Encode Emphasis

Use the <emph> element to stress or emphasize a word in a critical paratext or in documentation. Our current rendering for anything tagged with <emph> is boldface. We ask that you use this element judiciously and not without good reason.
We foresee 6 cases where you will want to use the <emph> element.
In a textual essay to show the difference between two readings that you wish to discuss at more length than one would normally do in a collation entry.
In a quotation where you want to emphasize a particular word you have just discussed or will immediately discuss.
To mark metrical stress in a quotation included in a critical paratext, in a discussion about verse or rhetorical devices.
To reproduce your source accurately when you are quoting material (including titles in BIBL1.xml) that has added emphasis (whether it is italicized or boldfaced in the source).
In running text, where you want to add your own emphasis for rhetorical purposes.
In a documentation file (including editorial guidelines), to guide the userʼs gaze to particularly important material.

Showing Difference

<p>It is not an authoritative text but it does contain a fortuitous reading that is adopted by most editors: Falstaff’s line, <quote>convey my <emph>trustful</emph> queen</quote> is changed to <quote>convey my <emph>tristful</emph> queen</quote>.</p>

Adding Emphasis to Quoted Material

In this long example, we see the editor emphasizing the words myself and himself and then going on to offer an analysis with in-line glosses.
<p xml:id="emd1H4_GenIntro_p32">It is worth noting the similarities between Hal’s language in the <soCalled>I know you all</soCalled> speech and King Henry’s at the beginning of the very next scene. Henry says: <quote>I will from henceforth rather be <emph>myself</emph>, / Mighty and to be feared</quote> (<ptr type="localCit" target="doc:emd1H4_M#emd1H4_M_anc_3195"/>). Hal, comparing himself to the sun breaking through the clouds, says: <quote>That, when he please again to be <emph>himself</emph>, / Being wanted he may be more wondered at</quote> (<ptr type="localCit" target="doc:emd1H4_M#emd1H4_M_anc_3197"/>), and later in 3.2 he promises his father, <quote>I shall hereafter, my thrice-gracious lord, / Be more <emph>myself</emph>
</quote> (TLN 1911-1912). Who is the self that Hal proposes to be? When King Henry talks about being <quote>myself</quote>, he seems to mean <gloss>myself-as-king</gloss>, as opposed to his natural disposition or <gloss>condition</gloss>.</p>

Adding Metrical Stress

<p>In Adrian Noble’s 1984 production, Exeter (Brian Blessed) insisted on the English pronunciation in order to irk the French. The dauphin’s reaction, an indignantly precise French pronunciation (<quote>For the—Doe-<emph>fan</emph>—, I stand here for him</quote>) raised a laugh.</p>

Quoting Emphasized Material

In this example, LEMDO replicates the emphasis already in the title of an article:
<title level="a">The Pronouns of Propriety and Passion: <emph>you</emph> and <emph>thou</emph> in Shakespeare’s Italian Comedies</title>

Adding Your Own Emphasis

Use <emph> sparingly, or it will lose its impact. Be careful not to resort to <emph> in cases where you need to use <term> or <mentioned> .
<p><!-- Preceding prose -->But it <emph>is</emph> possible to see him as having already made those choices. <!-- Paragraph continues. --></p>

Guiding User in Documentation

<p>The authorʼs name—when known—is <emph>always</emph> included in the text node of the parenthetical citation, even if it has already been mentioned within the sentence.</p>

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.

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