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.
Because of their large size, facsimiles and videos are stored outside the LEMDO working
repository on an HCMC server.
Images belonging in an edition are stored within the edition portfolio (in lemdo/data/texts/[portfolio
acronym]/images) along with letters of permission.
LEMDO is not in the business of creating a library of media. The images collected
by the ISE project, including those in the Shakespeare in Performance (SIP) database,
have been gifted to the University of Victoria and may eventually be made available
in a new resource.
The semi-diplomatic transcriptions of early modern documents and witnesses are usually
accompanied by digital surrogates. Ideally, we house the surrogates at UVic and embed
them in the transcriptions. We can also point to open-access surrogates housed elsewhere
on the internet. If necessary, we will point to the EEBO surrogates of the EEB microfilms,
but this is a last resort because EEBO is behind a subscription paywall and thus inaccessible
to many users.
LEMDO is not generally interested in hosting digital surrogates simply for the sake
of having them. In other words, LEMDO is not a facsimiles collection. Given the laudable work of many libraries to digitize their rare books and manuscripts,
and the equally laudable efforts of the ESTC and projects like The Shakespeare Census
to point users to holding libraries, LEMDO sees no need to collect and host facsmiles
that are not intrinsic to an edition.
Whether or not an edition must include digital surrogates is an anthology-level decision.
Search the library at each location to see if there is a digital surrogate of their
copy (note: library catalogues include microfilm as well as digital surrogates, and
the entries can be misleading. Microfilms will likely be listed with EEB or EEBO).
Note that smaller libraries may be more cooperative than larger libraries.
¶ Select Images for Semi-Diplomatic Transcriptions
When you select images to include in the LEMDO repository for your semi-diplomatic
transcription, there are some considerations to keep in mind. The digital surrogate
that you select should:
Be from the copy that the transcription transcribes.
Be open-access.
Be one that we are able to legally download and store.
Be high-resolution.
Include title page and blank pages.
Be a complete copy (i.e., is not missing leaves or gatherings).
Be in colour.
Ideally, be single-page scans. We are able to split spread scans if needed. If your
digital surrogate has spread-page images, please contact lemdo@uvic.ca.
Ideally, have a high percentage of corrected sheets (if that information is known).
Not have too much manuscript marginalia.
Not be microfilm (although we will link to EEBO if necessary as a last resort).
Because of the number of images and the size thereof, facsimiles are not stored in
the Subversion repository. They are too big to be checked out to platform user’s personal
computers. They are saved on a LEMDO content-management system (CMS) hosted by HCMC
at https://lemdo.uvic.ca/facsimiles/.
Facsimile directories (folders) in the CMS must be named according to the following
convention: WORK_SIGLA_LIBRARY_COPY. The information in the filename goes from the
most general to the most specific: work, control text, holding library, copy number
(if there is more than one copy at the library).
Example
WORK
Use the DRE standard abbreviation for the work, as listed in DRE Play IDs.
Ham, AYL, DevC, FairEm, H5, FV
SIGLA
Give the standard abbreviation or sigla for the publication
Q, Q1, Q2, F, F2
LIBRARY
Name of the holding library of the copy. Use the LEMDO abbreviation for the holding
library.
BPL, BL, SLNSW
COPY
If a holding library has more than one copy, add the shelfmark, copy number, or call
number to the filename
1, 2, Dyce
Examples:
Ham_Q1_BL means the folder containing the facsimiles of the British Library copy of
Q1 Hamlet
DevC_Q1_BPL means the folder containing the facsimiles of the Boston Public Library
copy of the Q1 publication of The Devils Charter
IYKNM_Q7_F_2 means the folder containing the facsimiles of the Folger Shakespeare
Library copy of the Q7 publication of If You Know Not Me, or the Troubles of Queen Elizabeth numbered copy 2 in the Folger collection.
The individual graphic files (.jpg or .png files) containing a single page or a single
opening are named as follows:
Image file containing a single page: folderName_001, folderName_002, folderName_003,
sequentially from the first page, whether or not the image is of a blank page.
Image file containing a single opening (left and right facing pages): folderName_002,
folderName_004, folderName_006, whether or not the images are of blank pages
Examples:
Ham_Q1_BL_008 is the eighth sequential image of the British Library copy of Q1 Hamlet
DevC_Q1_BPL_002 is the second sequential image of the Boston Public Library copy of
the Q1 publication of The Devils Charter
IYKN_Q7_F_2_017 is the seventeenth sequential image of the Folger Shakespeare Library
copy of the Q7 publication of If You Know Not Me, or the Troubles of Queen Elizabeth numbered copy 2 in the Folger collection.
The sequential file numbers do not have to match the page numbers. The XML file containing
the metadata for the facsimile will do the work of matching image file numbers with
the through-page numbers (if any) and bibliographical signature numbers of the bookʼs
pages.
¶ Link to Facsimiles from a Semi-Diplomatic Transcription
Semi-diplomatic transcriptions in LEMDO are meant to be transcriptions of a single
copy of a publication. You may link to each page of that witness from the
<pb>
element using the
@facs attribute.
The
<pb>
element goes at the beginning of each new page of transcribed text. Add the
@facs attribute.
Note that you may also have an
@n attribute on the
<pb>
element. See Encode Page Beginnings for more information about how to encode the values of the
@n attribute and consult your Anthology Lead about your anthologyʼs practice. You will
often encode
@n and
@facs at the same time. (The order of attributes does not matter, but it is good practice
to be consistent throughout your anthology. LEMDO recommends putting the
@n attribute first.)
Construct the value of the
@facs attribute as follows:
facs: prefix
the unique part of the xml:id of the metadata file (i.e., everything after facs_ in the name of the file in the lemdo/data/facsimiles directory) (eg., H5_Q1_Y)
a pipe character |
the unique component of the surface xml:id, normally a three-digit number beginning
with zero (e.g., 004)
For example, the metadata for our digital surrogates of the Beinecke copy of Henry
V Q1 is captured in lemdo/data/facsimiles/facs_H5_Q1_Y.xml. The .jpg image of the title page is described thus:
The unique part of the surface id is 004. In the transcription of this copy of the quarto, the
@facs attribute on the
<pb>
element gets the value facs:H5_Q1_Y|004.
<pb n="1; A1r" facs="facs:H5_Q1_Y|004"/>
There are three common issues when linking to facsimiles from semi-diplomatic transcriptions.
This list outlines what these issues are and what to check to prevent them:
Facsimile links are formatted incorrectly. To fix this issue, check your links to
ensure that they all follow the format outlined above and that there are no spelling
errors in your
@facs value.
The target surface does not exist in the facsimile file. To fix this issue, check
that the unique part of the surface xml:id in your facs link matches with an existing
facsimile file (e.g., if your
@facs value is facs:H5_Q1_Y|004, check that there is a facsimile image in facs_H5_Q1_Y.xml with the unique component 004).
The target surface element does not contain a graphic element pointing to an image.
To fix this issue, navigate to the portfolio of the facsimile that you are pointing
to and check if the
<surface>
element that you are pointing to has a child
<graphic>
element with a
@url attribute.
LEMDO uses recognizable abbreviations for libraries. We have adopted some abbreviations
from the Internet Shakespeare Editions and Digital Renaissance Editions. As we add
facsimiles from libraries for which we do not already have an abbreviation, use the
STC location codes. For a searchable, open-access, linked list of the STC codes, see
Meaghan Brown’s website. If we add facsimiles from libraries not listed in the STC, create a logical abbreviation
and add it to the table below.
Library
Abbreviation/Code
Beinecke Rare Books and Manuscripts Library, Yale University
Yale
Boston Public Library
BPL
Brandeis
Bran
British Library
BL
Elham Parish Library, Canterbury Cathedral
EPL
Folger Shakespeare Library, Washington, DC
Folger (STC uses F)
Harry Elkins Widener Memorial Library, Harvard University
HD
Harry Ransom Centre, University of Texas Austin
TEX
Henry E. Huntington Library, San Marino, California
HN
Legislative Library of British Columbia
LLBC
Mary Couts Burnett Library, Texas Christian University
TCU
National Library of Scotland, Edinburgh
NLS (STC uses E)
Carl H. Pforzheimer Collection, New York Public Library, New York City
This documentation presupposes that you know how to use LEMDOʼs templates and how
to add a file to LEMDOʼs Subversion repository. For information on LEMDOʼs templates,
see Use LEMDOʼs Oxygen Templates. For documentation on adding files to the repository, see , , or .
Image files are not XML files and cannot have a TEI Header the way all of our XML
files do. We must capture metadata about each image in a separate file. To do so,
we create a metadata XML file to correspond with each publication for which we have
a set of facsimiles.
We use elements from the TEI Manuscript Description module to encode facsimile metadata files. Rather than describe the content model
here, we refer you to the templates that we have created. They contain the complete
content model and generous comments to help you complete each element in the file.
We have two templates:
If you are capturing metadata for facsimiles of a collection (e.g., the First Folio
of Shakespeare’s plays), use facsCollection_template.
If you are capturing metadata for facsimiles of a single printed playbook, use facsPlaybook_template.
We may add a template for manuscript playbooks in the future.
Once you have created your facsimile metadata file, you must name it and add it to
the lemdo/data/facsimiles repository. When naming your file, use the prefix facs_ followed by the filename of the facsimile directory that your file corresponds to.
Examples:
facs_FairEm_Q2_BPL_1.xml contains the metadata for the Boston Public Library copy of the second quarto of
Fair Em with the shelfmark Copy 1.
facs_MND_Q2_BL.xml contains the metadata for the British Library copy of the second quarto of A Midsummer Night’s Dream
The type of file and size that your image is impacts how it appears in the final output
of your edition. This documentation explains LEMDOʼs practices for encoding images
to ensure high-quality image appearance in both digital and print editions.
LEMDO currently supports image files saveD in either .jpg or .png format. Which format
you save your image as will depend on the type of image that you are adding to your
file.
Save images as .jpg files if:
Your image is a facsimile of a source text.
Your image is a photograph, painting, or drawing.
Save images as .png files if:
Your image is a screenshot.
Your image is a digital illustration (e.g., a chart or a graph).
Your image requires transparency (e.g., a logo with no background).
The .jpg format uses a lossy compression algorithm. This means that it uses less data
space but that some detail will be lost in compression. The algorithm will extrapolate
to fill in the missing data in the output of the image.
LEMDO recommends saving images at the highest resolution possible in order to preserve
high quality across images. The resolution is determined in pixels: the greater the
pixel dimensions your image has, the larger the imageʼs size and the higher its resolution.
When choosing the size of images, we care primarily about image width. Images in LEMDO
sit in a column that has a set width of approximately 500px. Ideally, you will save
your images at a resolution of at least twice that width (1200px1 or larger if possible). LEMDO has processing to fit your image into the set column
width. Do not try to scale images up in size, keep the highest resolution available.
The ideal size for images going into the print publication of your edition is 3000px.
Facsimiles of source texts are a special case and should be saved at a very high resolution
when possible; see Special Case: Facsimile Images.
If you need to scale an image down in size (i.e., if your image is significantly larger
than 3000px), you will require an image editor. There are some freely available online
such as:
There is also a plethora of heavy-duty applications such as Adobe Photoshop, Pixelmator
Pro, and Affinity Photo that you can use if you wish to learn more in this field.
Regardless of which software you use, the basic steps to scale an image are the same:
Open the image.
Determine the imageʼs current size. You can also do this by right clicking the image
file in your computerʼs file manager and selecting Properties.
Maintain the aspect ratio.
If the image is too big, enter the desired width. Because you have selected to maintain
the aspect ratio, the height will be calculated by your software. Remember that the
desired width you enter is to determine the imageʼs resolution, not how large it appears
in the final HTML or print output of your edition.
If the image is too small, do not try to scale the image.
If you are also changing the format of the image from .png to .jpg, export the image
as a .jpg file. If exporting, your image-editing software will offer you a compression
slider. Select to keep the quality at 100%.
Facsimile images should be high resolution, in .jpg format, and at least 2000px in
size. We will link to full-size facsimile images from thumbnails in an editionʼs semi-diplomatic
transcription.
Born-digital documents (information pages, documentation, critical paratexts, annotations,
and so on) will often need to link to images of documents, screenshots, icons, and
other graphical components. In documentation, images are often essential and always
clarifying. In editions, images lend visual support to an argument. In anthologies,
images give the anthology a brand identity that reflects its purpose. The first step
to using images is adding them to the repository.
LEMDO does not have a centralized image database. Instead, we save images in a location
that is proximate to the files in which they will be used. There are three main locations
for images:
Images for anthologies: data/anthologies/[anthology]/site/images: Use this location for images which are used only in a specific anthology. For example: data/anthologies/qme/site/images/qme_welcome.jpg
Images for an edition: data/texts/[portfolio]/images Use a portfolio location for images which are only used in a specific text or edition. For example: data/texts/H5/images/H5_Genealogy.png
Images for documentation: data/images: Use this location only for images which are likely to be used in multiple different pages, editions, sites
or projects, or in documentation.
All image file names must end with a period followed by the image file extension (i.e.,
.jpg or .png). The file extension must be in lowercase letters only.
LEMDO has specific naming protocol for image files that are saved in anthologies and
image files that are saved in edition portfolios:
Images for anthologies: File names must be prefixed by the anthology id and an underscore. For example: qme_welcome.jpg
Images for editions: File names must be prefixed by the portfolio id and an underscore. For example: H5_Genealogy.png
Images for documentation: File names should be prefixed by the name of the documentation
file that you will use the image in and an underscore. For example: learn_altText_duckRabbit.jpg
Before you add images to the repository, make sure they are edited and sized appropriately.
Save them as .jpg or .png files. See Choose Image Types and Sizes.
It may sometimes be necessary to add multiple formats of the same file; this is particularly
applicable for image files. Suppose that the following image files exist: moms_hughAlley_mayor.jpg and moms_hughAlley_mayor.png. Follow the steps below to upload both files at the same time:
Change directory (cd) into the images directory using the command line.
Enter moms_hughAlley_mayor.* into the commmand line (The asterix symbol in this command means anything. By replacing the file extension with the asterix symbol, this single command adds
the .jpg file and the .png file together).
In theory, there is no limit to the number of images that documentation, anthology
about pages, and editions can include. Good practice, however, is to include only images
that serve a necessary purpose.
LEMDO uses consistent encoding of images. You must encode each imageʼs type, width
and height, and alternate (alt) text. You also have the option to float your image
and create a visible caption for your images.
To link to an image, add a
<figure>
element with a child
<graphic>
element. Put the
@url attribute on
<graphic>
. The value of
@url must be prefixed by img: followed by the full name of the image file, including the file extension (.jpg or
.png). Do not capitalize the file extension. Note that LEMDO has documented protocols
for how to name files; see Practice: Naming Image Files.
You do not need to include the full path of the image location in the
<graphic>
element. The LEMDO build process will find the image and generate the right link
(and, in any case, our build process collects all the images into a single folder
in any output site).
In addition to
@url, there are three attributes that are required on the
<graphic>
element: the
@mimeType,
@width, and
@height attributes. The value of
@mimeType must begin with the prefix image/ followed by the format of the image that you are adding. For example, the
@mimeType value for a .jpg file is image/jpg and the
@mimeType value for a .png file is image/png.
The value of
@width and
@height attributes provide the intrinsic (actual) size of the image in pixels. To find these
values, find the image in your computerʼs file manager. Right click the image and
select Properties in the dropdown menu. Enter the value in digits followed by px. For example, width="300px" height="150px".
To increase accessibility, LEMDO also requires that all images have at least one of
the
<desc>
or
<figDesc>
elements. The content of these elements is used to provide alt text for images. If
there are both
<desc>
and
<figDesc>
elements, the contents of
<desc>
will be used for alt text. If there is no
<desc>
element, the contents of
<figDesc>
will be used for alt text. Note that the contents of
<desc>
will not be visible in the final output of your edition, it is only used to generate
alt text. Read more about the difference between
<desc>
and
<figDesc>
and learn how to write alt text in Write Alternate Text for Images.
LEMDO offers default rendering for image placement in critical paratexts. If an image
is small and/or you want it to be aligned left/right with text flowing around it,
you can indicate that you want the image treated as a thumbnail. If the image is full size and you want it to be centered across the full width of
the text block, you can indicate that you want the image to be given the fullwidth treatment.
With thumbnails, images are floated alternately left and right automatically. You
do not have control over this aspect of the rendering. This layout is consistent and
visually interesting for the user. Note: do not add the
@style attribute.
Add the
@type attribute to the
<figure>
element, with the following values:
Left/right float with text wrapping: thumbnail.
Fullsize, centered, with text above and below: fullsize. Note that this is the default rendering for images.
Note that if you omit the
@type attribute on the
<figure>
element, your image will be automatically displayed fullsize and centered. If this
styling is what you want, you may omit the
@type attribute and the value fullsize.
To encode alt text, add a
<desc>
element as a child of the
<graphic>
element. Add a
@resp attribute on
<desc>
with the value pers: followed by your xml:id. Type your alt text in the text node of
<desc>
.
To add a caption to the image, add a
<figDesc>
element as a child of
<figure>
and sibling of
<graphic>
. Write the image caption in the text node of the
<figDesc>
element. The contents of
<figDesc>
will be visible in the final output of your edition.
<figure> <graphic url="img:H5_Killing_of_Cleitus.jpg" mimeType="image/jpg" height="599px" width="386px"> <desc resp="pers:HOUL3">A greyscale illustration of Alexander the Great killing Cleitus in a room of cowering
people. Cleitus clutches a curtain as he collapses with a spear sticking out of his
chest. Alexander is in throwing stance and holding a second spear. There is a table
with food in the foreground and a fallen wine cup on the floor.</desc> </graphic> <figDesc>André Castaigne’s The Killing of Cleitus (1898-99).</figDesc> </figure>
Once you have included a figure in your critical paratext file, or in an annotation,
add an
@xml:id attribute to the
<figure>
element. The xml:id of the
<figure>
element begins with the xml:id of the file (e.g., emdABBR_introduction) and ends
with the pattern _f1, _f2, and so on (where f1 is figure 1).
<figure xml:id="emdH5_CriticalSurvey_f1"> <graphic url="img:H5_Duck-Rabbit_illusion.jpg" mimeType="image/jpg" width="519px" height="350px"> <desc resp="pers:HOUL3">A sketch of an animal that appears to be a duck from one angle and a rabbit from another.</desc> </graphic> <figDesc>The Rabbit-Duck Optical Illusion, from J. Jastrow, <title level="a">The mind’s eye</title>, <title level="j">Popular Science Monthly</title> 54 (1899), 299–312. Public domain image via Wikimedia.</figDesc> </figure>
Alternate (alt) text is text that describes the content of an image. Alt text is helpful
if a user cannot see an image (e.g., the user uses a screen reader2 or the image does not load).
Alt text is different from the figure description that editors may choose to write
in the
<figDesc>
element because alt text gives a literal description of what is in the image. The
<figDesc>
element, on the other hand, may be used to provide an imageʼs metadata or to discuss
what is depicted in the image. Alt text tends to give a more detailed description
and does not supply information not visible in the image.
LEMDO adds alt text to improve website accessibility. Including alt text gives people
who use screen readers access to content that would otherwise be inaccessible. This
documentation will teach you LEMDOʼs practice for writing alt text. For instructions
on how to encode alt text, see Practice: Encode Alt Text and Image Captions.
When writing alt text, LEMDO follows principles of accessibility, honesty, and clarity.
Consider the following questions when you write alt text:
Does my alt text communicate the key components of this image?
Is there anything significant that a viewer of this image would see that a reader
would not get out of my alt text?
Does my alt text truthfully describe what is in the image?
Does my alt text include subjective terms (e.g., describing someone as pretty or happy), or objective ones (e.g., descibing characteristics such as using a wheelchair or smiling)? Replace subjective terms with objective ones.
Follow these steps to write alt text for the LEMDO project:
Capture important elements of the image: Because alt text is meant to describe an
image to someone who cannot view it, alt text should capture aspects that are important
to the overall meaning of the image for the argument. This typically includes the
medium (a photograph, a wood engraving, etc.), the main subject of the image, important
imagery, and background.
Include the race of all human main subjects: LEMDO has decided to include the race
of people who are the subject of images as race will be a point of discussion in many
editions. In practice, capitalize the first letter of Indigenous and Black; do not
capitalize white. Use the most accurate term for a personʼs race or ethnicity that
you can (e.g., if you know that an actor in an image is Piikani, describe them as
Piikani rather than the more generic Indigenous). When describing a living or historical
person rather than a character, search to see if there is information available about
how they identify or identified to use the most accurate and respectful language.
Use objective language: Alt text has the goal of describing what is literally in an
image, not the interpretation of a viewer or describer. To fulfill that goal, use
objective language (describing what you see) rather than subjective language (describing
how the image makes you feel or how you interpret it). For example, do say A photo of smiling children rather than A photo of happy children.
Use concise language: Although there are typically no restrictions in the number of
characters that modern screen readers will read, some programs do not continuously
read long strings of alt text. Even with new technology, best practice is to have
relatively short and concise descriptions. If possible, keep descriptions under 125
characters.
Do not use quotation marks: Quotation marks in alt text can cause processing issues.
If quoting text included in an image, write Text reads: or a similar descriptive phrase followed by a transcription of the text.
Transcribe relevant sections of text: If there is text in the image (e.g., a title
or an artistʼs signature), transcribe any section that may be relevant or that will
be discussed. If there are glyphs or ligatures (e.g., a long S), normalize the characters.
If the image includes old-spelling text, modernize it in your transcription to make
the screen readersʼ output more clear. In cases where you have modernized spelling,
note that in the preferatory clause (i.e., Modernized version of text reads:). Note that alt text for images containing text will typically be necessarily long.
Special case: If an image with text is included for the purpose of demonstrating or
discussing early modern spelling conventions, provide a semi-diplomatic transcription.
Normalize glyphs and ligatures without tagging them, but retain spelling as it appears
in the image. You may also provide a modernized transcription afterwards for clarity—not
all words will be read clearly by screen readers if spelled using early modern spelling
conventions.
<desc resp="pers:HOUL3">A wood engraving of Henry V gesturing to dismiss Falstaff in front of his entourage
near Westminster Abbey. Henry is a muscular white man on horseback. Falstaff is a
fat, short, and balding white man standing on the ground speaking up to Henry. Text
underneath reads: Drawn by C. Robinson; Engraved by T. Robinson. Description underneath
reads: King Henry V. and Falstaff. Falstaff. My king! my Jove! I speak to thee, my
heart! King. I know thee not, old man: fall to thy prayers. Henry IV., Part II., Act
V., Scene IV.</desc>
This image:
Is described by this alt text:
<desc resp="pers:HOUL3">A sketch of an animal that appears to be a duck from one angle and a rabbit from another.</desc>
This image:
Is described by this alt text:
<desc resp="pers:HOUL3">A book page with a sketch of a flour bolt sifting grains out of flour surrounded by
a decorative border. Modernized version of the text below reads: In fruitful field
amid the goodly crop, The hurtful tears, and darnel oft do grow, And many times, do
mount above the top Of highest corn: But skilfull man doth know, When grain is ripe,
with sieve to purge the seeds, From chaff, and dust, and all the other weeds. By which
is meant, sith wicked men abound, That hard it is, the good from bad to try: The prudent
sort, should have such judgement sound, That still the good they should from bad descry:
And sift the good, and to discern their deeds, And weigh the bad, no better than the
weeds.</desc>
This image:
Is described by this alt text:
<desc resp="pers:HOUL3">White text on a black background reads: C:\Users\jenstad\lemdo\data\texts\MV greater-than
angle bracket svn status / M main\emdMV_Q1.xml</desc>
This image:
Relationship of HCMC Server at UVic to Your Local Workstation Is described by this alt text:
<desc resp="pers:HOUL3">A graphic shows a cycle beginning at Subversion Repository (the repo) on HCMC Server
at UVic. An arrow labelled svn up points to Your local workstation. An arrow labelled
svn commit points from your workstation to the subversion repository.</desc>
2.A screen reader is a type of technology that audibly reads the content of a screen.
Screen readers are helpful to people with disabilities such as people who are blind
or have vision impairments.↑
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.
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.
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.
