Encode Block Quotations
¶ Rationale
Use your own judgement about when a quotation is too long to be embedded in your own
running prose and needs to be offset as a block inside the paragraph. Block quotations
must be contained inside paragraphs. They cannot float between paragraphs. The rationale
for this rule is that block quotations need to be introduced and (normally) discussed.
¶ Practice
The basic encoding pattern is as follows:
<cit>
<quote>Block quotation goes here.</quote>
<bibl>(Parenthetical citation goes here)</bibl>
</cit>
The entire block quotation and citation is wrapped in the <quote>Block quotation goes here.</quote>
<bibl>(Parenthetical citation goes here)</bibl>
</cit>
<cit>
element.
<cit>
contains two child elements:
<quote>
for the quotation and
<bibl>
for the citation. Omissions from the quotation may be indicated with the self-closing
<gap>
.Because the block quotation must always be inside a paragraph
<p>
element, the full encoding pattern for the block quotation is as follows:
<p>Running prose. Introduction to the quotation:
<cit>
<quote>Block quotation goes here.</quote>
<bibl>(Parenthetical citation goes here)</bibl>
</cit> Running prose continues. </p>
<quote>Block quotation goes here.</quote>
<bibl>(Parenthetical citation goes here)</bibl>
</cit> Running prose continues. </p>
The parenthetical citation is encoded like any other citation, with the
<ref>
element wrapped around the entire citation (except for the parentheses). The
<ref>
element has two attributes:
@type
(for which the value is always "bibl"
) and
@target
. The
@target
attribute begins with a prefix (normally "bibl:"
) followed by the xml:id of the bibliographic entity.
<bibl>(<ref type="bibl" target="bibl:BBBB1">Lastname 11-22</ref>)</bibl>
¶ Examples
<cit>
<quote>Shakespeare, who is accountable both to the eyes and to the ears, and to convince the very heart of an audience, shows that Desdemona was won by hearing Othello talk <gap reason="sampling"/> This was the charm, this was the philtre, the love powder that took the daughter of this noble Venetian i.e., Brabantio. This was sufficient to make the blackamoor white and reconcile all, though there had been a cloven foot into the bargain.</quote>
<bibl>(<ref type="bibl" target="bibl:RYME1">Rymer 89-90</ref>)</bibl>
</cit>
<quote>Shakespeare, who is accountable both to the eyes and to the ears, and to convince the very heart of an audience, shows that Desdemona was won by hearing Othello talk <gap reason="sampling"/> This was the charm, this was the philtre, the love powder that took the daughter of this noble Venetian i.e., Brabantio. This was sufficient to make the blackamoor white and reconcile all, though there had been a cloven foot into the bargain.</quote>
<bibl>(<ref type="bibl" target="bibl:RYME1">Rymer 89-90</ref>)</bibl>
</cit>
Prosopography
Isabella Seales
Isabella Seales is a fourth year undergraduate completing her Bachelor of Arts in
English at the University of Victoria. She has a special interest in Renaissance and
Metaphysical Literature. She is assisting Dr. Jenstad with the MoEML Mayoral Shows
anthology as part of the Undergraduate Student Research Award program.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of
Victoria, Director of The Map
of Early Modern London, and Director of Linked Early Modern Drama
Online. With Jennifer Roberts-Smith and Mark Kaethler, she
co-edited Shakespeare’s Language in Digital Media: Old
Words, New Tools (Routledge). She has edited John Stow’s
A Survey of London (1598 text) for MoEML
and is currently editing The Merchant of Venice
(with Stephen Wittek) and Heywood’s 2 If You Know Not
Me You Know Nobody for DRE. Her articles have appeared in
Digital Humanities Quarterly, Elizabethan Theatre, Early Modern
Literary Studies, Shakespeare
Bulletin, Renaissance and
Reformation, and The Journal of Medieval
and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives
(MLA); Institutional Culture in Early Modern
England (Brill); Shakespeare, Language, and
the Stage (Arden); Performing Maternity in
Early Modern England (Ashgate); New
Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter);
Placing Names: Enriching and Integrating
Gazetteers (Indiana); Making Things and
Drawing Boundaries (Minnesota); Rethinking
Shakespeare Source Study: Audiences, Authors, and Digital
Technologies (Routledge); and Civic
Performance: Pageantry and Entertainments in Early Modern
London (Routledge). For more details, see janellejenstad.com.
Joey Takeda
Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he
assumed in 2020 after three years as the Lead Developer on
LEMDO.
Martin Holmes
Martin Holmes has worked as a developer in the
UVicʼs Humanities Computing and Media Centre for
over two decades, and has been involved with dozens
of Digital Humanities projects. He has served on
the TEI Technical Council and as Managing Editor of
the Journal of the TEI. He took over from Joey Takeda as
lead developer on LEMDO in 2020. He is a collaborator on
the SSHRC Partnership Grant led by Janelle Jenstad.
Navarra Houldin
Project manager 2022–present. Textual remediator 2021–present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Nicole Vatcher
Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.)
in English at the University of Victoria in 2021. Her primary research focus was womenʼs
writing in the modernist period.
Tracey El Hajj
Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD
from the Department of English at the University of Victoria in the field of Science
and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched
Teaching at UVic, where she taught an advanced course on
Artificial Intelligence and Everyday Life.Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.
Bibliography
PLACEHOLDER BIBLIOGRAPHY ITEM. Placeholder bibliography item. The
purpose of this item is to allow encoders to link to a
bibliography item when they do not have access to BIBL1 or
cannot add a new entry. When linking to this item, please
include a comment explaining the details of the item the
link should really point to.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
Metadata
Authority title | Encode Block Quotations |
Type of text | Documentation |
Short title | |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Linked Early Modern Drama Online |
Source |
TEI Customization created by Martin Holmes, Joey Takeda, and Janelle Jenstad; documentation written by members of the LEMDO Team
|
Editorial declaration | n/a |
Edition | Released with Linked Early Modern Drama Online 1.0 |
Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
Document status | prgGenerated |
Funder(s) | Social Sciences and Humanities Research Council of Canada |
License/availability | This file is licensed under a CC BY-NC_ND 4.0 license, which means that it is freely downloadable without permission under the following conditions: (1) credit must be given to the author and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except in quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of the editor and LEMDO. This license allows for pedagogical use of the documentation in the classroom. |