Ejemplo: <div> (text division)
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
- 5 Characters, Glyphs, and Writing Modes
- 6 Verse
- 7 Performance Texts
- 8 Transcriptions of Speech
- 9 Dictionaries
- 10 Manuscript Description
- 11 Representation of Primary Sources
- 12 Critical Apparatus
- 14 Tables, Formulæ, Graphics and Notated Music
- 16 Linking, Segmentation, and Alignment
- 17 Simple Analytic Mechanisms
- 21 Certainty, Precision, and Responsibility
- 22 Documentation Elements
- 23 Using the TEI
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>
<!-- ... rest of nested act here -->
</div>
</body>
</floatingText>
<sp>
<p>Now that the play is finished ...</p>
</sp>
</div>
</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>
<!-- ... rest of nested act here -->
</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>
<!-- ... rest of nested act here -->
</sp>
</div>
</body>
</floatingText>
<sp>
<p>La pièce est maintenant finie ...</p>
</sp>
</div>
</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>
<!-- ... rest of nested act here -->
</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>
<!-- ... 這裡是其他動作 -->
</div>
</body>
</floatingText>
<sp>
<p>戲劇結束...</p>
</sp>
</div>
</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>
<!-- ... 這裡是其他動作 -->
</div>
</body>
</floatingText>
<sp>
<p>戲劇結束...</p>
</sp>
</div>
</body>
<body>
<div type="part" n="1">
<div type="chapter" n="1">
<!-- text of part 1, chapter 1 -->
</div>
<div type="chapter" n="2">
<!-- text of part 1, chapter 2 -->
</div>
</div>
<div type="part" n="2">
<div n="1" type="chapter">
<!-- text of part 2, chapter 1 -->
</div>
<div n="2" type="chapter">
<!-- text of part 2, chapter 2 -->
</div>
</div>
</body>
<div type="part" n="1">
<div type="chapter" n="1">
<!-- text of part 1, chapter 1 -->
</div>
<div type="chapter" n="2">
<!-- text of part 1, chapter 2 -->
</div>
</div>
<div type="part" n="2">
<div n="1" type="chapter">
<!-- text of part 2, chapter 1 -->
</div>
<div n="2" type="chapter">
<!-- text of part 2, chapter 2 -->
</div>
</div>
</body>
<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 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>
<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 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>
<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>
<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>
<divGen type="toc"/>
<div>
<head>Préface</head>
<p> ... </p>
</div>
</front>
<front>
<!--<titlePage>書名頁</titlePage>-->
<divGen type="toc"/>
<div>
<head>序</head>
<p> ... </p>
</div>
</front>
<!--<titlePage>書名頁</titlePage>-->
<divGen type="toc"/>
<div>
<head>序</head>
<p> ... </p>
</div>
</front>
<front>
<!--<titlePage>...</titlePage>-->
<divGen type="toc"/>
<div>
<head>Preface</head>
<p> ... </p>
</div>
</front>
<!--<titlePage>...</titlePage>-->
<divGen type="toc"/>
<div>
<head>Preface</head>
<p> ... </p>
</div>
</front>
4.1.3 Numbered or Un-numbered?
<body>
<div type="entry" n="1">
<div type="morning" n="1.1">
<p>[...]</p>
</div>
<div type="afternoon" n="1.2">
<p>[...]</p>
</div>
</div>
<div type="entry" n="2">
<div type="morning" n="2.1">
<p>[...]</p>
</div>
<div type="afternoon" n="2.2">
<p>[...]</p>
</div>
</div>
<!-- ...-->
</body>
<div type="entry" n="1">
<div type="morning" n="1.1">
<p>[...]</p>
</div>
<div type="afternoon" n="1.2">
<p>[...]</p>
</div>
</div>
<div type="entry" n="2">
<div type="morning" n="2.1">
<p>[...]</p>
</div>
<div type="afternoon" n="2.2">
<p>[...]</p>
</div>
</div>
<!-- ...-->
</body>
4.1.4 Partial and Composite Divisions
<div n="xx" sample="initial" part="Y"
type="chapter">
<p> ... </p>
</div>
type="chapter">
<p> ... </p>
</div>
4.1.4 Partial and Composite Divisions
<div n="xx" part="M" type="chapter">
<p> ... </p>
<gap extent="2" reason="sampling"/>
<p> ... </p>
</div>
<p> ... </p>
<gap extent="2" reason="sampling"/>
<p> ... </p>
</div>
<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>
<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>
<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>
<!-- chapter head -->
</item>
<!-- further chapter heads omitted -->
</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>
<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>
<!-- chapter head -->
</item>
<!-- further chapter heads omitted -->
</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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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> 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>
<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>
<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>
<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>
<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>
<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>
<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>
<!-- remaining poems of the Steps to the Temple appear here, each tagged as a distinct text element -->
</group>
<back>
<!-- back matter for the Steps to the Temple -->
</back>
</text>
<text>
<!-- start of Carmen deo Nostro -->
<front/>
<group>
<text/>
<text/>
<!-- more texts here -->
</group>
</text>
<text>
<!-- start of The Delights of the Muses -->
<group>
<text/>
<text/>
<!-- more texts here -->
</group>
</text>
</group>
<back>
<!-- back matter for the whole collection -->
</back>
</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>
<!-- remaining poems of the Steps to the Temple appear here, each tagged as a distinct text element -->
</group>
<back>
<!-- back matter for the Steps to the Temple -->
</back>
</text>
<text>
<!-- start of Carmen deo Nostro -->
<front/>
<group>
<text/>
<text/>
<!-- more texts here -->
</group>
</text>
<text>
<!-- start of The Delights of the Muses -->
<group>
<text/>
<text/>
<!-- more texts here -->
</group>
</text>
</group>
<back>
<!-- back matter for the whole collection -->
</back>
</text>
<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>
<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>
<div>
<!-- transcript here-->
</div>
<div>
<!-- translation here -->
</div>
<divGen type="alignment"/>
<!-- transcript here-->
</div>
<div>
<!-- translation here -->
</div>
<divGen type="alignment"/>
<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>
<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>
<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>
<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>
<!-- ... --><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>
<epigraph>
<quote>Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla
pendere, et cum illi pueri dicerent: <q xml:lang="gr">Σίβυλλα τί
θέλεις</q>; respondebat illa: <q xml:lang="gr">ὰποθανεῖν θέλω.</q>
</quote>
</epigraph>
<div type="dedication">
<p>For Ezra Pound <q xml:lang="it">il miglior fabbro.</q>
</p>
</div>
</front>
<epigraph>
<quote>Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla
pendere, et cum illi pueri dicerent: <q xml:lang="gr">Σίβυλλα τί
θέλεις</q>; respondebat illa: <q xml:lang="gr">ὰποθανεῖν θέλω.</q>
</quote>
</epigraph>
<div type="dedication">
<p>For Ezra Pound <q xml:lang="it">il miglior fabbro.</q>
</p>
</div>
</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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<front>
<div type="abstract">
<div>
<head> BACKGROUND:</head>
<p>Food insecurity can put children at greater risk of obesity because
of altered food choices and nonuniform consumption patterns.</p>
</div>
<div>
<head> OBJECTIVE:</head>
<p>We examined the association between obesity and both child-level
food insecurity and personal food insecurity in US children.</p>
</div>
<div>
<head> DESIGN:</head>
<p>Data from 9,701 participants in the National Health and Nutrition
Examination Survey, 2001-2010, aged 2 to 11 years were analyzed.
Child-level food insecurity was assessed with the US Department of
Agriculture's Food Security Survey Module based on eight
child-specific questions. Personal food insecurity was assessed with
five additional questions. Obesity was defined, using physical
measurements, as body mass index (calculated as kg/m2) greater than
or equal to the age- and sex-specific 95th percentile of the Centers
for Disease Control and Prevention growth charts. Logistic
regressions adjusted for sex, race/ethnic group, poverty level, and
survey year were conducted to describe associations between obesity
and food insecurity.</p>
</div>
<div>
<head> RESULTS:</head>
<p>Obesity was significantly associated with personal food insecurity
for children aged 6 to 11 years (odds ratio=1.81; 95% CI 1.33 to
2.48), but not in children aged 2 to 5 years (odds ratio=0.88; 95%
CI 0.51 to 1.51). Child-level food insecurity was not associated
with obesity among 2- to 5-year-olds or 6- to 11-year-olds.</p>
</div>
<div>
<head> CONCLUSIONS:</head>
<p>Personal food insecurity is associated with an increased risk of
obesity only in children aged 6 to 11 years. Personal
food-insecurity measures may give different results than aggregate
food-insecurity measures in children.</p>
</div>
</div>
</front>
<div type="abstract">
<div>
<head> BACKGROUND:</head>
<p>Food insecurity can put children at greater risk of obesity because
of altered food choices and nonuniform consumption patterns.</p>
</div>
<div>
<head> OBJECTIVE:</head>
<p>We examined the association between obesity and both child-level
food insecurity and personal food insecurity in US children.</p>
</div>
<div>
<head> DESIGN:</head>
<p>Data from 9,701 participants in the National Health and Nutrition
Examination Survey, 2001-2010, aged 2 to 11 years were analyzed.
Child-level food insecurity was assessed with the US Department of
Agriculture's Food Security Survey Module based on eight
child-specific questions. Personal food insecurity was assessed with
five additional questions. Obesity was defined, using physical
measurements, as body mass index (calculated as kg/m2) greater than
or equal to the age- and sex-specific 95th percentile of the Centers
for Disease Control and Prevention growth charts. Logistic
regressions adjusted for sex, race/ethnic group, poverty level, and
survey year were conducted to describe associations between obesity
and food insecurity.</p>
</div>
<div>
<head> RESULTS:</head>
<p>Obesity was significantly associated with personal food insecurity
for children aged 6 to 11 years (odds ratio=1.81; 95% CI 1.33 to
2.48), but not in children aged 2 to 5 years (odds ratio=0.88; 95%
CI 0.51 to 1.51). Child-level food insecurity was not associated
with obesity among 2- to 5-year-olds or 6- to 11-year-olds.</p>
</div>
<div>
<head> CONCLUSIONS:</head>
<p>Personal food insecurity is associated with an increased risk of
obesity only in children aged 6 to 11 years. Personal
food-insecurity measures may give different results than aggregate
food-insecurity measures in children.</p>
</div>
</div>
</front>
<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, the number of, not the efficient cause of drunkenness, <ref>461</ref>
</item>
</list>
</div>
</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, the number of, not the efficient cause of drunkenness, <ref>461</ref>
</item>
</list>
</div>
</back>
<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>
<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>
<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="grc">προλεγομενα</q>, lo!
<q xml:lang="grc">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>
<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="grc">προλεγομενα</q>, lo!
<q xml:lang="grc">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>
<div type="appendix">
<head>The Golden Dream or, the Ingenuous Confession</head>
<p>TO shew the Depravity of human Nature, and how apt the Mind is to be misled by Trinkets
and false Appearances, Mrs. Two-Shoes does acknowledge, that after she became rich, she
had like to have been, too fond of Money
<!-- .... -->
</p>
</div>
<!-- ... -->
<div type="epistle">
<head>A letter from the Printer, which he desires may be inserted</head>
<salute>Sir.</salute>
<p>I have done with your Copy, so you may return it to the Vatican, if you please;
<!-- ... -->
</p>
</div>
<div type="advert">
<head>The Books usually read by the Scholars of Mrs Two-Shoes are these and are sold at Mr
Newbery's at the Bible and Sun in St Paul's Church-yard.</head>
<list>
<item n="1">The Christmas Box, Price 1d.</item>
<item n="2">The History of Giles Gingerbread, 1d.</item>
<!-- ... -->
<item n="42">A Curious Collection of Travels, selected from the Writers of all Nations,
10 Vol, Pr. bound 1l.</item>
</list>
</div>
<div type="advert">
<head>By the KING's Royal Patent, Are sold by J. NEWBERY, at the Bible and Sun in St.
Paul's Church-Yard.</head>
<list>
<item n="1">Dr. James's Powders for Fevers, the Small-Pox, Measles, Colds, &c. 2s.
6d</item>
<item n="2">Dr. Hooper's Female Pills, 1s.</item>
<!-- ... -->
</list>
</div>
</back>
<div type="appendix">
<head>The Golden Dream or, the Ingenuous Confession</head>
<p>TO shew the Depravity of human Nature, and how apt the Mind is to be misled by Trinkets
and false Appearances, Mrs. Two-Shoes does acknowledge, that after she became rich, she
had like to have been, too fond of Money
<!-- .... -->
</p>
</div>
<!-- ... -->
<div type="epistle">
<head>A letter from the Printer, which he desires may be inserted</head>
<salute>Sir.</salute>
<p>I have done with your Copy, so you may return it to the Vatican, if you please;
<!-- ... -->
</p>
</div>
<div type="advert">
<head>The Books usually read by the Scholars of Mrs Two-Shoes are these and are sold at Mr
Newbery's at the Bible and Sun in St Paul's Church-yard.</head>
<list>
<item n="1">The Christmas Box, Price 1d.</item>
<item n="2">The History of Giles Gingerbread, 1d.</item>
<!-- ... -->
<item n="42">A Curious Collection of Travels, selected from the Writers of all Nations,
10 Vol, Pr. bound 1l.</item>
</list>
</div>
<div type="advert">
<head>By the KING's Royal Patent, Are sold by J. NEWBERY, at the Bible and Sun in St.
Paul's Church-Yard.</head>
<list>
<item n="1">Dr. James's Powders for Fevers, the Small-Pox, Measles, Colds, &c. 2s.
6d</item>
<item n="2">Dr. Hooper's Female Pills, 1s.</item>
<!-- ... -->
</list>
</div>
</back>
<back>
<div n="1" type="appendice">
<head>APPENDICE I </head>
<head>CHAPITRE XV bis </head>
<p>Des cruautez exercées par les Turcs, et autres peuples : et nommément par les
Espagnols, beaucoup plus barbares que les Sauvages mesmes </p>
<p>Premierement Chalcondile en son histoire de la decadence de l'Empire des Grecs, ...</p>
</div>
<div n="2" type="appendice">
<head> Appendice 2</head>
<head>Advertissement de l'autheur</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>
<div n="1" type="appendice">
<head>APPENDICE I </head>
<head>CHAPITRE XV bis </head>
<p>Des cruautez exercées par les Turcs, et autres peuples : et nommément par les
Espagnols, beaucoup plus barbares que les Sauvages mesmes </p>
<p>Premierement Chalcondile en son histoire de la decadence de l'Empire des Grecs, ...</p>
</div>
<div n="2" type="appendice">
<head> Appendice 2</head>
<head>Advertissement de l'autheur</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>
1 The TEI Infrastructure
1.3.1.1.1 Element Identifiers and Labels
<div type="book" n="one" xml:id="TXT0101">
<!-- ... -->
<div type="stanza" n="xlii">
<!-- ... -->
</div>
</div>
<!-- ... -->
<div type="stanza" n="xlii">
<!-- ... -->
</div>
</div>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
<teiHeader xml:lang="en">
<!-- ... -->
</teiHeader>
<text xml:lang="fr">
<body>
<div>
<!-- chapter one is in French -->
</div>
<div xml:lang="de">
<!-- chapter two is in German -->
</div>
<div>
<!-- chapter three is French -->
</div>
<!-- ... -->
</body>
</text>
</TEI>
<teiHeader xml:lang="en">
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</teiHeader>
<text xml:lang="fr">
<body>
<div>
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</div>
<div xml:lang="de">
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</div>
<div>
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</div>
<!-- ... -->
</body>
</text>
</TEI>
1.3.1.1.3 Rendition Indicators
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<rendition xml:id="IT" scheme="css"
selector="emph, hi">font-style: italic;</rendition>
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<rendition xml:id="FontRoman" scheme="css"
selector="text">font-family: serif;</rendition>
</tagsDecl>
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<body>
<div>
<p rendition="#IT">
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<p>
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</body>
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<rendition xml:id="IT" scheme="css"
selector="emph, hi">font-style: italic;</rendition>
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<rendition xml:id="FontRoman" scheme="css"
selector="text">font-family: serif;</rendition>
</tagsDecl>
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<body>
<div>
<p rendition="#IT">
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<p>
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</body>
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<body>
<div xml:base="http://www.example.org/somewhere.xml">
<p>
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<ptr target="elsewhere.xml"/>
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</p>
</div>
<div>
<p>
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<ptr target="elsewhere.xml"/>
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<div xml:base="http://www.example.org/somewhere.xml">
<p>
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<div>
<p>
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<ptr target="elsewhere.xml"/>
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</body>
<div type="bibl">
<head>Bibliography</head>
<listBibl xml:base="http://www.lib.ucdavis.edu/BWRP/Works/">
<bibl>
<author>
<name>Landon, Letitia Elizabeth</name>
</author>
<ref target="LandLVowOf.sgm">
<title>The Vow of the Peacock</title>
</ref>
</bibl>
<bibl>
<author>
<name>Compton, Margaret Clephane</name>
</author>
<ref target="NortMIrene.sgm">
<title>Irene, a Poem in Six Cantos</title>
</ref>
</bibl>
<bibl>
<author>
<name>Taylor, Jane</name>
</author>
<ref target="TaylJEssay.sgm">
<title>Essays in Rhyme on Morals and Manners</title>
</ref>
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</listBibl>
</div>
<head>Bibliography</head>
<listBibl xml:base="http://www.lib.ucdavis.edu/BWRP/Works/">
<bibl>
<author>
<name>Landon, Letitia Elizabeth</name>
</author>
<ref target="LandLVowOf.sgm">
<title>The Vow of the Peacock</title>
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<bibl>
<author>
<name>Compton, Margaret Clephane</name>
</author>
<ref target="NortMIrene.sgm">
<title>Irene, a Poem in Six Cantos</title>
</ref>
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<bibl>
<author>
<name>Taylor, Jane</name>
</author>
<ref target="TaylJEssay.sgm">
<title>Essays in Rhyme on Morals and Manners</title>
</ref>
</bibl>
</listBibl>
</div>
<div type="verse">
<head>Night in Tarras</head>
<lg type="stanza">
<l>At evening tramping on the hot white road</l>
<l>…</l>
</lg>
<lg type="stanza">
<l>A wind sprang up from nowhere as the sky</l>
<l>…</l>
</lg>
</div>
<head>Night in Tarras</head>
<lg type="stanza">
<l>At evening tramping on the hot white road</l>
<l>…</l>
</lg>
<lg type="stanza">
<l>A wind sprang up from nowhere as the sky</l>
<l>…</l>
</lg>
</div>
3 Elements Available in All TEI Documents
<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>
<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>
<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>
<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>
<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>
<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>
<head>Rx</head>
<p>500 mg <unclear reason="illegible">placebo</unclear>
</p>
</div>
<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 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>
3.6 Simple Links and Cross-References
<p>...
The complete XPointer specification is managed by the W3C<note place="foot">
<ptr target="http://www.w3.org/TR/xptr-framework/"/>,
<ptr target="http://www.w3.org/TR/xptr-element/"/>,
<ptr target="http://www.w3.org/TR/xptr-xmlns/"/>, and
<ptr target="http://www.w3.org/TR/xptr-xpointer/"/>
</note>;
for a discussion of TEI schemes for XPointer, see
<ptr target="#eSATS"/>.</p>
<!--... -->
<div xml:id="eSATS">
<!--... -->
</div>
The complete XPointer specification is managed by the W3C<note place="foot">
<ptr target="http://www.w3.org/TR/xptr-framework/"/>,
<ptr target="http://www.w3.org/TR/xptr-element/"/>,
<ptr target="http://www.w3.org/TR/xptr-xmlns/"/>, and
<ptr target="http://www.w3.org/TR/xptr-xpointer/"/>
</note>;
for a discussion of TEI schemes for XPointer, see
<ptr target="#eSATS"/>.</p>
<!--... -->
<div xml:id="eSATS">
<!--... -->
</div>
<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 rend="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>
<p> Selon des critères qui n'appartiennent qu'à lui, Rémi Plassaert a classé ses buvards
en huit tas respectivement surmontés par :</p>
<list rend="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>
<div>
<p> [...] et tout autour, la longue cohorte de ses personnages, avec leur histoire, leur
passé, leurs légendes :</p>
<list rend="numbered">
<item n="1">Pélage vainqueur d'Alkhamah se faisant couronner à Covadonga </item>
<item n="2">La cantatrice exilée de Russie suivant Schönberg à Amsterdam</item>
<item n="3">Le petit chat sourd aux yeux vairons vivant au dernier étage</item>
<item n="4">Le crétin chef d'îlot faisant préparer des tonneaux de sable</item>
</list>
</div>
<p> [...] et tout autour, la longue cohorte de ses personnages, avec leur histoire, leur
passé, leurs légendes :</p>
<list rend="numbered">
<item n="1">Pélage vainqueur d'Alkhamah se faisant couronner à Covadonga </item>
<item n="2">La cantatrice exilée de Russie suivant Schönberg à Amsterdam</item>
<item n="3">Le petit chat sourd aux yeux vairons vivant au dernier étage</item>
<item n="4">Le crétin chef d'îlot faisant préparer des tonneaux de sable</item>
</list>
</div>
<div type="subsection">
<head place="margin">Secunda conclusio</head>
<p>
<lb n="1251"/>
<hi rend="large">Potencia: habitus: et actus: recipiunt speciem ab obiectis<supplied>.</supplied>
</hi>
<lb n="1252"/>Probatur sic. Omne importans necessariam habitudinem ad proprium
[...]
</p>
</div>
<head place="margin">Secunda conclusio</head>
<p>
<lb n="1251"/>
<hi rend="large">Potencia: habitus: et actus: recipiunt speciem ab obiectis<supplied>.</supplied>
</hi>
<lb n="1252"/>Probatur sic. Omne importans necessariam habitudinem ad proprium
[...]
</p>
</div>
<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>
<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>
<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>
<!--...-->
<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>
<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>
3.10.2.1 Referencing system derived from markup
<text xml:id="Text-1" n="AB">
<front xml:id="Front" n="AB.1">
<div xml:id="Front.div-1" n="AB.1.1">
<p> ... </p>
</div>
<titlePage xml:id="Front.titlePage"
n="AB.1.2">
<titlePart> ... </titlePart>
</titlePage>
<div xml:id="Front.div-2" n="AB.1.3">
<p> ... </p>
</div>
</front>
<body xml:id="Body" n="AB.2">
<p xml:id="Body.p-1" n="AB.2.1"> ... </p>
<p xml:id="Body.p-2" n="AB.2.2"> ... </p>
<div xml:id="Body.div-1" n="AB.2.3">
<head xml:id="Body.div-1.head"
n="AB.2.3.1"> ... </head>
<p xml:id="Body.div-1.p-1" n="AB.2.3.2"> ... </p>
<p xml:id="Body.div-1.p-2" n="AB.2.3.3"> ... </p>
</div>
<div xml:id="Body.div-2" n="AB.2.4">
<head xml:id="Body.div-2.head"
n="AB.2.4.1"> ... </head>
<p xml:id="Body.div-2.p-1" n="AB.2.4.2"> ... </p>
<p xml:id="Body.div-2.p-2" n="AB.2.4.3"> ... </p>
</div>
</body>
</text>
<front xml:id="Front" n="AB.1">
<div xml:id="Front.div-1" n="AB.1.1">
<p> ... </p>
</div>
<titlePage xml:id="Front.titlePage"
n="AB.1.2">
<titlePart> ... </titlePart>
</titlePage>
<div xml:id="Front.div-2" n="AB.1.3">
<p> ... </p>
</div>
</front>
<body xml:id="Body" n="AB.2">
<p xml:id="Body.p-1" n="AB.2.1"> ... </p>
<p xml:id="Body.p-2" n="AB.2.2"> ... </p>
<div xml:id="Body.div-1" n="AB.2.3">
<head xml:id="Body.div-1.head"
n="AB.2.3.1"> ... </head>
<p xml:id="Body.div-1.p-1" n="AB.2.3.2"> ... </p>
<p xml:id="Body.div-1.p-2" n="AB.2.3.3"> ... </p>
</div>
<div xml:id="Body.div-2" n="AB.2.4">
<head xml:id="Body.div-2.head"
n="AB.2.4.1"> ... </head>
<p xml:id="Body.div-2.p-1" n="AB.2.4.2"> ... </p>
<p xml:id="Body.div-2.p-2" n="AB.2.4.3"> ... </p>
</div>
</body>
</text>
<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>
<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>
<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>
<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>
<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>
<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>
5 Characters, Glyphs, and Writing Modes
<div>
<lg xml:lang="ja"
style="writing-mode: vertical-rl">
<l>古池や</l>
<l>蛙</l>
<l>飛び込む</l>
<l>水の音</l>
</lg>
<lg xml:lang="ja-Latn"
style="writing-mode: horizontal-tb">
<l>furu ike ya</l>
<l>kawazu tobikomu</l>
<l>mizu no oto</l>
</lg>
<lg xml:lang="en">
<l>Old pond,</l>
<l>and a frog dives in—</l>
<l>"Splash"!</l>
</lg>
</div>
<lg xml:lang="ja"
style="writing-mode: vertical-rl">
<l>古池や</l>
<l>蛙</l>
<l>飛び込む</l>
<l>水の音</l>
</lg>
<lg xml:lang="ja-Latn"
style="writing-mode: horizontal-tb">
<l>furu ike ya</l>
<l>kawazu tobikomu</l>
<l>mizu no oto</l>
</lg>
<lg xml:lang="en">
<l>Old pond,</l>
<l>and a frog dives in—</l>
<l>"Splash"!</l>
</lg>
</div>
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>
<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>
<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>
6.4.1 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>
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>
6.4.3 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>
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>
6.4.3 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>
<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>
6.6 Metrical Notation Declaration
<encodingDesc>
<!-- ... -->
<metDecl xml:id="md_en" type="met"
pattern="((SU|US)USUSUSUS/)">
<metSym value="S">stressed syllable</metSym>
<metSym value="U">unstressed syllable</metSym>
<metSym value="/">metrical line boundary</metSym>
</metDecl>
<metDecl xml:id="md_fr" type="met"
pattern="(AAAAAT\|AAAAT(A)?)">
<metSym value="T">syllabe tonique</metSym>
<metSym value="A">syllabe atone</metSym>
<metSym value="|">pause métrique</metSym>
</metDecl>
<!-- ... -->
</encodingDesc>
<!-- ... -->
<body>
<div decls="#md_en">
<lg>
<l>
<!-- ... -->
</l>
<!-- ... -->
</lg>
</div>
<div decls="#md_fr">
<lg>
<l>
<!-- ... -->
</l>
<!-- ... -->
</lg>
</div>
</body>
<!-- ... -->
<metDecl xml:id="md_en" type="met"
pattern="((SU|US)USUSUSUS/)">
<metSym value="S">stressed syllable</metSym>
<metSym value="U">unstressed syllable</metSym>
<metSym value="/">metrical line boundary</metSym>
</metDecl>
<metDecl xml:id="md_fr" type="met"
pattern="(AAAAAT\|AAAAT(A)?)">
<metSym value="T">syllabe tonique</metSym>
<metSym value="A">syllabe atone</metSym>
<metSym value="|">pause métrique</metSym>
</metDecl>
<!-- ... -->
</encodingDesc>
<!-- ... -->
<body>
<div decls="#md_en">
<lg>
<l>
<!-- ... -->
</l>
<!-- ... -->
</lg>
</div>
<div decls="#md_fr">
<lg>
<l>
<!-- ... -->
</l>
<!-- ... -->
</lg>
</div>
</body>
7 Performance Texts
<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>
<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>
<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>
<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>
<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> 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>
<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>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>
<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>
<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
<div type="soundbites"
subtype="conservative" org="composite">
<div sample="medial"/>
<div sample="medial"/>
<div sample="initial"/>
</div>
subtype="conservative" org="composite">
<div sample="medial"/>
<div sample="medial"/>
<div sample="initial"/>
</div>
<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>
<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>
<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>
10 Manuscript Description
<layout streams="3" columns="3"/>
<!-- Further down in document body -->
<div type="page">
<ab>
<pb/>
一二三<cb type="top-stream"/>
一二三<cb type="mid-stream"/>
一二三<cb type="bottom-stream"/>
<!-- cb here for demo purposes -->
</ab>
</div>
<!-- Further down in document body -->
<div type="page">
<ab>
<pb/>
一二三<cb type="top-stream"/>
一二三<cb type="mid-stream"/>
一二三<cb type="bottom-stream"/>
<!-- cb here for demo purposes -->
</ab>
</div>
11 Representation of Primary Sources
<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.<lb/> 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>
<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.<lb/> 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>
<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>
<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>
11.3.1.4 Additions and Deletions
<handNote xml:id="heol"
scribe="HelgiÓlafsson"/>
<!-- ... -->
<body>
<div>
<!-- text here -->
</div>
<addSpan n="added gathering" hand="#heol"
spanTo="#p025"/>
<div>
<!-- text of first added poem here -->
</div>
<div>
<!-- text of second added poem here -->
</div>
<div>
<!-- text of third added poem here -->
</div>
<div>
<!-- text of fourth added poem here -->
</div>
<anchor xml:id="p025"/>
<div>
<!-- more text here -->
</div>
</body>
scribe="HelgiÓlafsson"/>
<!-- ... -->
<body>
<div>
<!-- text here -->
</div>
<addSpan n="added gathering" hand="#heol"
spanTo="#p025"/>
<div>
<!-- text of first added poem here -->
</div>
<div>
<!-- text of second added poem here -->
</div>
<div>
<!-- text of third added poem here -->
</div>
<div>
<!-- text of fourth added poem here -->
</div>
<anchor xml:id="p025"/>
<div>
<!-- more text here -->
</div>
</body>
<handNote xml:id="HEOL"
scribe="HelgiÓlafsson"/>
<!-- ... -->
<body>
<div>
<!-- text here -->
</div>
<addSpan n="added_gathering" hand="#HEOL"
spanTo="#P025"/>
<div>
<!-- text of first added poem here -->
</div>
<div>
<!-- text of second added poem here -->
</div>
<div>
<!-- text of third added poem here -->
</div>
<div>
<!-- text of fourth added poem here -->
</div>
<anchor xml:id="P025"/>
<div>
<!-- more text here -->
</div>
</body>
scribe="HelgiÓlafsson"/>
<!-- ... -->
<body>
<div>
<!-- text here -->
</div>
<addSpan n="added_gathering" hand="#HEOL"
spanTo="#P025"/>
<div>
<!-- text of first added poem here -->
</div>
<div>
<!-- text of second added poem here -->
</div>
<div>
<!-- text of third added poem here -->
</div>
<div>
<!-- text of fourth added poem here -->
</div>
<anchor xml:id="P025"/>
<div>
<!-- more text here -->
</div>
</body>
12 Critical Apparatus
<body>
<div>
<lg type="stanza" xml:id="Y-36.01"
xml:lang="pal-Avst" rend="italic">
<l xml:id="Y-36.01_L-1">
<w xml:id="Y-36.01_L1_W-01">ahiiā</w>
<w xml:id="Y-36.01_L1_W-02">ϑβā</w>
<w xml:id="Y-36.01_L1_W-03">āϑrō</w>
<w xml:id="Y-36.01_L1_W-04">vərəzə̄nā</w>
<w xml:id="Y-36.01_L1_W-05">paouruiiē</w>
<w xml:id="Y-36.01_L1_W-06">pairijasāmaiδē</w>
<w xml:id="Y-36.01_L1_W-07">mazdā</w>
<w xml:id="Y-36.01_L1_W-08">ahurā</w>
</l>
<!-- ... -->
</lg>
</div>
</body>
<!-- ... -->
<back>
<div>
<listApp xml:id="CA_Y-36"
xml:lang="pal-Avst">
<head>Variants from witnesses in Avestan script</head>
<app from="#Y-36.01_L1_W-01">
<rdg wit="#Pt4 #F2 #J2 #M1">ahiiā</rdg>
</app>
<app from="#Y-36.01_L1_W-02">
<rdg wit="#Pt4 #F2 #J2 #M1">ϑβā</rdg>
</app>
<app from="#Y-36.01_L1_W-03">
<rdg wit="#Pt4 #J2 #M1">āϑrō</rdg>
<rdg wit="#F2">āϑrōi</rdg>
</app>
<!-- ... -->
</listApp>
<listApp xml:id="CA_PY-36"
xml:lang="pal-Phlv">
<head>Variants from witnesses written in Pahlavi script</head>
<app from="#PY-36.01_L1_W-01">
<rdg wit="#Pt4 #F2 #J2 #M1">ʾytwnˈ</rdg>
</app>
<app from="#PY-36.01_L1_W-02">
<rdg wit="#Pt4 #F2 #J2 #M1">ʾwˈ</rdg>
</app>
<app from="#PY-36.01_L1_W-03">
<rdg wit="#Pt4 #F2 #J2 #M1">ḤNʾ</rdg>
</app>
<!-- ... -->
</listApp>
</div>
</back>
<div>
<lg type="stanza" xml:id="Y-36.01"
xml:lang="pal-Avst" rend="italic">
<l xml:id="Y-36.01_L-1">
<w xml:id="Y-36.01_L1_W-01">ahiiā</w>
<w xml:id="Y-36.01_L1_W-02">ϑβā</w>
<w xml:id="Y-36.01_L1_W-03">āϑrō</w>
<w xml:id="Y-36.01_L1_W-04">vərəzə̄nā</w>
<w xml:id="Y-36.01_L1_W-05">paouruiiē</w>
<w xml:id="Y-36.01_L1_W-06">pairijasāmaiδē</w>
<w xml:id="Y-36.01_L1_W-07">mazdā</w>
<w xml:id="Y-36.01_L1_W-08">ahurā</w>
</l>
<!-- ... -->
</lg>
</div>
</body>
<!-- ... -->
<back>
<div>
<listApp xml:id="CA_Y-36"
xml:lang="pal-Avst">
<head>Variants from witnesses in Avestan script</head>
<app from="#Y-36.01_L1_W-01">
<rdg wit="#Pt4 #F2 #J2 #M1">ahiiā</rdg>
</app>
<app from="#Y-36.01_L1_W-02">
<rdg wit="#Pt4 #F2 #J2 #M1">ϑβā</rdg>
</app>
<app from="#Y-36.01_L1_W-03">
<rdg wit="#Pt4 #J2 #M1">āϑrō</rdg>
<rdg wit="#F2">āϑrōi</rdg>
</app>
<!-- ... -->
</listApp>
<listApp xml:id="CA_PY-36"
xml:lang="pal-Phlv">
<head>Variants from witnesses written in Pahlavi script</head>
<app from="#PY-36.01_L1_W-01">
<rdg wit="#Pt4 #F2 #J2 #M1">ʾytwnˈ</rdg>
</app>
<app from="#PY-36.01_L1_W-02">
<rdg wit="#Pt4 #F2 #J2 #M1">ʾwˈ</rdg>
</app>
<app from="#PY-36.01_L1_W-03">
<rdg wit="#Pt4 #F2 #J2 #M1">ḤNʾ</rdg>
</app>
<!-- ... -->
</listApp>
</div>
</back>
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>
<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>
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>
14 Tables, Formulæ, Graphics and Notated Music
14.3 Notated Music in Written Text
<div n="67">
<p> We now give some examples, from the works of the great masters, of
some of the most frequently used bowings. </p>
<figure n="Ex. 3">
<head>SCHUBERT: Symphony in B minor.</head>
<notatedMusic>
<ptr target="example_schubert.xml"/>
</notatedMusic>
</figure>
</div>
<p> We now give some examples, from the works of the great masters, of
some of the most frequently used bowings. </p>
<figure n="Ex. 3">
<head>SCHUBERT: Symphony in B minor.</head>
<notatedMusic>
<ptr target="example_schubert.xml"/>
</notatedMusic>
</figure>
</div>
16 Linking, Segmentation, and Alignment
<linkGrp type="translation">
<link target="#CCS1 #SW1"/>
<link target="#CCS2 #SW2"/>
<link target="#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>
<link target="#CCS1 #SW1"/>
<link target="#CCS2 #SW2"/>
<link target="#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 target="#fr_CCS1 #fr_SW1"/>
<link target="#fr_CCS2 #fr_SW2"/>
<link target="#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>
<link target="#fr_CCS1 #fr_SW1"/>
<link target="#fr_CCS2 #fr_SW2"/>
<link target="#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 target="#zh-tw_CCS1 #zh-tw_SW1"/>
<link target="#zh-tw_CCS2 #zh-tw_SW2"/>
<link target="#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>
<link target="#zh-tw_CCS1 #zh-tw_SW1"/>
<link target="#zh-tw_CCS2 #zh-tw_SW2"/>
<link target="#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>
<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>
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>
<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 rend="bulleted">
<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>
<!-- ... -->
</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 rend="bulleted">
<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>
<div xml:lang="la" type="edition"
xml:space="preserve"><ab> <lb n="1" xml:id="line1"/><supplied reason="lost">si</supplied> non <choice><reg>habui</reg><orig>abui</orig></choice> quidquam vaco <lb n="2"/>si<gap reason="illegible" quantity="3"
unit="character"/>b<gap reason="illegible" quantity="3"
unit="character"/> cohort<unclear>e</unclear> mi rescribas <lb n="3"/><unclear>s</unclear>emp<unclear>er</unclear> in <choice><reg>mente</reg><orig>mentem</orig></choice> <choice><reg>habe</reg><orig>abe</orig></choice> supra res <lb n="4"/>scriptas<gap reason="lost" extent="unknown"
unit="character"/> <lb n="5"/>auge et opto u<unclear>t</unclear> bene valeas</ab>
</div>
xml:space="preserve"><ab> <lb n="1" xml:id="line1"/><supplied reason="lost">si</supplied> non <choice><reg>habui</reg><orig>abui</orig></choice> quidquam vaco <lb n="2"/>si<gap reason="illegible" quantity="3"
unit="character"/>b<gap reason="illegible" quantity="3"
unit="character"/> cohort<unclear>e</unclear> mi rescribas <lb n="3"/><unclear>s</unclear>emp<unclear>er</unclear> in <choice><reg>mente</reg><orig>mentem</orig></choice> <choice><reg>habe</reg><orig>abe</orig></choice> supra res <lb n="4"/>scriptas<gap reason="lost" extent="unknown"
unit="character"/> <lb n="5"/>auge et opto u<unclear>t</unclear> bene valeas</ab>
</div>
<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>
<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>
16.4.1 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>
<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>
16.5.2 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>
<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>
16.5.2 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>
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>
16.5.2 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>
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>
<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>
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>
<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>
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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<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>
<!-- ... -->
<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>
<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>
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>
<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>
<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>
<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>
<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>
<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>
<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>
<group>
<text xml:id="t1-g1-t1" xml:lang="mi">
<body xml:id="t1-g1-t1-body1">
<div type="chapter">
<head>He Whakamaramatanga mo te Ture Hoko, Riihi hoki, i nga Whenua Maori, 1876.</head>
<p>…</p>
</div>
</body>
</text>
<text xml:id="t1-g1-t2" xml:lang="en">
<body xml:id="t1-g1-t2-body1"
corresp="#t1-g1-t1-body1">
<div type="chapter">
<head>An Act to regulate the Sale, Letting, and Disposal of Native Lands, 1876.</head>
<p>…</p>
</div>
</body>
</text>
</group>
<text xml:id="t1-g1-t1" xml:lang="mi">
<body xml:id="t1-g1-t1-body1">
<div type="chapter">
<head>He Whakamaramatanga mo te Ture Hoko, Riihi hoki, i nga Whenua Maori, 1876.</head>
<p>…</p>
</div>
</body>
</text>
<text xml:id="t1-g1-t2" xml:lang="en">
<body xml:id="t1-g1-t2-body1"
corresp="#t1-g1-t1-body1">
<div type="chapter">
<head>An Act to regulate the Sale, Letting, and Disposal of Native Lands, 1876.</head>
<p>…</p>
</div>
</body>
</text>
</group>
17 Simple Analytic Mechanisms
<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>
<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
<div>
<p>[...]</p>
</div>
<div>
<certainty locus="name" degree="0.3"
match=".//persName"/>
</div>
<p>[...]</p>
</div>
<div>
<certainty locus="name" degree="0.3"
match=".//persName"/>
</div>
21.1.2 Structured Indications of Uncertainty
<div>
<!-- ... -->
<certainty match=".//my:*" locus="value"
degree="0.9"/>
</div>
<!-- ... -->
<certainty match=".//my:*" locus="value"
degree="0.9"/>
</div>
22 Documentation Elements
22.1.2 Element and Attribute Descriptions
<div>
<head>Element and Attribute Descriptions</head>
<p>Within the body of a document using this module, the … the brief prose descriptions these provide for elements and attributes.
<specList>
<specDesc key="specList"/>
<specDesc key="specDesc" atts="atts"/>
</specList>
</p>
<p>TEI practice recommends that a <gi>specList</gi> listing the elements under … </p>
<!-- ... -->
</div>
<head>Element and Attribute Descriptions</head>
<p>Within the body of a document using this module, the … the brief prose descriptions these provide for elements and attributes.
<specList>
<specDesc key="specList"/>
<specDesc key="specDesc" atts="atts"/>
</specList>
</p>
<p>TEI practice recommends that a <gi>specList</gi> listing the elements under … </p>
<!-- ... -->
</div>
<egXML xmlns="http://www.tei-c.org/ns/Examples"><div>
<head>A slide about <gi>egXML</gi>
</head>
<list>
<item>
<gi>egXML</gi> can be used to give XML examples in the TEI
Examples namespace</item>
<item>Attributes values for <att>valid</att>:
<list rend="collapsed">
<item>
<val rend="green">true</val>: intended to be fully
valid</item>
<item>
<val rend="amber">feasible</val>: valid if missing nodes
provided</item>
<item>
<val rend="red">false</val>: not intended to be valid</item>
</list>
</item>
<item>The <att>rend</att> attribute in the TEI namespace can be
used for recording how parts of the example was rendered.</item>
</list>
</div>
</egXML>
<head>A slide about <gi>egXML</gi>
</head>
<list>
<item>
<gi>egXML</gi> can be used to give XML examples in the TEI
Examples namespace</item>
<item>Attributes values for <att>valid</att>:
<list rend="collapsed">
<item>
<val rend="green">true</val>: intended to be fully
valid</item>
<item>
<val rend="amber">feasible</val>: valid if missing nodes
provided</item>
<item>
<val rend="red">false</val>: not intended to be valid</item>
</list>
</item>
<item>The <att>rend</att> attribute in the TEI namespace can be
used for recording how parts of the example was rendered.</item>
</list>
</div>
</egXML>
<div>
<head>A slide about <gi>egXML</gi>
</head>
<list>
<item>
<gi>egXML</gi> can be used to give XML examples in the TEI
Examples namespace</item>
<item>Attributes values for <att>valid</att>:
<list rend="collapsed">
<item>
<val rend="green">true</val>: intended to be fully
valid</item>
<item>
<val rend="amber">feasible</val>: valid if missing nodes
provided</item>
<item>
<val rend="red">false</val>: not intended to be valid</item>
</list>
</item>
<item>The <att>rend</att> attribute in the TEI namespace can be
used for recording how parts of the example was rendered.</item>
</list>
</div>
<head>A slide about <gi>egXML</gi>
</head>
<list>
<item>
<gi>egXML</gi> can be used to give XML examples in the TEI
Examples namespace</item>
<item>Attributes values for <att>valid</att>:
<list rend="collapsed">
<item>
<val rend="green">true</val>: intended to be fully
valid</item>
<item>
<val rend="amber">feasible</val>: valid if missing nodes
provided</item>
<item>
<val rend="red">false</val>: not intended to be valid</item>
</list>
</item>
<item>The <att>rend</att> attribute in the TEI namespace can be
used for recording how parts of the example was rendered.</item>
</list>
</div>
<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>
<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
23.3.2 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>
xmlns:my="http://www.example.org/ns/nonTEI">
<!-- ... -->
<p n="12" my:topic="rabbits">Flopsy, Mopsy, Cottontail, and Peter...</p>
</div>