The journey to holding The Literary Self: From Antiquity to the Digital Age, began when Consuelo Martino and Caitlan Smith from the University of St Andrews took part in an Interdisciplinary workshop at the SGSAH Summer School in 2017. During the workshop Consuelo and Caitlan brainstormed a conference that could take an interdisciplinary look at confidence and the self. Soon after, Consuelo and Caitlan advertised for additional organisers to further widen their angles of approach. Miles Beard and Matthew Tibble, from the Universities of Strathclyde and Edinburgh, respectively, were selected to join, bringing backgrounds in contemporary literature and history with them.
Margaret Graton | 20 Feb 2017
For literature lovers, the news that a treasured book will soon become a film is always a double-edged sword. We’re simultaneously thrilled to experience the book’s setting, plot, and characters onscreen while afraid that the film won’t meet our expectations. Fantasy and YA fans might fearfully recall “bad” adaptations like the Eragon movie, where the plot underwent so many edits that adaptations of the following books became impossible. However, for every “bad” adaptation, there are plenty of movies that fans defend loyally, even in cases where the adaptation strays from the book.
31 October 2016 ¦ Katie Goh
Confession: I love Sylvia Plath. The honesty of her poetic expression, the seeds of wisdom in her journals, the technical skill of her story stories, and the fundamental relatability of Esther Greenwood. As a teenager, I was seduced.
But then I went to university. From the lecturer who dismissed Plath as ‘privileged, confessional neediness,’ to boys at parties who scorned her while worshipping Bukowski, to Woody Allen’s patronising ‘interesting poetess’ dismissal in Annie Hall. It was embarrassing to like Sylvia Plath.