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DHQ: Digital Humanities Quarterly: Comic Book Markup Language: An Introduction and Rationale. Abstract. Comics, comic books, and graphic novels are increasingly the target of seriously scholarly attention in the humanities.

Moreover, comic books are exceptionally complex documents, with intricate relationships between pictorial and textual elements and a wide variety of content types within a single comic book publication. The complexity of these documents, their combination of textual and pictorial elements, and the collaborative nature of their production shares much in common with other complex documents studied by humanists—illuminated manuscripts, artists’ books, illustrated poems like those of William Blake, letterpress productions like those of the Kelmscott Press, illustrated children’s books, and even Web pages and other born- digital media. Comic Book Markup Language, or CBML, is a TEI- based XML vocabulary for encoding and analyzing comic books, comics, graphic novels, and related documents. This article discusses the goals and motivations for developing CBML, reviews the various content types found in comic book publications, provides an overview and examples of the key features of the CBML XML vocabulary, explores some of the problems and challenges in the encoding and digital representation of comic books, and outlines plans for future work. The structural, textual, visual, and bibliographic complexity of comic books make them an excellent subject for the general study of complex documents, especially documents combining pictorial and textual elements.

Introduction. This study provides an introduction and rationale for the development of Comic. Book Markup Language, or CBML, an XML[1]. A markup language is a set of machine- readable textual. The application of these. The act of encoding a document is a form of discovery, or prospecting, in which the encoder maps a document's structure, identifies semantic elements of interest, and documents relationships internal and external to the document. Scholarly encoding is a form of both reading and writing. The reading, shaped by the constraints of a markup language, is inscribed upon and embedded within the digital text.

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As literary scholar and digital humanist Jerome Mc. Gann has noted, "When you mark up a text you are ipso facto reading and interpreting it. A … text marked up in TEI [a scholarly encoding language] has been subjected to a certain kind of interpretation". Sperberg- Mc. Queen, Huitfeldt, and Renear assert that markup is constitutive of meaning, markup is interpretive, markup is performative, markup acknowledges or licenses inferences about the text. Markup is inserted into textual material not at random, but to convey some meaning.

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An author may supply markup as part of the act of composing a text; in this case the markup expresses the author’s intentions, e. The author creates a section heading, for example, by creating an appropriate element in the document; the content of that element is a section heading because the author says so, and the markup is simply the method by which the author says so. The markup, that is, has performative significance.

In other cases, markup is supplied as part of the transcription in electronic form of pre- existing material. In such cases, markup reflects the understanding of the text held by the transcriber; we say that the markup expresses a claim about the text. The transcriber identifies a section heading in the pre- existing text by transcribing it and tagging it as a section heading; the content of that element is a section heading if the transcriber’s interpretation is correct, but other interpreters might disagree; it is plausible to imagine discussions over whether a given way of marking up a text is correct or incorrect.[5].

In the one case, markup is constitutive of the meaning; in the other, it is interpretive. In each case, the reader may legitimately use the markup to make inferences about the structure and properties of the text.

For this reason, we say that markup licenses certain inferences about the text. Watch Naked Lunch Hindi Full Movie. Julia Flanders' discussion of scholarly text encoding privileges the role of the researcher/encoder and likens the encoded text to the scholarly article. Perhaps we need to look to the pleasure of mutability. To recuperate XML, politically and aesthetically, we should be looking not to the paradigms of XML usage that arise from librarianship and from industry- level ideas of the separability of form and content, but rather to paradigms of performance of a different kind. By shifting our view we can understand XML as a way of expressing perspectival understandings of the text: not as a way of capturing what is timeless and essential, but as a way of inscribing our own changeable will on the text—in other words, as a form of reading. Seen this way, XML's presentational flexibility derives not from a separation of presentation and content, but rather from the shifting vantage points from which the text appears to us, the shifting relationships that constrain our understanding of it, the adaptability and strategic positioning of our own readerly motivations. Ironically, this is a view which emerges most clearly at the margins of current digital text practice.

It is not visible in the large digital library projects, whose workflow has come to resemble an industrial operation complete with offshore outsourcing, detailed division of labor, reliance on automation and robotics, and an emphasis, in the output, on uniformity and quantity (thankfully planned obsolescence has not yet become part of the strategy). Baby On Board Full Movie In English. But we can find it in the small projects designed by individual faculty, typically in conjunction with their teaching, to create digital versions of individual texts which serve as readings: often idiosyncratic, unscalable, representing private insight. They function more like an article than an archive, as a local, contingent expression of insight. [Flanders 2. The development of a markup language that can support such scholarly reading and interpretation necessitates a careful study and analysis of the content, structure, and semantics of the class or classes of documents for which the language is designed—in this case, the comic book. CBML is based on the Text.

Encoding Initiative P5: Guidelines for Electronic Text Encoding and. Interchange. The TEI Guidelines are a mature conceptual model for. The TEI. Guidelines.

In particular, they. TEI 2. 01. 0c]. The TEI Guidelines are widely used in the digital. TEI Consortium, an international body.

The Guidelines also provide additional modules that address more specific textual features and metadata requirements, such as names. And in. their most recent incarnation, the. Guidelines provide elements and attributes for. This latter feature is. From. these many available modules, one selects a subset that meets the needs of a.

The TEI Guidelines are extremely flexible, providing. However, recognizing that not every document type and representational requirement may be anticipated, the Guidelines provide a well- documented system for customizing and extending the provided tag set with new and modified elements and attributes.[7] TEI, as delivered by the TEI Consortium, is remarkably well- suited to encoding many aspects of comic books; nevertheless, conceptual clarity and practical benefits may be gained from some modest modifications and additions to the stock TEI Guidelines.

Hence CBML, a TEI customization with elements and attributes for encoding many of the structures and features found in comic book documents. The Book of Comic Book Markup Language. The language under discussion here is called Comic Book Markup Language in part to highlight the book- ness and bookishness of these documents, their material properties and bibliographic characteristics.