Elizabeth Hornsey reviews Transplantation Gothic: Tissue transfer in literature, film and medicine (Manchester University Press, 2020) by Sara Wasson. Medicine and the study of literature are, I argue, engaged in a very similar set of ventures: that is,
Seeking to “take seriously” everyday acts of care, artist Emily Beaney reflects on how her collaborative practice-based research examines caring practices within the mother-daughter relationship. “The most anti-capitalist protest is to care for another
How should thinkers across the disciplines conceptualise emotional life? What role do theories and histories of affect play in how we conceptualise cultural analysis, or in how we think about aesthetics? Birgit Breidenbach reviews Ruth
This mini-series of short essays by Jane Hibberd, Andy Hibberd, Winifred Lee and Emily Player offers four perspectives on an innovative example of embedding medical humanities within the undergraduate curriculum for medical students at
This mini-series of short essays by Jane Hibberd, Andy Hibberd, Winifred Lee and Emily Player offers four perspectives on an innovative example of embedding health humanities within the undergraduate curriculum for medical students at
This mini-series of short essays by Jane Hibberd, Andy Hibberd, Winifred Lee and Emily Player offers four perspectives on an innovative example of embedding health humanities within the undergraduate curriculum for medical students at
Human geographer Diana Beljaars sees her own discipline with new eyes after an interdisciplinary workshop at Wellcome Collection.
Artist Dawn Woolley finds inspiration in the work of Audrey Amiss, held by Wellcome Library.
The Animal Research Nexus project developed an immersive performance for engaging publics with the ethics of animal research around an emerging disease. Bentley Crudgington talks to Gail Davies about happens when the staged event becomes a global emergency.
Working across the humanities-science divide: Raphael Lyne and Jon Simons on an interdisciplinary approach to remembering Raphael Lyne, Professor of Renaissance Literature in the Faculty of English at Cambridge, has been working with
