Encode Disclaimers
¶ Rationale
Occasionally, you will wantto indicate some distance between yourself and a word or
phrase. The TEI definition of the
<soCalled>
element suggests that it contains a word or phrase for which the author or narrator indicates a disclaiming of responsibility, for example by the use of scare quotes or italics.LEMDOʼs stance is that you should generally avoid using words and phrases from which we want to distance ourselves. In critical paratexts, if you have cause to distance yourself from a word, ask if you really want to use that word or phrase.
The use of
<soCalled>
is justified if you want to flag words or phrases:
that were used by previous generations of scholars
that were used in later or earlier periods
that were or are used in different cultural contexts than the one we are describing
or speaking from
that were or are used as epithets
that are used as forms of address, honorifics, and stereotypes. (Do not tag forms
of address and honorifics in a primary text when one character is using the phrase
to address another character. DO tag forms of address when you are tagging an editorial
comment about the honorific.)
that cannot be attributed to any particular person or group (e.g., proverbs, sayings,
common expressions).
¶ Practice
The
<soCalled>
element is not permitted in primary texts. We as editors do not need to distance
ourselves from words in the early modern text. If a character talks about a word as
a word, tag it with
<mentioned>
.In critical paratexts and annotations, wrap the
<soCalled>
element around words and phrases from which you want to mark distance. You will probably
want to signal your distance from the word or phrase in your prose as well as with
the
<soCalled>
tag.¶ Rendering Note
LEMDO will add quotation marks around any text encoded with
<soCalled>
.¶ Examples
¶ Outmoded Terminology
<note type="commentary">
<!-- ... -->
Often called a <soCalled>bad quarto</soCalled>, the 1603 text of Hamlet offers important clues about early performance. <!-- ... --></note>
<!-- ... -->
Often called a <soCalled>bad quarto</soCalled>, the 1603 text of Hamlet offers important clues about early performance. <!-- ... --></note>
¶ Ahistorical Usages
<note type="commentary">
<!-- ... -->
Although the nickname <soCalled>weeping willow</soCalled> did not appear in print until the eighteenth century <!-- ... --></note>
<!-- ... -->
Although the nickname <soCalled>weeping willow</soCalled> did not appear in print until the eighteenth century <!-- ... --></note>
<note type="commentary">
<!-- ... -->
Been weighed down by heavy thoughts, with a play on <soCalled>pressing to death</soCalled>, a form of torture and execution by which the prisoner is crushed beneath weights <!-- ... --></note>
<!-- ... -->
Been weighed down by heavy thoughts, with a play on <soCalled>pressing to death</soCalled>, a form of torture and execution by which the prisoner is crushed beneath weights <!-- ... --></note>
A note on Oth by Jessica Slights.
¶ Words or Phrases from Other Cultural Contexts
<note type="commentary">
<!-- ... -->
A blonde or <soCalled>fair</soCalled> complexion was considered handsome by the English <!-- ... --></note>
<!-- ... -->
A blonde or <soCalled>fair</soCalled> complexion was considered handsome by the English <!-- ... --></note>
A note on AYL by David Bevington.
<note type="commentary">
<!-- ... -->
The body is consistently figured as a <term>vessel</term> in biblical texts, and the notion of woman as the <soCalled>weaker vessel</soCalled> was a commonplace in the period <!-- ... --></note>
<!-- ... -->
The body is consistently figured as a <term>vessel</term> in biblical texts, and the notion of woman as the <soCalled>weaker vessel</soCalled> was a commonplace in the period <!-- ... --></note>
A note on Oth by Jessica Slights.
¶ Epithets
<p>We hear that <quote>the noble Mortimer</quote>
<!-- ptr element required here --> has been taken by the Welshman, Glendower, and that the young Harry Percy, or <soCalled>Hotspur</soCalled>, whilst victorious against the Scots, is refusing to give up his prisoners to the king, probably at his uncle Worcester’s suggestion.</p>
<!-- ptr element required here --> has been taken by the Welshman, Glendower, and that the young Harry Percy, or <soCalled>Hotspur</soCalled>, whilst victorious against the Scots, is refusing to give up his prisoners to the king, probably at his uncle Worcester’s suggestion.</p>
<note type="commentary">
<!-- ... -->
Echoes of this scornful attack on conventional ideals of service echo throughout the play as Iago himself is designated repeatedly (and ironically) by the epithet <soCalled>honest</soCalled>
<!-- ... -->
</note>
<!-- ... -->
Echoes of this scornful attack on conventional ideals of service echo throughout the play as Iago himself is designated repeatedly (and ironically) by the epithet <soCalled>honest</soCalled>
<!-- ... -->
</note>
A note on Oth by Jessica Slights.
<note type="commentary">
<!-- ... -->
Othello’s use of the <soCalled>sweet</soCalled>
<!-- ... -->
</note>
<!-- ... -->
Othello’s use of the <soCalled>sweet</soCalled>
<!-- ... -->
</note>
A note on Oth by Jessica Slights.
<note type="commentary">
<!-- ... -->
Neill proposes a pun on the epithet <soCalled>dull Moor</soCalled>. <!-- ... --></note>
<!-- ... -->
Neill proposes a pun on the epithet <soCalled>dull Moor</soCalled>. <!-- ... --></note>
A note on Oth by Jessica Slights.
¶ Forms of Address, Honorifics, and Stereotpyes
In annotations and critical paratexts, tag honorifics with
<soCalled>
when you are talking about the honorifics. Do not tag honorifics in the semi-diplomatic
transcription or modern text of your play.
<note type="commentary">
<!-- ... -->
An honorific form of address, like <soCalled>your honor</soCalled> or <soCalled>your grace</soCalled>
<!-- ... -->
</note>
<!-- ... -->
An honorific form of address, like <soCalled>your honor</soCalled> or <soCalled>your grace</soCalled>
<!-- ... -->
</note>
A note on AYL by David Bevington.
<note type="commentary">
<!-- ... -->
<soCalled>Coz</soCalled> can also mean almost any family relationship or acquaintance <!-- ... --></note>
A note on AYL by David Bevington.<!-- ... -->
<soCalled>Coz</soCalled> can also mean almost any family relationship or acquaintance <!-- ... --></note>
¶ Common Phrases or Names
<note type="commentary">
<!-- ... -->
See Pliny’s discussion in Natural History of the collection of secretions from the <soCalled>balm tree</soCalled>
<!-- ... -->
</note>
<!-- ... -->
See Pliny’s discussion in Natural History of the collection of secretions from the <soCalled>balm tree</soCalled>
<!-- ... -->
</note>
A note on Oth by Jessica Slights. Common names of plants cannot be attributed to any one person.
<note type="commentary">
<!-- ... -->
See Pliny’s discussion in Natural History of the collection of secretions from the<quote>Baulme tree</quote>
<!-- ... -->
</note>
<!-- ... -->
See Pliny’s discussion in Natural History of the collection of secretions from the<quote>Baulme tree</quote>
<!-- ... -->
</note>
A note on Oth by Jessica Slights quoting the specific spelling in an early modern translation of
Pliny.
<note type="commentary">
<!-- ... -->
The idea of <soCalled>groaning with conception</soCalled> figures Othello’s belief that Desdemona has been unfaithful <!-- ... --></note>
<!-- ... -->
The idea of <soCalled>groaning with conception</soCalled> figures Othello’s belief that Desdemona has been unfaithful <!-- ... --></note>
A note on Oth by Jessica Slights.
<note type="commentary">
<!-- ... -->
This phrase echoes the proverbial <soCalled>to line one’s pockets</soCalled> and thus implies (improper) financial gain <!-- ... --></note>
<!-- ... -->
This phrase echoes the proverbial <soCalled>to line one’s pockets</soCalled> and thus implies (improper) financial gain <!-- ... --></note>
Proverbs cannot be attributed to any one particular person or group; such is the nature
of a proverb. If you quote the proverb from a source like Dent, wrap the quoted proverb
in the
<quote>
element—i.e., if you find yourself quoting something you find while in Dent, as opposed
to going to Dent to look up a proverbial saying. A note on Oth by Jessica Slights.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.
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.
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 Disclaimers |
| 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. |