Shakespeare’s mystery annotator identified as John Milton
17 September 2019A Cambridge literary scholar suggests that the handwriting on a Shakespeare First Folio in Philadelphia matches that of the Paradise Lost poet, John Milton.
A Cambridge literary scholar suggests that the handwriting on a Shakespeare First Folio in Philadelphia matches that of the Paradise Lost poet, John Milton.
The Shakespearean Forest reimagines the real forests that our greatest playwright evoked in his works. The final book of renowned scholar, Anne Barton, it explores the changeable and sometimes sinister presence of the forest in literature and culture.
Shakespeare's 'First Folio', Dante's Divine Comedy, and fragments of Homer's Odyssey from the second century CE, are among the objects in our final film celebrating Lines of Thought at Cambridge University Library.
On the eve of the 400th anniversary of Shakespeare’s death, Dr Edward Wilson-Lee explores the remarkable ways in which the works of England’s greatest poet-playwright are woven into the merging cultures of East Africa. In his debut book, Shakespeare in Swahililand, Wilson-Lee gives a compelling account of an era in which Shakespeare took centre stage.
Some of the world’s most valuable books and manuscripts – texts which have altered the very fabric of our understanding – will go on display in Cambridge this week as Cambridge University Library celebrates its 600th birthday with a once-in-a-lifetime exhibition of its greatest treasures.
In 2016, Cambridge University Library will celebrate 600 years as one of the world's greatest libraries with a spectacular exhibition of priceless treasures – and a second show throwing light on its more weird and wonderful collections.
A new Centre for Children’s Literature is providing a focus for research on how children are shaped by early encounters with books and film.
Medieval culture pervaded Shakespeare's life and work. Professor Helen Cooper examines its influence on the work of the world's greatest playwright.
With the curtains just closed on the 40th Cambridge Greek Play since the 1880s, Greek classicist Simon Goldhill reflects on how this creative genre still speaks to a modern audience.