ed anatomy trope and a fetid corpse on a slab. Starting with a comparison of the body to a building, Donne soon forsakes this figure for the more visceral metaphor of us being “brought to the jawes and teeth of death” ̶ a trope that progresses from cliché into a fully-fleshed nightmare as his sermon progresses (2). Defamiliarizing the conventional pairing of birth and death, he identifies both with predatory violence, rather than sleep. In the cosmos of Deaths Duell, we begin our lives as fetal vampires in the womb, where “wee are taught cruelty, by being fed with blood, and may be damned, though wee be never borne” (6). The grave is not much sweeter, for there “wee breed and feed, and then kill those wormes which wee our selves produc’d” (5-6). In the latter passage, worms seem to span the roles of the corpse’s lover and offspring throughout its life cycle; as if combining Hamlet’s worst fears, the grave becomes a bed of cannibalistic incest where fecund corpses spawn, devour, and are devoured by their brood. Like Spenser’s scenes of horror in A View of the Present State of Ireland, these grotesque interludes in Deaths Duell seem to push aside the message of the sermon ̶ “That unto this God the Lord belong the issues of death, that is, it is in his power to give us an issue and deliverance” ̶ to impart one morbid truth: from womb to tomb, to be human is to cannibalize and to be cannibalized (2).

Raw Metaphors: Cannibal Poetics in Early Modern England

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Supporting Digital Humanities for Knowledge Acquisition in Modern Libraries

As the use of social networks becomes increasingly commonplace, scholars have observed that associated requirements arise relating to how one‘s digital self is practised, worked on, and disseminated (Cover; Miller; Papacharissi). Since the earliest forms of online interaction, scholars have tracked the importance of the question of ―realness‖ in identity and social groupings (Burkhalter; Donath; O‘Brien). More recently, as people become more connected, connect-able and subject to peer (as well as corporate and government surveillance) (van Zoonen), digital media cultures have increasingly demanded the performance of authenticity as part of the work of belonging online (Banet-Weiser; Keller). Drawing on Banet-Weiser‘s and Keller‘s work in particular, ―authenticity‖ is defined here as the quality of being considered consistently ―true to oneself‖ in a way which is socially legitimated. I suggest, online, that this demand for authenticity is manifested through two poles of authenticity: authentic individuality and authentic belonging.

WhatShouldWeCallMe? Self-Branding, Individuality and Belonging in Youthful Femininities on Tumblr

Paratexts—the visual, material, and textual elements that accompany a text—have been a subject of increasing interest among book historians and literary critics, and their impact on textual...

Framing and Reframing Meanings in History Books: The Original and Posthumous Paratexts in J. R. Green’s Short History of the English People

Tim Etchells has made repeated use of annotations in his theatrical and reflective texts as a solo artist and writer, as well as in collaborating on the creation and documentation of Forced Entertainment's extensive body of work. This article takes the 2013 printed artefact While You Are with Us Here Tonight, collated by Etchells, as the starting point for a consideration of the various functions of the footnote in these written and performed works, concluding that the footnote is performative in ways that are productive for Etchells's creative project.The book in question reproduces an already well-documented speech from Forced Entertainment's First Night (2001). To this ‘body text’—itself originally generated collaboratively—are appended more than a hundred footnotes, contributed by a number of individuals including Terry O'Connor (who delivered the text in the original performance), other Forced Entertainment collaborators and Etchells himself. I consider the content, connection and flow of these footn...

Meg Worley

Papers

The Body of Text