Andrew Smith MP pays tribute to Jim Callaghan
Member of Parliament for Oxford East, Andrew Smith gives his view of Jim Callaghan.

Member of Parliament for Oxford East, Andrew Smith gives his view of Jim Callaghan.
Jim Callaghan's son Michael gives a talk about his memories of his fathers political life.
The daughter of Jim Callaghan, Margaret Jay, gives the closing speech for the event.
British politician Lord Owen talks about his experiences of Jim Callaghan.
Historian and author Lord Morgan speaks about the Jim Callaghan papers deposited in the Bodleian.
British politician, businessman and author Baron Donoughue of Ashton speaks about his view as special advisor to Jim Callaghan.
Chinese Artist Xu Bing gives a talk on the subject of his art and the kind of artist he is.
Held on Marconi day, 20th April, Gabriele Balbi (University of Lugano) gives a talk about Marconi, co-inventor of the radio.
Art critic Brian Sewell talks to Sir Roy Strong as part of the Times Literary Festival 2013. Art historian, writer and broadcaster Sir Roy Strong has enjoyed half a century as one of the leading figures in Britain's art world. The former director of the National Portrait Gallery and Victoria and Albert Museum talks to art critic Brian Sewell about his early years before he rose to fame, which he describes in his new book, Self-Portrait as a Young Man. Strong tells of his social origins in suburb...
Giles Bergel and Andrew Zisserman from the Broadside Ballad Connections project demonstrate new image matching software that allows researchers to track images across early forms of printed literature. Visit http://ballads.bodleian.ox.ac.uk/.
Professor Stphen Gill, Lincoln College, gives a talk about the influence the Railways had on Charles Dickens' literature.
Professor Kathyrn Sutherland from the University of Oxford talks around the manuscripts of Jane Austen, what we can learn from them about her family life but also her writing style and techniques.
Professor Kathryn Sutherland from the University of Oxford talks about some of Jane Austen's manuscripts from the novel 'The Watsons' and what we can learn about her from these.
Michael Hughes (Bodleian Libraries) gives a talk about the final wireless communications from the Titanic.
Dr Poole presents the Bodleian and the seventeenth-century Scientific Revolution in terms of its contributions to Oxford and to British science in the period. He discusses the Bodleian as its repository of other Oxford institutional libraries central to this movement, namely the Savile and Ashmole collections.
Professor Helen Cooper, University of Cambridge, speaks about the continuities between the Romance of the middle ages and Shakespeare's plays. She looks at textual features from his plays (including King Lear) which may indicate his influences.
Dr Laura Ashe delivers a lecture on the birth of romance in England in the 12th Century, part of a series of lectures to accompany The Romance of the Middle Ages exhibition at the Bodleian Library.
Sir Mark Walport, Director of the Wellcome Trust, gives a lecture on scholarship, publishing and the dissemination of research designed to stimulate debate in Oxford on the issues surrounding changes in scholarly communications.
Professor Paul Eggert, University of New South Wales, gives the 17th Annual D.F. McKenzie lecture on the subject of books and gives a case study of Henry Lawson, Australian author of Where the Billy Boils.
Part of the Shelley's Ghost Exhibition. In the months immediately following Shelley's death Mary lived at Albaro on the outskirts of Genoa. Her only regular companions were her young son, Percy Florence, and the journal she began on 2 October 1822. To this 'Journal of Sorrow' she confided her innermost thoughts: 'White paper - wilt thou be my confident? I will trust thee fully, for none shall see what I write.' To be sure, Mary would not have shared the entries she wrote immediately after Shelle...
Part of the Shelley's Ghost Exhibition. This is the letter Godwin wrote to Mary after hearing of Shelley's death. Initially he seems more sorry for himself than for his daughter, complaining of her failure to write to him, but he then talks hopefully of their reconciliation. He and Mary had not seen each other for nearly four years, and for some time Shelley had intercepted Godwin's letters to Mary because, he said, their dismal contents distressed her. Now Godwin anticipates the removal of the ...
Part of the Shelley's Ghost Exhibition. 'Everybody is in despair and every thing in confusion' writes Shelley in his last letter to Mary. He was in Pisa to discuss a new journal, The Liberal, with Leigh Hunt and Lord Byron. Shelley had been delayed there by Hunt's personal situation (his wife Marianne had been told she did not have long to live) and by Byron's complicated affairs. He hints that Edward Williams might sail back to the Villa Magni ahead of him. Hurriedly concluding the letter, Shel...
Part of the Shelley's Ghost Exhibition. This great elegy was prompted by the news of the death of John Keats in Rome, and by Shelley's belief that Keats's illness was caused by the hostile notices his work had been given in the Quarterly Review. Shelley had the poem printed in Pisa under his own supervision, thereby ensuring its speedy appearance and its textual accuracy.
Part of the Shelley's Ghost Exhibition. Shelley worked on 'The Triumph of Life', a dark and visionary poem, while living at the Villa Magni. At the time of his death it was still in a very incomplete state but despite this it is generally considered one of his major poetic achievements. Life is envisioned as a remorseless triumphal procession: a chariot is driven blindly through a madly dancing crowd, taking with it 'a captive multitude ... all those who had grown old in power, Or misery'. 'The ...
Part of the Shelley's Ghost Exhibition. Shelley presented this light-hearted poem, copied out in his best hand, with the guitar he gave to Jane Williams in 1822. Taking his cue, perhaps, from the Shakespearean Christian name of the guitar's maker, Ferdinando, he casts himself and the Williamses as characters from The Tempest: they are the lovers Miranda and Ferdinand, he is Ariel, the spirit of fire and air. The wood of the guitar is from a tree that 'Died in sleep, and felt no pain, To live in ...
Part of the Shelly's Ghost Exhibition. Shelley's best-known poem was written in Florence in late 1819. Technically it is a series of four sonnets written in 'terza rima', the verse-form Shelley would use again, with similar fluency, in his final poem, The Triumph of Life. The west wind is an agent of change: with seasonal rejuvenation comes a personal rebirth which will, in turn, inspire the 'unawakened Earth'.
Part of the Shelley's Ghost Exhibition. 'Ozymandias' is the Greek name for Ramses II, who ruled Egypt for sixty-seven years from 1279 to 1213 BC. Ramses II was a military conqueror and a great builder, but Shelley's sonnet describes how the achievements of even the mightiest tyrants are obliterated by time. Only the Pharaoh's arrogant passions, as expressed in the ruined statue, have survived, outliving both the sculptor ('The hand that mocked them') and Ramses himself ('the heart that fed'). Hi...
Mary Shelley drafted Frankenstein in two tall notebooks. The first notebook was probably purchased in Geneva, the second several months later in England. They were later disbound, and now exist as single sheets. Shown here is an original opening from the Geneva notebook, containing Mary's draft of the turning-point in the novel: the moment when Frankenstein's Creature comes to life.
Part of the Shelley's Ghost Exhibition. Harriet Shelley drowned herself in December 1816, aged twenty-one. Her body was recovered from the Serpentine on 10 December, and an inquest into the death of one 'Harriet Smith' was held the following day. Although her precise movements in the months leading up to her death are uncertain, it is clear that she was living away from home, that she had taken a lover, and that she was pregnant. This is Harriet's last letter. Muddled and full of self-recriminat...
Part of the Shelley's Ghost Exhibition. Shelley and Mary arrived back in London to face the almost universal disapproval of family and friends, and severe money problems. Shelley was now financially responsible for Mary and Claire as well as Harriet, who was heavily pregnant with their second child. Godwin refused to see him, but drew on his resources. Mary wrote this impassioned letter to Shelley when he was in hiding from his numerous creditors. They could meet only on Sundays, when it was ill...