End-of-year round-up

NoteCardParis1posted by Simon Kemp

Adventures on the Bookshelf is about to head off for its Christmas break. There’s just time for a quick look back at 2015 before we go.

For France, 2015 opened with a tragedy and has closed with another one. In January, we looked at responses in the French press to the shootings at Charlie Hebdo.

Last month, we found ourselves witnessing another massacre, this time on a much larger scale, with the attacks on the Bataclan concert hall, the Stade de France, and diners and drinkers of Paris’s cafe culture. Again, we looked at some of the responses to the events in the French media.

In between, though, there was much to explore in French language, literature and life. We learned how to make grammatically correct chocolate cake with the aid of glamorous French movie stars, discovered why Terry Pratchett causes trouble for French gender rules, and uncovered the complex secrets of the mysterious Mrs Vandertramp.

Expanding our vocabulary, we encountered the gripping etymological drama of the unicorn and the crayfish, found out what the cool kids on the street are saying these days, and learned the hidden connection between limousines and bayonets. Plus, there was the opportunity to laugh at hapless French sign-writers struggling with their own language, or try your skills in our fiendish faux-amis quiz.

Guest appearances were made by two more heroes who gave their lives to the service of the French nation and their surnames to the service of the French dictionary: Joseph-Ignace Guillotin and Etienne de Silhouette.

We also discovered what the students at Oxford have been up to lately, from turning parchments into webpages to falling in love with the Montmartre district of Paris.

As ever, there were suggestions of books and films you might like to if you want to explore French culture in a little more depth.

And, snuck in among the other posts, were a few reasons why you might like to think seriously about doing a degree in modern languages, and a little advice on how you might go about it if you wanted to apply to study the subject with us.

Merry Christmas to you from the Oxford Modern Languages Faculty. Thank you for reading, and we’ll see you on the first Wednesday in the New Year.

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From Saint Nicolas to Petit Papa Noël

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posted by Catriona Seth

In places like Lorraine, the former sovereign duchy which became a part of France in 1766 and is now a ‘département’, or in Fribourg, in Switzerland, one of the earliest signs of the festive season is the presence, in the local ‘boulangeries’, of figures made of ‘pain d’épices’ (gingerbread)—which the Swiss sometimes call ‘biscômes’—in the shape of a bishop, complete with a crook or crozier (‘une crosse’) and a mitre (‘une mitre’—the word for the episcopal headgear is the same). He is Saint Nicolas (there is no ‘h’ in the name in French), a 3rd century Turk who is the patron of Fribourg and of Lorraine, but also, amongst others, of sailors, physiotherapists and children. His feast day on December 6th is celebrated with public processions in which he walks the streets, with his donkey, sometimes accompanied by a darkly clad individual, the ‘Père fouettard’, literally the whipping father, who is supposed to chastise badly behaved boys and girls. Saint Nicolas, on the other hand, carries a long basked strapped to his shoulders like a backpack—it is called ‘une hotte’ and is similar to the one used by grape-pickers. In it he has presents and sweets for those who have not been naughty.

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Because he was considered to be a major figure of the early Church, Saint Nicolas’ relics were revered in different places of worship like Bari in Italy, Fribourg—where his right arm is preserved in a jewelled reliquary—and Saint-Nicolas-de-Port, South of Nancy, in Lorraine, where one of his finger bones—a ‘phalange’ or phalanx—is still kept in the treasure-house of an important gothic basilica. The modern pageants grew out of religious ceremonies.

The name ‘Santa Claus’ is a deformation of Saint Nicolas or its Dutch version, Sint Nicolaas, and in many French-speaking regions the bishop has been overtaken by the jolly figure of Father Christmas as the purveyor of gifts to be opened no longer on December 6th, but on the 24th or 25th. ‘Le Père Noël’ is called upon to leave presents not in stockings, but in shoes left out at the foot of the tree—‘le sapin de Noël’. Whilst the tradition of singing carols is much less prevalent in French than in English, many French-speakers know the words to the musical equivalent of a letter to Santa, Petit Papa Noël—said to be, in Tino Rossi’s original version, the best-selling French single of all time. The singer (in fact a father giving voice to his sleeping son) asks Father Christmas not to forget his ‘petit soulier’ when he comes down from the skies to deliver thousands of toys—‘des jouets par milliers’. The request comes, even though he admits ‘je n’ai pas été tous les jours très sage’, but then again, hands up anyone who can claim only ever to have been good!

For a time-warp experience, you can find the original Tino Rossi recording of ‘Petit Papa Noël’ taken from the 1946 black and white film Destins here:

And Vincy’s lyrics here.

This is the chorus (‘le refrain’) of Petit Papa Noël:
Petit papa Noël
Quand tu descendras du ciel,
Avec des jouets par milliers,
N’oublie pas mon petit soulier.

And here is some vocabulary for the rest of the song:

La paupière : the eyelid.
Quelque chose me tarde: I am impatient for something to happen. The verb ‘tarder’ has the same root as ‘tard’ and ‘un retard’, meaning late and a delay.

 

Un joujou: a toy. Remember, ‘joujou’, which is a familiar term derived from ‘jouet’ is one of the words ending in ‘ou’ which has an irregular plural (not an ‘s’, but an ‘x’): des joujoux.

The following words all have irregular plurals with ‘x’: bijou, caillou, chou, genou, hibou, joujou & pou. Some French-speaking children learn the following mnemonic: ‘Viens mon chou, mon bijou, sur mes genoux, laisse tes joujoux et jette des cailloux à ce vieil hibou plein de poux.’

In the mnemonic, ‘chou’ is not used to mean ‘cabbage’ but as the equivalent of ‘dear’. ‘Un pou’ is a louse and ‘un hibou’, an owl.

 

‘Le marchand de sable’, literally ‘the sand merchant’, is the sandman who is said to sprinkle sand in children’s eyes to make them sleep and dream sweet dreams.

 

‘faire dodo’ is a familiar expression meaning to sleep. You sometimes encounter ‘dodo’ as a noun: ‘J’ai fait un bon dodo après le déjeuner’ is a way of saying I had a good sleep after lunch.

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French Film Competition 2016!

Bande_de_filles_photo-Estelle-Hanania-©-Lilies-Filmsposted by Kate Rees

As in recent years, the Oxford University Faculty of Medieval and Modern Languages is organising a French Film Competition, run with the help and generosity of Routes into Languages (South).

The competition has been a successful and entertaining way of getting young people interested in France and French culture, and has attracted hundreds of entries over the last few years. The challenge is to re-write the ending of a film in no more than 1500 words. It is open to all students of secondary-school age, from years 7-13. We’re also very keen to encourage filmed entries via Youtube submissions, so please feel free to re-imagine the endings of the chosen films in as creative a way as you can.

This year we have chosen two films directed by Céline Sciamma, an up and coming French director. Pupils in years 7-11 are invited to re-write the ending of Tomboy (2011), which sees a young girl moving to a new Parisian neighbourhood and exploring her own identity.

 

Those in years 12-13 are encouraged to look at Sciamma’s most recent film, Bande de filles (2014), which depicts the life of a group of young black girls coming of age in the suburbs of Paris. Raising issues of gender, race and class, this is also a film about friendship and conflict.

 

We very much enjoy judging the competition and are always impressed by the imagination and wit of the submissions. Entries should be submitted by email to french.essay@mod-langs.ox.ac.uk by noon on 31st March 2016.

A first prize of £100 will be awarded to the winning student in each category, with runner-up prizes of £25. For further details about entering the competition (including the points in each film where we’d like you to take up the story), please see the questions below, and go to http://www.mod-langs.ox.ac.uk/film_comp to find the link to the cover sheet for your entry.

We’re looking forward to reading your work!

  1. What counts as ‘the ending’ of the film?

We’d like you to start your re-writing from the following points:
Tomboy: from 1:06:03, when Laure’s mother says “Lève-toi tu dois t’habiller”

Bande de filles: from 1:16:59, when Marieme/Vic says ‘J’ai un plan’ to her friends.

 

  1. Does ‘re-writing’ mean I have to change everything?

There is nothing stopping you from watching the ‘real’ ending and then modifying it as you see fit. Indeed, you might find this helpful. Please note, though, that we’re looking for creative, entertaining and inventive new endings, which address as fully and plausibly as possible the strands of the story that are left unresolved at the end-points we’ve specified above.

 

  1. What form should the essay take?

There is no particular expectation as to how you submit your entry – you might like, for example, to submit it in screenplay format (with descriptions of camera angle, voice-over, lighting etc.), or as a play (with speech-prefixes and dialogue) or in prose, as in a novel. You might even like to submit your ‘new’ ending via YouTube or other social media..! If so, email us the link with your attached coversheet. The form should be the one you feel shows your creativity in the best light.

 

  1. Where can I or my school/college get hold of the films?

The DVDs are readily and affordably available via Amazon (http://www.amazon.co.uk or http://www.amazon.fr).

 

  1. Is there a limit to the amount of entries any one school can make?

Yes. There is a limit of 15 entries per school per age group.

 

  1. Should I enter as an individual or can I enter as part of a group?

We would ask you to keep to individually-named submissions, please: this is just to ensure as much as possible parity and fairness between entries, and to avoid any distinction between smaller and larger groups.

Two Responses

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posted by Simon Kemp

This week, two responses to the Paris attacks that you may not have seen.

 

Firstly, an interview with a teacher at a school around the corner from the Bataclan, which is also not far from the Charlie Hebdo offices where this year’s earlier attack took place. Marie Piquemal, a journalist with Liberation went to talk to her over the weekend after the attacks to talk about how she would face her pupils on Monday morning. The full article is here.

«Je veux les aider. Etre avec eux, le plus disponible possible.» Cette maîtresse de CM2 enseigne à Paris, dans une école voisine du Bataclan. Elle ne tient pas à ce que son nom apparaisse de peur que ses élèves (ou leurs parents) lisent et que cela les perturbe «encore plus». Elle fera classe ce lundi matin, comme dans toutes les écoles. Le ministre de l’Intérieur a annoncé samedi soir que tous les établissements scolaires et universitaires rouvriraient lundi, après avoir été fermés samedi.

disponible: literally, ‘available’, but here in the sense of ‘I want to be there for them’

CM2: top year of primary school, for 10-11-year-olds

Elle ne tient pas à ce que son nom apparaisse: she does not want her name to appear (in the newspaper)

Le ministre de l’Intérieur: equivalent post in Government to British Home Secretary

Tout le week-end, elle a essayé de se préparer au maximum. Elle a imprimé des images qui lui serviront de support pour les échanges en classe: un drapeau en berne, la devise de Paris, ce dessin de Joann Sfar avec cette bulle: «Les gens qui sont morts ce soir étaient dehors pour vivre, boire, chanter. Ils ne savaient pas qu’on leur avait déclaré la guerre.» Elle a aussi pris un stock de bougies, la chanson Imagine de John Lennon. «Je verrai avec mes collègues ce qu’on utilise ou pas. Mais j’ai préféré prévoir, pour ne pas me sentir démunie.» Elle ajoute: « On a beau essayer d’anticiper, il va falloir gérer sur le moment. J’espère surtout ne pas avoir de grosse mauvaise nouvelle. On a tenté de joindre toutes les familles, mais il n’a pas été possible de savoir pour tout le monde.»

les échanges en classe: class discussions

en berne: at half-mast

 la devise: motto. The motto of Paris is ‘Fluctuat nec mergitur’, which translates as ‘It is tossed in the waves, but it does not sink’. It accompanies the city’s coat of arms, which has the image of a ship:

Grandes_Armes_de_Paris.svg

 démunie: at a loss, without resources

gérer sur le moment: play it by ear

Elle raconte aussi que beaucoup de parents, angoissés, ont appelé le directeur pour savoir si la sécurité serait renforcée. La demande a été transmise au rectorat. Une cellule psychologique sera par ailleurs opérationnelle dès lundi matin pour aider les enfants et les parents. Ce sera aussi le cas à l’école du 155 avenue Parmentier, dans le quartier voisin où se trouvent Le Carillon et Le Petit Cambodge, également attaqués vendredi. Et dans tous les établissements «où les élèves, leurs familles et les personnels de l’Éducation ont été particulièrement affectés», précise un communiqué du ministère. Mais aussi dans ceux où l’équipe pédagogique en formulera la demande.

angoissé: anxious

le rectorat: local education authority

la cellule psychologique: psychological support unit

l’équipe pédagogique: the teaching staff

«Les psychologues seront là, c’est précieux», dit encore l’enseignante. Son école est près du Bataclan mais aussi des anciens locaux de Charlie Hebdo. «On a vécu les attentats de janvier. C’était au moment de la sortie des classes, un mercredi midi. Les enfants ont été confinés à l’intérieur, ils s’en souviennent.» Jeudi dernier, l’école a fait l’exercice d’entraînement annuel du «plan de mise en sûreté des écoles face aux risques majeurs» (PPMS). «Les élèves ont posé plein de questions: “Est-ce que ca peut se reproduire?”. Je les ai rassurés du mieux que j’ai pu. Je leur ai dit qu’ils ne risquaient rien. Mais là, cela va être plus difficile. Qu’est ce que je vais leur dire?»

l’enseignante: teacher

les anciens locaux: the former premises

le plan de mise en sûreté des écoles face aux risques majeurs: the security action plan for schools in case of major risk

du mieux que j’ai pu: as best I could

 

Secondly, a short video. It’s called Cent Maux, which means ‘A Hundred Bad Things’, ‘ A Hundred Evils’ or ‘A Hundred Hurts’. It’s also homophonic for ‘Cent Mots’, ‘a hundred words’, and the video consists of a hundred words (in French and English) responding to the attacks. If that doesn’t sound very engaging to you, then I suggest you give it two minutes of your time and be proved wrong.

[The video seems to be resisting my attempts to embed it in the blog, so you’ll have to go and visit it on its Facebook page here. It’s worth the trip.]

 

Paris

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posted by Simon Kemp

Usually this blog tries to give you things that will help you better understand what’s going on in France, and language tips that will help improve your French.

This week, though, I can’t help you understand what happened in Paris last Friday night, as I don’t understand it myself. And the only French word I have for you is one that, if it hasn’t been part of your vocabulary up to now, you won’t be able to use in normal conversation for a while:

BATACLAN, noun, masculine
Familiar. Attirail encombrant composé d’objets dont on veut se dispenser de donner le nom.

Cumbersome materials made up of things one does not want to take the trouble to name. ‘Gear’, ‘clobber’.

USE IN QUOTATIONS:

1. ‘Ta bonne maman ne pourra pas être à Dieppe dimanche. Il lui faudra, au moins, un jour ou deux pour resserrer tout son bataclan.’
FLAUBERT, Correspondance, 1866, p. 221.

Use in phrases: (Et) tout le bataclan. Et cætera, et tout le reste. Etc., and all the rest

2. Ah! si l’on n’avait pas la religion, la prière dans les églises, (…), si l’on n’avait pas la Sainte-Vierge et saint Antoine de Padoue, et tout le bataclan, on serait bien plus malheureux, ça c’est sûr…
MIRBEAU, Le Journal d’une femme de chambre, 1900, p. 21.

Etymology: Origin obscure. Possibly onomatopoeic.

Normal blogging again from next week.

Sometimes French is hard for French people too

posted by Simon Kemp

Poor French people! With so many silent letters and homophones (words that sound the same but are spelled differently) to contend with, it’s no wonder that written French can sometimes be a tricky area even for fluent speakers of the language. Here are some examples of native speakers coming unstuck with some embarrassingly high-profile written French. See if you can spot the errors, and if you can see the difference between the kinds of mistakes native speakers make from the ones language learners make:

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All the images are from here, a website I hesitate to link to as so many of the other grammar and spelling mistakes they feature turn out really quite rude. Still, you can’t get the rude jokes unless you can understand the French, so I suppose it’s all educationally sound.

As for native-speaker mistakes, you may notice that all the sentences above make perfect sense if you read them out loud. The wrong words are all homophones for the correct ones, e.g. ‘encre’ (ink) for ‘ancre’ (anchor), ‘retirer’ for ‘retirées’. Like native English speakers muddling ‘there’, ‘their’ and ‘they’re’, French speakers know how it’s meant to sound, but not necessarily how it’s meant to look, which leads them to make quite different slips from the ones foreigners learning French tend to commit.

 

But what’s it really like? English and Modern Languages

English and Modern Languages is the most popular of our ‘joint schools’ courses that combine a modern language with another subject, and the one for which places are most hotly contested. You can do English with French, or with any one of eight other languages: Spanish, Russian, German, Celtic, Czech, Greek, Italian or Portuguese. The last four of those you can also start from scratch on the course. Full details of what the course involves and how you can apply for it are here,  and below is a short film by those who study and teach on the course to tell you all about it:

Bookshelf Film Club Halloween Special: Les Diaboliques

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posted by Simon Kemp

This time last year we suggested a chilling little ghost story, Guy de Maupassant’s Le Horla, to curl up with for Halloween. This year, it’s the turn of the film club.

Les Diaboliques is a classic French chiller from 1955, based on a tale by the same French crime-writing duo who wrote Hitchcock’s Vertigo, another unsettling splice of the murder mystery and the ghost story. Apparently, Hitchcock missed out on getting the film rights to the story by a matter of hours, as the French director Henri-Georges Clouzot snapped them up as soon as they became available.

In the film, the frail Christina is the owner of a shabby French boarding school. Her brute of a husband is the headmaster, who is openly having an affair with another teacher at the school, Nicole. The two women are not enemies, however. Michel treats them both so badly that they end up forming a bond together, and that friendship leads to a plan to improve both their lives by getting rid of Michel for good…

Lured away far from the school, Michel is sedated by the two women and then drowned in a bath-tub. They then drive the body back to the school and dump it in the murky, leaf-covered swimming pool, with the intention of claiming an accident when the body finally bobs to the surface.

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Then they wait.

No body surfaces.

The pool is drained.

No body is found.

It’s then that things get seriously strange.

One of the schoolboys says he’s seen Michel on the school grounds.

A school photo is taken, and a pale shape can be seen in the window behind the assembled children, a shape that looks like a face. Like Michel’s face.

Nicole and Christina start to think that the persistent questions of the police may be the least of their problems…

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Les Diaboliques is a creepy classic that always features in lists of the best scary movies ever made. It’s ideal for a dark and lonely night around Halloween. Just make sure you avoid the American remake with Sharon Stone which is, ahem, diabolical.

One other thing — the film has one of the best and most famous final sequences in French movie history. Make sure you don’t accidentally find out what’s coming before you see it. And once you’ve seen it, please obey the command at the end of the film, and don’t spoil the ending for others:

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Quiz time!

Tips-for-students-exam

 

Right, it’s time for another Adventures on the Bookshelf quiz! This one is all about faux amis.

Below are two dictionary definitions. The red one is from a French dictionary, the blue one is from an English dictionary. Your job is guess the words being defined. The twist is that the French and English words are both spelled the same way, even though they mean completely different things.

Take a look. (There’s no need to understand every word in the French definition to play the game.)

_ _ _ _ (4 letters)

Petit animal domestique carnassier, à pelage de couleur variée souvent noir ou gris, se nourrissant de souris, de petites proies, et de la nourriture servie par ses maîtres. 

Talk in a friendly, informal way.

So, if you could work out a little of the gist of the French definition (the whole thing translates as: ‘Small carnivorous domestic animal, with variable fur colour, often black or grey, which eats mice, small prey creatures or food given by its owners’), you might have got that it’s a cat, or ‘un chat’ in French, which is a faux ami for the English verb, ‘chat’, meaning… to talk in a friendly, informal way!

OK, got it?

Ten questions below. No peeking at the answers until you’ve had a go at all of them. Time starts now!

 

  1. _ _ _ _ _

Numéral cardinal. Quinze plus un.

Take hold of suddenly and forcibly.

 

2. _ _ _ _

Qui se lave insuffisamment ou mal; qui manque de propreté.

A period during which a shop sells goods at reduced prices.

 

3. _ _ _ _ _

Susceptible de conséquences étendues, de suites fâcheuses, dangereuses.

A hole dug in the ground to receive a coffin or corpse, typically marked by a stone or mound.

 

4. _ _ _ _ _

Composante prédominante du corps humain ou animal, essentiellement constituée des tissus musculaire et conjonctif.

A separate seat for one person, typically with a back and four legs.

 

5. _ _ _

Endroit dans lequel un footballeur doit envoyer le ballon pour marquer.

Conjunction used to introduce a clause contrasting with what has already been mentioned.

 

6. _ _ _ _

Préposition. En échange de, en remplacement de, à la place de.

Flow rapidly in a steady stream.

 

7. _ _ _ _

Partie d’une cuisinière qui sert à la cuisson des aliments.

Even number, less than ten.

 

8. _ _ _ _

Aliment fait d’une certaine quantité de farine mêlée d’eau et de levain et cuit au four

Highly unpleasant physical sensation caused by illness or injury.

 

9. _ _

Arbre à feuilles persistantes longues, étroites, vénéneuses, d’un vert très sombre, à baies rouges, qui est utilisé comme arbre d’ornement dans les parcs, les jardins, les cimetières.

Conjunction introducing a conditional clause.

 

10. _ _ _ _

Organe terminal du bras, formé d’une partie élargie articulée sur l’avant-bras et terminé par cinq doigts.

Chief in size or importance.

 

Answers below the French cat!

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Answers:

1. seize (seize = 16)

2. sale (sale = dirty)

3. grave (grave = serious)

4. chair (la chair = flesh)

5. but (le but = goal)

6. pour (pour = for)

7. four (le four = oven)

8. pain (le pain = bread)

9. if (un if = yew tree)

10 main (la main = hand)

 

How did you do?

7-10 correct: Carrément terrible! 

3-6 correct: Pas terrible.

0-3 correct: Frankly terrible.

 

Like this? Try our fiendish odd-one-out quiz as well!

 

Interview Questions

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posted by Simon Kemp

You might have seen online or in the news recently that Oxford has released some sample questions from our admissions interviews. We’re trying to make the process by which we select our students from the many excellent candidates who apply to us as clear and understandable as possible. We’re also trying to set straight anyone who thinks an Oxford interview typically involves being asked whether you’d prefer to be a satsuma or a grapefruit (with reasons), or being asked to throw a brick through a window, just to see if you open it first. Neither of these, I hasten to assure you, has any part in our selection process! Rather, our questions are straightforwardly based around what you’ve told us in your sample schoolwork and UCAS statement, and what we’ve told you are our selection criteria for the particular course you’ve applied for.

One newspaper  included a sample modern languages question:

Modern languages candidates: What is language?  

Helen Swift, of St Hilda’s College, said: ‘Although I would never launch this question at a candidate on its own, it might grow out of a discussion. 

‘Students sometimes say they like studying Spanish, for example, because they “love the language”. 

‘In order to get a student thinking critically and analytically, the question would get them to consider what constitutes the language they enjoy – is it defined by particular features or by function (what it does)? 

‘How does form relate to meaning? And so on.’

 

I’ve also talked about modern languages interview questions before here, and there’s lots of information about our whole admissions process, including UCAS forms and personal statements, under the ‘Applying to study modern languages’ category of this blog.

Here is the full press release and sample questions released by the university this week:

The questions have been released to mark the deadline day for students to apply to study at Oxford University next year (15 October). Students applying for PPE (Philosophy, Politics and Economics) might be asked about the ethics and economics of bankers’ bonuses, while aspiring engineers might be asked to explain the physical forces that determine whether a ruler stays balanced or topples over when slid along their fingers.

‘We emphasise in all our outreach activity that the interview is primarily an academic conversation based on a passage of text, an object, a problem set or a series of questions relating to the course the applicant has applied for,’ says Dr Samina Khan, Director of Admissions and Outreach at Oxford. ‘But interviews will be an entirely new experience for most students, and we know many prospective applicants are already worried about being in an unfamiliar place and being questioned by people they have not met. We want to underscore that every question asked by our tutors has a purpose, and that purpose is to assess how students think about their subject and respond to new information or unfamiliar ideas. We hope that seeing some of the less obvious questions will reassure prospective applicants that tutors simply want to see how students think and respond to new ideas – we are not interested in catching students out.

‘Interviews are not about reciting what you already know – they are designed to give candidates a chance to show their real ability and potential, which means candidates will be encouraged to use their knowledge and apply their thinking to new problems in ways that will both challenge them and allow them to shine. They are an academic conversation in a subject area between tutors and candidate, similar to the undergraduate tutorials which current Oxford students attend every week.’

Dr Khan adds: ‘It’s important to remember that most interviews build on material students will have encountered in their studies or touch on areas candidates mention in their personal statements. They might include a logic problem to solve for a subject like mathematics, and we will often provide candidates with material to prompt discussion – for example a piece of text, an item to examine, or an image. It is often best to start responding by making very obvious observations and build up discussion from there, rather than assuming that there is a hidden meaning or a highly complicated answer you have to jump to immediately.

‘We know there are still lots of myths about the Oxford interview, so we put as much information as possible out there to allow students to see the reality of the process. We now have mock interviews online, video diaries made by admissions tutors during the interview process, and lots of example questions to help students to familiarise themselves with what the process is – and isn’t – about.’

Here are some sample questions:

Subject: Philosophy, Politics and Economics (PPE)
Interviewer: Brian Bell, Lady Margaret Hall

Q: Why is income per head between 50 and 100 times larger in the United States than in countries such as Burundi and Malawi?

Brian: The question is focused on perhaps the most important economic question there is: why are some countries rich and some countries poor? As with most economics questions, there is no simple or unique answer. Candidates need to think about all the potential reasons why such income gaps exist. A good starting point is to think about whether the amount of capital and technology available to workers in different countries is the same and if not, why not? US workers are much more productive because they have access to the best technology – the US is at the technological frontier. But why do poor countries not just buy the same technology and be as productive? Possibly, the education levels are too low to allow for the use of such technology or perhaps there are insufficient savings to purchase the technology or the infrastructure might not exist. Good candidates should recognise that institutions matter a lot – respect for property rights and the rule of law appear to be pre-requisites for sustainable development. Other factors might include trade restrictions by the rich world on poor countries exports, civil wars, disease (e.g. AIDS, Malaria) etc. The trick is to think widely and not try and fit the answer to some lesson that has been learnt in school.

Subject: Economics and Management
Interviewer: Brian Bell, Lady Margaret Hall

Q: Do Bankers deserve the pay they receive? And should government do something to limit how much they get?

Brian: This is a very topical question in light of the recent financial crisis. A simple answer might be that since banks are generally private firms and workers are free to work where they wish, then the pay they receive is just the outcome of a competitive labour market. In this story, bankers earn a lot because they are very skilled and have rare talents. It is hard to see a reason for government intervention in this case – though on equity grounds one may want to have a progressive income tax system that redistributes some of this income. A good candidate would wonder why it is that seemingly equivalently talented people can get paid so much more in banking than in other occupations. Do we really believe that bankers are so much better than other workers in terms of skill? An alternative story is that the banking industry is not competitive and generates profits above what a competitive market would produce. This would then allow workers in that industry to share some of those profits and so earn much more. In this case, there is a role for government intervention – making the market more competitive. The key point about this question is trying to get candidates to think about the economics of pay rather than just whether they think it is fair or not.

Subject: Biomedical Sciences
Interviewer: Robert Wilkins, St Edmund Hall

Q: Why is sugar in your urine a good indicator that you might have diabetes?

Rob: This question builds on general knowledge and material studied at school in biology and chemistry to assess how students approach a clinically-relevant problem. It’s commonly known that diabetes is associated with sugar (glucose) in the urine; this question asks students to think about why this occurs. Students have usually have learnt that the kidneys filter blood to remove waste products, such as urea, that must be eliminated from the body but many other useful substances which must not be lost – including glucose – are also filtered. Given that glucose is not normally found in the urine, students are asked to speculate as to how it can all be recovered as the urine passes through the kidney’s tubules.
The process involves reabsorption by a carrier protein that binds the glucose molecules and moves them out of the renal tubule and back into the blood. Students should appreciate that, in binding glucose, the carrier will share properties with enzymes, about which they will have learned at school: the capacity to reabsorb glucose is finite because once all of the carriers are working maximally, no further glucose reabsorption can occur. A successful applicant will make the connection that an elevated level of glucose in the blood in diabetes leads to increased filtration of glucose by the kidneys and saturation of the carriers that perform the reabsorption, resulting in ‘overspill’ of glucose in the urine.

Subject: Experimental Psychology
Interviewer: Nick Yeung, University College

Q: Imagine that 100 people all put £1 into a pot for a prize that will go to the winner of a simple game. Each person has to choose a number between 0 and 100. The prize goes to the person whose number is closest to 2/3 of the average of all of the numbers chosen. What number will you choose, and why?

Nick: I like this as a question for experimental psychology because answering it brings in a range of skills relevant to the subject. Partly it involves numerical and analytical skills: the question implies that the answer will be 2/3 of some other number, but which one? Some people’s first guess is 2/3 of 100, i.e., 66 or 67, in which case I’d ask them what numbers everyone else would have to pick for them to win. In this case, everyone else would have to choose 100, which is unlikely. More often people first guess 2/3 of 50 (33), which seems intuitively more likely. At this point, and usually without prompting, the recursive nature of the solution becomes clear: If there is good reason for me to choose 33, then maybe everyone else will choose 33 too, in which case I should choose 2/3 of 33… but then everyone will think this and choose 2/3 of 33 too, so I should choose 2/3 of that number.. and so on. Assuming everyone thinks like this, then everyone will eventually settle on 0 as their choice – this is the formal ‘game theory’ solution. At this point, I’d ask questions that bring out the candidate’s broader reasoning skills in terms of thinking how we could define what it is rational to do in this game. Game theory gives one definition of rationality, but does it give a plausible winning answer – that is, is it likely that everyone, all 100 of them, will go through exactly the thought process we’ve just described? If not, is 0 really a rational answer? The question also has a psychological angle in thinking about reasons for people’s behaviour and choices: Will everyone put in the same effort? Will everyone be motivated to win? When I’ve used this question in live audiences, sometimes people say they’d pick the number 100 just because it’d throw a spanner in the works for everyone playing the game rationally. How should this affect your choice of answer? What if the stakes were increased so that everyone put £1000 into the pot at the start?
What’s clear from all of this is that we’re not looking for a single answer. Rather, we’re interested in seeing how people think through a problem, figure out what are the relevant factors, respond when new information is provided, and so on.

Subject: Engineering

Interviewer: Steve Collins, University College

Q: Place a 30cm ruler on top of one finger from each hand. What happens when you bring your fingers together?

Steve: This would never be the opening question in an interview – we usually start with a first question that gives the candidate an opportunity to get comfortable by discussing something familiar. We then ask more technical questions based on material in the GCSE and A-level syllabi. This question would come later in the interview, when we present candidates with an unfamiliar scenario and ask them to use what they know about familiar concepts (such as friction) to explain something.
Almost everyone in this example will expect the ruler to topple off the side where the finger is closest to the centre to the ruler because they expect this finger to reach the centre of the ruler first. They then complete the ‘experiment’ and find both fingers reach the centre of the ruler at the same time and the ruler remains balanced on two fingers. We like to see how candidates react to what is usually an unexpected result, and then encourage them to repeat the experiment slowly. This helps them observe that the ruler slides over each finger in turn, starting with the finger that is furthest from the centre. With prompting to consider moments and friction, the candidate will come to the conclusion that moments mean that there is a larger force on the finger that is closest to the centre of the ruler. This means that there is more friction between the ruler and this finger and therefore the rule slides over the finger furthest from the centre first. This argument will apply until the fingers are the same distance from the centre. The candidate should then be able to explain why both fingers reach the centre of the rule at the same time as observed. In some cases, particularly if we have not done a quantitative question already, we might then proceed with a quantitative analysis of forces and moments. We might even discuss the fact that the coefficient of static friction is higher than the coefficient of dynamic friction and therefore the ‘moving’ finger gets closer to the centre than the static finger before the finger starts to move over the other finger.

Subject: Oriental Studies
Interviewer: Alison Salvesen, Mansfield College

Q: Can archaeology ‘prove’ or ‘disprove’ the Bible?

Alison: Candidates in my subject come from a wide variety of backgrounds and qualifications, so we generally try to tailor the interview questions to the individual according to what they have on the UCAS form or wrote about in their submitted work, in order to find out whether they have a genuine interest in the subject area and an aptitude for the course.
For this particular question I would be looking for an answer that showed the candidate could appreciate that the Bible was a collection of documents written and transmitted over several centuries, and containing important traditions that have a bearing on history, but that academic study of the Bible means that it has to be examined carefully to see when and where these traditions had come from and for what purpose they had been written. Whereas they should recognise that archaeology relies on non-literary sources preserved from ancient periods such as the remains of buildings and tools. These can often be dated by scientific means (and so appear more objective than literature), but we still frequently need additional information such as inscriptions or evidence from other similar sites in order to make sense of the ancient remains. In the end I would hope the candidate would work towards a realisation of the very different nature of these types of evidence, which sometimes gives a complementary picture, while in others it may be contradictory. Both require very careful interpretation, and just arguing that ‘The Bible says’ or that ‘Archaeology proves’ is much too simplistic. (The same kind of thing applies to archaeology, the Quran, and non-Islamic historical sources for a study of the early Arab conquests.)

A blog for students and teachers of Years 11 to 13, and anyone else with an interest in Modern Foreign Languages and Cultures, written by the staff and students of Oxford University. Updated every Wednesday!