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            <note>
               <p>Michael Best is Professor Emeritus at the University of Victoria, BC. He founded the <title level="s">Internet Shakespeare Editions</title> in 1996, and was Coordinating Editor until 2017, contributing two editions to the ISE: <title level="m">King John</title> and <title level="m">King Lear</title> (the latter also available in print from <ref target="https://broadviewpress.com/product/king-lear-ed-best-joubin/">Broadview Press</ref>). In print, he has published editions of works of Elizabethan magic and huswifery, a collection of letters from the Australian goldfields, and <title level="m">Shakespeare on the Art of Love</title> (2008). He contributed regular columns for the <title level="m">Shakespeare Newsletter</title> on <soCalled>Electronic Shakespeares</soCalled>, and has written many articles and chapters for both print and online books and journals, principally on questions raised by the new medium in the editing and publication of texts. He has delivered papers and plenary lectures on electronic media and the <title level="s">Internet Shakespeare Editions</title> at conferences in Canada, the USA, the UK, Spain, Australia, and Japan.</p>
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               <forename>Leah</forename>
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            <note>
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               <p>Janelle Jenstad is a Professor of English at the University of Victoria, Director of <ref target="https://mapoflondon.uvic.ca">The Map of Early Modern London</ref>, and Director of <ref target="https://lemdo.uvic.ca">Linked Early Modern Drama Online</ref>. With Jennifer Roberts-Smith and Mark Beatrice Kaethler, she co-edited <title level="m">Shakespeare’s Language in Digital Media: Old Words, New Tools</title> (Routledge). She has edited John Stow’s <title level="m">A Survey of London</title> (1598 text) for MoEML and is currently editing <title level="m">The Merchant of Venice</title> (with Stephen Wittek) and Heywood’s <title level="m">2 If You Know Not Me You Know Nobody</title> for DRE. Her articles have appeared in <title level="j">Digital Humanities Quarterly</title>, <title level="j">Elizabethan Theatre</title>, <title level="j">Early Modern Literary Studies</title>, <title level="j">Shakespeare Bulletin</title>, <title level="j">Renaissance and Reformation</title>, and <title level="j">The Journal of Medieval and Early Modern Studies</title>. She contributed chapters to <title level="m">Approaches to Teaching Othello</title> (MLA); <title level="m">Teaching Early Modern Literature from the Archives</title> (MLA); <title level="m">Institutional Culture in Early Modern England</title> (Brill); <title level="m">Shakespeare, Language, and the Stage</title> (Arden); <title level="m">Performing Maternity in Early Modern England</title> (Ashgate); <title level="m">New Directions in the Geohumanities</title> (Routledge); <title level="m">Early Modern Studies and the Digital Turn</title> (Iter); <title level="m">Placing Names: Enriching and Integrating Gazetteers</title> (Indiana); <title level="m">Making Things and Drawing Boundaries</title> (Minnesota); <title level="m">Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies</title> (Routledge); and <title level="m">Civic Performance: Pageantry and Entertainments in Early Modern London</title> (Routledge). For more details, see <ref target="https://janellejenstad.com/">janellejenstad.com</ref>.</p>
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               <p>Kate McPherson is Professor of English and Honors Program Director at Utah Valley University (Orem, UT, USA). In 2015, she began working to redevelop <title level="m">Shakespeare’s Life and Times</title>, created by Michael Best, into the <title level="m">Early Modern England Encyclopedia</title>. Her other publications include commentary on <title level="m">Pericles</title> and <title level="m">The Comedy of Errors</title> for the <title level="m">New Oxford Shakespeare</title> (2016); the co-edited volumes <title level="m">Stages of Engagement: Drama and Religion in Post-Reformation England</title> with James Mardock (Duquesne University Press, 2014) and <title level="m">Shakespeare Expressed: Page, Stage, and Classroom in Shakespeare and His Contemporaries</title>, with Kathryn M. Moncrief and Sarah Enloe (Fairleigh Dickinson University Press, 2013). With Kathryn M. Moncrief, Kate has also two edited collections, <title level="m">Performing Pedagogy in Early Modern England: Gender, Instruction, and Performance</title> (Ashgate, 2011) and <title level="m">Performing Maternity in Early Modern England</title> (Ashgate 2008). She has also published numerous articles on early modern maternity in scholarly journals. Kate participated in the 2008 National Endowment for the Humanities Institute, <title level="a">Shakespeare’s Blackfriars: The Study, the Stage, the Classroom</title>, at the American Shakespeare Center. She also served as Play Seminar Director, a public humanities position, for the Utah Shakespeare Festival in 2017 and 2018.</p>
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               <p>Melissa Walter is Associate Professor of English at the University of the Fraser Valley. Her research focuses on early modern English drama and English and European prose fiction. She is the author of <title level="m">The Italian Novella and Shakespeare’s Comic Heroines</title> (U of Toronto, 2019), and co-editor, with Dennis Britton, of <title level="m">Rethinking Shakespeare Source Study: Authors, Audiences, Digital Technologies</title> (Routledge, 2018). Her work on English theatre and the European novella has appeared in several edited collections, including <title level="m">Transnational Exchange in Early Modern Theater</title> (Ashgate, 2008), and <title level="m">Transnational Mobility in Early Modern Theater</title> (Ashgate, 2012). She has also written about <title level="a">Translation and Identity in the Dialogues in English and Malaiane Languages</title> (<title level="m">Indographies</title>, ed. Jonathan Gil Harris. Palgrave 2012). At the University of the Fraser Valley, she is a lead coordinator of UFV’s Shakespeare and Reconciliation Garden.</p>
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<div xml:id="emee_ZodiacMan_Overview">
   
   <p xml:id="emee_ZodiacMan_p1"><cit><quote>
      <l>BELCH: I did think, by the excellent constitution of thy leg, it was formed under the star of a galliard. ... What shall we do else? Were we not born under Taurus?</l> 
      <l>AGUECHEEK: Taurus! That’s sides and heart.</l> 
      <l>BELCH: No, sir; it is legs and thighs.</l> <title level="m">Twelfth Night</title>, Act 1, Scene 3
   </quote></cit></p>
   
   <p xml:id="emee_ZodiacMan_p2">The Zodiac Man is the image of a naked man, his legs and arm spread, labeled to show which zodiac sign has influence over internal and external body parts.</p>
   
   <p xml:id="emee_ZodiacMan_p3">Astrology was an important discipline in the early modern period, used for understanding many things, including human medicine and behavior. Using the study of constellations in relation to the body, thinkers believed that the movements of the heavens produced hidden beams that affected human life. During the Middle Ages, various depictions of the Zodiac Man appeared in many kinds of manuscripts, including prayer books, calendars, and texts on astrology, philosophy, and medicine.</p>
</div>
    
    <div xml:id="emee_ZodiacMan_History">
       <head>History</head>
       
       <p xml:id="emee_ZodiacMan_p4">The origins of the group of constellations known as the Zodiac are hard to track as researchers have found multiple early sources that depict varying ideas of them. Scholars believe one of the earliest depictions of a constellation was on the walls of a French cave about 17,000 years ago. The prehistoric drawings display what European people would call the constellation of Taurus—an image of a bull, with what looks like stars over its shoulders.</p>
       
       <p xml:id="emee_ZodiacMan_p5">Ancient Mesopotamia also recorded constellations that they observed in the sky. The Babylonians, who ruled the region in the second millennium B.C.E., developed a robust astronomical tradition and kept detailed records of the movement of celestial bodies. By observing these movements, the Babylonians generated the 12-part Zodiac still used today.</p>
       
       <p xml:id="emee_ZodiacMan_p6">The Greeks built upon the Babylonian tradition, creating a list of 48 constellations total, including the twelve the Babylonians developed. They called the area of the sky <foreign xml:lang="grc">zōdiakos kyklos</foreign> (<gloss>circle of animals</gloss>) , or <foreign xml:lang="grc">ta zōdia</foreign> (<gloss>little animals</gloss>). Images of the Zodiac Man crosses many religious traditions with only minor deviations. Through this deviation, scholars recognize that the Zodiac Man grew out of Middle Eastern cultures, with its final form coming from the Greco-Roman world.</p>
    </div>
    
    <div xml:id="emee_ZodiacMan_MedicalPrognositcUse">
       <head>Medical Prognostic Use</head>
       
       <p xml:id="emee_ZodiacMan_p7">Greek medical practitioners sometimes conceptualized the universe as a giant human figure. The Zodiac Man helped people understand connections between earth and sky, and overall, the microcosm and the macrocosm. The concept of the correspondence between things of immense scale and things on a human scale remained important in the early modern period. Astrologers and astronomers also collected data between the events on Earth, what happened to people, political events, weather events, and celestial events like comets, etc., in relation to the Zodiac.</p>
       
       <p xml:id="emee_ZodiacMan_p8">The first reference to the Zodiac Man being used to provide medical prognosis appears in the first century CE in which each zodiac sign corresponds with a plant, mineral, or body part. Medieval physicians found pragmatic daily use for these connections, such as helping guide them in the practice of bloodletting or surgery by avoiding certain body parts associated with celestial bodies at particular times, such as the full moon. The conceptual framework provided by the Zodiac Man also helped explain other illness and inform treatments as part of the early modern reliance on astrology as a science, not merely an occult discipline. Many people consulted astrologers for medical diagnoses, as the diaries of physician-astrologers such as Simon Forman demonstrate.</p>
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    <div xml:id="emee_ZodiacMan_biblioPrint">
       <head>Key Print Sources</head>
       <listBibl>
          
          <bibl><title level="a">Astrology</title>. <title level="m">Shakespeare’s Theatre: A Dictionary of His Stage Context</title>, Jan. 2004, pp. 46–47.</bibl>
          
          <bibl><author>Sheposh, Richard</author>. <title level="a">Zodiac</title>. <title level="m">Salem Press Encyclopedia of Science</title>, 2023.</bibl>
          
          <bibl><author>Wee, John Z.</author> <title level="a">Discovery of Zodiac Man in Cuneiform</title>. <title level="j">Journal of Cuneiform Studies</title>. <publisher>The American Schools of Oriental Research</publisher>, vol. 67, 2015, pp. 217–233.</bibl>
         
          <bibl><author>Witherden, Sian</author>. <title level="a">Balancing Form, Function, and Aesthetic: A Study of Ruling Patterns for Zodiac Men in Astro-Medical Manuscripts of Late Medieval England</title>. <title level="j">Journal of the Early Book Society for the Study of Manuscripts and Printing History</title>, vol. 20, 2017, pp. 79–109.</bibl>
       </listBibl>
    </div>
    
    <div xml:id="emee_ZodiacMan_biblioOnline">
       <head>Key Online Sources</head>
       <listBibl>
          <bibl><author>Best, Michael</author>. <title level="a">Signs and the Body</title>. <title level="m">Shakespeare’s Life and Times</title>. <title level="s">Internet Shakespeare Editions</title>. <publisher>University of Victoria</publisher>, 4 Jan. 2011, <ref target="https://internetshakespeare.uvic.ca/Library/SLT/ideas/order/signs.html">https://internetshakespeare.uvic.ca/Library/SLT/ideas/order/signs.html</ref>. Accessed 11 Feb. 2026.</bibl>
          
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       </listBibl>
    </div>
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