LEMDO: Encode Citations

Encode Citations

¶ Prior Reading

This documentation presupposes that you are familiar with LEMDOʼs sitewide bibliography (BIBL1) and know how to encode reference links:

Bibliography (BIBL1)

Encode Reference Links

Bibliography Entries

¶ Principles/Rationale

We prioritize the needs of the digital user. That means that LEMDOʼs in-text citations are wrapped around the longest logical strings of text. This practice gives the digital user a longer string to click on.

We think about computer readability. That means that we give all the digits in a page span: (Hand 257–258) rather than (Hand 257–58) or (Hand 257–8).

Each citation must be complete and function independently of other citations. That means that each citation in a paragraph gets a


                                          <ref>

tag pointing to a BIBL1 entry even if the entire paragraph quotes from the same source.

¶ Practice: Cite Secondary Sources

The text node of the


                                          <ref>

element should include the authorʼs name and the page number if the authorʼs name was not mentioned in the sentence:

(<ref type="bibl" target="bibl:CUSH1">Cushman 45</ref>)

You do not need to repeat the authorʼs surname if it has been mentioned within the sentence unless the referent is potentially ambiguous (because the sentence is very long, for example) or unless your anthology lead tells you to include names to provide a longer string for users to click on:

In G.E. Woodberry’s memorable phrase, Greene was a <quote>flitting bat in the slow dawn of our golden poet</quote> (<ref type="bibl" target="bibl:WOOD4">388-389, 394</ref>).

Wilson notes the various theatrical antecedents assigned to Falstaff by Hal, including <quote>the Devil of the miracle play, the Vice of the morality, and the Riot of the interlude</quote> and argues that Falstaff <quote>inherits by reversion the function and attributes of the Lord of Misrule, the Fool, the Buffoon, and the Jester <gap reason="sampling"/> In short, the Falstaff-Hal plot embodies a composite myth which had been centuries in the making</quote> (<ref type="bibl" target="bibl:WILS20">Wilson 20</ref>).

If you are citing an edition, its critical paratexts, or its annotations, cite by the name of the editor.

as Gurr argues, retaining them all in this scene underscores the play’s emphasis on brotherhood (<ref type="bibl" target="bibl:GURR3">
<title level="m">King Henry V</title>
</ref>).

When citing from multiple sources in an in-text citation, separate each source with a semicolon and tag them with the


                                          <ref>

element separately:

The studiousness with which Greene assembles well-rubbed character types and tropes from popular genres such as medieval romance, chronicle history, and the homiletic interlude explains in part this positive reception (<ref type="bibl" target="bibl:MCNE1">McNeir 171-179</ref>; <ref type="bibl" target="bibl:HIEA1">Hieatt 182-186</ref>; <ref type="bibl" target="bibl:CART2">Cartwright 222-223</ref>).

¶ Practice: Cite Notes

To cite footnotes, the text node of the


                                          <ref>

element should include authorʼs name and page number (if the authorʼs name was not included in the sentence) or page number (if the authorʼs name was included in the sentence). This should be followed by n. and the note number with no space between the two:

¶ Practice: Cite Primary Sources

Note that for in-text citations of Shakespeare, we use the playʼs DRE Play ID, wrapped in the


                                          <title>

element:

(<ref type="bibl" target="bibl:BOUR3">
<title level="m">MND</title> 3.2.198-214</ref>)

When you want to point to or cite an act, scene, or speech in a modernized Shakespeare play, cite from The New Oxford Shakespeare. See Cite Shakespeare for more information on citing Shakespeare.

If you do not know the authorʼs name, you may give a short version of the title. You will want to take advice from your anthology lead to ensure that you are following your anthologyʼs practice on this point. For example, we do not know the author of The Famous Victories.

Consult with your anthology lead about how to cite plays by playwrites other than Shakespeare. LEMDO recommends using the DRE Play ID, wrapped in the


                                          <title>

element. LEMDO also recognizes that we are often citing obscure plays. You and your anthology lead may wish to give a short title rather than an acronym.

¶ Practice: Cite Dictionary Entries

To cite dictionaries other than the OED, the ODNB, or one of the many dictionaries in Lexicons of Early Modern English (LEME), give the name of the author(s)/compiler(s) and the head word of the entry. Wrap the head word in the


                                          <term>

element and include the head word inside your


                                          <ref>

element.

<note type="editorial">Thersites and his brothers were responsible for driving King Oeneus from the throne of Aetolia; and, <quote>According to the later poets he was killed by Achilles, because he had ridiculed him for lamenting the death of Penthesilea, queen of the Amazons</quote> (<ref type="bibl" target="bibl:PECK1">Peck, <term>Thersites</term>
</ref>).</note>

To cite from the OED, see Cite OED. To cite from the ODNB, see Cite ODNB. To cite from LEME, see Cite LEME.

¶ Practice: Cite Signature Numbers

To cite early modern printed leaves and pages (in either the publication generally or a single copy thereof), cite by signature number. If the page is not signed, use inferred or bibliographic signature numbers. See Introduction to Signature Marks for information on how to work out bibliographic signature numbers for the verso of leaves and for unsigned leaves by interpolating and extrapolating from the signature marks on signed leaves.

Add r for recto (the first side of the leaf) and v for verso (the second side of the leaf). Do not superscript r and v.

For example, if you wanted to cite a variant on the first page of text in the Boston Public Library copy of the Q1 text of The Merchant of Venice, you would look for the signature marks and infer the signature number. The leaf is numbered A 2. in the forme works. The citation would be (Q1 BPL A2r). Do not use Sig. or sig. in your citation.

For longer books where the signature alphabet is used two or more times, convert signatures like Aa to 2A1.

What you want to cite	Citation
Leaf signed A	A1 leaf
Leaf signed A2 or A2. or A 2.	A2 leaf
Leaf signed Aa	2A leaf
First side of the leaf signed Aa2	2A2r
Second side of leaf signed Aa2 (there will be nothing in the forme works on this side of the page)	2A2v
Fourth leaf (unsigned) in the A gathering	A4 leaf
First side of fourth leaf (unsigned) in the A gathering	A4r

Note that some gatherings are signed with lower-case letters (e.g., the gatherings in the first folio that contain 1 Henry IV, Henry V, and other history plays). Gatherings marked a, b, c are different from gatherings marked A, B, C. They are often interpolated gatherings. Respect the capitalization of the signature mark.

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.

Kate LeBere

Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History Conference (2020), and the Digital Humanities Summer Institute’s Project Management in the Humanities Conference (2021). While her primary research focus was sixteenth and seventeenth century England, she completed her honours thesis on Soviet ballet during the Russian Cultural Revolution. She is currently a student at the University of British Columbia’s iSchool, working on her masters in library and information science.

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.

Rylyn Christensen

Rylyn Christensen is an English major at the University of Victoria.

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

Bourus, Terri, ed. A Midsummer Nightʼs Dream. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford: Oxford University Press, 2016. 1083–1134. WSB aaag2304.

Cartwright, Kent. Theatre and Humanism: English Drama in the Sixteenth Century. Cambridge: Cambridge University Press, 2004.

Cushman, Robert. Play Descends into Skid Row. National Post. 4 November 2006.

Erne, Lukas. Shakespeare as Literary Dramatist. 2nd ed. Cambridge: Cambridge University Press, 2013. WSB aal122.

Gurr, Andrew, ed. King Henry V. New Cambridge Shakespeare. Cambridge: Cambridge University Press, 1992; rpt. 2005. WSB aaq278.

Hieatt, Charles W. A New Source for Friar Bacon and Friar Bungay . Review of English Studies 32.126 (1981): 180–187.

McNeir, Waldo F. Traditional Elements in the Character of Greene’s Friar Bacon. Studies in Philology 45.2 (1948): 172–179.

Peck, Harry Thurston. Harpers Dictionary of Classical Antiquities. New York. Harper and Brothers. 1898.

Wilson, John Dover, ed. The First Part of the History of Henry IV. The New Cambridge Shakespeare. Cambridge, Cambridge University Press, 1946.

Woodberry, G.E. Greene’s Place in Comedy: A Monograph. Representative English Comedies. Ed. Charles Mills Gayley. New York: MacMillan, 1916. 385–394.

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 Citations
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.