LEMDO: Chapter 4. Editions and Anthologies

Chapter 4. Editions and Anthologies

This chapter of our documentation is still in beta. We welcome feedback, corrections, and questions while we finalize the page in our 2024–2025 work cycle.

¶ Introduction to Editions and Anthologies

¶ Prior Reading

Quickstart for Editors

Quickstart for Anthology Leads

Style Guidelines for Anthologies

¶ Rationale

LEMDO supports both individual editions and anthologies. For the most part, however, editions are commissioned for anthology projects. Anthologies have their own editorial boards and peer-review processes. LEMDO works with the anthology leads, and the anthology leads work with the editors they have convened for the anthology. Think of UVic as the publisher, LEMDO as the platform used to prepare and publish editions, the anthology leads as series editors, and the individual play editors as contributors to the series of editions embodied in an anthology.

LEMDO will allow editors to use the repository and tools without the editor being affiliated with an anthology if the editors are graduate students preparing projects or theses, or if the editors are a Pedagogical Partner and their students. LEMDO might liaise with the anthology leads to see if the prospective student edition might have a logical home in one of the anthologies eventually. At this point (2021), LEMDO has no plan to support multiple editions of any one play. Our key outcome is to expand the canon of teachable and performable early modern plays. One of LEMDO’s objectives, then, is to ensure that new editors work on plays that are not already under contract for one of the LEMDO anthologies.

¶ Handshake Model of Inclusion

Editions are not automatically included in anthologies. Two things have to happen for an edition to be included in an anthology:

The edition page and all of the component files of the edition must be licensed by the author/editor for inclusion in the anthology. The license is included in the


                                                <teiHeader>

of each file.

The anthology must explicitly include the edition using the lemdo-include instruction in the home page of the anthology (e.g., in qme.xml for a QME edition).

The purpose of this handshake model is to replicate in digital form the process of signing a contract. Both parties have to sign the contract for a publication to proceed. (Note that this digital handshake is usually in addition to a conventional publishing contract.)

Similarly, files are not automatically included in an edition. Three things have to happen for a file to be included in an edition:

The file must be licensed by the author/editor for inclusion in the sponsoring anthology.

The file must have the


                                             @status

of published.

The file must be listed in the edition page (e.g., emdMV_edition.xml).

Given that anthologies are published via the release model, whereby the anthology and its new content are periodically released to the public-facing website, this model makes the following publication strategies possible:

An anthology can have a web presence listing its personnel and editorial guidelines before any of the editions are commissioned or published.

An anthology can publish each edition as it is completed, rather than waiting for all editions to be complete before it publishes anything.

An individual edition can be published incrementally. By not licensing unfinished components of an edition and not including them in the edition page, the editor can hold back components of the edition that are not finished or not yet peer-reviewed. Even if the anthology includes the edition, only the finished parts of the edition will be pulled into the anthology.

¶ Multi-anthology Publication

Editions may be included in more than one anthology, with the consent of the editor. For example, the same edition of Macbeth might be included in the New Internet Shakespeare Editions, a King’s Men anthology (should someone decide to create one), and a Middleton anthology. One objective of the LEMDO project is to enable new combinations of already-edited plays; once we have a critical mass of editions, it becomes feasible to create new anthologies that regroup and reframe plays according to various selection principles (by author, by playing company, by theatre, or even by year).

¶ Further Reading

In addition to reading this chapter, we recommend that you read Encoding Links Between Parts of Your Edition.

¶ Anthologies

This documentation is for Anthology Leads (such as the Coordinating Editors of the ISE, DRE, or MoMS, or the QME General Editors).

¶ Rationale

LEMDO supports a number of anthology projects (DRE, EMEE, ISE, MoMS, NISE, QME, and others). These anthologies are central to LEMDO’s core objective: to increase the number of teachable and performable early modern plays by creating open-access digital critical editions.

¶ Role Divisions

The LEMDO team at UVic focuses on building the publication platform and editorial tools according to the current best practices for long-lived, light-weight, archivable websites. The anthologies focus on working with editors to prepare editions. Anthologies have their own editorial and advisory boards, their own peer review processes, and their own internal workflows. Generally, the LEMDO team will not work directly with your editors—except to help them get set up to work in the LEMDO repository—unless you invite us to liaise directly with an editor.

¶ What’s Common to All Anthologies

All anthologies share the same TEI customization, the same underlying encoding, the same processing, the same core set of functionalities, and the same text analysis tools, in order to make texts interoperable and interchangeable between anthologies.

¶ What’s Unique to Each Anthology

Anthologies have their own look, menus, colour schemes, and logos. Anthologies may have different methodologies. For example, QME adopts a Performance as Research (PAR) methodology. Anthologies will have their own requirements for the length, number, and scope of critical paratexts. LEMDO’s documentation flags points on which anthologies have to make a decision or can choose between options.

Each anthology will have its own role names for team members. Whatever you call yourself (General Editor, Textual Editor, Coordinating Editor), LEMDO thinks of you as an Anthology Lead.

¶ Setting up Your Anthology

You will have a directory in the lemdo/data/anthologies directory of the LEMDO repository. Your directory is where you will create all the files pertaining to your anthology. You will also have an initialism for your anthology, entirely in lower-case letters: dre, moms, qme, and so on. Your directory’s name will be the initialism of your anthology. Examples:

Anthology	Directory path
The Douai Shakespeare Manuscript Project	lemdo/data/anthologies/douai
DRD	lemdo/data/anthologies/drd
DRE	lemdo/data/anthologies/dre
EMEE	lemdo/data/anthologies/EMEE
MoMS	lemdo/data/anthologies/moms
NISE	lemdo/data/anthologies/nise
QME	lemdo/data/anthologies/qme

You may look at files created by other anthologies, but you will have write privileges only on your own anthology.

¶ Further Reading

Readers interested in the technical aspects of building and customizing anthologies may want to read Build and Customize an Anthology in the chapter on Programming.

¶ Anthology About Pages

¶ Customize Your Anthology

¶ Rationale

There is a limited suite of things that anthologies can modify. The LEMDO platform supports the creation of static anthologies (HTML, CSS, and JS only). The encoding and processing of the underlying XML has to be the same for all anthologies (to keep the platform lightweight, Endings-compliant, and low-cost). However, anthologies can customize design and menus, and tweak some behaviours provided that the overall functioning of the anthology is not compromised.

¶ Practice

Anthologies can custom the following:

Menus using our HTML template.

Their content (using the lemdo-include protocol).

Their look and feel (logos, colours, banners, fonts) using our CSS template.

Some functionalities, via our JS template.

You will want to work with a developer and/or web designer to do these customizations. Point them to Build and Customize an Anthology in our Programming chapter.

¶ Preparation

Before you talk to your developer and/or web designer, you will want to have answers to the following questions ready:

What top-level menus do you want? Every anthology should have an About menu. Most will want to have an item for Plays. Look at other anthologies and other scholarly websites for examples.

What items do you want to appear under each top-level menu? For example, an About menu will probably have items like Team, Credits, Editorial Guidelines, and Contact Us. Each of these items will correspond to a page in your anthology. Think carefully about how you want to organize the information and resources in your anthology.

What would you like your logo to look like?

What would you like to see at the top of your page as a banner? Text? A picture? Both?

What is the colour scheme of your anthology? If you do not have an idea yet, you might gather up some typical images from the period and from your project.

¶ Editions

A portfolio contains all the documents produced for an edition of a play (or set of plays, such as HW for The Honest Whore, Parts 1 and 2). Each portfolio is named after its DRE Play ID, the acronym we use for the play. The advantage of this structure is that an editor can be given write permissions and have access to all files related to their edition.

The portfolio normally contains four child directories:

app

crit

main

supp

The app directory houses the edition’s apparatus files. It contains the annotation and collation files for the modernized text(s). The crit directory houses the edition’s critical paratexts. It contains items such as the acknowledgements, general introduction, textual introduction, critical introduction, stage history, chronology, and bibliography. (Note that character lists belong in the


                                       <teiHeader>

of the modernized text.) The main directory contains the modernized play text(s) and the semi-diplomatic text(s). The supp directory contains any supplementary texts. (Note that LEMDO does not encourage the creation of supplementary texts. We have supp folders in many editions to accommodate the remediated legacy editions from DRE, ISE, and QME.)

Some portfolios may have one or both of the additional child directories:

perf

images

If the edition also contains production materials from performance-as-research (PAR) work, the portfolio will have a perf directory for global performance commentary (as opposed to performance annotations), production credits, and metadata for the videos (which are stored elsewhere).

If the edition contains images, store the image files in the images directory along with permissions.

Note that each portfolio has an edition file that resides inside the portfolio but outside of the child directories. This page lists all the files that belong to the edition, gives responsibility statements for everyone involved in the creation and oversight of the edition (including anthology leads), and organized the landing page (or Title Page) of the edition. See Encode Edition Page.

¶ Encode Edition Page

¶ Prior Reading

Editions

¶ Rationale

An edition is comprised of multiple XML files all contained in a single portfolio in the LEMDO repository. The edition page serves two functions:

It contains the information LEMDO needs to publish the finished components of your edition in the correct anthology (or anthologies), including credits and a list of edition components (i.e., the metadata for your edition).

It contains the content of the edition landing page, organized the way you want your edition landing page to appear.

¶ Components of Metadata

Information about your edition belongs in the


                                          <teiHeader>

of your edition page. The main components of the metadata are as follows:

The File Description (


                                                <fileDesc>

): contains the


                                                <titleStmt>


                                                <editionStmt>


                                                <publicationStmt>


                                                <notesStmt>

, and


                                                <sourceDesc>

elements.

Practice: Encode the Profile Description (


                                                <profileDesc>

): contains the


                                                <textClass>

elements and its children


                                                <catRef>

elements.

The Encoding Description (


                                                <encodingDesc>

): contains a narrative statement on encoding practice and the


                                                <projectDesc>

and


                                                <editorialDecl>

elements.

The Revision Description (


                                                <revisionDesc>

): contains the


                                                <change>

elements.

¶ The File Description

The


                                          <fileDesc>

element contains information about the text encoded in the file. This includes the textʼs title (


                                          <titleStmt>


                                          <title>

), responsibility statements for the author and all of the people that contributed to the file (


                                          <respStmt>

), an edition statement (


                                          <editionStmt>

), publication information (


                                          <publicationStmt>

), a series statement (


                                          <seriesStmt>

), a notes statement (


                                          <notesStmt>

) and a description of the textʼs source (


                                          <sourceDesc>

). The next sections of this documentation will provide LEMDOʼs practice for encoding each of these elements.

¶ Practice: Encode the Title Statement

The


                                             <titleStmt>

has at least one child


                                             <title>

element and at least one child


                                             <respStmt>

. To encode them, follow these steps:

Give your edition an authority title in a


                                                   <title>

element with the


                                                @type

attribute value of main. This title will appear at the top of your edition page when it is displayed on a desktop or laptop device. It will also be the title that appears on the front cover and half title page of the printed edition of your play. You will want to think carefully about the title of your edition. Should it be Othello, the Moor of Venice, Othello, or The Tragedy of Othello? Each title constitutes a different critical statement about your edition.

Give your edition an abbreviated title in a sibling


                                                   <title>

element with the


                                                @type

attribute value of short. Normally, this abbreviated title will be the standard DRE abbreviation for the play (i.e., the name of your portfolio: MV, MND, GQH, AHDM, H5, 1H4). This abbrevation will be used in the mobile version of your edition landing page. If you are uncertain about the DRE abbreviation for your play, see DRE Play IDs.

Add one


                                                   <respStmt>

element for everyone who worked on the edition, including research assistants, encoders, anthology leads, and peer reviewers (if the edition has undergone open peer review). These responsibility statements are used to generate the Credits list for the edition. Anyone who has contributed to, overseen, reviewed, or supervised the edition and has not been credited at the level of the component files of the edition must be credited at the level of the edition page. People who have been credited for component files may also be listed on the edition page. See Encode Responsibility Statements.

¶ Practice: Write the Edition Statement

The


                                             <editionStmt>

contains a child

<p>

element. LEMDO has a standard required format for writing your


                                             <editionStmt>

: Release with {Anthology Name} {1.0}, where you will replace {Anthology Name} with the name of your anthology and {1.0} with the version number of the anthology release that your edition will be released with.

For example:

<editionStmt>
<p>Released with MoEML Mayoral Shows 1.0</p>
</editionStmt>

<editionStmt>
<p>Released with Queenʼs Men Editions 2.0</p>
</editionStmt>

¶ Practice: Encode the Publication Statement

The


                                             <publicationStmt>

element has two child elements:


                                             <publisher>

and


                                             <availability>

. In most cases, the publisher will be the same for every edition, unless an anthology is using the LEMDO platform to prepare editions that will be published and hosted elsewhere:

<publicationStmt>
<p>University of Victoria on the Linked Early Modern Drama Online platform.</p>
</publicationStmt>

The


                                             <availability>

statement is where you license the edition for inclusion in one or more anthologies. It has two child elements:


                                             <licence>

and

<p>

(note the spelling of the TEI element name, which differs from our style guide spelling). To encode the


                                             <availability>

statement:

In the


                                                <licence>

element, license the edition for the sponsoring anthology as well as for any other anthologies stipulated by your contract or in which you have agreed to publish any component of your edition. Use the


                                             @from

attribute to give a starting date for the license (which can be the date of projected publication or the date on which the editor signs off on the edition). Use the


                                             @resp

attribute to capture the xml:ids of all the people holding intellectual copyright. Use the


                                             @corresp

attribute to indicate the anthology to which the edition belongs; you will find the xml:id of the anthology in the ORGS1.xml file. You will need one


                                                <licence>

element for each anthology:

In the

<p>

element, you will give a statement about the creative commons license that your edition is being published under. Your anthology leads will determine the necessary wording for this paragraph. The following is LEMDOʼs recommended standard statement, though you and your anthology leads may decide to modify the following wording as necessary (if, for example, credit for th semi-diplomatic text should go to additional people, or if your anthology has chosen a more restrictive license):

<p>This edition is licensed under a <ref target="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC_ND 4.0 license</ref>, which means that the components are 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 critical paratexts in the classroom.</p>

¶ Practice: Encode the Notes Statement

In the


                                             <notesStmt>

element, list all the components of your edition as follows:

You must add one


                                             <relatedItem>

element for each XML component of your edition (i.e., any file with a .xml extension). All of your apparatus files, critical paratexts, main texts, and supplementary texts must be listed as related items in the


                                             <notesStmt>

. If you have created video landing pages, each one must be listed. In cases where you have created a video landing page for each scene of the play, your list of related items may become quite long.

If you list a file in the edition table of contents in the


                                             <text>

element of your edition page and do not also include it in the


                                             <notesStmt>

, you will get an error warning reminding you that you must have a


                                             <relatedItem>

element for the file. Although every file mentioned in the


                                             <text>

must have a corresponding


                                             <relatedItem>

element, the converse is not true. You may have many more files in your


                                             <notesStmt>

than you choose to list in your table of contents.

¶ Practice: Encode the Source Description

The


                                             <sourceDesc>

element has a child

<p>

element. Use this element to describe the source of the XML file for the edition landing page (i.e., the file described in this present document). For an edition landing page created by the LEMDO team on behalf of an editor, the


                                             <sourceDesc>

is as follows:

<sourceDesc>
<p>Edition landing page created by the <orgName ref="org:LEMD1">LEMDO Team</orgName>
</p>
</sourceDesc>

¶ Practice: Encode the Profile Description

The


                                          <profileDesc>

element identifies the type of file and will be the same for all edition landing pages, regardless of anthology or edition:

¶ The Encoding Description

The


                                          <encodingDesc>

element has the following child elements:

<p>


                                                <projectDesc>

, which in turn has a child

<p>

element.


                                                <editorialDecl>

, which in turn has a child

<p>

element.¹

¶ Practice: Encode the Encoding Description

The child

<p>

element of


                                             <encodingDesc>

is a narrative statement that the file has been encoded according to LEMDO’s encoding guidelines. It is always as follows:

<encodingDesc>
<p>Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines</p>
</encodingDesc>

Note that there is no terminal punctuation.

¶ Practice: Encode the Project Description

The child

<p>

element of


                                             <projectDesc>

is an opportunity for the editor to describe the editorial project in narrative form. Anthology leads may prescribe particular wording if they wish. It is especially useful for capturing division of labour.

Some examples are:

<projectDesc>
<p>This edition was prepared by <persName ref="pers:MART1">Mathew Martin</persName> and <persName ref="pers:COCK1">Peter Cockett</persName> for the Queenʼs Men Editions anthology on the LEMDO platform</p>
</projectDesc>

<projectDesc>
<p>This edition was prepared by <persName ref="pers:SLIG1">Jessica Slights</persName> for the Internet Shakespeare Editions and Broadview Press. It has been remediated by the <orgName ref="org:LEMD1">LEMDO Team</orgName> for republication in the New Internet Shakespeare Editions on the LEMDO platform.</p>
</projectDesc>

<projectDesc>
<p>This edition was prepared by <persName ref="pers:HOWA1">Ashley Howard</persName> for the LEMDO platform.</p>
</projectDesc>

<projectDesc>
<p>This edition of <title level="m">The Merchant of Venice</title> was newly prepared by <persName ref="pers:JENS1">Janelle Jenstad</persName> and <persName ref="pers:WITT1">Stephen Wittek</persName> for the New Internet Shakespeare Editions on the LEMDO platform. Jenstad transcribed and encoded the semi-diplomatic texts. Wittek wrote the critical introductions. The editors prepared the modernized text and collations together.</p>
</projectDesc>

Note that there is terminal punctuation in the


                                             <projectDesc>

¶ Practice: Encode the Editorial Declaration

The


                                             <editorialDecl>

element states which editorial guidelines the edition as a whole follows. Editions published on the ISE platform followed the old ISE Editorial Guidelines (possibly with some anthology-level modifications for QME and DRE editions). Editions published on the LEMDO platform follow the DRE Editorial Guidelines, which supersede the ISE Editorial Guidelines. The New Internet Shakespeare Editions (NISE) has adopted the DRE Editorial Guidelines. Other anthologies may use the DRE Guidelines, a modification of the DRE Editorial Guidelines, or their own guidelines, provided their guidelines can be supported by LEMDOʼs encoding practices and schema. For editions that contain remediated components, it is especially important to indicate the editorial guidelines.

Some examples of


                                             <editorialDecl>

elements are:

<editorialDecl>
<p>This edition was prepared according to the DRE Editorial Guidelines</p>
</editorialDecl>

<editorialDecl>
<p>This edition was prepared according to the ISE Editorial Guidelines, as modified by the QME project. Some features have been brought in line with DRE Editorial Guidelines in the process of remediation for the LEMDO platform.</p>
</editorialDecl>

¶ The Revision Description

See Encode the Revision Description for general information about the


                                          <revisionDesc>

element. For remediated editions, the


                                          <revisionDesc>

element tracks the progress of the edition page through the conversion and remediation process. You should add a


                                          <change>

element for every substantial change that you make to the edition page. For example:

<revisionDesc status="published">
  <change who="org:LEMD1" when="2023-10-31" status="published">Published file.</change>
  <change who="pers:HOUL3" when="2023-07-31">Encoded styling for hungwords, updated metadata.</change>
  <change who="pers:GALL2" when="2023-06-13" status="IML-TEI_proofed">GALL2 finished proofing the file.</change>
  <change who="pers:GALL2" when="2023-05-24">GALL2 began proofreading the file.</change>
  <change who="pers:JENS1" when="2023-03-27">Began responding to XML comments in the file. Changed date on CMEE1’s @when attribute from September to February.</change>
  <change who="pers:HOLM1" when="2022-11-15">Replaced original @place values with new ones from emdPlacement taxonomy.</change>
  <change who="pers:HOUL3" when="2022-08-03" status="IML-TEI_proofing">Finished remediating, resolved comments, changed status to IML-TEI_proofing.</change>
  <change who="pers:HOUL3" when="2022-07-04">Added css for sp ab elements.</change>
  <change who="pers:HOUL3" when="2022-07-01">Added css for speaker, stage, and running title elements.</change>
  <change who="pers:HOUL3" when="2022-06-28">Used a find-and-replace to remove inaccurate thorn glyphs.</change>
  <change who="pers:HOUL3" when="2022-06-21">Began adding wlns and amending glyphs.</change>
  <change who="pers:GALL2" when="2022-02-25" status="IML-TEI_INP"> Began remediating.</change>
  <change who="pers:ELHA1" when="2020-08-03">Added document xml:id to the ids throughout the file using XSLT.</change>
  <change who="pers:ELHA1" when="2020-07-13">Removed supplied elements that do not have attributes, using XSLT.</change>
  <change who="pers:ELHA1" when="2020-07-10" status="IML-TEI">Added status IML-TEI.</change>
  <change who="pers:TAKE1" when="2019-09-26">Normalized document using XSLT.</change>
  <change who="pers:TAKE1" when="2018-07-11" status="prgGenerated">Created TEI from IML file.</change>
  <change notAfter="2018" status="peerReviewed" who="org:QME1">Peer reviewed for QME.</change>
</revisionDesc>

¶ Content

This part of the edition page is the curated content that appears on the edition landing page. It is designed to be maximally flexible for anthologies to decide how to organize their own edition landing pages. The content and order of the


                                          <byline>

elements are entirely at the discretion of the anthology leads. Anthologies are in control of the headers and the order of edition components (using the


                                          <list>


                                          <head>

, and


                                          <item>

elements). You may also add an image anywhere in this section of the file.

The content of the edition can be organized into a two-column table using the LEMDO custom value of twoColumnToc, for which LEMDO has ready-made processing. (Do not try to make a three-column table. LEMDO does not have ready-made processing for that scenario.)

<text>
  <body>
    <byline>Author: <persName ref="pros:ANON1">Anonymous</persName>
    </byline>
    <byline>Editors: <persName ref="pers:MART1">Mathew Martin</persName> (Text), <persName ref="pers:COCK1">Peter Cockett</persName> (Perfomance), and <persName ref="pers:MARS1">Karen Sawyer Marsalek</persName> (Old sp. Text)</byline>
    <p>Integrated Edition: <ref target="doc:emdFV_M">Famous Victories of Henry V (Modern)</ref>
    </p>
    <div>
      <table type="twoColumnToc">
        <row>
          <cell>
            <list>
              <head>Introduction to the Playtext</head>
              <item>
                <ref target="doc:emdFV_GenIntro">General Introduction</ref>
              </item>
              <item>
                <ref target="doc:emdFV_Bibliography">Bibliography</ref>
              </item>
              <item>
                <ref target="doc:emdFV_Supp">Supplementary Materials</ref>
              </item>
            </list>
          </cell>
          <cell>
            <list>
              <head>Introduction to the Production</head>
              <item>
                <ref target="doc:emdFV_PerfIntro">Performance Introduction</ref>
              </item>
              <item>
                <ref target="doc:emdFV_PerfNotes">Performance Notes</ref>
              </item>
              <item>
                <ref target="doc:qme_SQMPerfInt">Shakespeare and the Queen’s Men (SQM) Productions</ref>
              </item>
              <item>
                <ref target="doc:qme_SQMPerfBibl">Performance Bibliography</ref>
              </item>
            </list>
          </cell>
        </row>
        <row>
          <cell>
            <list>
              <head>Playtexts</head>
              <item>
                <ref target="doc:emdFV_M">Famous Victories of Henry V (Modern)</ref>
              </item>
              <item>
                <ref target="doc:emdFV_Q1">The Famous Victories of Henry the Fifth, Quarto, 1598 (Semi-diplomatic transcription)</ref>
              </item>
            </list>
          </cell>
          <cell>
            <list>
              <head>Performances</head>
              <item>
                <ref target="doc:emdFV_video">
                  <title level="m">Famous Victories of Henry V</title> (Videos)</ref>
              </item>
              <item>Production Archives (forthcoming)</item>
              <item>
                <ref target="doc:emdFV_ProductionCredits">Production Credits</ref>
              </item>
            </list>
          </cell>
        </row>
      </table>
    </div>
    <figure>
      <graphic url="img:FV_banner.png" mimeType="image/png" width="640px" height="84px">
        <desc>A banner with photos of the Famous Victories production. Text in the bottom left reads: Famous Victories.</desc>
      </graphic>
    </figure>
  </body>
</text>

¶ Metadata Template for Edition Pages

This file contains a template for the


                                       <teiHeader>


                                       <front>

, and


                                       <body>

elements of the born-digital file that creates the edition landing page for a work.

¶ Sample TEI Header

<teiHeader>
  <fileDesc>
    <titleStmt>
      <title type="main">[Authority Title]</title>
      <title type="short">[Abbreviated Title]</title>
      <respStmt>
        <resp ref="resp:edt">Editor</resp>
        <persName ref="pers:ABBR1"></persName>
      </respStmt>
      
      <respStmt>
        <resp ref="resp:cph">Copyright Holder (editorial content)</resp>
        <persName ref="pers:ABBR1"></persName>
      </respStmt>
      <respStmt>
        <resp ref="resp:cph">Copyright Holder (XML and interface)</resp>
        <orgName ref="org:UVIC1">University of Victoria</orgName>
      </respStmt>
      
      <respStmt>
        <resp ref="resp:edt_mrk">Conversion and Remediation</resp>
        <orgName ref="org:LEMD1">LEMDO Team</orgName>
      </respStmt>
      
      <respStmt>
        <resp ref="resp:edt_mrk">Encoder</resp>
        <orgName ref="org:LEMD1">LEMDO Team</orgName>
      </respStmt>
      <sponsor ref="org:LEMD1"/>
      
      <funder>Social Sciences and Humanities Research Council of Canada</funder>
      
    </titleStmt>
    <editionStmt>
      <p>Released with  1.0</p>
    </editionStmt>
    <publicationStmt>
      <publisher>University of Victoria on the Linked Early Modern Drama Online platform.</publisher>
      <availability>
        <p>This edition is licensed under a <ref target="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC_ND 4.0 license</ref>, which means that the components are 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 critical paratexts in the classroom.</p>
        <licence/>
      </availability>
    </publicationStmt>
    <seriesStmt>
      <p>Anthology Name</p>
    </seriesStmt>
    <notesStmt>
      <relatedItem target="doc:somedoc"/>
      
      
      
    </notesStmt>
    <sourceDesc>
      <p>Edition landing page created by the <orgName ref="org:LEMD1">LEMDO Team</orgName>
      </p>
    </sourceDesc>
  </fileDesc>
  <profileDesc>
    <textClass>
      <catRef scheme="tax:emdDocumentTypes" target="cat:ldtBornDigEdition"/>
    </textClass>
  </profileDesc>
  <encodingDesc>
    <p>Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines</p>
    <projectDesc>
      <p>This edition was prepared by <persName ref="pers:ABBR1"></persName> for the  anthology on the LEMDO platform</p>
    </projectDesc>
    <editorialDecl>
      <p>This edition was edited according to the DRE Editorial Guidelines</p>
    </editorialDecl>
  </encodingDesc>
  <revisionDesc status="TEI_INP">
    <change who="pers:JENS1" when="2021-02-12" status="TEI_INP">Created file.</change>
    
  </revisionDesc>
</teiHeader>

¶ Sample Body Element

<body>
  <byline>Author: <persName ref="pros:SHAK1"></persName>
  </byline>
  <byline>Editor: <persName ref="pers:ABBR1"></persName>
  </byline>
  
  <p>Quickstart: </p>
  <div>
    <head>Texts of this edition</head>
    <list>
      <item></item>
      <item></item>
      <item></item>
    </list>
  </div>
  
  <div>
    <head>Critical Paratexts</head>
    <list>
      <item></item>
      <item></item>
    </list>
  </div>
  <div>
    <head>Apparatus</head>
    <list>
      <item></item>
      <item></item>
    </list>
  </div>
  <div>
    <head>Supplementary Material</head>
    <list>
      <item></item>
      <item></item>
    </list>
  </div>
</body>

¶ Notes

Feel free to ask LEMDO for help by emailing lemdo@uvic.ca (monitored by the Director and the Project Manager) or lemdotech@uvic.ca (monitored by the Director, Project Manager, and Remediators).

¶ Check Anthology Status

Our continuous integration server (Jenkins) generates a new publication status report for each anthology. It regenerates these reports with every successful Jenkins build.

The checks built into our system ensure that your anthology includes only published editions licensed for your anthology, and only the components of those editions that are published and licensed. Jenkins first checks the status of the file that drives your entire anthology (dre.xml, ise.xml, qme.xml, etc). It then checks all the editions that are listed in that file for inclusion in your anthology. It checks the edition page for each edition, and then checks all the files that are listed in that edition page. The point is to have a cascading series of checks. If the edition is not included in your anthology file, then Jenkins does not check that edition (thus saving processing time).

You will see from the report that Jenkins is looking principally for three things in each file that is meant to be included in your anthology:

Does the file have


                                          @status

value of published on the


                                             <revisionDesc>

element in the


                                             <teiHeader>

? I.e., Is the file ready to be published? The LEMDO Team decides when a file is ready to be published (included in an anthology release). Note that files can be published without peer-review, if the file does not require peer review (as might be the case with an Acknowledgements file, say) or if the anthology lead decides that there is some benefit to having the file available to the public.

Is the file licensed for the anthology? I.e., does the file have a


                                             <licence>

element that points to the anthology that is being built?

Does the file have a correctly formatted edition statement (


                                             <editionStmt>

)? All files being published must have an edition statement that fits LEMDOʼs standard format of Released with {anthology name} 1.0.

Tasks that need your attention before your next release are marked in red. Tasks that are done are marked in green.

You can find your anthology status page on the LEMDO-dev website under the Anthologies tab in the top navigation bar.

¶ Customize Anthology CSS

You will modify your anthology using the .scss file in your anthology’s css directory, which is a child of the site directory. For example, the path to the .scss file for the QME anthology is lemdo/data/anthologies/qme/site/css/qme.scss.

Note that modifying your anthology requires at least an intermediate ability in CSS/SCSS. This documentation page presupposes that you have intermediate ability. If you are an anthology lead and do not have the necessary skills, you will want to hire someone who does.

Your .scss file is a blank slate. You are limited only by your design vision and by LEMDO’s Document Object Model (DOM) when changing the look and feel of your anthology.

You can create your own style for your anthology by overriding the default style found in lemdo-dev.scss. To do this you must make the changes in your anthology’s .scss file. These changes will then override LEMDO’s default style. Your .scss file is located in your anthology’s site/css folder.

LEMDO uses many different CSS selectors. Some are global, like var(--highlightColor), but others appear only in certain zones of the site, like side menus or top navigation components. Where possible CSS variables have been organized in the ._variables.scss file used by LEMDO into four different regions: Top Navigation, Left Panel, Popup, Main Content, and Footer.

Overriding highlight colours, fonts, and typography can be done using the CSS variables, allowing for a change done once to appear everywhere the variable is applied, but it is not a requirement. Sometimes it will be more efficient to use an inspector to locate the element that you wish to change and add that element directly to your site’s .scss file in order to make the change.

¶ Example: Font-Style Changes

If you wanted to change to change the sans-serif style font from Alegreya (the default) to Arial you could change the css variable --primarySans

from:

--primarySans: "Alegreya Sans", "Helvetica Neue", Arial, sans-serif;

to:

--primarySans: Arial, sans-serif;

This will change the font-face across your anthologyʼs entire site.

You can also use a developer tool to locate the HTML element being styled, recreate it in your .scss file, and override the style that way. You may want to do this if the element you are changing does not have a variable applied to it, or you do not wish an existing variable to be applied.

Notes

1.LEMDO Director Janelle Jenstad observes that this feature of the TEI metadata model is illogical. She has put in a feature request to the TEI asking that the


                                    <editorialDecl>

not be a child of


                                    <encodingDesc>

, on the grounds that encoding practice and editorial approach are distinct.↑

Prosopography

Anonymous

Ashley Howard

Ashley Howard took her MA in Medieval and Early Modern Studies at the University of Victoria (2017–2020). During that time, she was a Remediating Editor for LEMDO. For her MA thesis, she prepared the first born-LEMDO edition, a critical edition of Ralph Knevet’s Rhodon and Iris.

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.

Jessica Slights

Jessica Slights is Professor of English in the Department of English & Theatre at Acadia University in Nova Scotia. She writes about and lectures on various aspects of early modern literature and culture, and her work has appeared in Early Modern Literary Studies, English Studies in Canada, Studies in Philology, and Studies in English Literature. She is co-editor, with Paul Yachnin, of Shakespeare and Character: Theory, History, Performance, and Theatrical Persons (Palgrave 2009). Her print edition of Shakespeare’s Othello is available from Broadview Press.

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.

Karen Sawyer Marsalek

Karen Sawyer Marsalek (Famous Victories of Henry V, early modern text) is an associate professor of English at St. Olaf College. She has edited, directed and performed in several early English plays. Her publications include essays on true resurrections in medieval drama and The Winter’s Tale, false resurrections in the Chester Antichrist and 1 Henry IV, and theatrical properties of skulls and severed heads. Her current research is on remains and revenants in the King’s Men’s repertory. She can be contacted at marsalek@stolaf.edu.

Mahayla Galliford

Research assistant, remediator, encoder, 2021–present. Mahayla Galliford is a fourth-year student in the English Honours and Humanities Scholars programs at the University of Victoria. She researches early modern drama and her Jamie Cassels Undergraduate Research Award project focused on approaches to encoding early modern stage directions.

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.

Mathew Martin

Dr. Mathew R. Martin is Full Professor at Brock University, Canada, and Director of Brock’s PhD in Interdisciplinary Humanities. He is the author of Between Theatre and Philosophy (2001) and Tragedy and Trauma in the Plays of Christopher Marlowe (2015) and co-editor, with his colleague James Allard, of Staging Pain, 1500–1800: Violence and Trauma in British Theatre (2009). For Broadview Press he has edited Christopher Marlowe’s Edward the Second (2010), Jew of Malta (2012), Doctor Faustus: The B-Text (2013), and Tamburlaine the Great Part One and Part Two (2014). For Revels Editions he has edited George Peele’s David and Bathsheba (2018) and Marlowe’s The Massacre at Paris (forthcoming). He has published two articles of textual criticism on the printed texts of Marlowe’s plays: Inferior Readings: The Transmigration of Material in Tamburlaine the Great (Early Theatre 17.2 [December 2014]), and (on the political inflections of the shifts in punctuation in the early editions of the play) Accidents Happen: Roger Barnes’s 1612 Edition of Marlowe’s Edward the Second (Early Theatre 16.1 [June 2013]). His latest editing project is a Broadview edition of Robert Greene’s Selimus. He is also writing two books: one on psychoanalysis and literary theory and one on the language of non-violence in Elizabethan drama in the late 1580s and 1590s.

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.

Patrick Szpak

Patrick Szpak is a Programmer Consultant and Web Designer in the Humanities Computing and Media Centre at the University of Victoria.

Peter Cockett

Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster University. He is the general editor (performance), and technical co-ordinating editor of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM), directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players, he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.

Stephen Wittek

Stephen Wittek is Assistant Professor of Literature at Carnegie Mellon University and co-editor with Janelle Jenstad for the ISE edition of The Merchant of Venice. He is the author of The Media Players: Shakespeare, Middleton, Jonson, and the Idea of News (University of Michigan Press, 2015), and has also written for journals including Studies in English Literature, Digital Humanities Quarterly, and Journal of Cognitive History. In 2014, the CBC Radio One program Ideas produced an hour-long episode showcasing Dr. Wittek’s research on the co-evolution of English theatre and news culture (available for streaming or download).

Dr. Wittek holds a PhD in literature from McGill University and a Master’s degree in Shakespeare Studies from the Shakespeare Institute in Stratford-Upon-Avon, England. From 2013 to 2017, he was a Postdoctoral Fellow for McGill’s Early Modern Conversions project, a five-year research endeavor that brought together an interdisciplinary team of humanities scholars to study the multiform proliferation of conversion and conversional representation in early modernity (see http://www.earlymodernconversions.com). His continuing work for the project includes the essay collection Performing Conversion: Urbanism, Theatre, and the Transformation of the Early Modern World, which he is co-editing with José R. Jouve-Martin for the Early Modern Conversions book series (University of Edinburgh Press).

On the digital humanities front, Dr. Wittek is co-developer with Stéfan Sinclair and Matthew Milner for DREaM (Distant Reading Early Modernity), a database that will index 44,000+ early modern texts, thus making long-neglected material more amenable for use with tools for large-scale textual analysis.

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.

William Shakespeare

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.

Queenʼs Men Editions (QME1)

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).

University of Victoria (UVIC1)

https://www.uvic.ca/

Metadata

Authority title	Chapter 4. Editions and Anthologies
Type of text	Documentation
Short title
Publisher	Linked Early Modern Drama
Series
Source
Editorial declaration
Edition
Encoding description
Document status	prgGenerated
License/availability