Streater, the ceiling depicts a personification of Truth descending upon the Arts and Sciences to expel ignorance, rapine and envy from the University.

The University’s chairman of curators, Jeffrey Hackney, admitted to having “always hated this ceiling – so much so that when they took it down and we had sackcloth instead, I thought it greatly preferable”.

After the restoration of the ceiling, however, Hackney has come to regard it in a new light. He said, “I have recanted. Now I see it in its true colours, I have changed my mind completely”.

“I think there will be much drawing of breath”, he said, “when people see the restored ceiling for the first time”.

The ceiling had to be repainted many times before its most recent restoration.

According to conservation workers, It suffered from centuries of leaks, as well as the rubbish left by generations of builders. Amongst the rubble, however, there were some unexpected discoveries.

Workmen found two time capsules, one containing an old pair of trousers and a note from their owner.

“Hope you enjoy yourself when you have found this valuable treasure,” read the message, “I expect I will have fed the worms by then.”

Obama impacts UK student recruitment

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Barack Obama’s recent victory in the US Presidential Election is likely to affect the numbers of UK graduates applying for jobs in the United States, a Higher Education spokesperson has said.

According to Dr Bahram Bekhradnia, the director of the Higher Education Policy Institute, “The UK has benefitted greatly over the last seven years from the negative perception of the US”.

The US is lifting 9/11 visa restrictions while the advent of biometrics and identity cards will tighten British barriers, meaning that the UK could lose out on the £10 billion overseas students bring to economy every year.

 

Uni grads schooled in underwear etiquette

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Make sure your underwear fits and is “unobtrusive”, don’t appear “frumpy” or “tarty”, or mention politics, religion or sex at dinner – this is just some of the advice published in a new guide for graduate trainees.

Graduates were told to avoid wearing “crumpled or stained” clothes, not to put salt on food before tasting it and only to pick your napkin off the floor if there is no butler to do it for you.

The guide, compiled by the wife of the Vice-Chancellor of Leeds Metropolitan University, has raised eyebrows, with one academic describing it as “a broth of self-important snobbery”.

 

Oxford scientists see IVF success soar

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The collaboration of Oxford University doctors and the Colorado Centre for Reproductive Medicine could see success rates of IVF soar due to developments in screening embryos.

The new process, comparative genomic hybridisation (CGH), allows doctors to monitor all the chromosomes in the developing embryo. It is believed that a common cause of miscarriage is an abnormal number of chromosomes.

This new method has the potential to double impregnation rates in women who would otherwise have problems conceiving, while it is estimated that the live birth rate will rise from a predicted rate of 60% to 78%.

Dr Dagan Wells, of Oxford University, described the increased pregnancy rates as “absolutely phenomenal.”

Pembroke bogsheet banned

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The Pembroke JCR bogsheet has been banned following serious complaints regarding its offensive nature.

Phrases such as “you can tell by the stench she’s bleeding from the trench” have prompted many complaints regarding the explicit content of the column following the publication of the first Michaelmas issue.

Several members of Pembroke JCR have condemned the content of the publication, with one third year descrbing the coumn as “vulgar and absolutely disgusting”.

However, he did admit that “it’s been always like that” and “people got upset occasionally”.

The Bogsheet is a gossip column distributed at the end of each JCR meeting. It is the responsibility of two members of the Committee known as the “Paparazzi”.

The writers of the bogsheet, Ed Sorby and Alex Sants, have already issued a formal apology to the members of the JCR for the content of the latest edition. They were also banned from partaking in all forms of student journalism until the end of the year.

Sants admitted that “It was a gross error in judgment on our part, and we certainly didn’t think about the impact our actions would have in the wider community.

“It was not meant to be a personal attack on any member of the JCR, male or female.”

The JCR has decided to voluntarily stop the publication of the Bogsheet until the Trinity term. A new format of the column is to be created, as the writers review what is acceptable under the new college guidelines to go in.

Caroline Daly, the JCR President admitted that “Clearly, the old format cannot be resurrected. We are looking to reinvent the format of the Bogsheet in the interim period.

“As such, we are looking for suggestions as to what the students would like to see in the new publication.”

 

Uni tuition fees frozen by government

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University tuition fees are to be frozen for at least five years, Westminster promised this week.

Speaking on behalf of the Higher Education Funding Council for England, chief executive David Eastwood has proclaimed that universities nationwide should not be expecting tuition fees to rise with inflation, in light of the current economic crisis.

He said; “I think it’s inconceivable that the cap will rise significantly before 2013.”

A spokesman for the Department for Innovation Universities and Skills added that, “the government is committed to growing student numbers and to ensuring finance is no barrier to going to university.”

The move follows revelations that any increases in tuition fees would prove a strain on government finances.

Some leading research universities have estimated that Universities will require their students to pay £3000 more every year in tuition fees.

If this is the case, then students would be required to borrow more money from the government.

The London School for Economics has estimated that if students were forced to take out a student loan of a minimum of £5,000, then this would incur the cost of £1.5 billion to the government’s treasury.

Paul Dwyer, OUSU VP for access and academic affairs has expesed his delight at the move.

He said, “I think that it would be fantastic… for all students if there was a freeze on the fees that they have to pay for their education.”

However, he admitted that he was frustrated that the move was motivated by the credit crunch alone, and not by the constraints tuition fees have on students, “I think it is a little disappointing that the government would only consider this option in an unfavourable economic climate, and not as part of their wider thinking on university funding.”

Meanwhile, Mark Mills, student and councillor for Holwell, has little faith in the government’s promise.

He said, ‘‘for the government to say they’re not raising tuition fees is like someone attacking you in the street promising not to hit you again.”

Many students have wondered as to what future impact this might have on their finances.

Economics and Management 2nd year Jane Rudderham said, ‘the increased burden for the Government of capping the tuition fees may cause a rise in future taxation to compensate.

“So either way students will have to eventually pay for the governments higher costs, either from more debts incurred by the capping or from having to pay higher future income taxes.”

The move has also raised questions as to how the University will be able to cope financially.

3rd year PPEist Max Thompson said, “It’s a good thing to do, because if people are struggling financially, then they’d be less inclined to apply.

But I don’t know if it will work in practice.”

Other students expressed concern that the capping may force colleges to raise cost of battels because, as one law student stated, ‘‘if the cost is passed on to the colleges, then the college would have to meet that.”

However, OUSU’s access and academics rep, Joy Wong, remained positive about the move.

She said, “considering the momentum of the Oxford fundraising campaign that was launched in Trinity Term this year, I am confident that Oxford would not only be able to maintain its current standard without raising fees, but also to enter on a level playing field with universities in America in the near future.”

The government’s pledge to freeze tuition fees has arrived in the same week that the Higher Education Secretary, John Denham, has spoken in support of radically altering the UK’s university system.

If his plans go ahead, Oxford University may be compelled by the government to introduce a credit marking system based on the US model.

Oxford may also have to forsake its long holidays in favour of being able to offer part time courses.

A spokesperson for Oxford University said that the matter was “only at the beginning of consultations.”

However, Max Thompson described the idea as ‘ridiculous’ and that it ‘impedes on [the universities’] autonomy.”

Joy Wong echoed this, saying, “the reality of Oxford life shows that part-time degrees in Oxford would either lead to the lowering of the standard of Oxford education, or disadvantage the part-time students.”

Mark Mills concluded by saying; “I do not think it’s a good idea that a government minister in Westminster to dictate how universities should be run.”

 

5th Week

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Four regular singles to be conscientiously probed this week. No nonsense.

Beyonce If I Were A Boy ****

No ‘Crazy In Love’ dancefloor crackmagic this. Instead, this is one of those classic R&B ballads that littered the ’90s, straight out of the school of Wyclef Jean, with a massive hook, fragile trills in the voice, and an unsubtle handclap beat high in the mix for the chorus giving it extra oomph. Seems predicated on an NYPD, misogynist view of what boys are like, but there’s a nice feminist critique of that view underlying the lyric. Top class piece of mainstream R&B, if rather less than innovative…

Friendly Fires – Paris ***

At last, a recent rerelease you can understand – they’ve been waiting until all the ‘credible’ listeners have started to wonder if, actually, Friendly Fires are more than just a typical NME nu-rave band. Like the rest of the album, the percussion’s superb – manic cowbells and a stabbing synth chord powers this song through, daring to sound messy, even clumsy, when it helps keep the beat going. The result is, consequently, a bit of a bloody mess. But a highly enjoyable one, like disco-direction Bloc Party with more colour and bounce and a smile on their faces. The tune’s not their best, but it’ll do.

Coldplay – Lost **

Why the hell do you bother releasing another single when you’ve just won ‘Bestselling Artist Of The Year’ at the World Music Awards? Anyway, ‘Lost’ is one of the more memorable soft-rock beasts from Viva La Vida, and packs a major lighter-waving punch. Its heavy use of organ and such have invited criticisms of ripping off Arcade Fire, but they’re unfounded. This song far more cunningly rips off – in a massive, copyright-goosing way – ‘Under The Greenwood Tree’ by Gravenhurst, a track so obscure that no one’s ever going to notice. Tsk.

Emmy The Great – We Almost Had A Baby **

Normally I focus on the music, not the lyrics, but that’s rather missing the point with this acerbic, angel-voiced folksinger. That said, she’s progressed from simple, three-chord acoustic strums to this pretty, ’60s-sounding arrangement. As usual, her lilting, delicate vocals mask a darker tale, but not so bitter as earlier rants like ‘Gloria’.

“I’m not the girl that you remember from the start/I was only a baby/now I am what you made me/and once you left me in the spring/and twice you left in fall/and once I tried to make a life/to keep myself in yours/do you think of me/when you are playing the one and five in four/is country music what your life is for?”

Actually, her lyrics seem to have gone downhill. Ah well. Decent, sub-Belle and Sebastian tune anyway. She can do better.

Top Of The Ox: Local Tune Of The Week

Tristan and the Troubadours are a good, promising local band. You should all go to their gigs and pay them money. Partially because they play nice indie songs with forward-thinking arrangements and interesting instrumentation. More importantly because, if they can’t afford a voice transplant for their singer to stop him sounding EXACTLY like Ed Larrikin, they’ll get nowhere.

Apologies if the singer actually is Ed Larrikin.

Next week: some more stuff. Oh yes.

A Round of Applause for the Bullingdon Club

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Some people may have been surprised when the Conservative party began hugging hoodies and jumping into bed with Polly Toynbee under the leadership of Old Etonian and rosy-cheeked toff, David Cameron. This being the man who reportedly refers to Margaret Thatcher as ‘Mother’. But anyone who knows anything about Keynesian economics can easily trace this lefty mentality back to the subconscious of Oxford’s infamously exclusive drinking society, the Bullingdon Club, of which David Cameron, Boris Johnson and, it was revealed last week, our shadow chancellor were members during their time here.

It was John Maynard Keynes who first suggested, to the horror of an ageing and confused Conservative party, that the way to pull 1930s Britain out of the depression was to pay people to dig holes and fill them back in again. Wasteful and apparently pointless, yes, but fantastic for easing unemployment. Ironically, the same could be said of the lavishly thuggish activities of our resident over-privileged twits. If you fancy joining the Bullingdon Club for the most expensive hangover of your life, the society’s uniform alone will cost you approximately £3,000 from Ede and Ravenscroft.

The idea is that one gets completely off one’s titties in a privately rented hall somewhere before trashing the place and leaving the owner with a large cheque to cover the cost of repairs. All this is done, of course, with a charming nudge-and-a-wink-and-we’ll-slip-you-a-fiver-later to the establishment. This, of course, sets one clearly apart from the vulgarities of the proletariat youth and their favoured straightforward fingers-up at authority.

No doubt unwittingly, the consequence of this highly exclusive drinking game is the creation of jobs for local cleaners, glass-fitters, builders and so on who understand what money is worth. So I do believe a round of applause is in order for these unsuspecting do-gooders. In today’s credit-crunched times, their twisted and entirely unintentional brand of wealth redistribution is just what the doctor ordered. Mother would not approve.

Payneful Viewing

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Max Payne, a New York City cop whose life is torn by tragedy, plunging him into a world of vengeance and reckless bravado. Beginning life as a shoot ‘em up action game in 2001, this gritty story of corruption and vendetta is the latest of its kind to undergo transition to the silver screen. While these may sound like promising beginnings for the development of an action thriller, the end result does not necessarily live up to the hype.

One of the inherent problems with the development from game to cinema is that the production team must often begin with either an absurdly convoluted or a completely absent plot structure. The adaptation of Doom, for example, as most viewers quickly realised, struggled to extract even ten minutes of narrative from the original game, which was specifically designed as a monster-smashing shooter. Similarly, Tomb Raider failed to really achieve any integrity as a stand-alone cinematic creation. Cynics might argue that what success Tomb Raider achieved was carried largely on the chest of Angelina Jolie.

In the case of Max Payne, however, there are unusually rich pickings to be made from the original in constructing a narrative for the cinema format. Clearly the total content of the original would have proven too unwieldy to transfer into a cinema adaptation. Nevertheless, there are some worthy attempts made to re-organise the plot and introduce new explanatory devices – perhaps most notably the demonic visions associated with use of the drug Valkyr. Drawing on the style of films like Sin City, Moore recreates much of the brooding atmosphere of the original. Even so, its visual appeal is not complemented by any rich character development, hence robbing the film of the edgy tension it might otherwise have achieved.

Devotees of the original game may appreciate the numerous references to familiar characters and locations that John Moore places throughout the film, perhaps being able to retain greater interest in the story’s development. Nevertheless, the fact remains that Max the movie is altogether more disjointed than its game noir counterpart. There is perhaps not enough attempt made to string together the narrative chunks extracted from the original material, and while some parts may understood by the knowledgeable viewer, the plot may at times seem too much like an ill-fitting jigsaw for the uninitiated to follow.

These flaws aside, the film should have had enough basic grit and style to succeed as a reasonable blockbuster, if only it had been blessed with a compelling lead player. All of the game’s original appeal lay in the dark character of anti-hero himself, Max Payne. Wahlberg produces a fairly steady, but altogether too flat performance, never really conveying the desperate deterioration of the central character’s state. Rather than reaching a cathartic crescendo, the film simply peters out, with the viewer left wondering whether they ever really cared about the protagonist’s fate. This criticism reflects the wider problems of the film, which largely squandered the great potential to be found in the original.

Two stars

 

Romeo and Juliet

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‘The audience wear masks?’ I was assured this was correct by the producer as she smiled knowingly to herself. This was the first of many surprises. The next came when I had put on said mask and was exchanging sheepish glances with other, similarly masked, figures in the semi-darkness of the antechamber; unsure whether we were about to witness a play or embark on some strange rite of initiation. From behind us came the sound of raised voices and before I could grab my notebook I found myself shunted, rather unceremoniously, through a door by a surly Lord Montague. One glance at his enraged face convinced me it was probably best to cut my losses and leave pen and paper behind- along with many of my assumptions about what constitutes theatre.

The rest of that strange, wonderful, intoxicating performance is a little hazy. On reflection I feel like Alice returned from her tumble down the rabbit hole into the daylight of the everyday world. Those of you familiar with Shakespeare’s original, compulsory if you’re going to enjoy this production, will have already noticed that my coverage does not begin with those immortal lines, ‘Two households both alike in dignity’. This is not because of editorial cutting but instead a process that can best be described as a brutal savaging, in the most positive sense, of the canonical text. The aftermath of Tybalt’s death is presented before the fatal duel, the masque where Romeo and Juliet first cross paths degenerates into the rowdy fight between the two households on the streets of Verona. Narrative time and space are subverted into a whirling ballet that enthrals and bewilders the audience in equal measure. The overwhelming sense is one of a chaotic dance between the borders of brilliance and madness, literally as well as figuratively when I saw a fellow audience member seized and forced to join in with the dancers at the Capulet ball.

However the well known lines give the listener something to hang on to and prevent the performance drifting into incoherence. This is something worth stressing. The production will not be an evening of light entertainment; you should come prepared to have to work to get something out of it and also prepared to participate. Most of the time there are at least two scenes being acted out simultaneously in different parts of the room; it is the exception rather than the rule for the audience’s attention to be focused on one point.

This usually occurs during particularly climactic scenes and lead to some excellent exploitation of light and colour to emphasise the shift of focus. The masks grant members of the audience a feeling of anonymity which is reinforced by the constant interaction with the cast who will frequently look quizzically at you or speak their lines over your head. The actual role we were meant to be playing seemed ambiguous: sometimes stage props, other times shadowy apparitions visible to one character and not to others. Personally I was quite pleased with my performance. I managed to hold the steely gaze of Tybalt for a few seconds and smile encouragingly at Benvolio who winked back during one of the comic scenes. But to move on to the real actors all of the cast put in a solid performance with special mention going to Brian McMahon who produced a dark yet comic take on Mercutio and Lindsay Dukes for her poignant and compelling Juliet. I would strongly recommend this experience to anyone who is looking for something different in the Oxford Drama scene.

Keble O’Reilly
Tuesday – Saturday 6th Week

4 Stars