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Born digital.
Most MoEML documents, or significant fragments with mol:
prefix and accessed through the web application
with their id + .xml
.
The molagas prefix points to the shape representation of a location on MoEML’s OpenLayers3-based rendering of the Agas Map.
Links to page-images in the Chadwyck-Healey
Links to page-images in the
The mdt (MoEML Document Type) prefix used on
The mdtlist (MoEML Document Type listing) prefix used in linking attributes points to a listings page constructed from a category in the central MDT taxonomy in the includes file. There are two variants, one with the plain _subcategories
, meaning all subcategories of the category.
The molgls (MoEML gloss) prefix used on
This molvariant prefix is used on
This molajax prefix is used on
The molstow prefix is used on
The molshows prefix is used on
The sb prefix is used on
Our editorial and encoding practices are documented in detail in the Praxis section of our website.
As a musician, encoding never seemed like it would be in my wheelhouse. I suppose the nature of the beast gets obscured by the myth—if I pictured mark-up code, I did not see the reality, but instead the lines of binary from
The correlation between the critical academic pursuits of English studies and the array of encoding forms is decidedly tighter than I had first envisioned it to be. Simply put, the fact that code functions as a language renders it vulnerable to the majority of grammatical and syntactical methods and dissections that run deep into the English major’s toolkit.
Before I was introduced to the functions and practice of XML and CSS encoding, my experience with technical praxis was limited to production software—particularly the WYSIWYG (what you see is what you get) kind. I figured that mixing demos and live recordings with colour-coded sliders and digital equalizers wouldn’t have much bearing on encoding, but it turns out that audio editing and markup are both heavily dependent on an OCD-like tendency towards presentation. Both editing environments can be conceived through the idea of the idea and the witness: the original work to be encoded (or musical piece to be recorded) can only be attested to by the witnesses (the textual in-hand documents, the scans, the prints, the audio files, the discs), and it is the job of the encoder or producer to prepare this witness as truthfully and faithfully as possible.
These two practices came to a head during my encoding of Thomas Middleton’s