Studies of digital communication technologies often focus on the apparently unique set of multimodal resources afforded to users and the development of innovative linguistic strategies for performing mediatised identities and maintaining online social networks. This edited volume interrogates the novelty of such practices by establishing a transhistorical approach to the study of digital communication. The transhistorical approach explores language practices as lived experiences grounded in historical contexts, and aims to identify those elements of human behaviour that transcend historical boundaries, looking beyond specific developments in communication technologies to understand the enduring motivations and social concerns that drive human communication. The volume reveals long-term patterns in the indexical functions of seemingly innovative written and multimodal resources and the ideologies that underpin them, and shows that methods are not necessarily contingent on their datasets: historical analytic frameworks can be applied to digital data and newer approaches used to understand historical data. These insights present exciting opportunities for English language researchers, both historical and modern.

Studies of digital communication technologies often focus on the apparently unique set of multimodal resources afforded to users and the development of innovative linguistic strategies for performing mediatised identities and maintaining online social networks. This edited volume interrogates the novelty of such practices by establishing a transhistorical approach to the study of digital communication. The transhistorical approach explores language practices as lived experiences grounded in historical contexts, and aims to identify those elements of human behaviour that transcend historical boundaries, looking beyond specific developments in communication technologies to understand the enduring motivations and social concerns that drive human communication. The volume reveals long-term patterns in the indexical functions of seemingly innovative written and multimodal resources and the ideologies that underpin them, and shows that methods are not necessarily contingent on their datasets: historical analytic frameworks can be applied to digital data and newer approaches used to understand historical data. These insights present exciting opportunities for English language researchers, both historical and modern.

The Tudors are one of the best known royal families in English history. Over three generations, they constructed and maintained their status and authority during a period of social, political and religious unrest. This book examines the textual basis of Tudor royal power. Through analyses of correspondence alongside genres including proclamations and historical chronicles, the book explores the visual and verbal practices that came to symbolise monarchic authority in the Tudor era. Mel Evans combines concepts from sociolinguistics and pragmatics with corpus linguistic methods to explore the characteristics of authentic English language Tudor texts, alongside materials reporting and appropriating royal language. The book reveals a pervasive sixteenth-century royal voice - one which is central to the articulation and perpetuation of Tudor monarchic power.

*Shortlisted for the Bread and Roses Prize, 2016* *Shortlisted for the Green Carnation Prize, 2015* * Shortlisted for the Academy of British Cover Design Awards, 2015* Artwash is an intervention into the unsavoury role of the Big Oil company's sponsorship of the arts in Britain. Based on the high profile campaign 'Liberate Tate', Mel Evans targets Chevron, ExxonMobil, BP and Shell's collaboration with institutions such as the Tate in an attempt to end the poisonous relationship forever. Based on years of undercover research, grassroots investigation and activism as well as performance and cultural interventions, Mel Evans draws together the story of the campaign and its journey which has gone from strength to strength. Artwash shows how corporate sponsorship of the arts erases unsightly environmental destruction and obscures the strategies of oil company PR executives who rely on cultural philanthropy. The conclusion sounds a note of hope: major institutions (such as the Southbank Centre) have already agreed to cut sponsorship, and tribunals are happening which are taking these relationships to task. Artists and employees are developing new methods of work which publicly confront the oil companies. Like the anti-tobacco campaign before it, this will be an important cultural and political turn for years to come.