Past Study Days

Keynote Speaker: Dr Louise Benson James, Ghent University

This one-day symposium seeks to explore representations of the ‘critical age’ – the (peri-)menopause – in Victorian popular literature. The peri-menopausal and menopausal experiences of Victorian women have to date been overlooked or underrepresented in scholarly discussions of the period. Victorian popular literature, from novels to periodicals to advice books, provided an essential forum for discussing and shaping the public
understanding of women’s bodies, even as much of it sought to obscure the female body.

The (peri-) menopausal experience was often framed in terms of illness, excess, and degeneration, or, conversely, was relegated to silence. Women at the ‘critical age’ are frequently marginalised and associated with a range of negative stereotypes in literary and cultural narratives. This Study Day invites exploration of how this phase of women’s lives was constructed in the Victorian imagination, in medical discourses and advice literature, and in women’s lived experiences.

Co-organised by Dr Jessica Cox and Siobhan-Michelle Smith

Study Day Programme (Word Doc)

The Victorian literary scene is synonymous with the flourishing and development of the novel. However, most of the novelists of the period including Mary Elizabeth Braddon, Charles Dickens, Elizabeth Gaskell, Thomas Hardy, Henry James and Margaret Oliphant, just to name a few, supplemented their production of longer texts with shorter prose. The era saw the steady transformation of the so-called ‘tale’ or ‘sketch’ into the fully-fledged and varied Victorian short story, as diverse approaches were experimented with and new subgenres were created.

The aim of this study day, the second VPFA event in which the genre takes centre stage, is to explore further the short story – a highly self-conscious form, deliberate and calculated in aim – as it was perceived, developed and presented by the Victorian writers, so as to underline the genre’s uniqueness in terms of form and focus, and to highlight its richness, invention and flexibility. Of particular interest are sources of influence, innovative techniques, recurrent thematic concerns, subgenres, new critical approaches and theories, as well as the impact these stories had – and still have – on both British and foreign literature across time and on various media, including film and stage adaptations, among others.

Organised by Graziella Stringos and Philippa St. George

Short Story Study Day Programme (Word Doc)

Short Stories Study Day Report (Word Doc)

The Health Humanities and Victorian popular fiction intersect in revealing ways, offering insights into how 19th-century literature shaped and reflected contemporary understandings of health, illness, and the body. Popular narratives not only mirrored anxieties surrounding public health and medical progress but also contributed to shaping public perceptions of health and healing. Health Humanities approaches re-examine these texts to uncover how cultural narratives and literary representations influenced attitudes toward physical and mental well-being, gendered experiences of illness, and the ethics of care in an age of rapid scientific change.

Health Humanities is a particularly useful approach to sensation fiction because it illuminates the ways in which these emotionally charged, often morally ambiguous narratives explore and interrogate concepts of the body, illness, and mental health. Sensation fiction, with its focus on secrets, trauma, nervous disorders, and abnormal psychological states, frequently dramatizes the anxieties of Victorian society surrounding health, gender, and identity. By applying the lens of Health Humanities, scholars can uncover how these texts reflect and shape contemporary medical discourse. Interdisciplinary approaches also highlight how sensation fiction critiques institutional medicine, domestic care practices, and the pathologization of women’s experiences. Ultimately, Health Humanities allows us to see sensation fiction not just as entertainment, but as a culturally significant form that negotiates the meanings of illness, morality, and human vulnerability in a rapidly changing world.

This event was free, thanks to funding from the VPFA and the Health Humanities Research Group at Loughborough University.

Organised by Anne-Marie Beller.

Sensation Fiction and the Health Humanities Study Day Programme (Word Doc)

Keynote Speaker: Professor Alexandra Valint (University of Southern Mississippi)

There has been an important scholarly turn to studies in silence and erasure since at least the 1970s by those eager to uncover hidden, marginalised, and underrepresented voices of the past. UK Research and Innovation currently list Hidden Histories as an area of investment and support. Tillie Olsen’s Silences (1978) revolutionised the study of silence and agency in literature. Her book considers the circumstances that surround writers’ periods of silence, focussing on factors that particularly impact marginalised groups such as women, people of colour, and the working class. Her book makes a distinction between “natural” and “unnatural” silences, deeming the former as ‘that necessary time for renewal’ and the latter as the ‘unnatural thwarting of what struggles to come into being, but cannot’. These ‘unnatural’ silences are primarily caused by specific social circumstances that accompany being a marginalised individual e.g. for women, an obligation to family and home.

The Victorians were particularly concerned with matters of voice and agency. Throughout the nineteenth century, numerous reforms were introduced to grant more rights and autonomy to women, children, animals, and those considered insane. These concerns inevitably found their way into Victorian fiction. Drawing on numerous advancements in the understanding of the human mind and psychology as a discipline, as well as emerging social
and cultural anxieties regarding empire, the Victorians created new methods of representing marginalised groups, their voices and their silences. From literal refusals to speak, to blank spaces, to monstrous figures, these works of fiction ask us to consider methods of communication that were adopted when restrictions were placed on the
speakable.

This study day wishes to contribute to the robust conversations regarding voice, silence, and agency that are very much relevant today. It is the hope of the hosts that participants will leave with a better understanding of the institutions and mechanisms that worked in tandem to regulate and control marginalised voices and agencies in the Victorian era. We
also hope to encourage participants to re-evaluate the idea of silence as strictly an absence, specifically an absence of agency.

Organising Committee: Rebecca Hamilton, Rosie Blacher, Ethan Evans, Hayley Smith

Follow us on Twitter/X @SilenceVPFA

Silenced Voices and Erased Agencies in Victorian Life and Fiction Programme (PDF)

Keynote Speaker: Annemarie McAllister (UCLan)

From Newgate novels and silver-fork fiction at the start of the period to science fiction and a gothic resurgence at the end of the century, nineteenth-century periodical fiction presented a wide variety of ways through which to conceptualise, depict, and understand the world. Across this diversity of subjects and epistemological stances, the nature of the periodical format adds further complications through its serialisations, circulations and re-circulations, and a maze of intertextual connections. While scholars have long been attentive to these issues, the development of digital methods have created new possibilities for analysis and the scale of the periodical press – the main textual production of the world’s first industrialised knowledge economy – presents ongoing complexities as new texts and information broaden our understanding of the workings of genres, media, writers, editors, readers. This study day brings together scholars working on periodicals and popular fiction to ask fundamental questions about how periodicals and their fictions constructed, shaped, disseminated, complicated, and otherwise were involved with “knowledge”.

Ouida (Marie Louise de la Ramée, 1839-1908) was a Victorian celebrity, non-conformist, and literary enfant terrible whose life and work conformed neither to dominant literary, cultural, or gendered conventions of the nineteenth century, nor neatly affirms our present-day expectations of Victorian literature. She was an internationally read, self-supporting writer, wholly uninterested in realism or the domestic sphere and sceptical of the New Woman, even as she lived alone, condemned marriage, or wrote happy divorcées. She pioneered the aesthetic novel and the desert adventure, synthesised sensation fiction, French romance, and social satire, mastered the Italian novel, and influenced the emerging Decadent movement. Her literary networks included Robert Browning, Richard Burton, Wilkie Collins, Marie Corelli, Oscar Wilde, and Max Beerbohm, and she drew admiration from John Ruskin, Henry James, and Vernon Lee.

Ouida shocked and delighted her audiences with her dandy guardsmen and happy adventuresses, her artists and revolutionaries, her depictions of aristocratic splendour and casual adultery. Known in turns for her ‘Swinburnian fleshiness’ and making Zola look ‘clean-tasted in comparison’, Ouida was lauded for her vitality and eloquence, but critiqued for infectious immorality. As a popular novelist and self-identified artist, she occupied an uncertain space in the literary imagination, and her relationships with publishers were—with the exception of her friend, Bernhard Tauchnitz— often volatile and disadvantageous. A libertarian, democrat, and individualist, her novels, short stories, and critical essays espouse cosmopolitanism, anti-imperialism, eco-criticism, and animal rights, but are also suffused by misogynist or antisemitic commentary.

Following her (now-contested) dismissal from the feminist canon, scholarly interest in Ouida has been resurging in recent years. Despite many excellent contributions from various fields, as a staple of the Victorian and pan-European literary landscape she remains crucially understudied. This Study Day aims to bring together scholars contributing to any aspect of Ouida scholarship, whether through recent and ongoing projects or at any point in the past. We want to contribute to building lasting networks of Ouida scholars and fans, facilitate dialogue and exchange, and make visible the vital work that is being done on a complex, sometimes confounding woman writer, yet which is also often scattered across disciplines and genres. Our aim is to consider how Ouida’s life and work challenge or complicate dominant meta-narratives of Victorian paradigms about gender, genre, culture, and identity, but also highlight and discuss Ouida’s legacy in collections and archives, as well as the practical and theoretical challenges of Ouida scholarship across time.

Organised by Frankie Dytor and Helena Esser

Programme for the Study Day here (PDF).

Keynote: Dr Eleanor Dobson (Associate Prof in English Literature at the University of Birmingham)

Dr Leire Olabarria (Lecturer in Egyptology at the University of Birmingham) will run a session on the amassing of Egyptian collections in the long nineteenth century, with a focus on Britain and the Eton-Myers Collection.

Organised by the University of Birmingham in collaboration with the University of Roehampton

Egypt has long been a subject of interest for literary, cultural, and political exchange. This interest was perhaps most salient in the nineteenth century – when empires ruled the world, and Egypt was pillaged for its resources and artefacts. Questions of ethics and morality were present throughout the century but were often shelved or paled in favour of grand tales of exploration, discovery, and revival. This conference intends to explore the alluring fictional tales in the period but is also interested in where historical accuracy has given way to creative license, what audiences have been considered, and how Egyptology was ‘consumed’ in the nineteenth century.

To see the full programme, take a look at the study day website: https://notesfromnile.wordpress.com/

Organised by Claudia Capancioni, Mariaconcetta Costantini, Mara Mattoscio

Keynote Speaker: Professor Julia Keuhn (University of Hong Kong)

This Study Day wants to reflect on the allure of travelling to the East in the nineteenth century – from the Balkans to the Middle and Far East – by exploring stories of travel and narratives of encounter in Victorian popular writings, both fictional and non-fictional. Special attention will be paid to the female gendering of these narratives meant in two different ways: either as the gender identity of Victorian travellers who authored travelogues or fictions based on their experiences in the East, or as the representation of Eastern femininity in the age’s writings. What the Study Day aims to explore is the extent to which popular writers of the time drew on this particular combination of femininity and Eastern imaginary, producing enthralling stories that sometimes take the shape of proper fictional works, other times appear as narratives embedded in travelogues, essays or (auto)biographies.

In the Victorian era, the East was a source of inspiration for many artists, intellectuals, and writers, and a popular feature in publishing. The increasing complexity of the geo-politics of the Balkans, the Eastern Mediterranean and Asia did not deter the British leisure industry that had found in steam locomotion a means to transform travelling and its accessibility. Journeys to the religious and archaeological sites of Egypt and the Holy Land became more comfortable, faster, and safer. Turkey and Syria attracted several visitors, even though southern Anatolia remained conceived as terra incognita until the following century. Rising numbers of explorers faced physical hardships and local people’s hostility in remote Balkan areas, such as Northern Albania. Asian outposts of the British Empire like India became important destinations of people travelling for either work or pleasure, while the lure of China, South-East Asia and Japan was strongly felt.

What all these lands shared, in Victorian popular imagination, was an exoticism tinged with Orientalist clichés. Though consisting of a vast array of cultures and populations, the East was also an imaginary construct made of mysteries and Arabian Nights fantasies, sheiks and emperors, dangers and luxuries, divided into two macro-categories: the Islamized and partly Arabized Middle East, which also included Egypt and some Balkan areas, and the fabulous Far East, loosely associated with opium, lotus-flowers, tigers and headhunters. Orientalist stereotypes abounded in popular fictions of the time which drew largely on Eastern folklore and narratives embedded in travelogues. For its part, travel writing was influenced by fictional depictions of the East, which were either attached romantic and sensual connotations, or highly sensationalized. The example of the Balkans is revealing. A culturally heterogeneous area of Europe inhabited by different populations, the Balkans tended to be perceived as an imaginary expanse of mysteries and bloodshed, which inspired fantasy stories and gothic narratives based on local folklore, such as LeFanu’s and Stoker’s vampire stories. Similarly, the passion for Egyptology nourished thrilling fictions of curse and persecution, such as Marsh’s The Beetle (1897), while interethnic relations in India triggered provocative representations of women in Kipling’s short stories, Dinah Craik’s The Half-Caste (1851) and M. E. Braddon’s Aurora Floyd (1862-3). Rich in sensationalism were also the travelogues composed by women who visited Eastern regions. Among the latter, it is worth remembering Edith Durham’s fictionalized reports of her Northern Albanian explorations, Amelia Edwards’s A Thousand Miles Up the Nile (1877), Sophia Lane Poole’s and Lucie Duff Gordon’s letters based on their journeys to Egypt, and Isabella Lucy Bird’s exciting reportages of her trips to China, Japan, and the Malay Peninsula. These narratives were the products of a fertile ‘dialogue’ between popular literature and travel reports, which is found also in representations of other Eastern regions.

The focus for this Study Day will be on narratives by women writers or writings about women of the East. The centrality of female identity is due to the increasing relevance of the Woman Question during the century and the new opportunities for travel Victorian women gained, moving unchaperoned off the beaten tracks.  Both as writers and subjects, women are instrumental to the development of new approaches to otherness, owing to their experiences of exclusions as the ‘other’, the alien in patriarchal systems divided along gender lines. If British women sought autonomy in travelling showing a special sympathy for and understanding of ethnocultural diversity, the observation and portrayal of Eastern women in travelogues and fictions encouraged reflection on patriarchal gender modelling, as evidenced by popular representations of veiled women, harems, sati, or domestic female incarceration.

This Study Day intersects three essential aspects of popular Victorian culture – the changing understanding of gender roles, the travelling conditions in their embodied and narrated incarnations, and the Victorian perception of the Eastern space/time – as a way of illuminating some lesser explored driving forces of societal transformation in Victorian times. It aims to delve deep into the common prejudiced adoption of an Orientalist approach (in Said’s terms) as well as into alternative approaches to religious and cultural otherness which, especially in the case of women, frequently led to self-exploration, the questioning of patriarchy in its diverse cultural manifestations (e.g., Islamic, Hinduist, Christian, etc.) and the rethinking of gender roles and education.

Please click here to view the full programme (PDF), Study Day poster (PDF) or visit the Women and the East Study Day website for the full programme.

Read a report of the Study Day here.

Keynote Speaker: Professor Tamar Heller (University of Cincinnati)

Hosted by the VPFA and co-organised with Dr Graziella Stringos

A virtual conference to commemorate the centenary of Rhoda Broughton’s death

Rhoda Broughton (1840-1920) was considered one of the queens of the circulating library in Victorian England. Broughton is the author of more than twenty novels and a collection of short stories, the latter featuring supernatural and mysterious elements. Her first two novels, Cometh up as a Flower and Not Wisely but too Well, earned her the reputation of a sensation writer; they were followed by other works containing sensational elements and subject-matter, and featuring rebellious, impetuous, passionate but often naïve heroines. She later resorted to one-volume novels in which she revealed skill and depth. These gems include A Beginner, Lavinia and Mamma. Constant staples of her writing are her wit, her humour and her observant eye.

This centenary conference aims to assess the significance of Broughton’s literary career, covering from the late Victorian period to the Modernist era. It seeks to underline her influence on her contemporaries and on subsequent writers. It also encourages the evaluation of the variety of subgenres that she experimented with, including, sensation fiction, domestic fiction and the New Woman novel, so that her idiosyncratic style of writing and her contribution to Victorian and twentieth-century literature can be further highlighted. The conference also welcomes comparative studies.

Click to download the Programme (Word).

Keynote Speaker: Anne-Marie Beller (Loughborough University) and Kerry Featherstone (Loughborough University)

Hosted by the VPFA and organised by Dr Naomi Hetherington (University of Sheffield) and Dr Clare Stainthorp (QMUL)

The category of the popular has played a significant role in the ‘religious turn’ in Victorian studies over the last two decades. Historians of Victorian religion have turned to popular culture and folklore to challenge traditional paradigms of decline and secularisation. Amongst scholars of Victorian literature and visual culture, there has been an upsurge of interest in the influence of new religious movements on popular literary and visual forms. This colloquium aims to extend our understanding of the relationship between religion and popular culture in the Victorian period by bringing together researchers from a range of disciplinary backgrounds to explore the expression and representation of religion in popular culture texts of all kinds.

Click to view the Programme (PDF) and Abstracts (PDF). See conference tweets at #VPFAReligion.

 Click here to read “Heartfelt Thanks to the Victorian Pumpkin Fiction Association”, a poem based on closed captions from the colloquium by Kerry Featherstone.

Due to the Covid-19 pandemic, the Religion and Victorian Popular Fiction Study Day was postponed from 2020 to 2021. In May 2020, the VPFA held a Twitter Taster for #VPFAReligion Twitter Taster which is archived here. 

Co-hosted by the VPDA and Humanities Institute, University College Dublin

Keynote speaker: Professor Kathryn Hughes (University of East Anglia)

Owing to rapid population growth coupled with high mortality rates, nineteenth-century Britain was a young society, with those under fourteen constituting from between a third to forty percent of the population. While the romantic conception of childhood as an ideal, innocent state gained widespread acceptance during the nineteenth century, at the same time the realities of child neglect, exploitation, physical and sexual abuse were well known.

Walking Tour: Victorian Gothic Dublin, followed by dinner

Click here to visit the Victorian Children blog.

Click to download the Programme (Word) and the Conference Report (Word).

Contact the organisers, Ailise Bulfin and Leanne Waters, for more information.

Twitter hashtag: #VPFAChildren

Co-hosted by the VPFA, the University of Portsmouth, and Liverpool John Moores University

Organised by Christopher Pittard and Nickianne Moody.

“I went to show my friend Pigott the grave of the illustrious Shelley. Approaching the resting-place of the divine poet in a bright sunlight, the finest black Tom you ever saw discovered at an incredible distance that a catanthropist had entered the cemetery—rushed up at a gallop with his tail at right-angles to his spine—turned over on his back with his four paws in the air, and said in the language of cats: ‘Shelley be hanged! Come and tickle me!’ I stooped and tickled him. We were both profoundly affected.” (Wilkie Collins, letter to his mother, 1866).

Click to read the Victorian Animal Encounters – Booklet (PDF).

Twitter hashtag: #VPFAnimals

Co-hosted by the VPFA and the Short Story Network

Keynote Speaker: Dr Emma Liggins (Manchester Metropolitan University)

Scholarship is increasingly recognising the short story as a form that, far from being the inferior relation of the novel, has its own distinctive aesthetic and discursive possibilities. This Study Day explored the contention that precisely the qualities that led to the short story’s marginal status – its brevity, immediacy, and possible ephemerality – provided writers scope for formal narrative experimentation and for exploring different ways of representing social reality.

Click to download the Conference Programme (Word) and Abstracts and Biographies (Word). Email the organisers Vicky Margree and Lucy Andrew for more details.

Co-hosted by the VPFA and Liverpool John Moores University

Keynote Speaker: Steven Gray (University of Portsmouth)

Click here to download the Conference Programme (Word).

Email the organisers, Joanne Knowles and Christopher Pittard, for more details.

Twitter hashtag: #VPFAnimals

Co-hosted by the VPFA and NUI Galway

Keynote Speakers: Sarah Wise (author) and Alexander Black (NUI Galway)

Exhibition: “Medicine and Mystery in C19th Galway” curated by Anna Gasperini and Paul Rooney

The nineteenth century saw unprecedented developments in medical science, which caused simultaneously wonder and anxiety in the wider public. Victorian popular authors such as Wilkie Collins, Florence Marryat, Charles Dickens, and Mary Elizabeth Braddon enthusiastically explored the themes of medicine and surgical innovation in their work, exploiting their sensational potential. At the same time, the hopes and controversies generated by advancements in the medical field were often the subject of public debate via newspapers, magazines, and cartoons. This study day explores representations of medicine and mystery in the Victorian era, welcoming speakers from Literary History, Medical History, and Medical Humanities backgrounds

Visit the Medicine and Mystery blog here.

Click to download the Conference Programme (Word).

Email the organisers, Dr Anna Gasperini and Dr Paul Rooney at medicineandmystery19@gmail.com for more details. 

Twitter: @meds_myst19

Co-hosted by the VPFA and Manchester Metropolitan University

Keynote Speaker: Patricia Pulham (University of Portsmouth)

“Collaboration is one of the literary features of our age, and at the present rate of progression there seems to be some prospect of it attaining alarming proportions in the future” (Walter Besant, ‘Guide to Matrimony’ in the St. Valentine’s edition of Hearth and Home, 1892)

This VPFA Study Day asks whether it is possible to understand the full complexity of the nineteenth-century literary tradition without acknowledging that, as the result of the expansion of the literary marketplace, there was a marked proliferation of collaborative modes of writing. Across the century co-authorship, multiple authorship and networks of collaborators of all kinds became increasingly common and visible.

Click to download the Conference Programme (Word).

Email Janine Hatter and Kirsty Bunting for more details.

Twitter hashtag: #VPFACollaborations

Co-hosted by the VPFA and Wilkie Collins Journal

Keynote Speaker: Dr Tara MacDonald (University of Idaho)

‘“Why can’t I look into your heart, and see what secrets it is keeping from me?”’

The protagonist of Wilkie Collins’s Heart and Science (1883), surgeon Ovid de Vere, laments the difficulty in deciphering hidden emotions and secrets. Yet, the language suggests his medical background, striking a note with the novel’s supposedly anti-vivisection message and highlighting contemporary debates into the nature of experimental medicine, observation and epistemology. What is the best way of uncovering secrets, and what part does knowledge of the body play in this? Can medical training benefit from a thorough understanding of emotion? And does gender play a part in this? Issues of ‘heart’ and ‘science’ reverberate across Collins’s work, from the Major’s collection of women’s hair in The Law and the Lady (1875) to Ezra Jenning’s solution to the crime of The Moonstone (1868). This conference takes as its focus the proliferation of “heart” and “science” throughout Collins’s work.

Click to download the Conference Programme (Word). Organised by Jo Parsons and Verity Burke.

Co-hosted by the VPFA and Liverpool John Moores University

Organised by Janine Hatter and Nickianne Moody.

Keynote Speaker: Royce Mahawatte (Central St Martins)

Featuring The Liddell Hart Collection of Costume (LHCC)

Click to download the Conference Programme (Word).  Twitter hashtag: #VPFAFashion

Keynote Speakers: William Hughes (Bath Spa University) and Any Smith (University of Sheffield)

Villainous, feminised, weak and wanting; men in the sensation genre are often seen as lacking. Critical readings of the genre, moreover, have tended to focus on its constructions of femininity, largely neglecting representations of men and masculinity. Examining the under-explored subject of Victorian men, masculinity and sensation, “Sensational Men: Victorian Masculinity in Sensation Fiction, Theatre and the Arts” represents a timely and important intervention in the field.

This one day symposium at Falmouth University provides a point of focus and intellectual exchange for scholars working in many different fields such as: popular fiction studies, theatre studies, Gothic studies, art history, early photography and film, theories of gender, sexuality and nation in nineteenth century studies.

Click to download the Conference Programme (Word). Contact Ruth Heholt for more details.

Keynote Speaker: Professor Don Richard Cox

Charles Dickens’s last novel, unfinished as it is, has become a call to arms to a legion of fans, academics and authors to solve the mystery and complete the uncompleted. In the early years after Dickens’s death, passionate discussions of Drood formed the vast bulk of criticism of his works, while later scholars have looked back upon this formative period with a mixture of bemusement and embarrassment. In 2014 The Drood Inquiry will investigate and celebrate the many weird and wonderful responses to Dickens’s story, exploring the ways in which these solutions reflect upon the authors’ attitudes to Dickens and his legacy, and how Dickens’s story and characters exist both within the boundaries of the original text and without in the numerous spin-offs that have arisen.

This one-day conference commemorates the launch of The Drood Inquiry, playing upon some of those themes as well as allowing the opportunity to consider Edwin Drood afresh, not purely as a puzzle to be solved but as a work of literature to be analysed and celebrated in its own right.

Click to download the Conference Programme (Word). Contact Peter Orford for further details. For updates you can follow us on Twitter @Drood_Inquiry or visit the Cloisterham Tales website. 

Keynote Speaker: William Baker

Click to download the Conference Programme (Word).

Contact Janice Allan OR Joanne Ella Parsons for more details.

Keynote Speakers: Steve McLean, Pete Orford, and Barbara Vrachnas

Click to read the Study Day Programme (PDF).

Keynote Speakers: Tara MacDonald, and Anne-Marie Beller

Click to read the Study Day Programme (PDF).

Keynote Speakers: Janice Allan, and Andrew Mangham

Click to read the Study Day Programme (PDF).

Keynote Speakers: Liz Thiel, and John Spiers

Click to read the Study Day Programme (PDF).

Keynote Speakers: Andrew Maunder, and Nickianne Moody

Click to read the Study Day Programme (PDF).