Notes and Citations in Critical Paratexts

Introductory content goes here, if any.

Rationale

LEMDO uses a modified version of MLA 7 for citations and notes in critical paratext. Quotations from, paraphrases of, allusions to, and mentions of secondary sources are followed by parentheses containing the authorʼs name and the page number or range. These parenthetical reference are encoded in such a way that they link to entries on LEMDOʼs site-wide bibliography and can be processed into pop-up citations.
Use notes for digressions, state-of-the-art summaries (i.e., quick overviews of the literature), and elaborations that would otherwise interrupt or delay the unfolding of your argument. Use parenthetical references inside notes to give credit to secondary sources.
Note that quotations from your own modern or semi-diplomatic texts are handled via a different mechanism, as are links to other parts of your edition. See Encode Pointer Links and Encoding Links Between Parts of Your Edition.

Practice

Place the parenthetical reference at the end of the clause containing the quotation or mention or at the end of the sentence. Use your discretion about placement, following these two principles: (1) the reference must be unambiguous in its referent; and (2) it must be minimally disruptive to the prose. Consult with your anthology lead about anthology-specific practices.
If you include the authorʼs name in your prose and the parenthetical reference clearly refers back to the author, you may omit the authorʼs name from your parenthetical reference and simply give the page number(s). You may also choose to include the authorʼs name on the grounds that a longer string is easier for users to click on. Consult with your anthology lead about anthology-specific practices.
Use an en dash between numbers in a range (a practice on which MLA is silent and on which we have elected to follow Chicago). If you are working in LEMDOʼs Oxygen project (lemdo-all.xpr), you will be able to add an en dash by typing Ctrl+Shift+Space (Command+Shift+Space on a Mac) and selecting the en dash from the drop-down menu.
Tag the contents of the parenthesis (but not the two parenthesis markers) with a <ref> element. Add the @type attribute with the value "bibl". Add a @target attribute with a value beginning with "bibl:". See Encode Citations for more detailed information on this practice.
If you refer in a general way to a publication and do not need to give page numbers, you may put your <ref> element on the authorʼs name in your running prose. See sample reference to Richmond Barbour in the Examples.
If you want to add a note, open a <note> element at the point where you want the note marker to appear. Punctuation affects note placement; if you want to put a note at the end of a clause or subordinate clause, you will put the <note> element after a comma, period, question mark, or exclamation point but before a semi-colon or colon. Add the @type attribute with the value "editorial". These notes will be processed into numbers that the user can click on in the digital environment; in the printed Hornbooks, they will appear at the bottom of the page.
Notes may contain parenthetical citations in a <ref> element. Follow the same practices for references in notes as in running prose.

Examples

<p><!-- paragraph begins --> Dekker’s entertainment still remains focused upon promoting the livery company, in this case the Ironmongers, which were facing diminishing prowess (<ref type="bibl" target="bibl:HILL6">Hill 17-18</ref>). <!-- paragraph continues --></p>
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<p><!-- paragraph begins -->
  <ref type="bibl" target="bibl:BARB4">Richmond Barbour</ref> has similarly suggested that the early modern English represented the east in fictional plays, poems, prose using a variety of proto Orientalist tropes that together served to other their Muslim characters.<!-- paragraph continues --></p>
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<p>Given that the speeches would have been difficult for many of the show’s attendees to hear,<note type="editorial">Audiences’ capacity to hear and absorb the speeches has been a subject of debate. Some scholars have assumed that the speeches, which directly address the lord mayor, would have been lost on the crowd (see for example <ref type="bibl" target="bibl:KLEI2">Klein 20</ref> and <ref type="bibl" target="bibl:ROBE8">Robertson and Gordon xlii</ref>). Others, however, argue that these shows were meant not solely for one <quote>noble visitor</quote> (<ref type="bibl" target="bibl:KIPL2">Kipling 42</ref>), but were written to resonate with a socially capacious audience; see for example Wickham, who proposes that the actors <quote>performed to two distinct audiences simultaneously</quote> (<ref type="bibl" target="bibl:WICK1">Wickham Vol. 1., 59</ref>). Kara Northway in particular contends that the speeches were written to stimulate general interest in the <quote>betterment of the country </quote> through the cultivation of virtues such as <quote>industry</quote> (<ref type="bibl" target="bibl:NORT4">176</ref>).</note> the visual elements of the production are important to piecing together a sense of the performance. <!-- paragraph continues --></p>
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Further information

For further information about using the <ref> element to cite sources, see:
While you are learning about how to cite sources, you will also want to learn how to encode short and long quotations. See:
The following pages deal with common practices in citation, such as omitting material from long quotations, dealing with quotations within quotations, and quoting from non-English sources:

Notes

1.Source: Mark Kaethlerʼs Critical Introduction to Londonʼs Tempe ↑
2.Source: Kirk Melnikoff’s Critical Introduction to Selimus ↑
3.Source: Laurie Ellinghausenʼs General Introduction to The Device of the Pageant ↑

Prosopography

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.

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

Barbour, Richmond. Before Orientalism: London’s Theatre of the East, 1576–1626. 1959. Cambridge: Cambridge University Press, 2003. WSB aal241.
Hill, Tracey. “To the Honour of our Nation abroad”: The Merchant as Adventurer in Civic Pageantry. Civic Performance: Pageantry and Entertainments in Early Modern London. Ed. J. Caitlin Finlayson and Amrita Sen. New York: Routledge, 2020. 13–31.
Kipling, Gordon. Triumphal Drama: Form in English Civic Pageantry. Renaissance Drama, New Series 8 (1977): 37–56.
Klein, Bernhard. Between the Bums and Bellies of the Multitude: Civic Pageantry and the Problem of the Audience in Late Stuart London. London Journal 17.1 (1992): 18–26.
Northway, Kara. “To Kindle an Industrious Desire”: The Poetry of Work in Lord Mayors’ Shows. Comparative Drama 41.2 (2007): 167–192. doi: 10.1353/cdr.2007.0021.
Robertson, Jean, and D.J. Gordon, eds. Collections, Vol. III: A Calendar of Dramatic Records in the Books of the Livery Companies of London, 1485–1640. Oxford: Malone Society, 1954.
Wickham, Glynne. Early English Stages 1300 to 1660. 3 vols. London: Routledge and Kegan Paul; rpt. New York: Columbia University Press, 1959–1981.

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 Notes and Citations in Critical Paratexts
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.