Ejemplo: <div2> (level-2 text division)

These search results reproduce every example of the use of <div2> 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 <div2> 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.

4 Default Text Structure (defining module)

3 Elements Available in All TEI Documents
7 Performance Texts
16 Linking, Segmentation, and Alignment

4 Default Text Structure

4.1.2 Numbered Divisions

<div1>

<div1 xml:id="levi" n="I" type="part">
<head>Part I: Of Man </head>
<div2 xml:id="levi1" n="1" type="chapter">
<head>Chap. I. Of Sense </head>
Concerning the Thoughts of man... 
</div2>
</div1>
<div1 xml:id="levii" n="II" type="part">
<head>Part II: Of Common-Wealth</head>
</div1>

<div1>

<div1 n="1" type="livre">
<head>livre premier</head>
<div2 n="I " type="chapitre">
 <head>La Grand'salle</head>
 Il y a aujourd'hui trois cent quarante-huit ans six mois et dix-neuf jours que les
 parisiens s'éveillèrent au bruit de toutes les cloches sonnant à grande volée dans la
 triple enceinte de la Cité, de l'Université et de la Ville. 
</div2>
</div1>
<div1 n="2" type="livre">
<head>livre deuxième</head>
<div2 n="I " type="chapitre">
 <head>De Charybde en Scylla </head>
 La nuit arrive de bonne heure en janvier. Les rues étaient déjà sombres quand
 Gringoire sortit du Palais.
</div2>
</div1>

<div1>

<div1 xml:id="zh-tw_levi" n="I" type="part">
<head>第一部：陰錯陽差</head>
<div2 xml:id="zh-tw_levi1" n="1"
 type="chapter">
 <head>第一章</head>
 乾隆年間，北京。紫薇帶著丫頭金瑣，來到北京已經快一個月了。.. 
</div2>
</div1>
<div1 xml:id="zh-tw_levii" n="II"
type="part">
<head>第二部: 水深火熱</head>
</div1>

<div2>

<div1 n="2" type="part">
<head>The Second Partition:
 The Cure of Melancholy</head>
<div2 n="2.1" type="section">
 <div3 n="2.1.1" type="member">
 <div4 n="2.1.1.1" type="subsection">
 <head>Unlawful Cures rejected.</head>
 Inveterate melancholy, howsoever it may seem to
 be a continuate, inexorable disease, hard to be
 cured, accompanying them to their graves most part
 (as <ref target="#a">Montanus</ref> observes), yet many
 times it may be helped...
 
 </div4>
 </div3>
</div2>
<div2 n="2.2" type="section">
 <div3 n="2.2.1" type="member">
 <head>Sect. II. Memb. I</head>
 
 </div3>
</div2>
<div2 n="2.3" type="section">
 <div3 n="2.3.1" type="member">
 <head>Sect. III. Memb. I</head>
 
 </div3>
</div2>
</div1>

<div2>

<div1 n="II" type="chapitre">
<head>Chapitre II. Traitement électronique des données en histoire de la littérature
 française : bilan provisoire</head>
<div2 n="2.1" type="section">
 <div3 n="2.1.1" type="subsection">
 <div4 n="2.1.1.1" type="article">
 <head>Les objectifs</head>
 Chaque étudiant est convié à parcourir la banque à partir des différentes entrées
 liées au cours magistral qu'il suit en amphithéâtre...
 </div4>
 </div3>
</div2>
<div2 n="2.2" type="section">
 <div3 n="2.2.1" type="subsection">
 <head>Sect. II. Subsection I. Exploitation pédagogique de la BDHL</head>
 Pour la plupart des étudiants en Lettres des générations précédentes, un
 enseignement de l'histoire de la littérature allait de soi... 
 </div3>
</div2>
<div2 n="2.3" type="section">
 <div3 n="2.3.1" type="subsection">
 <head>Sect. III. Subsection I. Etudes permises par la BDHL</head>
 L'existence d'une banque de données, quelle qu'elle soit, permet d'envisager des
 traitements statistiques. 
 </div3>
</div2>
</div1>

<div2>

<div1 n="3" type="part">
<head>第三章：對話性—文化理論的基石</head>
<div2 n="3.1" type="section">
 <div3 n="3.1.1" type="member">
 <div4 n="3.1.1.1" type="subsection">
 <head>歷史、社會與佛洛伊德主義</head>
 《述評》開宗明義，運用歷史唯物主義的觀點，批判佛洛伊德主義的反歷史和反社會傾向。巴赫汀指出... 
 </div4>
 </div3>
</div2>
<div2 n="3.2" type="section">
 <div3 n="3.2.1" type="member">
 <head>打破內在/外在、主觀/客觀的二元對立</head>
 在二○年代的蘇聯文藝界，...
 </div3>
</div2>
<div2 n="3.3" type="section">
 <div3 n="3.3.1" type="member">
 <head>建立馬克思主義和社會學詩學</head>
 《社會學詩學》是巴赫汀對話美學的一個目標，...
 </div3>
</div2>
</div1>

<div3>

<div2 n="2.2" type="section">
<div3 n="2.2.1" type="member">
 <head>Sect. II. Memb. I</head>
 
</div3>
<div3 n="2.2.2" type="member">
 <head>Memb. II Retention and Evacuation rectified.</head>
 
</div3>
<div3 n="2.2.3" type="member">
 <head>Memb. III Ayr rectified. With a digression of the Ayr.</head>
 
</div3>
</div2>

<div3>

<div2 n="2.2" type="section">
<div3 n="2.2.1" type="subsection">
 <head>Sect. II. Subsect. I Dictionnaires. </head>
 C'est un recueil de mots rangés dans un ordre convenu...
</div3>
<div3 n="2.2.2" type="subsection">
 <head>Sect. II. Subsect. II. Qu'est-ce qu'un dictionnaire de langue ? .</head>
 Un dictionnaire de langue est un dictionnaire donnant les mots d'une langue et leurs
 emplois...
</div3>
<div3 n="2.2.3" type="subsection">
 <head>Sect. II. Subsect. III. Qu'est-ce qu'un dictionnaire encyclopédique ? </head>
 Un dictionnaire encyclopédique est un dictionnaire qui contient des renseignements
 sur les choses, sur les idées 
</div3>
</div2>

<div3>

<div2 n="3.2" type="section">
<div3 n="3.2.1" type="member">
 <head>打破內在/外在、主觀/客觀的二元對立</head>
 在二○年代的蘇聯文藝界，...
</div3>
<div3 n="3.2.2" type="member">
 <head>交流：藝術話語與生活話語的共性</head>
 林林總總的文理理論圍繞著作者、作品和讀者的關係問題，...
</div3>
<div3 n="2.2.3" type="member">
 <head>言談和音調</head>
 在這裡，巴赫汀為言談做了一個大膽的定義：...
</div3>
</div2>

<div5>

<div2 type="chapter">
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
 <head>Fruit and vegetable soups</head>
 ...
 <div4>
 <head>Stocks for all kinds of soups</head>
 <div5 type="recipe">
 <head>Rich strong stock</head>

 </div5>
 <div5 type="recipe">
 <head>Medium Stock</head>

 </div5>
 </div4>
 <div4 type="recipe">
 <head>Apple soup</head>
 <div5>
 <head>Ingredients</head>
 <list>
 <item>2 lbs. of good boiling apples,</item>
 <item>3/4 teaspoonful of white pepper,</item>
 <item>6 cloves,</item>
 <item>cayenne or ginger to taste,</item>
 <item>3 quarts of medium stock</item>
 </list>
 </div5>
 <div5>
 <head>Mode</head>
 Peel and quarter the apples taking out their cores; put them into
 the stock, stew them gently till tender, Rub the whole through a
 strainer, add the seasoning. give it one boil up, and serve.
 </div5>
 <div5>
 <head>Time</head>
 1 hour.
 </div5>
 <div5>
 <head>Average cost</head>
 per quart, 1s.
 </div5>
 <div5>
 <head>Seasonable</head>
 from September to December.
 </div5>
 <div5>
 <head>Sufficient</head>
 for 10 persons
 </div5>
 <div5>
 <head>The apple</head>
 This useful fruit is mentioned in Holy Writ; and Homer describes it
 as valuable in his time... As a food, the apple cannot be considered
 to rank high, as more than the half of it consists of water, and
 the rest of its properties are not the most nourishing. It is
 however a useful adjunct to other kinds of food, and, when cooked, is
 esteemed as slightly laxative.
 </div5>
 </div4>
 <div4 type="recipe">
 <head>Artichoke (Jerusalem) soup</head>
 ...
 </div4>

</div3>
</div2>

<div6>

<div2 type="chapter">
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
 <head>Fruit and vegetable soups</head>
 ...
 <div4>
 <head>Stocks for all kinds of soups</head>
 <div5 type="recipe">
 <head>Rich strong stock</head>
 <div6>
 <head>Ingredients</head>
 <list>
 <item>4 lbs of shin of beef,</item>
 <item>4 lbs of knuckle of veal,</item>

 <item>4 quarts of water</item>
 </list>
 </div6>
 <div6>
 <head>Mode</head>
 Line a delicately clean stewpan... Strain through a very
 fine hair sieve, or tammy, and it will be fit for use
 </div6>
 <div6>
 <head>Time</head>
 5 hours.
 </div6>
 <div6>
 <head>Average cost</head>
 1s 3d. per quart
 </div6>
 </div5>
 <div5 type="recipe">
 <head>Medium Stock</head>

 </div5>
 </div4>

</div3>
</div2>

<div7>

<div2 type="chapter">
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
 <head>Fruit and vegetable soups</head>
 ...
 <div4>
 <head>Stocks for all kinds of soups</head>
 <div5 type="recipe">
 <head>Asparagus soup</head>
 <div6 type="altRecipe">
 <head>I.</head>
 <div7>
 <head>Ingredients</head>
 <list>
 <item> ...</item>
 </list>
 </div7>
 <div7>
 <head>Mode</head>
 Put the beef, cut into pieces and rolled in flour, into a
 stewpan...
 </div7>

 </div6>
 <div6 type="altRecipe">
 <head>II.</head>
 <div7>
 <head>Ingredients</head>
 <list>
 <item> ...</item>
 </list>
 </div7>
 <div7>
 <head>Mode</head>
 Boil the peas, and rub them through a sieve; add the gravy...
 </div7>
 </div6>
 </div5>
 </div4>
</div3>
</div2>

4.1.3 Numbered or Un-numbered?

<div1 type="book" n="I" xml:id="JA0100">
<head>Book I.</head>
<div2 type="chapter" n="1" xml:id="JA0101">
 <head>Of writing lives in general, and particularly of Pamela, with a word
 by the bye of Colley Cibber and others.</head>
 It is a trite but true observation, that examples work more forcibly on
 the mind than precepts: ... 

</div2>
<div2 type="chapter" n="2" xml:id="JA0102">
 <head>Of Mr. Joseph Andrews, his birth, parentage, education, and great
 endowments; with a word or two concerning ancestors.</head>
 Mr. Joseph Andrews, the hero of our ensuing history, was esteemed to
 be the only son of Gaffar and Gammar Andrews, and brother to the
 illustrious Pamela, whose virtue is at present so famous ... 

</div2>

<trailer>The end of the first Book</trailer>
</div1>
<div1 type="book" n="II" xml:id="JA0200">
<head>Book II</head>
<div2 type="chapter" n="1" xml:id="JA0201">
 <head>Of divisions in authors</head>
 There are certain mysteries or secrets in all trades, from the highest
 to the lowest, from that of <term>prime-ministering</term>, to this of
 <term>authoring</term>, which are seldom discovered unless to members of
 the same calling ... 
 I will dismiss this chapter with the following observation: that it
 becomes an author generally to divide a book, as it does a butcher to
 joint his meat, for such assistance is of great help to both the reader
 and the carver. And now having indulged myself a little I will endeavour
 to indulge the curiosity of my reader, who is no doubt impatient to know
 what he will find in the subsequent chapters of this book.
</div2>
<div2 type="chapter" n="2" xml:id="JA0202">
 <head>A surprising instance of Mr. Adams's short memory, with the
 unfortunate consequences which it brought on Joseph.
 </head>
 Mr. Adams and Joseph were now ready to depart different ways ... 
</div2>
</div1>

4.1.3 Numbered or Un-numbered?

4.1.4 Partial and Composite Divisions

<div1 type="storylist" org="composite">
<head>News in brief</head>
<div2 type="story">
 <head>Police deny <soCalled>losing</soCalled> bomb</head>
 Scotland Yard yesterday denied claims in the Sunday
 Express that anti-terrorist officers trailing an IRA van
 loaded with explosives in north London had lost track of
 it 10 days ago.
</div2>
<div2 type="story">
 <head>Hotel blaze</head>
 Nearly 200 guests were evacuated before dawn
 yesterday after fire broke out at the Scandic
 Crown hotel in the Royal Mile, Edinburgh.
</div2>
<div2 type="story">
 <head>Test match split</head>
 Test Match Special next summer will be split
 between Radio 5 and Radio 3, after protests this
 year that it disrupted Radio 3's music schedule.
</div2>
</div1>

3 Elements Available in All TEI Documents

<head>

<div1 n="I" type="book">
<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>
<div2 type="section">
 <head>In the name of Christ here begins Book I of the history.</head>
 Proposing as I do ...
 From the Passion of our Lord until the death of Saint Martin four hundred and twelve
 years passed.
 <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>
</div2>
</div1>

<head>

<div1 n="I" type="book">
<head>三國演義</head>
<div2 type="section">
 <head>第一回宴桃園豪杰三結義斬黃巾英雄首立功</head>
 滾滾長江東逝水，浪花淘盡英雄。是非成敗轉頭空。青山依舊在，几度夕陽紅。白發漁樵江渚上，慣看秋月春風。一壺濁酒喜相逢。古今多少事，都付笑談中。
 話說天下大勢，分久必合，合久必分。周末七國分爭，并入于秦。...
 <trailer>三人救了董卓回寨。卓問三人現居何職。玄德曰：白身。...畢竟董卓性命如何，且听下文分解。</trailer>
</div2>
</div1>

3.10.1 Using the xml:id and n Attributes

3.10.1 Using the xml:id and n Attributes

3.10.1 Using the xml:id and n Attributes

3.12.2 Core Tags for Drama

<div2 n="I.2" type="scene">
<head>Scene 2.</head>
<stage type="setting">Peachum, Filch.</stage>
<sp>
 <speaker>FILCH.</speaker>
 Sir, Black Moll hath sent word her Trial comes on in
 the Afternoon, and she hopes you will order Matters
 so as to bring her off.
</sp>
<sp>
 <speaker>PEACHUM.</speaker>
 Why, she may plead her Belly at worst; to my
 Knowledge she hath taken care of that Security.
 But, as the Wench is very active and industrious,
 you may satisfy her that I'll soften the Evidence.
</sp>
<sp>
 <speaker>FILCH.</speaker>
 Tom Gagg, sir, is found guilty.
</sp>
</div2>

3.12.2 Core Tags for Drama

<div1 n="I" type="Act">
<head>ACT I</head>
<div2 n="1" type="Scene">
 <head>SCENE I</head>
 <stage rend="italic">Enter Barnardo and Francisco,
 two Sentinels, at several doors</stage>
 <sp>
 <speaker>Barn</speaker>
 <l part="Y">Who's there?</l>
 </sp>
 <sp>
 <speaker>Fran</speaker>
 <l>Nay, answer me. Stand and unfold yourself.</l>
 </sp>
 <sp>
 <speaker>Barn</speaker>
 <l part="I">Long live the King!</l>
 </sp>
 <sp>
 <speaker>Fran</speaker>
 <l part="M">Barnardo?</l>
 </sp>
 <sp>
 <speaker>Barn</speaker>
 <l part="F">He.</l>
 </sp>
 <sp>
 <speaker>Fran</speaker>
 <l>You come most carefully upon your hour.</l>
 </sp>
 <sp>
 <speaker>Barn</speaker>
 <l>'Tis now struck twelve. Get thee to bed, Francisco.</l>
 </sp>
 <sp>
 <speaker>Fran</speaker>
 <l>For this relief much thanks. 'Tis bitter cold,</l>
 <l part="I">And I am sick at heart.</l>
 </sp>
</div2>
</div1>

3.12.2 Core Tags for Drama

<div1 n="I" type="act">
<div2 n="1" type="scene">
 <head rend="italic">Actus primus, Scena prima.</head>
 <stage rend="italic" type="setting">A tempestuous
 noise of Thunder and Lightning heard: Enter
 a Ship-master, and a Boteswaine.</stage>
 <sp>
 <speaker>Master.</speaker>
 Bote-swaine.
 </sp>
 <sp>
 <speaker>Botes.</speaker>
 Heere Master: What cheere?
 </sp>
 <sp>
 <speaker>Mast.</speaker>
 Good: Speake to th' Mariners: fall
 too't, yarely, or we run our selues a ground,
 bestirre, bestirre. <stage type="move">Exit.</stage>
 
 </sp>
 <stage type="move">Enter Mariners.</stage>
 <sp>
 <speaker>Botes.</speaker>
 Heigh my hearts, cheerely, cheerely my harts: yare,
 yare: Take in the toppe-sale: Tend to th' Masters whistle:
 Blow till thou burst thy winde, if roome e-nough.
 </sp>
</div2>
</div1>

7 Performance Texts

7.2.1 Major Structural Divisions

<body>
<div1 type="act" n="1">
 <head>Act One</head>
 <div2 type="scene" n="1">
 <stage>Pa Ubu, Ma Ubu</stage>
 <sp>
 <speaker>Pa Ubu</speaker>
 Pschitt!
 </sp>
 </div2>
 <div2 type="scene" n="2">
 <stage>A room in Pa Ubu's house, where a magnificent
 collation is set out</stage>
 </div2>
</div1>
<div1 type="act" n="2">
 <head>Act Two</head>
 <div2 type="scene" n="1">
 <head>Scene One</head>
 </div2>
 <div2 type="scene" n="2">
 <head>Scene Two</head>
 </div2>
</div1>
</body>

7.2.6 Embedded Structures

<div1 n="4" type="act">
<div2 n="5" type="scene">
 <stage>Elsinore. A room in the Castle.</stage>
 <stage type="setting">Enter Ophelia, distracted.</stage>
 <sp>
 <speaker>Ophelia</speaker>
 Where is the beauteous Majesty of Denmark?
 </sp>
 <sp>
 <speaker>Queen</speaker>
 How now, Ophelia?
 </sp>
 <sp>
 <speaker>Ophelia</speaker>
 <stage>Singing</stage>
 <lg next="#Tl2" xml:id="Tl1" type="song"
 part="Y">
 <l>How should I your true-love know</l>
 <l>From another one?</l>
 <l>By his cockle hat and staff</l>
 <l>And his sandal shoon.</l>
 </lg>
 </sp>
 <sp>
 <speaker>Queen</speaker>
 Alas, sweet lady, what imports this song?
 </sp>
 <sp>
 <speaker>Ophelia</speaker>
 Say you? Nay, pray you mark.
 <stage>Sings</stage>
 <lg prev="#Tl1" xml:id="Tl2" type="song"
 part="Y">
 <l>He is dead and gone, lady,</l>
 <l>He is dead and gone;</l>
 <l>At his head a grass-green turf,</l>
 <l>At his heels a stone.</l>
 </lg>
 O, ho!
 </sp>
</div2>
</div1>

7.2.6 Embedded Structures

<text>
<body>
 <div1 n="4" type="act">
 <div2 n="5" type="scene">
 <stage type="setting">Elsinore. A room in the Castle.</stage>
 <sp>
 <speaker>Queen</speaker>
 How now, Ophelia?
 </sp>
 <sp>
 <speaker>Ophelia</speaker>
 <stage type="delivery">Singing</stage>
 <lg xml:id="TL1" type="song" part="Y">
 <l>How should I your true-love know</l>
 <l>From another one?</l>
 <l>By his cockle hat and staff</l>
 <l>And his sandal shoon.</l>
 </lg>
 </sp>
 <sp>
 <speaker>Queen</speaker>
 Alas, sweet lady, what imports this song?
 </sp>
 <sp>
 <speaker>Ophelia</speaker>
 Say you? Nay, pray you mark.
 <stage type="delivery">Sings</stage>
 <lg xml:id="TL2" type="song" part="Y">
 <l>He is dead and gone, lady,</l>
 <l>He is dead and gone;</l>
 <l>At his head a grass-green turf,</l>
 <l>At his heels a stone.</l>
 </lg>
 O, ho!
 <join type="lg" target="#TL1 #TL2"/>
 </sp>
 </div2>
 </div1>
</body>
</text>

16 Linking, Segmentation, and Alignment

16.3 Blocks, Segments, and Anchors

<div1 n="Gen" type="book">
<head>The First Book of Moses, Called</head>
<head type="main">Genesis</head>
<div2 n="1" type="chapter">
 <ab n="1">In the beginning God created the heaven and the
 earth.</ab>
 <ab n="2">And the earth was without form, and void; and darkness
 <hi>was</hi> upon the face of the deep. And the Spirit of God
 moved upon the face of the waters.</ab>
 <ab n="3">And God said, Let there be light: and there was
 light.</ab>
</div2>
</div1>

16.3 Blocks, Segments, and Anchors

<div1 n="Gen" type="book">
<head>Das Erste Buch Mose.</head>
<div2 n="1" type="chapter">
 
 <seg n="1">Am Anfang schuff Gott Himel vnd Erden.</seg>
 <seg n="2">Vnd die Erde war wüst vnd leer / vnd es war
 finster auff der Tieffe / Vnd der Geist Gottes schwebet auff
 dem Wasser.</seg>
 
 
 <seg n="3">Vnd Gott sprach / Es werde Liecht / Vnd es ward
 Liecht.</seg>
 
</div2>
</div1>

16.3 Blocks, Segments, and Anchors

<div1 n="I" type="act">
<div2 n="1" type="scene">
 <head rend="italic">Actus primus, Scena prima.</head>
 <stage rend="italic" type="setting"> A tempestuous noise of
 Thunder and Lightning heard:
 Enter a Ship-master, and a Boteswaine.</stage>
 <sp>
 <speaker>Master.</speaker>
 <ab>Bote-swaine.</ab>
 </sp>
 <sp>
 <speaker>Botes.</speaker>
 <ab>Heere Master: What cheere?</ab>
 </sp>
 <sp>
 <speaker>Mast.</speaker>
 <ab>Good: Speake to th' Mariners: fall too't, yarely,
 or we run our selues a ground, bestirre, bestirre.
 <stage type="move">Exit.</stage>
 </ab>
 </sp>
 <stage type="move">Enter Mariners.</stage>
 <sp>
 <speaker>Botes.</speaker>
 <ab>Heigh my hearts, cheerely, cheerely my harts: yare, yare:
 Take in the toppe-sale: Tend to th' Masters whistle: Blow
 till thou burst thy winde, if roome e-nough.</ab>
 </sp>
</div2>
</div1>

16.8 Alternation

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