Z is for Zebrafish

25 Nov 2015

The Cambridge Animal Alphabet series celebrates Cambridge's connections with animals through literature, art, science and society. Here, Z is for Zebrafish as we talk to eminent immunologist Professor Lalita Ramakrishnan about her research into new ways of treating tuberculosis.

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Y is for Yak

18 Nov 2015

The Cambridge Animal Alphabet series celebrates Cambridge’s connections with animals through literature, art, science and society. Here, Y is for Yak: an animal that is an integral part of high-altitude livelihoods throughout the Himalayas, Tibet and Central Asia.

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Given in evidence

17 Nov 2015

How do we get better at taking the research knowledge from our science and engineering base and turning it into technologies, industries and economic wealth? The Centre for Science, Technology and Innovation Policy aims to give policymakers the information they need to provide effective support for emerging technologies and industries.

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X is for Xenarthran

11 Nov 2015

The Cambridge Animal Alphabet series celebrates Cambridge’s connections with animals through literature, art, science and society. Here, X is for Xenarthran. A must-have item for 15th-century collectors of 'curiosities' and a source of fascination for evolutionary biologist Dr Robert Asher.

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Too big to cry: when war ended, the damage began

07 Nov 2015

A collection of essays edited by Drs Trudi Tate and Kate Kennedy looks at the legacy of the First World War through the lens of the creative arts. As a specialist in the literature of conflict, Tate explores the ways in which writers expressed the impact of trauma on families – and child rearing in particular.

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W is for Whale

04 Nov 2015

The Cambridge Animal Alphabet series celebrates Cambridge’s connections with animals through literature, art, science and society. Here, W is for Whale: the journey of one iconic whale in particular, from a Sussex beach to pride of place in the Museum of Zoology.

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Mirage maker

30 Oct 2015

Aditya Sadhanala wanders over to the wall, turns a pulley, and a wooden box about a metre squared swings up and away. Below it gleams an array of carefully positioned lasers, deflectors and sensors surrounding a piece of glass no bigger than a contact lens. He flips a switch and creates a ‘mirage’.

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