Ejemplo: <div> (división de texto)

These search results reproduce every example of the use of <div> in the Guidelines, including all localised and translated versions. In some cases, the examples have been drawn from discussion of other elements in the Guidelines and illustrating the use of <div> is not the main focus of the passage in question. In other cases, examples may be direct translations of each other, and hence identical from the perspective of their encoding.

1 The TEI Infrastructure
3 Elements Available in All TEI Documents
4 Default Text Structure
6 Verse
7 Performance Texts
8 Transcriptions of Speech
9 Dictionaries
11 Representation of Primary Sources
12 Critical Apparatus
16 Linking, Segmentation, and Alignment
17 Simple Analytic Mechanisms
21 Certainty, Precision, and Responsibility
22 Documentation Elements
23 Using the TEI

1 The TEI Infrastructure

1.3.1.1.1 Element Identifiers and Labels

1.3.1.1 Global Attributes

att.global

<div type="bibl">
<head>Bibliography</head>
<listBibl
   xml:base="http://www.lib.ucdavis.edu/BWRP/Works/">
  <bibl n="1">
   <author>
    <name>Landon, Letitia Elizabeth</name>
   </author>
   <ref target="LandLVowOf.sgm">
    <title>The Vow of the Peacock</title>
   </ref>
  </bibl>
  <bibl n="2">
   <author>
    <name>Compton, Margaret Clephane</name>
   </author>
   <ref target="NortMIrene.sgm">
    <title>Irene, a Poem in Six Cantos</title>
   </ref>
  </bibl>
  <bibl n="3">
   <author>
    <name>Taylor, Jane</name>
   </author>
   <ref target="TaylJEssay.sgm">
    <title>Essays in Rhyme on Morals and Manners</title>
   </ref>
  </bibl>
</listBibl>
</div>

att.global

<div type="bibl">
<head>La Renaissance italienne, bibliographie sélective</head>
<listBibl>
  <bibl n="1">
   <author>
    <name> Michel Hochmann, ... </name>
   </author>
   <ref>
    <title>L’Abcdaire de la Renaissance italienne</title>
   </ref>
  </bibl>
  <bibl n="2">
   <author>
    <name>Thames et Hudson,</name>
   </author>
   <ref>
    <title>Dictionnaire de la Renaissance</title>
   </ref>
  </bibl>
  <bibl n="3">
   <author>
    <name> Hervé Loilier</name>
   </author>
   <ref>
    <title>Florence : voyage dans la Renaissance italienne du XVe siècle</title>
   </ref>
  </bibl>
  <bibl n="3">
   <author>
    <name>Linda Murray</name>
    <title>La Haute Renaissance et le Maniérisme</title>
   </author>
  </bibl>
</listBibl>
</div>

3 Elements Available in All TEI Documents

<p>

<div>
<p>C'était à Mégara, faubourg de Carthage, dans les jardins d'Hamilcar.</p>
<p>Les soldats qu'il avait commandés en Sicile se donnaient un grand festin pour célébrer
le jour anniversaire de la bataille d'Eryx, et comme le maître était absent et qu'ils se
trouvaient nombreux, ils mangeaient et ils buvaient en pleine liberté.</p>
</div>

<emph>

<div>
<p>«Mes amis, dit-il, mes amis, je... je... »</p>
<p>Mais quelque chose l'étouffait. Il ne pouvait pas achever sa phrase.</p>
<p> Alors il se tourna vers le tableau, prit un morceau de craie, et, en appuyant de
   toutes ses forces, il écrivit aussi gros qu'il put : </p>
<p>
  <emph>«vive la France !"»</emph>
</p>
<p> Puis il resta là, la tête appuyée au mur, et, sans parler, avec sa main il nous
   faisait signe:</p>
<p>«C'est fini...allez-vous-en.»</p>
</div>

3.3.3 Quotation

<div xml:id="mm01" type="chapter">
<head>Chapter 1</head>
<epigraph>
  <cit>
   <quote>
    <l>Since I can do no good because a woman</l>
    <l>Reach constantly at something that is near it.</l>
   </quote>
   <bibl>
    <title>The Maid's Tragedy</title>
    <author>Beaumont and Fletcher</author>
   </bibl>
  </cit>
</epigraph>
<p>Miss Brooke had that kind of beauty which seems to be thrown into
   relief by poor dress...</p>
</div>

<div>
<head>Rx</head>
<p>500 mg <unclear reason="illegible">placebo</unclear>
</p>
</div>

3.5.3 Numbers and Measures

<div n="2">
<list type="gloss">
  <label>Age</label>
  <item>Unimportant</item>
  <label>Head</label>
  <item>Small and round</item>
  <label>Eyes</label>
  <item>Green</item>
  <label>Complexion</label>
  <item>White</item>
  <label>Hair</label>
  <item>yellow</item>
  <label>Features</label>
  <item>Mobile</item>
  <label>Neck</label>
  <item>
   <measure>13¾"</measure>
  </item>
  <label>Upper arm</label>
  <item>
   <measure>11"</measure>
  </item>

</list>

</div>

<list>

<div>
<p> Selon des critères qui n'appartiennent qu'à lui, Rémi Plassaert a classé ses buvards
   en huit tas respectivement surmontés par :</p>
<list type="bulleted">
  <item>un toréador chantant (dentifrice émail Diamant)</item>
  <item>un tapis d'Orient du XVIIe siècle, provenant d'une basilique de Transylvanie
     (Kalium-Sedaph, soluté de propionate de potassium)</item>
  <item>Le Renard et la Cicogne (sic), gravure de Jean-Baptiste Oudry (Papeteries
     Marquaize, Stencyl, Reprographie)</item>
</list>
</div>

<list>

<div>
<p> [...] et tout autour, la longue cohorte de ses personnages, avec leur histoire, leur
   passé, leurs légendes :</p>
<list type="ordered">
  <item> 1 Pélage vainqueur d'Alkhamah se faisant couronner à Covadonga </item>
  <item> 2 La cantatrice exilée de Russie suivant Schönberg à Amsterdam</item>
  <item> 3 Le petit chat sourd aux yeux vairons vivant au dernier étage</item>
  <item>4 Le crétin chef d'îlot faisant préparer des tonneaux de sable</item>
</list>
</div>

<item>

<div>
<p>
  <hi>Tentative d'inventaire de quelques-unes des<lb/> choses qui ont été trouvées dans
     les escaliers au fil des ans</hi>.</p>
<list type="unordered">
  <item> Plusieurs photos, dont celle d'une jeune fille de quinze<lb/> ans vêtue d'un slip
     de bain noir et d'un chandail blanc, agenouillée sur une plage,</item>
  <item>un réveil radio de toute évidence destiné à un réparateur, dans un sac plastique
     des établissements Nicolas,</item>
  <item> un soulier noir orné de brillants,</item>
  <item>une mule en chevreau doré,</item>
  <item> une boîte de pastilles Géraudel contre la toux,</item>
</list>
</div>

<head>

<div type="chapitre">
<head>Les Mille et une Nuits</head>
<p>LES chroniques des Sassaniens, anciens rois de Perse, qui avaient étendu leur empire
   dans les Indes, [...]</p>
<div type="histoire">
  <head>Histoire du Vizir puni</head>
  <p>IL était autrefois un roi, poursuivit-il, qui avait un<lb/> fils qui aimait
     passionnément la chasse. Il lui permettait<lb/> de prendre souvent ce divertissement ;
     [...] </p>
</div>
</div>
<trailer>
<hi rend="majuscule">fin du tome premier.</hi>
</trailer>

3.8.2.1 Pre-existing indexes

<div type="index">

<list type="index">
  <item>Women, how cause of mel. <ref>193</ref>; their vanity in
     apparell taxed, <ref>527</ref>; their counterfeit tears
  <ref>547</ref>; their vices <ref>601</ref>, commended,
  <ref>624</ref>.</item>
  <item>Wormwood, good against mel. <ref>443</ref>
  </item>
  <item>World taxed, <ref>181</ref>
  </item>
  <item>Writers of the cure of mel. 295</item>

</list>
</div>

3.8.2.2 Auto-generated indexes

<back>
<div type="appendix">
  <head>Bibliography</head>
  <listBibl>
   <bibl> ... </bibl>
  </listBibl>
</div>
<divGen n="Index Nominum" type="INDEX-NAMES"/>
<divGen n="Index Loci" type="INDEX-PLACES"/>
</back>

3.10.2 Creating New Reference Systems

<div>
<meeting>Ninth International Conference on Middle High German Textual Criticism, Aachen,
   June 1998.</meeting>
<list type="attendance">
  <head>List of Participants</head>
  <item>
   <persName>...</persName>
  </item>
  <item>
   <persName>...</persName>
  </item>

</list>
<p>...</p>
</div>

<div>
<meeting>Colloque international : Duras, marges et transgressions, Nancy, 1er et 2 avril
   2005</meeting>
<list type="attendance">
  <head>liste des participants</head>
  <item>
   <persName>...</persName>
  </item>
  <item>
   <persName>...</persName>
  </item>
</list>
<p>...</p>
</div>

<div>
<meeting>2007第三屆亞太藝術教育國際研討會</meeting>
<list type="參與者">
  <head>與會者名單</head>
  <item>
   <persName>馬桂順 </persName>
  </item>
  <item>
   <persName>仲瀨律久</persName>
  </item>

</list>
<p>...</p>
</div>

<lg>

<div type="sonnet">
<lg type="quatrain">
  <l>Les amoureux fervents et les savants austères</l>
  <l> Aiment également, dans leur mûre saison,</l>
  <l> Les chats puissants et doux, orgueil de la maison,</l>
  <l> Qui comme eux sont frileux et comme eux sédentaires.</l>
</lg>
<lg type="quatrain">
  <l>Amis de la science et de la volupté</l>
  <l> Ils cherchent le silence et l'horreur des ténèbres ;</l>
  <l> L'Erèbe les eût pris pour ses coursiers funèbres,</l>
  <l> S'ils pouvaient au servage incliner leur fierté.</l>
</lg>
<lg type="tercet">
  <l>Ils prennent en songeant les nobles attitudes</l>
  <l>Des grands sphinx allongés au fond des solitudes,</l>
  <l>Qui semblent s'endormir dans un rêve sans fin ;</l>
</lg>
<lg type="tercet">
  <l>Leurs reins féconds sont pleins d'étincelles magiques,</l>
  <l> Et des parcelles d'or, ainsi qu'un sable fin,</l>
  <l>Etoilent vaguement leurs prunelles mystiques.</l>
</lg>
</div>

4 Default Text Structure

<body>
<div type="scene">
  <sp>
   <p>Hush, the players begin...</p>
  </sp>
  <floatingText type="pwp">
   <body>
    <div type="act">
     <sp>
      <l>In Athens our tale takes place ....</l>
     </sp>

    </div>
   </body>
  </floatingText>
  <sp>
   <p>Now that the play is finished ...</p>
  </sp>
</div>
</body>

<body>
<div type="scene">
  <sp>
   <p>Chut ! Les acteurs commencent...</p>
  </sp>
  <floatingText type="pwp">
   <body>
    <div type="act">
     <sp>
      <l>Notre histoire se passe à Athènes....</l>

     </sp>
    </div>
   </body>
  </floatingText>
  <sp>
   <p>La pièce est maintenant finie ...</p>
  </sp>
</div>
</body>

<body>
<div type="scene">
  <sp>
   <p>快點，演員開始了...</p>
  </sp>
  <floatingText type="pwp">
   <body>
    <div type="act">
     <sp>
      <l>故事開始於雅典...</l>
     </sp>

    </div>
   </body>
  </floatingText>
  <sp>
   <p>戲劇結束...</p>
  </sp>
</div>
</body>

4.1.1 Un-numbered Divisions

<div>

<body>
<div type="part">
  <head>Fallacies of Authority</head>
  <p>The subject of which is Authority in various shapes, and the object, to repress all
     exercise of the reasoning faculty.</p>
  <div n="1" type="chapter">
   <head>The Nature of Authority</head>
   <p>With reference to any proposed measures having for their object the greatest
       happiness of the greatest number....</p>
   <div n="1.1" type="section">
    <head>Analysis of Authority</head>
    <p>What on any given occasion is the legitimate weight or influence to be attached to
         authority ... </p>
   </div>
   <div n="1.2" type="section">
    <head>Appeal to Authority, in What Cases Fallacious.</head>
    <p>Reference to authority is open to the charge of fallacy when... </p>
   </div>
  </div>
</div>
</body>

<div>

<body>
<div type="oeuvre">
  <head>Les Chouans </head>
  <div n="1" type="partie">
   <head> Première partie</head>
   <head> L'embuscade</head>
   <div n="1" type="chapitre">
    <head>Chapitre premier </head>
    <div n="1">
     <head>I</head>
     <p>Dans les premiers jours de l'an VIII, au commencement de vendémiaire, ou, pour
           se conformer au calendrier actuel, vers la fin du mois de septembre 1799, une
           centaine de paysans et un assez grand nombre de bourgeois, partis le matin de
           Fougères pour se rendre à Mayenne, gravissaient la montagne de la Pèlerine,
           située à mi-chemin environ de Fougères à Ernée, petite ville où les voyageurs
           ont coutume de se reposer. </p>
    </div>
   </div>
  </div>
</div>
</body>

<div>

<body>
<div type="part">
  <head>對話的喧囂：巴赫汀文化理論述評</head>
  <p>本書以中國人的觀點，介紹巴赫汀的一生志業。深入淺出、引證周詳。尤其面對海峽兩岸劇變中的政治、文化思潮，巴赫汀從對話到喧嘩的理論，更具有深刻的歷史意義，發人省思。</p>
  <div n="1" type="chapter">
   <head>引言：巴赫汀對話論—轉型期的文化理論</head>
   <p>文化轉型期的文藝理論，一般都呈現著特別關注文藝之外的歷史社會環境的傾向。不過，這種關注在二十世紀之前的文論中，大致上均以一種文藝內在規律語歷史社會語境二元對立的面貌出現。...</p>
   <div n="1.1" type="section">
    <head>眾聲喧嘩：轉型期的文化理論</head>
    <p>當代西方文論對巴赫汀思想的看法迥異，見仁見智。有強調其「對話性」的，有看重他的「複調小說」理論的，也有語言學、符號學、哲學和美學的不同角度來解釋巴赫汀的。...
    </p>
   </div>
   <div n="1.2" type="section">
    <head>哲學建構論語對話美學</head>
    <p>眾聲喧嘩的文化理論形成於二○年代末和三○年代，是巴赫汀思想成熟階段的結晶。... </p>
   </div>
  </div>
</div>
</body>

<front>
<divGen type="toc"/>
<div>
<head>Préface</head>
<p> ... </p>
</div>
</front>

<front>

<divGen type="toc"/>
<div>
<head>Preface</head>
<p> ... </p>
</div>
</front>

4.1.3 Numbered or Un-numbered?

4.1.4 Partial and Composite Divisions

4.1.4 Partial and Composite Divisions

4.2.1 Headings and Trailers

<div type="story">
<head rend="underlined" type="sub">President pledges safeguards for 2,400 British
troops in Bosnia</head>
<head rend="scream" type="main">Major agrees to enforced no-fly zone</head>
<byline>By George Jones, Political Editor, in Washington</byline>
<p>Greater Western intervention in the conflict in
former Yugoslavia was pledged by President Bush ...</p>
</div>

4.2.1 Headings and Trailers

<div type="book" n="I">
<head>In the name of Christ here begins the
   first book of the ecclesiastical history of Georgius Florentinus,
   known as Gregory, Bishop of Tours.</head>
<div>
  <head>Chapter Headings</head>
  <list>
   <item>

   </item>

  </list>
</div>
<div>
  <head>In the name of Christ here begins Book I of the history.</head>
  <p>Proposing as I do ...</p>
  <p>From the Passion of our Lord until the death of Saint Martin four
     hundred and twelve years passed.</p>
  <trailer>Here ends the first Book, which covers five thousand, five
     hundred and ninety-six years from the beginning of the world down
     to the death of Saint Martin.</trailer>
</div>
</div>

4.2.2 Openers and Closers

<div type="preface">
<head>To Henry Hope.</head>
<p>It is not because this volume was conceived and partly
   executed amid the glades and galleries of the Deepdene,
   that I have inscribed it with your name. ... I shall find a
   reflex to their efforts in your own generous spirit and
   enlightened mind.
</p>
<closer>
  <signed xml:lang="el">D.</signed>
  <dateline>Grosvenor Gate, May-Day, 1844</dateline>
</closer>
</div>

4.2.2 Openers and Closers

<div type="narrative" n="6">
<head>Sixth Narrative</head>
<head>contributed by Sergeant Cuff</head>
<div type="fragment" n="6.1">
  <opener>
   <dateline>
    <name type="place">Dorking, Surrey,</name>
    <date>July 30th, 1849</date>
   </dateline>
   <salute>To <name>Franklin Blake, Esq.</name> Sir, —</salute>
  </opener>
  <p>I beg to apologize for the delay that has occurred in the
     production of the Report, with which I engaged to furnish you.
     I have waited to make it a complete Report ...</p>
  <closer>
   <salute>I have the honour to remain, dear sir, your
       obedient servant </salute>
   <signed>
    <name>RICHARD CUFF</name> (late sergeant in the
       Detective Force, Scotland Yard, London). </signed>
  </closer>
</div>
</div>

4.2.2 Openers and Closers

<div type="letter" n="14">
<head>Letter XIV: Miss Clarissa Harlowe to Miss Howe</head>
<opener>
  <dateline>Thursday evening, March 2.</dateline>
</opener>
<p>On Hannah's depositing my long letter ...</p>
<p>An interruption obliges me to conclude myself
   in some hurry, as well as fright, what I must ever be,</p>
<closer>
  <salute>Yours more than my own,</salute>
  <signed>Clarissa Harlowe</signed>
</closer>
</div>

4.2.3 Arguments, Epigraphs, and Postscripts

<div type="chap" n="6">
<argument>
  <p>Kingston — Instructive remarks on early English history
     — Instructive observations on carved oak and life in general
     — Sad case of Stivvings, junior — Musings on antiquity
     — I forget that I am steering — Interesting result
     — Hampton Court Maze — Harris as a guide.</p>
</argument>
<p>It was a glorious morning, late spring or early summer, as you
   care to take it ...</p>
</div>

4.2.3 Arguments, Epigraphs, and Postscripts

<div type="chap" n="6">
<argument>
  <list type="inline">
   <item>Kingston</item>
   <item>Instructive remarks on early English history</item>
   <item>Instructive observations on carved oak and life in
       general</item>
   <item>Sad case of Stivvings, junior</item>
   <item>Musings on antiquity</item>
   <item>I forget that I am steering</item>
   <item>Interesting result</item>
   <item>Hampton Court Maze</item>
   <item>Harris as a guide.</item>
  </list>
</argument>
<p>It was a glorious morning, late spring or early summer, as you
   care to take it ...</p>
</div>

4.2.3 Arguments, Epigraphs, and Postscripts

<div n="19" type="chap">
<head>Chapter 19</head>
<epigraph>
  <cit>
   <quote>I pity the man who can travel
       from Dan to Beersheba, and say <q>'Tis all
         barren;</q> and so is all the world to him
       who will not cultivate the fruits it offers.
   </quote>
   <bibl>Sterne: Sentimental Journey.</bibl>
  </cit>
</epigraph>
<p>To say that Deronda was romantic would be to
   misrepresent him: but under his calm and somewhat
   self-repressed exterior ...</p>
</div>

4.2.3 Arguments, Epigraphs, and Postscripts

<div type="letter">
<opener>
  <dateline>
   <placeName>Newport</placeName>
   <date when="1761-05-27">May ye 27th 1761</date>
  </dateline>
  <salute>Gentlemen</salute>
</opener>
<p>Capt Stoddard's Business
<lb/>calling him to Providence, have
<lb/>got him to look at Hopkins brigantine
<lb/>& if can agree to Purchase her, shall
<lb/>be much oblig'd for your further
<lb/>assistance herein, & will acquiesce with
<lb/>whatever you & he shall Contract
<lb/>for — I Thank you for your
<lb/>
  <unclear>Line</unclear> respecting the brigantine & Beg
<lb/>leave to Recommend the Bearer
<lb/>to you for your advice & Friendship
<lb/>in this matter</p>
<closer>
  <salute>I am your most humble servant</salute>
  <signed>Joseph Wanton Jr</signed>
</closer>
<postscript>
  <label>P.S.</label>
  <p>I have Mollases, Sugar,
  <lb/>Coffee & Rum, which
  <lb/>will Exchange with you
  <lb/>for Candles or Oyl</p>
</postscript>
</div>

<div type="chapter">
<p>Et, sur cet océan bourdonnant de mille vaguelettes, se leva l'armée caressante et si
   tendre des merveilleuses sirènes blondes aux seins durs comme ça. </p>
<closer>
  <dateline>
   <name type="place">Thionne-Paris</name>, <date>1950-1951.</date>
  </dateline>
</closer>
</div>

<div type="chapter">
<p> 自己想吃人，又怕被別人吃了，都用著疑心极深的眼光，面面相覷。…… </p>
<closer>
  <dateline>
   <name type="place">南京</name>
   <date>1918–1919</date>
  </dateline>
</closer>
</div>

<div type="chapter">
<p>
 and his heart was going like mad and yes I said yes I will Yes.</p>
<closer>
  <dateline>
   <name type="place">Trieste-Zürich-Paris,</name>
   <date>1914–1921</date>
  </dateline>
</closer>
</div>

<div type="letter">
<p> perhaps you will favour me with a sight of it when convenient.</p>
<closer>
<salute>I remain, &c. &c.</salute>
<signed>H. Colburn</signed>
</closer>
</div>

<div type="letter">
<p> N'y voyez que le signe de l'intérêt que je que je porte à une profession qui fut la
   mienne. Je désire en effet, insérer votre article dans un ouvrage sur la presse
   française contemporaine. </p>
<closer>
  <salute>Veuillez agréer, je vous prie, Monsieur, l'assurance de mes sentiments les
     meilleurs. </salute>
  <signed> Françoise Giroud</signed>
</closer>
</div>

<div type="chapter">
<p>Voilà, cher Rhedi, ce que j' appelle le droit public. Voilà le droit des gens, ou
   plutôt celui de la raison. </p>
<closer>
  <dateline>
   <name type="place">à Paris </name>, <date>le 4 de la lune de Zilhagé, 1716. </date>
  </dateline>
</closer>
</div>

<div type="letter">
<p> 不久，我們就能再見面。</p>
<closer>
<salute>祝事事順心</salute>
<signed>謝甯</signed>
</closer>
</div>

<div type="chapter">
<p>
 and his heart was going like mad and yes I said yes I will Yes.</p>
<closer>
  <dateline>
   <name type="place">Trieste-Zürich-Paris,</name>
   <date>1914–1921</date>
  </dateline>
</closer>
</div>

<div type="letter">
<opener>
  <dateline>
   <placeName>Rimaone</placeName>
   <date when="2006-11-21">21 Nov 06</date>
  </dateline>
  <salute>Dear Susan,</salute>
</opener>
<p>Thank you very much for the assistance splitting those
   logs. I'm sorry about the misunderstanding as to the size of
   the task. I really was not asking for help, only to borrow the
   axe. Hope you had fun in any case.</p>
<closer>
  <salute>Sincerely yours,</salute>
  <signed>Seymour</signed>
</closer>
<postscript>
  <label>P.S.</label>
  <p>The collision occured on <date when="2001-07-06">06 Jul 01</date>.</p>
</postscript>
</div>

<div type="letter">
<opener>
  <dateline>
   <date when="1942">Printemps 1942 </date>
  </dateline>
  <salute>Cher ami, </salute>
</opener>
<p>Le printemps vient maintenant. J'espère que là où tu es le climat à cette saison n'est
   pas encore pénible. C'est le moment des travaux des champs ; peut-être arrivera-t-on à
   quelque chose pour toi. S'il n'y a pas moyen de te faire venir en France, faut-il faire
   des démarches pour essayer de te faire quitter l'Europe ? Écris-le-moi. </p>
<p>[...] </p>
<closer>
  <salute> Crois à mon amitié fraternelle. </salute>
  <signed>Simone Weil </signed>
</closer>
<postscript>
  <label>P.S.</label>
  <p>Voici la traduction de quelques vers grecs d'Eschyle. Ils sont prononcés par
     Prométhée, le dieu qui, d'après les croyances des Grecs, avait sauvé les hommes de la
     destruction, avait volé le feu pour le leur donner et leur avait appris le langage, le
     nombre, l'astronomie, les métiers et les arts. Il en fut puni et fut cloué sur un
     rocher. La tragédie d'Eschyle commence par la scène où on le cloue ; il se tait
     pendant ce temps, puis, quand ses bourreaux sont partis, il dit : [...]</p>
</postscript>
</div>

<div type="letter">
<opener>
  <dateline>
   <date when="1911-03-26">辛亥三月二十六</date>
  </dateline>
  <salute>意映卿卿如晤：</salute>
</opener>
<p>吾今以此書與汝永別矣！吾作此書，淚珠和筆墨齊下，不能竟書，而欲擱筆！又恐汝不察吾衷，謂吾忍舍汝而死，謂吾不知汝之不欲吾死也，故遂忍悲為汝言之。...</p>
<closer>
  <signed>夜四鼓<name>意洞</name>手書</signed>
</closer>
</div>

4.3.1 Grouped Texts

<text>
<front>
  <titlePage>
   <docTitle>
    <titlePart>The poems of Richard Crashaw</titlePart>
   </docTitle>
   <byline>Edited by J.R. Tutin</byline>
  </titlePage>
  <div type="preface">
   <head>Editor's Note</head>
   <p>A few words are necessary ... </p>
  </div>
</front>
<group>
  <text>
   <front>
    <titlePage>
     <docTitle>
      <titlePart>Steps to the Temple, Sacred Poems</titlePart>
     </docTitle>
    </titlePage>
    <div type="address">
     <head>The Preface to the Reader</head>
     <p>Learned Reader, The Author's friend will not usurp much
           upon thy eye ... </p>
    </div>
   </front>
   <group>
    <text>
     <front>
      <docTitle>
       <titlePart>Sospetto D'Herode</titlePart>
      </docTitle>
     </front>
     <body>
      <div1 type="book" n="Herod I">
       <head>Libro Primo</head>
       <epigraph>
        <l>Casting the times with their strong signs</l>
       </epigraph>
       <lg n="I.1" type="stanza">
        <l>Muse! now the servant of soft loves no more</l>
        <l>Hate is thy theme and Herod whose unblest</l>
        <l>Hand (O, what dares not jealous greatness?) tore</l>
        <l>A thousand sweet babes from their mothers' breast,</l>
        <l>The blooms of martyrdom ...</l>
       </lg>
      </div1>
     </body>
    </text>
    <text>
     <front>
      <docTitle>
       <titlePart>The Tear</titlePart>
      </docTitle>
     </front>
     <body>
      <lg n="I">
       <l>What bright soft thing is this</l>
       <l>Sweet Mary, thy fair eyes' expense?</l>
      </lg>
     </body>
    </text>

   </group>
   <back>

   </back>
  </text>
  <text>

   <front/>
   <group>
    <text/>
    <text/>

   </group>
  </text>
  <text>

   <group>
    <text/>
    <text/>

   </group>
  </text>
</group>
<back>

</back>
</text>

4.3.1 Grouped Texts

<div n="2" type="chap">
<head>Extracts</head>
<head>(Supplied by a sub-sub-Librarian)</head>
<p>It will be seen that this mere painstaking burrower and
   grubworm of a poor devil of a Sub-Sub appears to have gone
   through the long Vaticans and street-stalls of the earth,
   picking up whatever random allusions to whales he could
   anyways find ...
   Here ye strike but splintered hearts together – there,
   ye shall strike unsplinterable glasses!</p>
<p>
  <cit>
   <quote>And God created great whales.</quote>
   <bibl>Genesis</bibl>
  </cit>
  <cit>
   <quote>
    <l>Leviathan maketh a path to shine after him;</l>
    <l>One would think the deep to be hoary.</l>
   </quote>
   <bibl>Job</bibl>
  </cit>
  <cit>
   <quote>By art is created that great Leviathan,
       called a Commonwealth or State — (in Latin,
   <mentioned xml:lang="la">civitas</mentioned>), which
       is but an artificial man.</quote>
   <bibl>Opening sentence of Hobbes's Leviathan</bibl>
  </cit>
</p>
</div>

4.4 Virtual Divisions

4.5 Front Matter

<div type="dedication">
<p>To my parents, Ida and Max Fish</p>
</div>
<div type="preface">
<head>Preface</head>
<p>The answer this book gives to its title question is <q>there is
     and there isn't</q>.</p>
<p>Chapters 1–12 have been previously published in the
   following journals and collections:
<list>
   <item>chapters 1 and 3 in <title>New literary History</title>
   </item>
   <item>chapter 10 in <title>Boundary II</title> (1980)</item>
  </list>.
   I am grateful for permission to reprint.</p>
<signed>S.F.</signed>
</div>

4.5 Front Matter

<div type="contents">
<head>Contents</head>
<list>
  <item>Introduction, or How I stopped Worrying and Learned to Love
     Interpretation <ptr target="#fish1"/>
  </item>
  <item>
   <list>
    <head>Part One: Literature in the Reader</head>
    <item n="1">Literature in the Reader: Affective Stylistics
    <ptr target="#fish2"/>
    </item>
    <item n="2">What is Stylistics and Why Are They Saying Such
         Terrible Things About It? <ptr target="#fish3"/>
    </item>
   </list>
  </item>
</list>
</div>
<div xml:id="fish1">
<head>Introduction</head>

</div>
<div xml:id="fish2">
<head>Literature in the Reader</head>

</div>
<div xml:id="fish3">
<head>What is stylistics?</head>

</div>

4.5 Front Matter

<item n="1">Literature in the Reader: Affective Stylistics
<ref target="#fish-p24">24</ref>
</item>

<div type="chapter">
<head>Literature in the Reader</head>
<pb xml:id="fish-p24"/>

</div>

<front>

<front>
<epigraph>
  <quote>Nam Sibyllam quidem Cumis ego ipse oculis meis
     vidi in ampulla pendere, et cum illi pueri dicerent:
  <q xml:lang="grc">Sibylla ti weleis</q>; respondebat
     illa: <q xml:lang="grc">apowanein welo.</q>
  </quote>
</epigraph>
<div type="dedication">
  <p>For Ezra Pound <q xml:lang="it">il miglior fabbro.</q>
  </p>
</div>
</front>

<front>

<front>
<div type="dedication">
  <p>à la mémoire de Raymond Queneau</p>
</div>
<div type="avertissement">
  <p>L'amitié, l'histoire et la littérature m'ont fourni quelques-uns
     des.personnages de ce livre. Toute autre ressemblance avec des individus vivants ou
     ayant réellement ou fictivement existé ne saurait être que coïncidence.</p>
  <epigraph>
   <quote>Regarde de tous tes yeux, regarde <bibl>(Jules Verne, Michel Strogoff
         )</bibl>
   </quote>
  </epigraph>
</div>
<div type="preambule">
  <head>PRÉAMBULE</head>
  <epigraph>
   <quote>
    <q>L'œil suit les chemins qui lui ont été ménagés dans l'oeuvre <bibl>(Paul Klee,
           Pädagosisches Skizzenbuch)</bibl>
    </q>
   </quote>
  </epigraph>
  <p> Au départ, l'art du puzzle semble un art bref, un art mince, tout entier contenu
     dans un maigre enseignement de la Gestalttheorie : ...</p>
</div>
</front>

<front>

<front>
<div type="preface">
  <head>Préface</head>
  <p>Tant qu'il existera, par le fait des lois et des moeurs, une damnation sociale créant
     artificiellement, en pleine civilisation, des enfers, et compliquant d'une fatalité
     humaine la destinée qui est divine ; tant que les trois problèmes du siècle, la
     dégradation de l'homme par le prolétariat, la déchéance de la femme par la faim,
     l'atrophie de l'enfant par la nuit, ne seront pas résolus; tant que, dans certaines
     régions, l'asphyxie sociale sera possible; en d'autres termes, et à un point de vue
     plus étendu encore, tant qu'il aura sur la terre ignorance et misère, des livres de la
     nature de celui-ci pourront ne pas être inutiles.</p>
  <closer>
   <dateline>
    <name type="place">Hauteville-House</name>
    <date>1er janvier 1862</date>
   </dateline>
  </closer>
</div>
</front>

<front>

<front>
<epigraph>
<quote>小燕子其實也無所愛，只是沉浸在朦朧而飄忽的夏夜夢里罷了。 </quote>
</epigraph>
<div type="dedication">
<p>《憶》第三十五首</p>
</div>
</front>

<front>

<front>
<div type="dedication">
  <p>聲明啟事</p>
</div>
<div type="preface">
  <head>作者聲明</head>
  <p>書中所有情節內容皆為虛構，若有雷同，純屬巧合。</p>
</div>
</front>

<front>

<front>
<div type="dedication">
  <p>To our three selves</p>
</div>
<div type="preface">
  <head>Author's Note</head>
  <p>All the characters in this book are purely imaginary, and if the
     author has used names that may suggest a reference to living persons
     she has done so inadvertently.
     ...</p>
</div>
</front>

4.7 Back Matter

<back>
<div type="index">
  <head>Index</head>
  <list type="index">
   <item>Actors, public, paid for the contempt attending
       their profession, <ref>263</ref>
   </item>
   <item>Africa, cause assigned for the barbarous state of
       the interior parts of that continent, <ref>125</ref>
   </item>
   <item>Agriculture
   <list type="indexentry">
     <item>ancient policy of Europe unfavourable to, <ref>371</ref>
     </item>
     <item>artificers necessary to carry it on, <ref>481</ref>
     </item>
     <item>cattle and tillage mutually improve each other, <ref>325</ref>
     </item>
     <item>wealth arising from more solid than that which proceeds
           from commerce <ref>520</ref>
     </item>
    </list>
   </item>
   <item>Alehouses, not the efficient cause of drunkenness, <ref>461</ref>
   </item>
  </list>
</div>
</back>

4.7 Back Matter

<back>
<div type="letter">
  <head>A letter written to his wife, founde with this booke
     after his death.</head>
  <p>The remembrance of the many wrongs offred thee, and thy
     unreproued vertues, adde greater sorrow to my miserable state,
     than I can utter or thou conceiue. ...
     ... yet trust I in the world to come to find mercie, by the
     merites of my Saiuour to whom I commend thee, and commit
     my soule.</p>
  <signed>Thy repentant husband for his disloyaltie,
  <name>Robert Greene.</name>
  </signed>
  <epigraph xml:lang="la">
   <p>Faelicem fuisse infaustum</p>
  </epigraph>
  <trailer>FINIS</trailer>
</div>
</back>

4.7 Back Matter

<back>
<div type="corrigenda">
  <head>Addenda</head>
  <salute xml:lang="la">M. Scriblerus Lectori</salute>
  <p>Once more, gentle reader I appeal unto thee, from the shameful
     ignorance of the Editor, by whom Our own Specimen of
  <name>Virgil</name> hath been mangled in such miserable manner, that
     scarce without tears can we behold it. At the very entrance, Instead
     of <q xml:lang="gr">προλεγομενα</q>, lo!
  <q xml:lang="gr">προλεγωμενα</q> with an Omega!
     and in the same line <q xml:lang="la">consulâs</q> with a circumflex!
     In the next page thou findest <q xml:lang="la">leviter perlabere</q>,
     which his ignorance took to be the infinitive mood of
  <q xml:lang="la">perlabor</q> but ought to be
  <q xml:lang="la">perlabi</q> ... Wipe away all these
     monsters, Reader, with thy quill.</p>
</div>
</back>

<back>

<back>
<div n="1" type="appendice">
  <head>APPENDICE I <lb/>CHAPITRE XV bis <lb/>Des cruautez exercées par les Turcs, et
     autres peuples : et nommément par les Espagnols, beaucoup plus barbares que les
     Sauvages mesmes </head>
  <p>Premierement Chalcondile en son histoire de la decadence de l'Empire des Grecs,
     ...</p>
</div>
<div n="2" type="appendice">
  <head> Appendice2 <lb/> Advertissement de l'autheur, (1699) </head>
  <p>Outre les augmentations bien amples, et la revision beaucoup plus exacte que je
     n'avoye fait és precedentes Editions, j'ai pour le contentement des Lecteurs,
     plusieurs endroits de ceste quatrieme et derniere monstré ...</p>
</div>
</back>

6 Verse

6.1 Structural Divisions of Verse Texts

<body>
<div n="I" type="book">
  <div n="1" type="canto">
   <lg n="I.1.1" type="stanza">
    <l>A Gentle Knight was pricking on the plain</l>
    <l>Y cladd in mightie armes and silver shielde,</l>
   </lg>
  </div>
</div>
</body>

6.1 Structural Divisions of Verse Texts

<body>
<div n="I" type="book">
  <div n="I.1" type="canto">
   <div n="I.1.1" type="stanza">
    <l>A gentle knight was pricking on the plain</l>
    <l>Ycladd in mightie armes and silver shielde,</l>
   </div>
  </div>
</div>
</body>

6.3.1 Sample Metrical Analyses

<div
  type="book"
  n="1"
  met="-+|-+|-+|-+|-+/"
  rhyme="aa">
<lg n="1" type="paragraph">
  <l>'Tis hard to say, if greater Want of Skill</l>
  <l>Appear in <hi>Writing</hi> or in <hi>Judging</hi> ill;</l>
  <l>But, of the two, less dang'rous is th'Offence,</l>
  <l>To tire our <hi>Patience</hi>, than mis-lead our <hi>Sense</hi>:</l>
</lg>
</div>

6.3.3 Metrical Analysis of Stanzaic Verse

<div
  type="canzone"
  met="E/E/S/E/S/E/E/S/E/S/E/S/S/E/S/E/E/S/S/E/E"
  rhyme="abbcdaccbdceeffghhhgg">
<lg n="1" type="stanza">
  <l n="1">Doglia mi reca nello core ardire</l>
</lg>
</div>

6.3.3 Metrical Analysis of Stanzaic Verse

<div met=".....">
<lg>
<l> ... </l>
</lg>
<lg type="commiato" met="E/S/S/E/S/E/E/S/S/E/E" rhyme="abbccdeeedd">
<l n="1">Canzone, presso di qui è une donna</l>
</lg>
</div>

7 Performance Texts

7.1.1 The Set Element

<front>
<titlePage type="half-title">
  <docTitle>
   <titlePart>Peer Gynt</titlePart>
  </docTitle>
</titlePage>
<div type="copyright_page"/>
<div type="Contents"/>
<div type="Introduction"/>
<div type="note">
  <head>Note on the Translation</head>
  <p> ... </p>
</div>
<div type="Dramatis_Personae">
  <head>Characters</head>
  <castList>
   <castItem>

   </castItem>
  </castList>
</div>
<set>
  <p>The action, which opens in the beginning of the nineteenth
     century, and ends around the 1860s, takes place partly in
     Gudbrandsdalen, and on the mountains around it, partly on the coast
     of Morocco, in the desert of Sahara, in a madhouse at Cairo, at sea,
     etc.</p>
</set>
<performance>
  <p>

  </p>
</performance>
</front>

<div n="1">
<head>T.N.P. 1963</head>
<note place="foot" n="1">A la création au Festivai d'Avignon en juillet 1962, la
   distribution était légèrement différente : dans l'ordre ci-dessus : Hécube (Annie
   Monnier) ; Iris (Paule Noël) ; Hector (Daniel lvernel) ; Pâris (Jean-Louis Trintignant)
   ; Troïus (Bernard Laïk).</note>
<castList>
  <castItem>
   <role>Andromaque</role>
   <actor>MARIA MAUBAN </actor>
  </castItem>
  <castItem>
   <role>Hélène</role>
   <actor>CHRISTIANE MINAZZOLLI</actor>
  </castItem>
  <castItem>
   <role>Hécube</role>
   <actor>ALINE BERTRAND</actor>
  </castItem>
  <castItem>
   <role> Cassandre </role>JUDITH MAGRE ANNE</castItem>
  <castItem>
   <role>La Paix</role>
   <actor>DOMINIQUE VILAR</actor>
  </castItem>
  <castItem>
   <role>Iris </role>
   <actor>NOELLE VINCENT</actor>
  </castItem>
  <castItem>
   <role>La petite Polyxène</role>
   <actor>CLAUDINE MAUGEY</actor>
  </castItem>
  <castItem>
   <role>Hector</role>
   <actor>PIERRE VANECK</actor>
  </castItem>
  <castItem>
   <role>Ulysse</role>
   <actor>JEAN VILAR</actor>
  </castItem>
  <castItem>
   <role>Demokos</role>
   <actor> PASCAL MAZZOTTI </actor>
  </castItem>
  <castItem>
   <role>Priam</role>
   <actor>JEAN-FRANÇOIS REMY</actor>
  </castItem>
  <castItem>
   <role>Pâris</role>
   <actor>ROBERT ETCHEVERRY</actor>
  </castItem>
  <castItem>
   <role>Oiax</role>
   <actor>MARIO PILAR</actor>
  </castItem>
  <castItem>
   <role>Le Gabier</role>
   <actor>GEORGES GERET</actor>
  </castItem>
  <castItem>
   <role>Le Géomètre</role>
   <actor>PHILIPPE AVRON</actor>
  </castItem>
  <castItem>
   <role>Abnéos</role>
   <actor>LUCIEN ARNAUD</actor>
  </castItem>
  <castItem>
   <role>Troïlus</role>
   <actor>MICHEL GONZALES</actor>
  </castItem>
  <castItem>
   <role>Olpidès</role>
   <actor>MAURICE COUSSONNEAU</actor>
  </castItem>
  <castItem>
   <role>Busiris</role>
   <actor>GEORGES RIQUIER</actor>
  </castItem>
  <castItem>
   <role>Premier Vieillard</role>
   <actor>JEAN MONDAIN</actor>
  </castItem>
  <castItem>
   <role>Deuxième Vieillard</role>
   <actor>LUCIEN ARNAUD</actor>
  </castItem>
  <castGroup>
   <head>Messagers</head>
   <castItem>
    <actor>Bernard Laïk</actor>, <actor>Jean-Pierre Maurin</actor>.</castItem>
  </castGroup>
  <castGroup>
   <head>Servantes troyennes</head>
   <castItem>
    <actor>Christiane Oscar</actor>, <actor>Noëlle Vincent.</actor>
   </castItem>
  </castGroup>
  <castGroup>
   <head>Notables</head>
   <castItem>
    <actor>Jean-Daniel Ehrrnann</actor>
    <actor>Bernard Wawer</actor>
    <actor>Bernard Klein</actor>
   </castItem>
  </castGroup>
  <castGroup>
   <head>Gardes grecs</head>
   <castItem>
    <actor>Jean Dufau</actor>, <actor>Alain Deny</actor>, <actor>Jean-Jacques Leconte</actor>
    <actor>Richard Rein</actor>
   </castItem>
  </castGroup>
</castList>
</div>
<div n="2">
<head>Théâtre de la Ville 1971</head>
<note place="foot" n="2">La pièce a été reprise au Théâtre de la Ville le 22 janvier 1971
   dans une nouvelle mise en scène de Jean Mercure, musique de Marc Wilkinson, scénographie
   et costumes Yannis Kokkos. Elle a été ensuite donnée à partir du 12 juillet dans le
   cadre du 25e Festival d'Avignon, et continuera sa carrière au Théâtre de la Ville à
   partir du 5 novembre 1971 (avec quelques modifications de distribution).</note>
<castList>
  <castItem>
   <role>Andromaque</role>
   <actor>FRANCINE BERGE </actor>
  </castItem>
  <castItem>
   <role>Hélène</role>
   <actor>ANNIE DUPEREY</actor>
  </castItem>
  <castItem>
   <role>Hécube</role>
   <actor>LOUISE CONTE</actor>
  </castItem>
  <castItem>
   <role> Cassandre </role>
   <actor>ANNE DOAT</actor>
  </castItem>
  <castItem>
   <role>La Paix</role>
   <actor>JANDELINE</actor>
  </castItem>
  <castItem>
   <role>Iris </role>
   <actor>ISA MERCURE</actor>
  </castItem>
  <castItem>
   <role>La petite Polyxène</role>
   <actor>CHRISTIANE SELLAM </actor> ou<actor> VANINA VINITZKY</actor>
  </castItem>
  <castItem>
   <role>Hector</role>
   <actor>JOSE-MARIA FLOTATS</actor>
  </castItem>
  <castItem>
   <role>Ulysse</role>
   <actor>MICHEL DE RE</actor>
  </castItem>
  <castItem>
   <role>Demokos</role>
   <actor>MAURICE CHEVIT</actor>
  </castItem>
  <castItem>
   <role>Priam</role>
   <actor>ANDRE VALTIER</actor>
  </castItem>
  <castItem>
   <role>Pâris</role>
   <actor>DOMINIQUE MAURIN</actor>
  </castItem>
  <castItem>
   <role>Oiax</role>
   <actor>MARCO-PERRIN</actor>
  </castItem>
  <castItem>
   <role>Le Gabier</role>
   <actor>LAFLEUR</actor>
  </castItem>
  <castItem>
   <role>Le Géomètre</role>
   <actor>BERNARD VERON</actor>
  </castItem>
  <castItem>
   <role>Abnéos</role>
   <actor>ANGELO BARDI</actor>
  </castItem>
  <castItem>
   <role>Troïlus</role>
   <actor>PHILIPPE NORMAND</actor>
  </castItem>
  <castItem>
   <role>Olpidès</role>
   <actor>COUSSONNEAU</actor>
  </castItem>
  <castItem>
   <role>Busiris</role>
   <actor>JEAN MERCURE</actor>
  </castItem>
  <castItem>
   <role>Premier Vieillard</role>
   <actor>JEAN-MARIE BON</actor>
  </castItem>
  <castItem>
   <role>Deuxième Vieillard</role>
   <actor>EUGENE BERTHIER</actor>
  </castItem>
  <castGroup>
   <head>Messagers</head>
   <castItem>
    <actor>Jean-Claude Islert</actor>, <actor>Michel Sausin</actor>.</castItem>
  </castGroup>
  <castGroup>
   <head>Servantes troyennes</head>
   <castItem>
    <actor>Dominique Jayr</actor>, <actor>Annie Seurat</actor>,<actor> Hélène
         Augier</actor>
   </castItem>
  </castGroup>
  <castGroup>
   <head>Gardes grecs</head>
   <castItem>
    <actor>Jacques Gaffuri</actor>, <actor>Georges Joannon</actor>
   </castItem>
  </castGroup>
  <castItem>
   <role>Suivant de Busiris</role>
   <actor>Charles Capezzali</actor>
  </castItem>
  <castItem>
   <role>Un marin</role>
   <actor>Henry Courseaux</actor>
  </castItem>
</castList>
</div>

7.2.1 Major Structural Divisions

<div type="act" n="2">
<head>Act Two</head>
<div type="scene" n="1">
<head>Scene One</head>
</div>
<div type="scene" n="2">
<head>Scene Two</head>
</div>
</div>

<view>

<div type="plan">
<view> Préfecture - bureau fonctionnaire - intérieur jour <camera>Plan américain</camera>
   d'un fonctionnaire assis derrière un bureau (il est vu de profil), consultant un fichier
   dans une boîte ouverte devant lui. Il sort une fiche et lève la tête. C'est un homme
   d'une quarantaine d'années, un aspect solide, concret, et un air relativement bon
   enfant. Dans son regard, pourtant, on voit passer par moments une lueur froide,
   inquiétante. </view>
<sp>
  <speaker>FONCTIONNAIRE</speaker>
  <p>Robert Klein, vous avez dit ?</p>
</sp>
</div>

<view>

<div type="shot">
<view>香港鳳凰衛視台</view>
<sp>
  <speaker>旁白</speaker>
  <p>2008北京奧運的聖火稍後即將傳遞到香港九龍，我們有最新的現場實況直播於您。</p>
</sp>
</div>
<div type="shot">
<view>香港九龍街道。四處是圍觀的群眾。記者站在聖火傳遞路線旁。</view>
<sp>
  <speaker>主持人</speaker>
  <p>大家好，我現在在香港的九龍。 </p>
</sp>
</div>

<view>

<div type="shot">
<view>BBC World symbol</view>
<sp>
  <speaker>Voice Over</speaker>
  <p>Monty Python's Flying Circus tonight comes to you live
     from the Grillomat Snack Bar, Paignton.</p>
</sp>
</div>
<div type="shot">
<view>Interior of a nasty snack bar. Customers around, preferably
   real people. Linkman sitting at one of the plastic tables.</view>
<sp>
  <speaker>Linkman</speaker>
  <p>Hello to you live from the Grillomat Snack Bar.
  </p>
</sp>
</div>

8 Transcriptions of Speech

8.1 General Considerations and Overview

8.4.4 Prosody

<div n="Lod E-03" type="exchange">
<note>C is with a friend</note>
<u who="#cwn">
  <unclear>Excuse me<g ref="#lf"/>
  </unclear>
  <pause/> You dont have some
   aesthetic<g ref="#short"/>
  <pause/>
  <unclear>specially on early</unclear>
   aesthetics terminology <g ref="#lr"/>
</u>
<u who="#aj"> No<g ref="#lf"/>
  <pause/>No<g ref="#lf"/>
  <gap extent="2 beats"/> I'm
   afraid<g ref="#lf"/>
</u>
<u trans="latching" who="#cwn"> No<g ref="#lr"/>
  <unclear>Well</unclear> thanks<g ref="#lr"/>
  <pause/> Oh<g ref="#short"/>
  <unclear>you couldnt<g ref="#short"/> can we</unclear> kind of<g ref="#long"/>
  <pause/>I mean ask you to order it for us<g ref="#long"/>
  <g ref="#fr"/>
</u>
<u trans="latching" who="#aj"> Yes<g ref="#fr"/> if you know the title<g ref="#lf"/> Yeah<g ref="#lf"/>
</u>
<u who="#cwn">
  <gap extent="4 beats"/>
</u>
<u who="#aj"> Yes thats fine. <unclear>just as soon as it comes in we'll send
     you a postcard<g ref="#lf"/>
  </unclear>
</u>
<listPerson>
  <person xml:id="cwn">
   <p>Customer WN</p>
  </person>
  <person xml:id="aj">
   <p>Assistant K</p>
  </person>
</listPerson>
</div>

9 Dictionaries

9.1 Dictionary Body and Overall Structure

<body>
<div>
  <head>English-French</head>
  <entry>
   <form>
    <orth>cat</orth>
   </form>

  </entry>
  <entry>
   <form>
    <orth>dog</orth>
   </form>

  </entry>
  <entry>
   <form>
    <orth>horse</orth>
   </form>

  </entry>
</div>
<div>
  <head>French-English</head>
  <entry>
   <form>
    <orth>chat</orth>
   </form>

  </entry>
  <entry>
   <form>
    <orth>chien</orth>
   </form>

  </entry>
  <entry>
   <form>
    <orth>cheval</orth>
   </form>

  </entry>
</div>
</body>

11 Representation of Primary Sources

11.1 Digital Facsimiles

<pb facs="#B49r"/>
<fw>De Geometrie 49</fw>
<head facs="#B49rHead">DU SON ET ACCORD DES CLOCHES ET <lb/> des alleures des chevaulx,
chariotz & charges, des fontaines:& <lb/> encyclie du monde,
& de la dimension du corps humain.</head>
<head>Chapitre septiesme</head>
<div n="1">
<p>Le son & accord des cloches pendans en ung mesme <lb/> axe, est
   faict en contraires parties.</p>
<p rend="it" facs="#B49rPara2">LEs cloches ont quasi fi<lb/>gures de rondes
   pyra<lb/>mides imperfaictes & <lb/> irregulieres: & leur
   accord se <lb/> fait par reigle geometrique. Com<lb/>me si les deux
   cloches C & D <lb/> sont <w facs="#B49rW457">pendans</w> à ung
   mesme axe <lb/> ou essieu A B: je dis que leur ac<lb/>cord se fera en
   co<ex>n</ex>traires parties<lb/> co<ex>m</ex>me voyez icy
   figuré. Car qua<ex>n</ex>d <lb/> lune sera en hault, laultre
   declinera embas. Aultrement si elles decli<lb/>nent toutes deux
   ensembles en une mesme partie, elles seront discord, <lb/> & sera
   leur sonnerie mal plaisante à oyr.<figure facs="#B49rFig1">
   <graphic url="Bovelles49r-detail.png"/>
  </figure>
</p>
</div>

11.1 Digital Facsimiles

<facsimile>
<surface start="#PB49R">
  <graphic url="Bovelles-49r.png"/>
</surface>
</facsimile>
<text>
<body>
  <div>

   <pb xml:id="PB49R"/>
   <fw>De Geometrie 49</fw>

  </div>
</body>
</text>

11.3.4 Additions and Deletions

12 Critical Apparatus

12.2.1 The Location-referenced Method

<text>
<body>
  <div n="WBP" type="prologue">
   <head>The Prologe of the Wyves Tale of Bathe</head>
   <l n="1">Experience though noon Auctoritee</l>
   <l>Were in this world ...</l>
  </div>
</body>
</text>

12.2.2 The Double End-Point Attachment Method

<variantEncoding method="double-end-point" location="external"/>

<div n="WBP" type="prologue">
<head>The Prologe ... </head>
<l n="1" xml:id="WBP.1">Experience<anchor xml:id="WBP-A2"/> though noon Auctoritee</l>
<l>Were in this world ...</l>
</div>

16 Linking, Segmentation, and Alignment

<linkGrp type="translation">
<link targets="#CCS1 #SW1"/>
<link targets="#CCS2 #SW2"/>
<link targets="#CCS #SW"/>
</linkGrp>
<div type="volume" xml:id="CCS" xml:lang="fr">
<p>
  <s xml:id="CCS1">Longtemps, je me suis couché de bonne heure.</s>
  <s xml:id="CCS2">Parfois, à peine ma bougie éteinte, mes yeux se fermaient si vite que je n'avais pas le temps de me dire : "Je m'endors."</s>
</p>

</div>
<div type="volume" xml:id="SW" xml:lang="en">
<p>
  <s xml:id="SW1">For a long time I used to go to bed early.</s>
  <s xml:id="SW2">Sometimes, when I had put out my candle, my eyes would close so quickly that I had not even time to say "I'm going to sleep."</s>
</p>

</div>

<linkGrp type="translation">
<link targets="#fr_CCS1 #fr_SW1"/>
<link targets="#fr_CCS2 #fr_SW2"/>
<link targets="#fr_CCS #fr_SW"/>
</linkGrp>
<div type="volume" xml:id="fr_CCS" xml:lang="fr">
<p>
  <s xml:id="fr_CCS1">Longtemps, je me suis couché de bonne heure.</s>
  <s xml:id="fr_CCS2">Parfois, à peine ma bougie éteinte, mes yeux se fermaient si vite que
     je n'avais pas le temps de me dire : "Je m'endors."</s>
</p>
</div>
<div type="volume" xml:id="fr_SW" xml:lang="en">
<p>
  <s xml:id="fr_SW1">For a long time I used to go to bed early.</s>
  <s xml:id="fr_SW2">Sometimes, when I had put out my candle, my eyes would close so quickly
     that I had not even time to say "I'm going to sleep."</s>
</p>
</div>

<linkGrp type="translation">
<link targets="#zh-tw_CCS1 #zh-tw_SW1"/>
<link targets="#zh-tw_CCS2 #zh-tw_SW2"/>
<link targets="#zh-tw_CCS #zh-tw_SW"/>
</linkGrp>
<div type="volume" xml:id="zh-tw_CCS">
<p>
  <s xml:id="zh-tw_CCS1">床前明月光，疑似地上霜；</s>
  <s xml:id="zh-tw_CCS2">舉頭望明月，低頭思故鄉。</s>
</p>

</div>
<div type="volume" xml:id="zh-tw_SW">
<p>
  <s xml:id="zh-tw_SW1">月光照的床前一片潔白，看起來像是地上結滿的白霜；</s>
  <s xml:id="zh-tw_SW2">抬起頭來，望著明月，低下頭來，思念起故鄉。</s>
</p>

</div>

16.2.1 Pointing Elsewhere

<div type="chap" xml:base="http://classics.mit.edu/">
<head>On Ancient Persian Manners</head>
<p>In the very first story of <ref target="Sadi/gulistan.2.i.html">
   <title>The Gulistan of
       Sa'di</title>
  </ref>,
   Sa'di relates moral advice worthy of Miss Minners ...</p>

</div>

16.2.1 Pointing Elsewhere

<body>
<div n="A">
  <p>The base URI here is the current document. A URI such as
  <code>a.xml</code> is equivalent to
  <code>./a.xml</code>.</p>
</div>
<div n="B" xml:base="http://www.example.org/">
  <p>The base URI here is
  <code>http://www.example.org/</code>. A
     URI such as <code>a.xml</code> is equivalent to
  <code>http://www.example.org/a.xml</code>.</p>
</div>
<div n="C" xml:base="ftp://ftp.example.net/mirror/">
  <p>The base URI here is
  <code>ftp://ftp.example.net/mirror/</code>. A URI such
     as
  <code>a.xml</code> is equivalent to
  <code>ftp://ftp.example.net/mirror/a.xml</code>.</p>
</div>
<div n="D">
  <p>The base URI here is the current document. A URI such as
  <code>a.xml</code> is equivalent to
  <code>./a.xml</code>.</p>
</div>
</body>

16.2.2 Pointing Locally

<div type="section" xml:id="sect106">

</div>
<div type="section" n="107" xml:id="sect107">
<head>Limitations on exclusive rights: Fair use</head>
<p>Notwithstanding the provisions of
<ref target="#sect106">section 106</ref>, the fair use of a
   copyrighted work, including such use by reproduction in copies
   or phonorecords or by any other means specified by that section,
   for purposes such as criticism, comment, news reporting,
   teaching (including multiple copies for classroom use),
   scholarship, or research, is not an infringement of copyright.
   In determining whether the use made of a work in any particular
   case is a fair use the factors to be considered shall
   include —
<list type="simple">
   <item n="(1)">the purpose and character of the use, including
       whether such use is of a commercial nature or is for nonprofit
       educational purposes;</item>
   <item n="(2)">the nature of the copyrighted work;</item>
   <item n="(3)">the amount and substantiality of the portion
       used in relation to the copyrighted work as a whole;
       and</item>
   <item n="(4)">the effect of the use upon the potential market
       for or value of the copyrighted work.</item>
  </list>
   The fact that a work is unpublished shall not itself bar a
   finding of fair use if such finding is made upon consideration
   of all the above factors.</p>
</div>

16.2.3 W3C element() Scheme

<ab>

<div type="book" n="Genesis">
<div type="chapter" n="1">
  <ab>In the beginning God created the heaven and the earth.</ab>
  <ab>And the earth was without form, and void; and darkness was upon the face of the deep. And the spirit of God moved upon the face of the waters.</ab>
  <ab>And God said, Let there be light: and there was light.</ab>

</div>
</div>

16.4.2 Alignment of Parallel Texts

<div xml:lang="en" type="subsection">
<p>
  <anchor corresp="#fa1" xml:id="ea1"/>According to our survey, 1988
   sales of mineral water and soft drinks were much higher than in 1987,
   reflecting the growing popularity of these products. Cola drink
   manufacturers in particular achieved above-average growth rates.
<anchor corresp="#fa2" xml:id="ea2"/>The higher turnover was largely
   due to an increase in the sales volume.
<anchor corresp="#fa3" xml:id="ea3"/>Employment and investment levels also climbed.
<anchor corresp="#fa4" xml:id="ea4"/>Following a two-year transitional period,
   the new Foodstuffs Ordinance for Mineral Water came into effect on
   April 1, 1988. Specifically, it contains more stringent requirements
   regarding quality consistency and purity guarantees.</p>
</div>
<div xml:lang="fr" type="subsection">
<p>
  <anchor corresp="#ea1" xml:id="fa1"/>Quant aux eaux minérales
   et aux limonades, elles rencontrent toujours plus d'adeptes. En effet,
   notre sondage fait ressortir des ventes nettement supérieures
   à celles de 1987, pour les boissons à base de cola
   notamment. <anchor corresp="#ea2" xml:id="fa2"/>La progression des
   chiffres d'affaires résulte en grande partie de l'accroissement
   du volume des ventes. <anchor corresp="#ea3" xml:id="fa3"/>L'emploi et
   les investissements ont également augmenté.
<anchor corresp="#ea4" xml:id="fa4"/>La nouvelle ordonnance fédérale
   sur les denrées alimentaires concernant entre autres les eaux
   minérales, entrée en vigueur le 1er avril 1988 après
   une période transitoire de deux ans, exige surtout une plus
   grande constance dans la qualité et une garantie de la
   pureté.</p>
</div>

16.4.2 Alignment of Parallel Texts

<div xml:id="div-e" xml:lang="en" type="subsection">
<p>
  <seg xml:id="e_1">According to our survey, 1988 sales of mineral
     water and soft drinks were much higher than in 1987,
     reflecting the growing popularity of these products. Cola
     drink manufacturers in particular achieved above-average
     growth rates.</seg>
  <seg xml:id="e_2">The higher turnover was largely due to an
     increase in the sales volume.</seg>
  <seg xml:id="e_3">Employment and investment levels also climbed.</seg>
  <seg xml:id="e_4">Following a two-year transitional period, the new
     Foodstuffs Ordinance for Mineral Water came into effect on
     April 1, 1988. Specifically, it contains more stringent
     requirements regarding quality consistency and purity
     guarantees.</seg>
</p>
</div>
<div xml:id="div-f" xml:lang="fr" type="subsection">
<p>
  <seg xml:id="f_1">Quant aux eaux minérales et aux limonades,
     elles rencontrent toujours plus d'adeptes. En effet, notre
     sondage fait ressortir des ventes nettement
     supérieures à celles de 1987, pour les
     boissons à base de cola notamment.</seg>
  <seg xml:id="f_2">La progression des chiffres d'affaires
     résulte en grande partie de l'accroissement du volume
     des ventes.</seg>
  <seg xml:id="f_3">L'emploi et les investissements ont
     également augmenté.</seg>
  <seg xml:id="f_4">La nouvelle ordonnance fédérale sur
     les denrées alimentaires concernant entre autres les
     eaux minérales, entrée en vigueur le 1er avril
     1988 après une période transitoire de deux
     ans, exige surtout une plus grande constance dans la
     qualité et une garantie de la pureté.</seg>
</p>
</div>
<linkGrp type="alignment" domains="#div-e #div-f">
<link target="#e_1 #f_1"/>
<link target="#e_2 #f_2"/>
<link target="#e_3 #f_3"/>
<link target="#e_4 #f_4"/>
</linkGrp>

16.4.2 Alignment of Parallel Texts

<div xml:id="english" xml:lang="en" type="subsection">
<ab xml:id="english1">
  <s>According to our survey, 1988 sales of mineral water and soft
     drinks were much higher than in 1987, reflecting the growing popularity
     of these products.</s>
  <s>Cola drink manufacturers in particular achieved above-average
     growth rates.</s>
</ab>
</div>
<div xml:id="french" xml:lang="fr" type="subsection">
<ab xml:id="french1">
  <s xml:id="fs1">Quant aux eaux minérales et aux limonades, elles
     rencontrent toujours plus d'adeptes.</s>
  <s xml:id="fs2">En effet, notre sondage fait ressortir des ventes nettement
     supérieures à celles de 1987, pour les boissons à
     base de cola notamment.</s>
</ab>
</div>

16.4.3 A Three-way Alignment

<div xml:id="e98" xml:lang="en" type="lesson">
<head>The Study</head>
<p>
  <seg xml:id="e9801">The Study</seg>
  <seg xml:id="e9802">is a place</seg>
  <seg xml:id="e9803">where a Student,</seg>
  <seg xml:id="e9804">a part from men,</seg>
  <seg xml:id="e9805">sitteth alone,</seg>
  <seg xml:id="e9806">addicted to his Studies,</seg>
  <seg xml:id="e9807">whilst he readeth</seg>
  <seg xml:id="e9808">Books,</seg>
</p>
</div>
<div xml:id="l98" xml:lang="la" type="lesson">
<head>Muséum</head>
<p>
  <seg xml:id="l9801">Museum</seg>
  <seg xml:id="l9802">est locus</seg>
  <seg xml:id="l9803">ubi Studiosus,</seg>
  <seg xml:id="l9804">secretus ab hominibus,</seg>
  <seg xml:id="l9805">solus sedet,</seg>
  <seg xml:id="l9806">Studiis deditus,</seg>
  <seg xml:id="l9807">dum lectitat</seg>
  <seg xml:id="l9808">Libros,</seg>
</p>
</div>

16.4.3 A Three-way Alignment

<div xml:id="E98" xml:lang="en" type="lesson">
<head>The Study</head>
<ab>The Study</ab>
<ab>is a place</ab>
<ab>where a Student,</ab>
</div>
<div xml:id="L98" xml:lang="la" type="lesson">
<head>Muséum</head>
<ab>Museum</ab>
<ab>est locus</ab>
<ab>ubi Studiosus,</ab>
</div>

16.5.1 Aligning Synchronous Events

<div xml:id="BNC-d1" type="convers">
<u xml:id="u2b" who="#b"> The first time in twenty five years,
   we've cooked Christmas <unclear> for a blooming great
     load of people.</unclear>
</u>
<u xml:id="u3a" who="#a">So you're
<anchor synch="#t1b" xml:id="t1a"/>
  <unclear>
   <anchor synch="#t2b" xml:id="t2a"/>
  </unclear>
</u>
<u xml:id="u3b" who="#b">
  <anchor xml:id="t1b"/>It will be <anchor xml:id="t2b"/>
   nice in a way, but, <anchor xml:id="t3b"/>
   be strange.<anchor xml:id="t4b"/>
</u>
<u xml:id="u4a" who="#a">
  <anchor synch="#t3b" xml:id="t3a"/>Yeah
<anchor synch="#t4b" xml:id="t4a"/>, yeah, cos it, its
<anchor synch="#t5b" xml:id="t5a"/>the
<anchor synch="#t6b" xml:id="t6a"/>
</u>
<u xml:id="u4b" who="#b">
  <anchor xml:id="t5b"/>not<anchor xml:id="t6b"/>
</u>

</div>

16.8 Alternation

<div type="interview">
<u exclude="#we.sun1" xml:id="we.fun1">We had fun at the beach today.</u>
<u exclude="#we.fun1" xml:id="we.sun1">We had sun at the beach today.</u>
</div>

16.8 Alternation

<div select="#we.fun2" type="interview">
<u exclude="#we.sun2" xml:id="we.fun2">We had fun at the beach
today.</u>
<u exclude="#we.fun2" xml:id="we.sun2">We had sun at the beach today.</u>
</div>

16.8 Alternation

<div type="interview">
<u select="#fun3">We had
<seg exclude="#sun3" xml:id="fun3" type="word">fun</seg>
<seg exclude="#fun3" xml:id="sun3" type="word">sun</seg>
at the beach today.</u>
</div>

16.8 Alternation

<div type="interview">
<u>We had
<seg select="#id-f" type="word">
   <seg exclude="#id-s" xml:id="id-f" type="character">f</seg>
   <seg exclude="#id-f" xml:id="id-s" type="character">s</seg>
     un</seg>
   at the beach today.</u>
</div>

16.8 Alternation

<div type="interview">

<u exclude="#we.sun4 #lee.fun4" xml:id="we.fun4">We had fun at the beach today.</u>
<u exclude="#we.fun4 #lee.fun4" xml:id="we.sun4">We had sun at the beach today.</u>
<u exclude="#we.fun4 #we.sun4" xml:id="lee.fun4">Lee had fun at the beach today.</u>

</div>

16.8 Alternation

<div select="#we.fun5 #lee.fun5" type="interview">
<u exclude="#we.sun5 #lee.fun5" xml:id="we.fun5">We had fun at the beach today.</u>
<u exclude="#we.fun5 #lee.fun5" xml:id="we.sun5">We had sun at the beach today.</u>
<u exclude="#we.fun5 #we.sun5" xml:id="lee.fun5">Lee had fun at the beach today.</u>
</div>

16.8 Alternation

<div type="interview">
<u exclude="#lee.fun6" xml:id="we.fun6">We had fun at the beach
today.</u>
<u exclude="#we.fun6" xml:id="lee.fun6">Lee had fun at the beach today.</u>
</div>

16.8 Alternation

<div type="interview">
<u xml:id="we.had.fun">We had fun at the beach today.</u>
<u xml:id="we.had.sun">We had sun at the beach today.</u>
<link
type="exclusiveAlternation"
target="#we.had.fun #we.had.sun"/>
</div>

16.8 Alternation

<div xml:id="bm" type="song">
<l>Her skin is tender as
<seg xml:id="dm">Dimaggio's</seg>
  <seg xml:id="lt">a leather</seg>
  <seg xml:id="bb">a baseball</seg>
   glove,</l>
<l xml:id="rl">and she bats from right to left.</l>
<l xml:id="db">now ain't that too damn bad.</l>
</div>
<altGrp>
<alt target="#dm #lt #bb" mode="excl" weights="0.5 0.25 0.25"/>
<alt target="#rl #db" mode="excl" weights="0.50 0.50"/>
</altGrp>
<altGrp mode="incl">
<alt target="#dm #rl" weights="0.90 0.90"/>
<alt target="#lt #rl" weights="0.5 0.5"/>
<alt target="#bb #rl" weights="0.5 0.5"/>
<alt target="#dm #db" weights="0.10 0.10"/>
<alt target="#lt #db" weights="0.45 0.90"/>
<alt target="#bb #db" weights="0.45 0.90"/>
</altGrp>

17 Simple Analytic Mechanisms

17.1.1 Words and above

<div type="stanza">
<l>
  <cl part="I">Tweedledum and Tweedledee</cl>
</l>
<l>
  <cl part="F">Agreed to have a battle;</cl>
</l>
<l>
  <cl part="I">For Tweedledum said <cl part="I">Tweedledee</cl>
  </cl>
</l>
<l>
  <cl part="F">
   <cl part="F">Had spoiled his nice new rattle.</cl>
  </cl>
</l>
</div>
<div type="stanza">
<l>
  <cl part="I">Just then flew down a monstrous crow,</cl>
</l>
<l>
  <cl part="F">As black as a tar barrel;</cl>
</l>
<l>
  <cl part="I">Which frightened both the heroes so,</cl>
</l>
<l>
  <cl part="F">
   <cl>They quite forgot their quarrel.</cl>
  </cl>
</l>
</div>

21 Certainty, Precision, and Responsibility

21.1.2 Structured Indications of Uncertainty

21.1.2 Structured Indications of Uncertainty

22 Documentation Elements

22.2 Modules and Schemas

<div>
<head>An overview of the imaginary module</head>
<p>The imaginary module contains declarations for coloured things:
<specGrpRef target="#RED"/>
<specGrpRef target="#BLUE"/>
</p>
</div>

23 Using the TEI

23.2.2 Modification and Namespaces

<div
xmlns:my="http://www.example.org/ns/nonTEI">

<p n="12" my:topic="rabbits">Flopsy, Mopsy, Cottontail, and
Peter...</p>
</div>

P5: Directrices para la codificación y el intercambio de textos electrónicos