Julia Test Record

A test record

Vertical Tabs

Reader 
<?xml version="1.0" encoding="UTF-8"?>
<?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?>
<?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml"
	schematypens="http://purl.oclc.org/dsdl/schematron"?>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
  <teiHeader>
      <fileDesc>
         <titleStmt>
            <title>A Basic TEI File</title>
            <author>Julia Flanders</author>
            <respStmt>
               <resp>Encoder</resp>
               <name>Julia Flanders</name>
            </respStmt>
         </titleStmt>
         <publicationStmt>
            <p>Created as a test file, freely available.</p>
         </publicationStmt>
         <sourceDesc>
            <p>This is the source.</p>
         </sourceDesc>
      </fileDesc>
  </teiHeader>
  <text>
      <body>
         <div>
            <head>Basic Prose</head>
            <argument><p>In which an excerpt from a journal article demonstrates some basic prose structures.</p></argument>
            <p>The narratives that surround technology tend, understandably, to be progressive. Moore’s law, which states that the complexity and hence the processing power of computer chips is doubling every couple of years, and Kryder’s law, which says something similar about disk capacity, have visible and in some cases stunning illustrations in the world around us. We see evidence in products such as palmtop devices that have thousands of times the computing power and storage capacity of ENIAC, the first stored-program electronic computer; personal disk storage is now purchasable almost by the terabyte, and processor speed is now measured by the gigahertz; both of these statements will have dated by the time this article is published. We also see the effects of these developments in processes whose increasing speed produces subtle luxuries that creep into our lives, almost without our taking particular notice: for example, color screens for computers, three-dimensional icons, the clever animation behaviors that are as ubiquitous (and as useful) as small plastic children’s toys. Or, more substantively: the fact that you can now store and edit digital video footage on your laptop, or view streaming movies on a device you can put in your pocket. These kinds of change produce easy metrics for success and a correspondingly easy sense of progress.
</p>
            <gap extent="5 paragraphs"/>
            <p>But despite the fact that these are tangible improvements, there is also an important sense in which their progressive momentum is not, ultimately, what is characteristic of the digital humanities as a field. John Unsworth, in an article entitled "What is Humanities Computing and What is Not?" makes a point of noting the difference between using a computer for any of its many practical purposes, and using the computer as a scholarly tool:
<quote type="block">...one of the many things you can do with computers is something that I would call humanities computing, in which the computer is used as tool for modeling humanities data and our understanding of it, and that activity is entirely distinct from using the computer when it models the typewriter, or the telephone, or the phonograph, or any of the many other things it can be.</quote></p>
            <p>Unlike its comparatively recent ability to model the telephone or the phonograph, the computer’s role as a tool for modeling humanities data is of long standing — arguably extending back to Father Roberto Busa’s 1945 Index Thomisticus and certainly including early tools and methods including concordancing, text analysis, and text markup languages. Although our ability to work with these models has without doubt been made easier by the advent of faster, more seamless tools, the complexity and interest of the models themselves has been affected little if at all. We have only to consider as an example Willard McCarty’s remarkable project of modeling mutability in his Analytical Onomasticon to the Metamorphoses of Ovid, a project of great complexity and nuance which was undertaken almost entirely through markup and without the aid of any specialized tools for model construction, visualization, or data manipulation. The nature of the models being created in the digital humanities may be changing with time, but not as a function of speed or power, but rather as a result of changes in emphasis or theoretical concern.</p>
         </div>
         <div>
            <head>A Menagerie</head>
            <p>This section demonstrates a mixture of basic prose features. The first of these is a basic list.</p>
            <list>
               <item>This is the first item in a list.</item>
               <item>This is a second item, a bit longer than the first—so long, in fact that it will wrap around and make multiple lines and then continue on a bit further until we realize that in fact we could have really represented it as a paragraph.</item>
               <item>A third item, just because three is a magic number.</item>
            </list>
            <p>After lists we need to see what happens with block quotes:
            <quote type="block">since after all, quotes are often long enough that they need to be represented as a separate block of text rather than wrapping around inline, which would look silly; the question is how we indicate that it's a block quote rather than an inline quote.</quote><bibl>Nemo, <title>No-title</title>, 2015.</bibl> Inline quotes behave differently, since they just <quote type="inline">wrap in</quote> with the rest of the text.
            </p>
            <p>We also need to show what a table looks like:</p>
            <table>
               <row>
                  <cell role="label">Label</cell>
                  <cell>First cell</cell>
                  <cell>Second cell</cell>
                  <cell>Third cell</cell>
               </row>
               <row>
                  <cell role="label">Label</cell>
                  <cell>First cell</cell>
                  <cell>Second cell</cell>
                  <cell>Third cell</cell>
               </row>
            </table>
            <p>And if we have embedded images working, they should be showing here:</p>
            <figure>
               <graphic url="seaweed.jpg"/>
            </figure>
         </div>
         <div>
            <head>Some Basic Transcriptional Details</head>
            <p>In this paragraph we are going to demonstrate some of the more detailed transcriptional encoding.</p>
            <list>
               <item><label>Typo encoded with <gi>choice</gi>:</label> Here is my <choice><sic>topy</sic><corr>typo</corr></choice>.</item>
               <item><label>Spelling modernized with <gi>choice</gi>:</label> Here is my <choice><orig>olde spellyinge</orig><reg>old spelling</reg></choice></item>
               <item><label>Abbreviation expanded with <gi>choice</gi>:</label> Here is my <choice><abbr>abbr</abbr><expan>abbreviation</expan></choice></item>
               <item><label>A gap:</label> Here is a one-word <gap extent="1 word"/> and another 1-character <gap quantity="1" unit="chars"/></item>
               <item><label>Unclear text:</label> This text is <unclear>unclear</unclear>.</item>
               <item><label>Supplied text:</label> This text was <supplied>supplied</supplied>.</item>
               <item><label>Added text:</label> Some text here was <add>added in another handwriting</add>.</item>
               <item><label>Deleted text:</label> Some text here was <del>deleted</del>.</item>
               <item><label>Substituted text:</label> Some text here was <subst><add>added</add><del>deleted</del></subst>.</item>
            </list>
            
         </div>
         
         <div>
            <listBibl>
               <bibl><author>Unsworth, John.</author> <title>What is Humanities Computing, and What is Not?</title> In <title>Jahrbuch für Computerphilologie</title> 4, Georg Braungart, Karl Eibl and Fotis Jannidis, eds. Paderborn: mentis Verlag 2002. <ref target="http://computerphilologie.uni-muenchen.de/jg02/unsworth.html">http://computerphilologie.uni-muenchen.de/jg02/unsworth.html</ref>.</bibl>
            </listBibl>
         </div>
      </body>
  </text>
</TEI>
A Basic TEI File Julia Flanders Encoder Julia Flanders

Created as a test file, freely available.

This is the source.
Basic Prose

In which an excerpt from a journal article demonstrates some basic prose structures.

The narratives that surround technology tend, understandably, to be progressive. Moore’s law, which states that the complexity and hence the processing power of computer chips is doubling every couple of years, and Kryder’s law, which says something similar about disk capacity, have visible and in some cases stunning illustrations in the world around us. We see evidence in products such as palmtop devices that have thousands of times the computing power and storage capacity of ENIAC, the first stored-program electronic computer; personal disk storage is now purchasable almost by the terabyte, and processor speed is now measured by the gigahertz; both of these statements will have dated by the time this article is published. We also see the effects of these developments in processes whose increasing speed produces subtle luxuries that creep into our lives, almost without our taking particular notice: for example, color screens for computers, three-dimensional icons, the clever animation behaviors that are as ubiquitous (and as useful) as small plastic children’s toys. Or, more substantively: the fact that you can now store and edit digital video footage on your laptop, or view streaming movies on a device you can put in your pocket. These kinds of change produce easy metrics for success and a correspondingly easy sense of progress.

But despite the fact that these are tangible improvements, there is also an important sense in which their progressive momentum is not, ultimately, what is characteristic of the digital humanities as a field. John Unsworth, in an article entitled "What is Humanities Computing and What is Not?" makes a point of noting the difference between using a computer for any of its many practical purposes, and using the computer as a scholarly tool: ...one of the many things you can do with computers is something that I would call humanities computing, in which the computer is used as tool for modeling humanities data and our understanding of it, and that activity is entirely distinct from using the computer when it models the typewriter, or the telephone, or the phonograph, or any of the many other things it can be.

Unlike its comparatively recent ability to model the telephone or the phonograph, the computer’s role as a tool for modeling humanities data is of long standing — arguably extending back to Father Roberto Busa’s 1945 Index Thomisticus and certainly including early tools and methods including concordancing, text analysis, and text markup languages. Although our ability to work with these models has without doubt been made easier by the advent of faster, more seamless tools, the complexity and interest of the models themselves has been affected little if at all. We have only to consider as an example Willard McCarty’s remarkable project of modeling mutability in his Analytical Onomasticon to the Metamorphoses of Ovid, a project of great complexity and nuance which was undertaken almost entirely through markup and without the aid of any specialized tools for model construction, visualization, or data manipulation. The nature of the models being created in the digital humanities may be changing with time, but not as a function of speed or power, but rather as a result of changes in emphasis or theoretical concern.

A Menagerie

This section demonstrates a mixture of basic prose features. The first of these is a basic list.

This is the first item in a list. This is a second item, a bit longer than the first—so long, in fact that it will wrap around and make multiple lines and then continue on a bit further until we realize that in fact we could have really represented it as a paragraph. A third item, just because three is a magic number.

After lists we need to see what happens with block quotes: since after all, quotes are often long enough that they need to be represented as a separate block of text rather than wrapping around inline, which would look silly; the question is how we indicate that it's a block quote rather than an inline quote. Nemo, No-title, 2015. Inline quotes behave differently, since they just wrap in with the rest of the text.

We also need to show what a table looks like:

Label First cell Second cell Third cell Label First cell Second cell Third cell

And if we have embedded images working, they should be showing here:

Some Basic Transcriptional Details

In this paragraph we are going to demonstrate some of the more detailed transcriptional encoding.

Here is my topy typo . Here is my olde spellyinge old spelling Here is my abbr abbreviation Here is a one-word and another 1-character This text is unclear. This text was supplied. Some text here was added in another handwriting. Some text here was deleted. Some text here was addeddeleted .
Unsworth, John. What is Humanities Computing, and What is Not? In Jahrbuch für Computerphilologie 4, Georg Braungart, Karl Eibl and Fotis Jannidis, eds. Paderborn: mentis Verlag 2002. http://computerphilologie.uni-muenchen.de/jg02/unsworth.html.

Toolbox

Themes:

A Basic TEI File Julia Flanders Encoder Julia Flanders

Created as a test file, freely available.

This is the source.
Basic Prose

In which an excerpt from a journal article demonstrates some basic prose structures.

The narratives that surround technology tend, understandably, to be progressive. Moore’s law, which states that the complexity and hence the processing power of computer chips is doubling every couple of years, and Kryder’s law, which says something similar about disk capacity, have visible and in some cases stunning illustrations in the world around us. We see evidence in products such as palmtop devices that have thousands of times the computing power and storage capacity of ENIAC, the first stored-program electronic computer; personal disk storage is now purchasable almost by the terabyte, and processor speed is now measured by the gigahertz; both of these statements will have dated by the time this article is published. We also see the effects of these developments in processes whose increasing speed produces subtle luxuries that creep into our lives, almost without our taking particular notice: for example, color screens for computers, three-dimensional icons, the clever animation behaviors that are as ubiquitous (and as useful) as small plastic children’s toys. Or, more substantively: the fact that you can now store and edit digital video footage on your laptop, or view streaming movies on a device you can put in your pocket. These kinds of change produce easy metrics for success and a correspondingly easy sense of progress.

But despite the fact that these are tangible improvements, there is also an important sense in which their progressive momentum is not, ultimately, what is characteristic of the digital humanities as a field. John Unsworth, in an article entitled "What is Humanities Computing and What is Not?" makes a point of noting the difference between using a computer for any of its many practical purposes, and using the computer as a scholarly tool: ...one of the many things you can do with computers is something that I would call humanities computing, in which the computer is used as tool for modeling humanities data and our understanding of it, and that activity is entirely distinct from using the computer when it models the typewriter, or the telephone, or the phonograph, or any of the many other things it can be.

Unlike its comparatively recent ability to model the telephone or the phonograph, the computer’s role as a tool for modeling humanities data is of long standing — arguably extending back to Father Roberto Busa’s 1945 Index Thomisticus and certainly including early tools and methods including concordancing, text analysis, and text markup languages. Although our ability to work with these models has without doubt been made easier by the advent of faster, more seamless tools, the complexity and interest of the models themselves has been affected little if at all. We have only to consider as an example Willard McCarty’s remarkable project of modeling mutability in his Analytical Onomasticon to the Metamorphoses of Ovid, a project of great complexity and nuance which was undertaken almost entirely through markup and without the aid of any specialized tools for model construction, visualization, or data manipulation. The nature of the models being created in the digital humanities may be changing with time, but not as a function of speed or power, but rather as a result of changes in emphasis or theoretical concern.

A Menagerie

This section demonstrates a mixture of basic prose features. The first of these is a basic list.

This is the first item in a list. This is a second item, a bit longer than the first—so long, in fact that it will wrap around and make multiple lines and then continue on a bit further until we realize that in fact we could have really represented it as a paragraph. A third item, just because three is a magic number.

After lists we need to see what happens with block quotes: since after all, quotes are often long enough that they need to be represented as a separate block of text rather than wrapping around inline, which would look silly; the question is how we indicate that it's a block quote rather than an inline quote. Nemo, No-title, 2015. Inline quotes behave differently, since they just wrap in with the rest of the text.

We also need to show what a table looks like:

Label First cell Second cell Third cell Label First cell Second cell Third cell

And if we have embedded images working, they should be showing here:

Some Basic Transcriptional Details

In this paragraph we are going to demonstrate some of the more detailed transcriptional encoding.

Here is my topy typo . Here is my olde spellyinge old spelling Here is my abbr abbreviation Here is a one-word and another 1-character This text is unclear. This text was supplied. Some text here was added in another handwriting. Some text here was deleted. Some text here was addeddeleted .
Unsworth, John. What is Humanities Computing, and What is Not? In Jahrbuch für Computerphilologie 4, Georg Braungart, Karl Eibl and Fotis Jannidis, eds. Paderborn: mentis Verlag 2002. http://computerphilologie.uni-muenchen.de/jg02/unsworth.html.