Monday 22nd June 2026
Blog Page 921

University democracy “hasn’t been working well”, says Louise Richardson

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Oxford vice-chancellor Louise Richardson has sharply criticised the university’s system of democratic self-governance, blaming a lack of engagement from staff for
its failings.

Currently less than 10% of university committee positions are contested, meaning that figures advising on areas from finance to Oxford’s “educational philosophy” face little risk of being challenged for their post.

A meeting of Congregation, the University’s ultimate legislative body, was called during last Trinity after 20 members signed a motion calling for the move. Of the over 5,000 academic and research support staff eligible to attend, just nine did. Three quarters of the motion’s signatories were not present, while just four spoke.

In her annual Oration to Congregation last week, Richardson said that this state of affairs, “is not an example of a well-functioning system, or wise use of scarce resources.”

While stating that Oxford’s democracy is one of its “rare and admirable attributes” and “a wonderful ideal”, she indicated that staff must begin to engage more closely with it and to avoid using it as “a mechanism for the promotion of self-interest”.

Richardson’s critique of “self-interest” comes as part of a broadside against those protesting the introduction at Oxford of an age limit for academics.

Following the government’s abolition of a national default retirement age, Oxford introduced an Employer-Justified Retirement Age (EJRA) of 68. This met with fierce protest from older academics, and support from younger fellows who characterised the issue as one of intergenerational justice.

Professor Peter Edwards of Oxford’s Chemistry Department questioned whether it was appropriate for the Vice-Chancellor to make such comments, writing in a letter set to be published in Oxford Magazine and seen by Cherwell: “Can it be acceptable for the Vice- Chancellor to make what appears to be a blatantly ‘ageist’ remark by criticising the ‘self-interest’ of those querying the University’s decision to claim exception from equality legislation in this respect?

“And what of younger colleagues who have expressed equally legitimate concerns about the EJRA? Will the University assign a critical age above which a legitimate ‘concern’ transitions to an unreasonable ‘self-interest?’”

Richardson went on to say that she sought to “plead with those who last term lost six votes on the subject of the EJRA to abide by the expressed preference of their colleagues and let the issue rest until the next review, scheduled in four years’ time”.

She compared the continued struggle by EJRA opponents to that of Remainers and Hillary voters, arguing that while they lost “as democrats they accepted the decision”.

Professor Edwards however described these comments as “simply incorrect and misleading”.

He told Cherwell: “There was only one resolution to Congregation specifically targeted to the abolition of the EJRA… that was the resolution on 16 May 2017 proposed by Sir John Ball and seconded by Professor Paul Ewart.”

Edwards claimed that the other votes were in fact on “tangential issues”, such as “procedural issues and in particular governance in relation to the EJRA”.

The last major attempt to reform Oxford’s ancient and complex governing structures was under the Vice-Chancellorship of John Hood, from 2004 to 2009.

Hood – who came to the post from business rather than academia, as is typical – sought to end Oxford’s 900-year-old tradition of complete self-governance by introducing ‘external members’ to council, the executive body elected by Congregation. In this way Hood hoped that corporate management principles might be brought into Oxford’s governance, saving money and time.

Lord Patten, Oxford’s Chancellor then and now, defended the move, telling the BBC that reforms were necessary to ensure that private money could be raised, and children from deprived backgrounds helped.

Hood’s proposals were, however, defeated even in an amended form, largely due to Congregation’s desire to remain independent of any external influence.

Opera: Passion, power and politics

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From the sublime to the frankly terrifying; from the exquisite displays of Baroque Handelian instruments to the gruesome and disturbing videos of a blood-covered Salome cradling the head of Jochanan, the exhibition in the Sainsbury Gallery could be perceived as the thrilling melting pot of truly holistic art form.

Following seven different European regions, the audience is able to experience the role of opera in national identity, class and rebellion.  The sound system perfectly facilitated the decision to make the music itself the focal point of the exhibition. The headphones provided selected tracks of operatic works by acclaimed performers, as well as commentaries creating an immersive atmosphere in an already visual stimulating moment. To be particularly lauded is the Leningrad section. Shostakovich’s Lady Macbeth of the Mtsensk District is the focal opera, featuring harrowing visual displays of the darkly themed opera alongside a rarely seen score of Shostakovich’s.

However I am left unsure who this exhibit is aimed at. Whilst the artefacts and design are striking, they only scratch the surface of operatic context. The exploration of the musical content seems superficial, and in some displays only really discussed by showing a few period instruments. Equally, whilst the drama of opera is evident, the accessibility to a modern day audience isn’t convincing. It is hard to fault the all-encompassing aesthetic, epitomising opera as an art that contains not just music, but also of costume, and the power of movement. This is an aspect which Kate Bailey, the curator, explained was the reason it was chosen as an ideal topic for the V&A. However, its polarisation of geography fell short in the omission of certain key operatic cultures.

It seems a shame to only explore Paris through Wagner, forgetting French opera, Britten’s English operatic protagonists, or even America’s multicontinental influences and creation of operetta. In representing a holistic art form it is easy to make a superficial sweep of individual elements, rather than digging deep into the cohesive whole, which is something that the V&A may have fall victim to.

Oxford graduates establish black alumni network

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A group of black Oxford graduates have set up a network to encourage more black teenagers to apply to Oxford.

The Oxford Black Alumni Network, which has over 200 members, also aims to alleviate the lack of black people in high-profile jobs.The network states that it is aware that “many negative perceptions persist about accessing and studying at the University of Oxford and other elite higher education institutions… [and] are determined to work against the disadvantages that hold many back.”

Naomi Kellman, the network’s co-chair, who graduated with a PPE degree in 2011, said: “There is still a concern among black students that if they apply they might be the only one — they might think Oxford is not for ‘people like me’.

“But we want to show that’s not true. There is a long history of black students at Oxford doing well and being happy.”

Samuel Gebreselassie, another PPE graduate said: “By increasing the visibility of role models for younger people, we hope this campaign will demonstrate that Oxford is a place where people from diverse backgrounds can belong and thrive.”

In 2016 only 45 offers were made to black students out of around 3,200 undergraduate places – a proportion of 1.4%.

Don’t just break the fourth wall, go and watch a film outside

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This August, I wearily left my workplace, and jumped on an hour long train into central London. Two hours, one heavily delayed train journey, and about ten tubes stops later I arrived in Peckham, already £12.90 worse-off and in unfamiliar territory.

I stepped out from the underground station and after a few minutes’ walk I found myself ascending seven flights of stairs to the top of an abandoned warehouse. The termination of my wanderings: the rooftop of the Bussey Building, where an incredible panorama of the capital city greeted me. To my left was a 15-foot high screen, where Trainspotting (the original) would be screened in about an hour.

Watching a film outdoors is a surreal, magical and utterly enchanting adventure. Across the UK, more and more pop-up companies are making a tidy profit flogging film viewings in beautiful locations. It works. Although the technical expert at the Rooftop Film Club in Peckham was having a few problems in getting the headphones to actually emit any sound, and then inexplicably started the film from about 30 minutes in, the overall experience was wonderful. There is something quite extraordinary about watching a cult-classic as the sun sets, with an entire city serving as the backdrop behind the film itself.

In previous years, I’ve watched The Silence of the Lambs, and The Shining at Somerset House, which is more conveniently situated slap-bang in the heart of central London, a stone’s throw from Piccadilly Circus, Covent Garden and the South Bank. If you can catch a good film whilst the sun is setting, you are in for a treat. Unlike many other options, at Somerset House you are able to bring your own food in to eat whilst watching, and many take full advantage, with takeaway Pizza Express an especially excellent option. I would have made it a hat-trick of successive visits had the tickets for the best films not been all sold out two months in advance. It is rightly, and frustratingly, very popular.

So I gave Peckham a chance, and was not disappointed. Whilst Somerset House rightly remains the top choice with its gorgeous neoclassical architecture, and its bar and live DJ contributing to a great buzz prior to the film, alternatives in London (and indeed elsewhere across the country) do exist and have a distinct impromptu charm about them.

Not only did the Rooftop Cinema Club offer a fantastic array of street food, but also deckchairs and blankets, which made for rather more comfortable viewing than only having a picnic rug between yourself and the stone courtyard floor of Somerset House. Therefore, a tip: bring a cushion, no matter how awkward this may make you as a passenger on public transport.

Of course, there is the issue of price when it comes to outdoor cinema. Whereas a visit to your local big screen might set you back a mere £5-6 once the ever-handy student discount is applied, a trip to Somerset House or the Bussey Building is about three times as expensive, and this is of course not factoring in travel costs.

However, I could not recommend it enough as a once-in-a-while treat, an immersive, surreal experience which would make a fine addition to next summer’s bucket list.

 

Cable shouldn’t fool himself – he won’t make it to Number 10

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Jeremy Corbyn and Vince Cable are undeniably getting on a bit. The former is now 68, while the latter, at the age of 74, is only five years off the average age at which a UK male dies. Not only are they old, however, they also do old things. Jeremy Corbyn’s love affair with his North London allotment is well documented, as is his passion for jam-making.

Meanwhile Vince indulges in ballroom dancing and his choices on Desert Island Discs ranged from old classics such as ‘Love Letters on the Sand’ to even older classics: Mozart, Bach, Handel and Beethoven. Some see this as a barrier to Cable’s success. He has had to deny that he’s long in the tooth for the job as leader, whilst Jo Swinson’s team commenting that the replacement of Farron must not result in a switch “from the Dad to the Grandad”.

Yet age has not prevented Corbyn’s success; his vote in the general election instead sat at 64 percent in the 18-29 category. This might give hope to Cable. It suggests old age is not a barrier for this demographic, provided there is an appealing policy platform and image alongside. But Vince shouldn’t get his hopes up as a far greater barrier stands in his way: that of experience in high office.

Unfamiliarity with the reins of power seems to be a blessing instead of a curse these days. The largest political names of the past year have come from unexpected areas: Corbyn is of course one example, with the other obvious candidates being Trump, who swept aside establishment Republicans and then the establishment Democrat and Bernie Sanders, who at the age of 76 still a front-runner for 2020.

Meanwhile the youth vote is still suspicious of Cable’s stint in the Tory-Lib Dem coalition, which featured the infamous backtrack on tuition fees and a sharp program of austerity.

It’s debatable to what extent these can be attributed to Cable and the Lib Dems, but what’s clear is that by straying too close to the political heart of Britain Cable has made himself damaged goods. He has been tried and tested, and is therefore of little interest, particularly to a youth vote more concerned with change than experience.

Cable will therefore need to present an image of dynamism and conviction if he wants to win a commanding vote, especially among the youth demographic. I suspect that even if he managed the unimpressive feat of being more interesting than Farron, he has already lingered too long for the tastes of many voters, both young and old.

They say that age is just a number, and for once it appears to be true. The problem is not Cable’s years, it’s his experience in Whitehall. In today’s politics, that experience won’t help him.

Life Divided: Cycling

For: Charlie Cheesman

Picture this. It’s 8:59am, you have a 9am tutorial and, as you lie tucked up in your thermal pyjamas, you’re quite clearly late. There are many reasons why you might have ended up in this mess: an extra hour in Bridge chasing that special someone, a case of the infamous freshers’ flu forcing you to have an extra ten minutes in bed, or an alarm which you ‘forgot’ to set (we’ve all been there, pal).

Such inevitable moments are why you come to love the revolutionary invention that is the bicycle. Yes, you might arrive with a slight sheen on your forehead and yes, you might look a bit silly when you eventually join the cycling club and start wearing lycra on a daily basis. But as you storm through the crowds of tourists like a hero from Greek mythology, greater than Hercules, Artemis and Zeus combined, with the wind in your face and your heart pumping away all remnants of last night’s Jäger, these are worries soon forgotten – mostly because you’ve just seen your tutorial partner still a ten-minute walk away, and that means you can choose to talk about the only article on the reading list you actually read.

Cycling has its flaws, yet it is one of life’s simplest pleasures. Oxford’s traffic can be intimidating at rst, but cycling is one of the city’s defining features and, most importantly for students, it’s fantastically cheap. It’s easy when you first arrive at university not to exercise as you rush sporadically from soon-to-be- regretted nights out to whoops-I-forgot-that-was-today lectures, but the bicycle is there to help you through all of this.

Not only will it keep your cardiac muscle in some semblance of working order, and your hips from bursting your jeans, you can sleep soundly knowing that you’re doing something for the planet, that good ol’ Boris Johnson would probably love you, and that Oxford just wouldn’t be Oxford without its bicycles.

Against: Bessie Yuill

On our way back from a dinner out last term, my friends and I came across a quintessentially Oxford sight. An inebriated lad in black tie was weaving his way through Magdalen Street on a bike, with a girl, half-asleep, balanced side-saddle on the back wheel.

Seeing them roll down the street with such reckless abandon made me realise something: it’s the confidence of cyclists, not the bicycles themselves, which is the main scourge of Oxford’s streets.

I haven’t used a bike since the cycling proficiency test, so I’m far from an expert. But surely helmets are still a thing, right? We didn’t figure out sometime in the past decade that we never needed them, and people had looked like round-headed twats for no reason. Or do Oxford students just have more solid skulls? You’d think the Complete University Guide would factor that in, if so.

I haven’t asked any of these questions out loud, in case I’m shunned by the cycling elite who control this university and constantly talk about ‘locking up’ (elitist cycling slang?). It’s the same intimidating confidence behind this terminology that leads to wheeling about while wasted.

Basically, my number one complaint with cycling in Oxford is that seeing drunk people cycle makes me nervous. I have a delicate constitution and can only handle so much second-hand stress. So next time you ‘saddle up’ (elitist cycling slang again), please think of a passer-by’s blood pressure and walk the extra 20 minutes instead.

Ignore the naysayers, opera is for everyone

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Opera is more affordable today than ever. The Royal Opera House, for example, is one of several venues to underline its commitment to the new generation of classical listeners. Signing up as a student costs you nothing, but gives you access to over 10,000 dedicated student tickets with prices ranging from £1 to £25. There is simply no truth to the idea opera is inaccessible. A cinema ticket, a football match, or even a haircut will set you back further than a trip to experience one of the world’s premier cultural centres.

Moreover, opera is as relevant today as it has ever been. With increasing political engagement amongst today’s youth, the ideological and philosophical questions posed by opera make it a fascinating response to its times, offering perspectives that make it pertinent as well as entertaining. For proof, look no further than John Adams’ exploration of power and politics in Nixon in China

Mark Anthony-Turnage’s examination of racism, unemployment and AIDS in Greek. The stereotype of sweeping staircases and glass chandeliers implies a world distant to the one we inhabit, but this is far from true. Opera is as engaging and engaged as ever. It is more youthful than you would expect too. The Royal Opera House’s Jette Parker Young Artists Programme provides paid work for fourteen talented young musicians. The Youth Opera Company also commissions and films its own operas, and has over fifty participants. Then there is the Young Creatives annual project, providing mentoring to six choreographers aged 16 to 25. Young people already make up a huge part of the House’s vibrant community.

Opera has too long been a victim of inverted snobbery. With engaging storylines, thrilling music and spectacular staging, the world of opera is a world for everyone.

Oxford throws freshers in at the deep end without teaching them how to swim

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You have been at Oxford for less than a week when your first dreaded tutorial arrives. As a consequence of freshers’ week you have read the bare minimum from the reading list. Having just about survived the tutorial, realising that you managed to read one slightly relevant book, you have a look at the feedback from your essay. “Not great.” Very helpful.

Oxford is famed for its tutorial system and emphasis on independent learning – it’s the reason many apply here. But this system is often too much too soon for freshers, and it’s clear that the way we are taught here, especially in our first few weeks, needs to be revised. Most essay subjects typically comprise of a couple of hours of compulsory contact time per week, and aside from that we are expected to be reading and writing essays for these tutorials.

It is a radical difference from having a full school timetable, and there is no advice given on how to structure your learning time. Even in lectures that supposedly relate to the topics a student is studying, there is a surprising discrepancy over what is covered, no doubt due to the differences between tutors and what they deem to be important.

Aside from being given no guidance on how to work or how long to spend on essays, many incoming students have never written a proper academic essay before arriving at university. They won’t know how to structure it, or how to reference for it, or even what they should be reading for it.

The immense reading lists give very little indication of which articles are the most relevant, which means that often a student will completely miss the most important parts of the topic. The lack of a centralised curriculum means that many have no idea what the main issues of the week’s reading are, and if the tutors only discuss what you have written in your essay, then you will never learn about these main themes before sitting the exam.

Independent learning is a baptism of fire which means that students are forced to improve and adjust rapidly – but that does not mean that we have to throw freshers in at the deep end with no advice on how to swim. An awful first essay is not only demoralising, it’s impractical – the essay, alongside the following two weeks will likely be useless for revision.

This is not to say that freshers should be spoon-fed information or that tutors should hold their hands until they work out how to write good essays. But there is a strong argument for a transition period at the start of first year so that freshers can get used to working independently. Freshers already have a lot to adapt to when they first arrive – more should be done to ensure that their transition to independent work is a smooth one.

Cliché of the week: “He’s really enjoying his football at the moment”

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This phrase really irks me, and I think it’s high time someone picked up on it. Commentators have been trotting it out for years, and it’s recently struck me just what a ridiculous phrase it is. What it actually translates into English as is “he’s playing well at the moment”, so why commentators and pundits turn this into an assessment of how much fun a player is having out on the pitch is a mystery.

They have no idea whether a player is actually enjoying himself – all they can assess is how well he is playing. Some players have the capacity to play well even when you sense that they would rather be anywhere else, rendering the link even more ridiculous. Alexis Sánchez, for example, has been consistently excellent for Arsenal, yet I have my doubts as to whether he is even remotely enjoying himself. Wouldn’t he rather be walking out at the Allianz for Bayern Munich, or playing for Pep Guardiola at Man City, than having to dig Arsenal out of holes against mediocre German sides on a Thursday night?

Equally, I enjoy playing for my college side, but remain a distinctly limited footballer. The link between performance and enjoyment is a false dichotomy. The term is complimentary of course, but perhaps does not send out the best message about your career as a whole. It indicates an element of surprise that a player is performing well – you would never hear it used of Cristiano Ronaldo or Lionel Messi. It suggests that a player is undergoing a sudden burst of good form, often contrary to popular expectation. A likely recipient would be Theo Walcott after one of his triannual scoring flurries, when the nation yet again wonders if he will finally, yes finally, fulfill that infamous potential. At 28 and counting, I somehow doubt it.

Anyway, enough of the cynicism: I hope that you all “enjoy your football” this term.

University Press defends ‘sex scenes’ in kids books

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Oxford University Press (OUP) has defended itself from criticism after Twitter users pointed out “dubious scenes” in one of its publications, the childrens’ book series Biff, Chip and Kipper.

Social media users have claimed that one of the picture books suggests a sexual encounter behind a bush, in a scene involving three middle aged men.

Suspicion was heightened by a scene in which an elderly lady reacts in shock to what she sees behind the bush.

Some have speculated that the men are ‘cottaging’, a gay slang term for anonymous sex in public places. One Twitter user commented: “Biff and Chip go dogging”.

The controversy began after Ed Brody posted the images in question on his Twitter feed with the caption: “Somewhat dubious scenes spotted in the background of a friend’s 4yo’s school book”.

Brody’s tweet garnered 12,000 likes and nearly 6,000 retweets, despite OUP’s reply that “some of the pages are missing from this title!”

The controversial images led online users to post other suspect images from the Biff, Chip and Kipper series online. These included a child spelling ‘hepatitis’ out of building blocks, and a Priest in a girls’ changing room.

OUP defended the popular children’s books in a statement, remarking it was: “aware of the recent Twitter and media coverage referencing the illustrations from two Biff, Chip and Kipper books.

“We would like to reassure you that our books are created with the utmost thought and consideration.

“We take the utmost care to ensure that our content is age appropriate and would not cause harm or offence to any child who reads our books.”

The publisher, a department of Oxford University, added that the so-called ‘sex scenes’ in question were taken from the title Pond Dipping and that “there are pages missing in the original tweet, which takes the images from Pond Dipping out of context”.

OUP added that the hepatitis reference was removed in 2003 “as soon as it was drawn to our attention”

There are over 400 Biff, Chip and Kipper books in the Oxford Read Tree series.

According to the publishers, they are taught in around 80 per cent of British primary schools. The first set of stories was published in 1985.

The books are written by Roderick Hunt, and illustrated by Alex Brytcha. Both have been awarded MBEs for their services to children’s literature in light of the series’ success.

Some Twitter users suggested that the images were fitting entertainment for parents reading the books. One commented: “well, you know… parents have to read these books ENDLESSLY. Might as well put in some easter eggs for them to keep it fun.”

Others, however, were less amused. John Smith wrote: “What sort of twisted halfwit draws this kind of crap in a kids book? What corrupt company thinks it’s fit to print it?” The Biff, Chip, and Kipper series’ books, which were adapted for television in 2000, are now sold as educational literature in 130 countries around the world.