Oxford University has risen to number two in the international university rankings, closing in on number one rival, Harvard.
The position was shared with both Cambridge and Yale, moving Oxford one place up from last year's third place.The list, published in the Times Higher Educational Supplement, was compiled based on peer reviews, recruiter statistics, faculty standards, student scores, citations per faculty, international faculty, and international student score.Vice Chancellor Dr John Hood said: "Oxford has risen again int he ThES rankings as the result of the exceptional achievements of my colleagues and of our students. Their dedication and commitment will ensure the university continues to go from strength to strength."

by Lakshmi Krishnan

Jimmy Porter is no Hamlet. Yes, he is callow and ineffective, prone to verbal flights of fancy and possesses, I grant, a certain surface charm. But here the similarity (drawn by Tynan in 1956) ends. Osborne gives us no convincing reason for Jimmy’s futility. There is no significant moment of introspection or dissection of his anger. And while Hamlet’s struggle proves timeless and enduring, Jimmy’s seems hopelessly dated. An angry young man bitterly disappointed with the establishment, let down by his education, caught in the inertia of post-empire Britain, he rages against the status quo. So what?  

When it emerged, Look Back in Anger was shocking. It gutted the structure of British drama: replacing polite conversation with gritty dialogue. It laid bare the sordid realities of domestic life in the most unflinching manner. In the form of Jimmy Porter, it spoke to a historical moment. Unfortunately, this is no longer good enough. Watching Look Back in Anger is like observing an artefact. The raked stage, point-perfect Midlands flat, and soft lighting heighten this effect, re-capturing a lost world and keeping it at arm’s length. This production made no effort to move beyond the script, and its actors are let down by the play.  

To be fair, they make the best of a bad job. Tom Palmer as Jimmy Porter gives a solid, occasionally inspired performance. He was marvellous when quietly sarcastic or tenderly apologetic toward his wife, Alison (Beth Williams). His rages, alas, were more temper tantrums than anything else, making him seem more a petulant schoolboy than a tense dynamo. When threatening, he was less menacing than pitiable. But he manages to make Jimmy’s interminable harangues compelling, and beautifully captures their juxtaposition of lyricism and squalor.  

Alison Porter is a thankless role for any actress. As Jimmy himself says, she is ‘wet’, moping about stage, ironing endless piles of clothes with her hair falling over her face. She is maddeningly masochistic. But after witnessing her ultimate breakdown, I am glad that Beth Williams reserved her energies. Her final confrontation with Jimmy was, for me, the highlight of the play. A stronger contrast couldn’t be imagined: between previously calm, lifeless Alison and the grovelling, virtually incoherent creature on the floor. I do wish Palmer’s reaction to Williams’ passionate reversal had been stronger, or at least, more humane. As it was, he appeared slightly embarrassed, as if he’d come across something he wasn’t meant to see. Perhaps that was the intent, but the result was an awkward emotional disparity.  

Nick Budd was a delight as ‘nice guy’ Cliff Lewis: amusing and particularly touching when consoling Alison. Their chemistry was excellent, and added a much-needed physical dimension to the earlier, rather detached scenes. Peter Clapp was suitably halting and wistful as Alison’s father, Colonel Redfearn, although a friend noted that he appeared to be a retired banker rather than ex-military.  

The performances themselves are worth going to see, but Look Back in Anger has very little else to recommend it. It requires updating, or at least some hint that Osborne’s writing is still relevant; characters behave in unaccountable ways, and even talented actors cannot lend depth to such creations. As Colonel Redfearn says of Jimmy, ‘he has quite a turn of phrase, doesn’t he?’ Sadly, this ‘turn of phrase’ might be the only remaining positive from Osborne’s work.

by Tom Sandeman

Sirens: The Seductive Lure of the Female Voice. How could such a title fail to entice a curious audience, despite any initial apprehension created by the evening’s description as a ‘lecture-recital’?

Hannah Rosenfelder expertly retained this sense of intrigue as she led her listeners deep into the mysterious sound-world of the Siren; an age-enduring symbol who has featured regularly in literature ever since her initial appearance in the mythology of Ancient Greece.

Rosenfelder is remarkably well-qualified to present such a programme. She studied Classics at Cambridge before beginning her vocal training at Guildhall and her infectious charm and vivacity made her a fitting narrator for, what she described as, a story of ‘women, danger, seduction and song’. She began with a study of the female voice; describing its seductive quality and suggesting that it was a realisation of this trait that led to the exclusion of female vocalists within many religious contexts. For Rosenfelder, the Siren embodies the dangerously seductive element that is inherent in the female voice.

And Rosenfelder’s rich mezzo certainly does have a beguiling and compelling power. She illustrated her talk with songs, beginning with Siren’s Song, a setting of Homer’s Odyssey by Benjamin Wolf, a graduate of University College, in which the singer was accompanied by fellow Guildhall student, Anneke Hodnett, on the harp. Songs by Arne, Bizet and Gershwin showed that musicians throughout the centuries have been equally captivated by the Siren.

Two settings of Heinrich Heine’s, Der Lorelei, by Franz Liszt and Clara Schumann, exhibited a stark discrepancy in mood, which Rosenfelder attributed to gender. Where Liszt’s setting is gently passionate, Schumann’s is violent and stormy. The hot-blooded Liszt falls victim to the wiles of the Siren of the Rhine, whereas Schumann’s feminine sensibilities expose the true character of the creature – an appalling disgrace to womankind.

Rosenfelder concluded by demonstrating how the seductive charms of the Siren have overflowed into twenty-first century culture. A reading of Margaret Atwood’s poem Siren Song highlighted the strong hold that the creature retains on the literature of today. Even in the ubiquitous logo of Starbucks, the Siren advertises the alluring power of the coffee.

Undoubtedly, the eager audience that filled Magdalen Auditorium on the chilly night of Halloween 2007 was a testament to the enduring appeal of the Siren. Evidently she is still capable of attracting a sea of admirers, despite reaching a truly epic age.

By Kamini Manick

 Cooking. One of the many responsibilities thrust upon students as a result of venturing out into the big, wide world. After 18 years of home- cooked meals, it’s no wonder that students feel thrown in at the deep end when it comes to doing it for themselves. You have so much to think about when it comes to preparing good food.  Never mind that that essay due in at 9am the next morning, you’ve got to consider how tasty and how healthy your meal will be, think about how much it costs and how long it will take to prepare and figure out where you are going to get the ingredients from. It can be a difficult job trying to take everything into consideration, and so it’s no surprise that many resort to the infamous staple diet of baked beans, super-noodles and pasta.

Everyone knows that it is important to eat well, however, a lack of time and money seem to prevent this from happening.  With some help from Oxford's Slow Food Student society, we can show you how you can eat quality food on the cheap with minimal preparation time.

The first thing to consider is ingredients.  Buying locally sourced food means you get fresher produce that varies with the seasons, and you can massage your eco-conscience with the knowledge that it diminishes your carbon footprint. It’s also quite fun exploring the variety of local food on offer in Oxford.  In many places you will be able to get expert advice from the seller and it will often be cheaper than the equivalent in the supermarket. Slow Food recommends the Covered Market as one of the best places for your food shopping. For those all-important fruits and vegetables, try Bonners’ the greengrocers, while Fellers the butchers will provide you with value for money meat as well as expert advice. For those of you that find it easier to venture down to the Cowley Road area, try paying a visit to Uhuru Wholefoods for a greater variety of more unusual ingredients, especially vegan and veggie stuff, at rock bottom prices. If you’re around the city centre on the first or third Thursday of each month, then pop over to Gloucester Green. There you will find the Farmers Market boasting quality, local produce.

Once you have your ingredients, try following some of the quick and easy recipes posted by students on the website such as ‘Ted’s Bolognese’ or Brian Melican’s ‘Chilli Cauliflower’. They really do have simple stuff up there that anyone can do.  Take the recipe for sweet squash.  You just put a butternut squash in the oven at 200?C until it is brown on the outside.  Take it out, peel and mash it, add 2 tablespoons of maple syrup and one of grated ginger and ta daa! You’ve got a delicious dish.   Cooking for one can be a bit lonely though, so try persuading your housemates or neighbours in college to join in.  The more people there are, the less the cost per head will be and, naturally, those that don’t help you cook will have to do the washing up.

Look at http://oxford-university.slowfood-student.org.uk to find out more about how to cook a healthy meal, without breaking the bank, and discover a great variety of tastes and ingredients that anyone can cook! 

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Photo : http://www.flickr.com/photos/elgrandee/1899444573/

Activists have won the battle to get CCTV installed on the most dangerous road in Oxford.Four wireless cameras are to be installed along Cowley Road for a trial period of a year, after much controversy and years of arguments.At present, there are no CCTV cameras along Cowley Road, meaning that activity on the streets can only be recorded through in-store devices. Earlier this term, Supt Brendan O'Dowda launched a campaign to get Oxford City Council to back the installation of cameras along the most crime-ridden street in the city. Over the past year, more than 760 crimes were reported along the street, but without video footage, it is difficult to prosecute those involved.He commented that in the same space of time there had been more than 700 arrests where CCTV was in operation.O'Dowda confronted concerns that CCTV will result in less policing of the area, saying: "This was only about making the Cowley Road safer. It was never about replacing police."So far, responses to the £48000 plans have been positive, with OUSU President Martin McCluskey saying: "It's going to be good for student safety and I think it's going to reassure a lot of people living in the earea."It's certainly going to reassure me that there is going to be a lot of monitoring and more police freed up in the wider area of East Oxford."

Father Christmases will be hitting the streets of Oxford this Christmas. On December 2nd, hundreds of Santas will be turning up en-masse a month ahead of schedule to raise money for Helen and Douglas House and Help an Oxfordshire Child.Jo Mitchell, head of fundraising for Helen and Douglas House, said: "We can't wait to see hundreds of jolly Santas of all shapes and sizes running through the streets of Oxford."The two-mile run begins at 10am on December 2nd, and entry costs £10 per adult, £5 per child. Santa suits will be provided.

Oxford Fire Crews were called to Carfax last night after a box of fireworks caught fire.

The incident, which occured at around 2:15am, did not cause any fatalities or injuries. By the time emergency services had arrived at the scene, the fire had already burnt out.

Fire crews reported that it was a quiet evening for Bonfire Night: teams were only called out to one other location in Banbury during the night, which turned out to be a false alarm. Mike Bingham, Fire Risk Manager City of Oxford, said: "The county council's fire and rescue service is very pleased to report that on 5 November it only received two emergency calls that were related to fireworks or bonfires. Both were very minor incidents with no injuries."In an unrelated series of incidents, two cars were set alight in North Oxford on Sunday night.Oxfordshire Fire and Rescue Services were called to the scene at 11:15pm, having been alerted to the fires by residents.Both vehicles were extensively damaged. Police are appealing to anyone who may have seen or heard suspicious activity around Woodstock and Banbury Roads, or the canal towpath, between 6pm and midnight.

by Theodore Peterson

“Burn this book.” So begins Mister B. Gone, the latest novel from Clive Barker. We find ourselves being addressed by a narrator, who takes a couple of pages to introduce himself as the demon Jakabok Botch. He urges us to stop reading and, what’s more, to destroy the book. We are thus presented with the central conceit of the novel: it addresses itself directly to the reader, and displays an acute self-consciousness regarding its status as text. This sort of post-modern playfulness is nothing new: Calvino did the same thing in ’79. But If on a Winter’s Night a Traveller didn’t have a demonic Archbishop or baths filled with the blood of dead babies, whereas Mister B. Gone has both of these things and more. It seems legitimate to wonder, then, why Mr Barker, whom the dust jacket informs us is “the great master of the macabre”, has decided to spice up his latest gory offering with a meta-textual meditation on the nature of reading.
For Mister B. Gone is really two books. The first of these is a relatively straightforward Bildungsroman concerning the adventures of the eponymous Mr. Botch, and the second is a rather high-minded exploration of the power of words. Grotesque demons and reader-response theory may seem like somewhat uneasy bed-fellows, and there are times in the early sections when Barker struggles to unite his themes in any meaningful way. But the book is given a degree of unity by the figure of Jakabok, at once narrator and actor. The work is cast as his own personal recollections. He himself presents it as such: “This is my memoir, you see. Or if you will, my confessional. A portrait of Jakabok Botch.” We might think we know what to expect: part Tristram Shandy, part Henry: Portrait of a Serial Killer. But the usual conventions of confessional literature are given a twist by the fact that Jakabok claims to be alive within the book. We are not simply reading his memoirs. He is actively relating them to us, and makes frequent reference to the fact that he is doing so. The book therefore shifts between a narrative of events, and direct addresses from Jakabok, making plenty of remarks about us, the reader.
The story itself is only moderately diverting. We hear how Jakabok was captured from the Ninth Circle of Hell by humans, managed to escape, and set out on a journey through the Upper World. The narrative is undoubtedly lively, filled with murder and intrigue. But it is marked by a certain incoherence. We are given all sorts of grotesque details about the ‘Demonation’ and its diabolical inhabitants, but the world with which we are presented remains somehow fragmentary and difficult to grasp. The novel reaches its climax in Mainz, on the occasion of the invention of the printing press by Johannes Gutenberg in 1438. This is presented as an almost apocalyptic event, which prompts vicious fighting between the forces of Heaven and Hell as to who will control this device that is destined to change the world. The end of the book therefore brings together its two themes, the power of demons and the power of words, but it is all almost too bizarre to be convincing.
Ultimately, this is an intriguing book that threatens to collapse under the weight of its ambitions. Its vivid and gory narrative would almost appeal to children rather than adults, if it weren’t so explicit. The most interesting things about the book turn out to be the ideas it raises regarding the process of reading, and the dynamic between author and reader. Jakabok’s existence within the book literalises the concept that a novel is only really realised in the act of reading. His compulsion to reveal is paralleled by the reader’s compulsion to take in these revelations, and the failure of Jakabok’s paradoxical entreaties to us to burn the book, though at times they become wearisome, demonstrate that the only real way to stop someone reading is to stop writing.

The vogue topic in Germany is the environment. You never stop hearing about it. You can't even get a plastic bag in the supermarket without paying, and the different rubbish bins soon drive you mad.But at last, here comes someone with a bit of sense to stop what is rapidly become a compulsive obsession. Thomas Deichmann, editor of the political magazine Novo here in Frankfurt, thinks the Germans have gone crazy, and tell it like it is at a debate on recycling in London last week. He's the first speaker (at about 2min45 on the video). If you can't get the video to work, try this.

I'm still waiting for the knock on the door from an inspector telling me I'm getting my rubbish separation wrong.
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One for the anoraks this. The Sueddeutsche are running a taxing (geddit?) German number plates quiz and even have a contraption to produce a seven-digit score (no idea why) calculated from your number of correct answers and the time you did it in. I got a miserable 8.300.537 – 10 right in 3min15 – having guessed most of them. See how you do and post your scores below.Cherwell 24 is not responsible for the content of external sites