例子: <emph> (emphasized)
These search results reproduce every example of the use of <emph> 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 <emph> 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
- 4 Default Text Structure
- 8 Transcriptions of Speech
- 14 Names, Dates, People, and Places
- 17 Linking, Segmentation, and Alignment
- 18 Simple Analytic Mechanisms
- 21 Non-hierarchical Structures
- 22 Certainty, Precision, and Responsibility
3 Elements Available in All TEI Documents
3.3.2.2 Emphatic Words and Phrases
3.3.2.2 Emphatic Words and Phrases
<q>What it all comes to is this,</q> he said.
<q>
<emph rend="italic">What does Christopher Robin do in the morning
nowadays?</emph>
</q>
<q>
<emph rend="italic">What does Christopher Robin do in the morning
nowadays?</emph>
</q>
3.3.2.2 Emphatic Words and Phrases
<q>What it all comes to is this,</q> he said.
<q>
<emph style="font-style: italic">What does Christopher Robin do in
the morning nowadays?</emph>
</q>
<q>
<emph style="font-style: italic">What does Christopher Robin do in
the morning nowadays?</emph>
</q>
3.3.2.2 Emphatic Words and Phrases
<l>Here Thou, great <name rendition="#italic">Anna</name>!
whom three Realms obey,</l>
<l>Doth sometimes Counsel take —
and sometimes <emph rendition="#italic">Tea</emph>.</l>
<!-- in the header ... -->
<rendition xml:id="italic" scheme="css">font-style: italic</rendition>
whom three Realms obey,</l>
<l>Doth sometimes Counsel take —
and sometimes <emph rendition="#italic">Tea</emph>.</l>
<!-- in the header ... -->
<rendition xml:id="italic" scheme="css">font-style: italic</rendition>
<emph> (en)
<emph> (fr)
<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>
<emph> (fr)
<emph> (en)
<q>What it all comes to is this,</q> he said.
<q>
<emph>What
does Christopher Robin do in the morning nowadays?</emph>
</q>
<q>
<emph>What
does Christopher Robin do in the morning nowadays?</emph>
</q>
A pretty common case, I believe; in all <emph>vehement</emph>
debatings. She says I am <q rend="italic">too witty</q>;
<foreign xml:lang="la" rend="roman">Anglicé</foreign>,
<gloss rend="italic">too pert</gloss>; I, that she is
<q rend="italic"> too wise</q>; that is to say, being likewise
put into English, <gloss rend="italic">not so young as she has
been</gloss>: in short, she is grown so much into a
<hi rend="italic">mother</hi>, that she had forgotten she ever
was a <hi rend="italic">daughter</hi>.
debatings. She says I am <q rend="italic">too witty</q>;
<foreign xml:lang="la" rend="roman">Anglicé</foreign>,
<gloss rend="italic">too pert</gloss>; I, that she is
<q rend="italic"> too wise</q>; that is to say, being likewise
put into English, <gloss rend="italic">not so young as she has
been</gloss>: in short, she is grown so much into a
<hi rend="italic">mother</hi>, that she had forgotten she ever
was a <hi rend="italic">daughter</hi>.
<ellipsis> (en)
<lg>
<l>What projects men make—what queer turns they take,</l>
<l>Since <emph>steam</emph> has improved our condition;</l>
<l>They never are still, but must cure or must kill</l>
<l>With steam physic or steam ammunition.</l>
<l>But a short time ago, to a quack you would go,</l>
<l>To steam a fat man to a thinner;</l>
<l>Now changed from all that, if you wish to get <emph>fat</emph>,</l>
<l>Come to Barton’s and eat a <emph>steam dinner!</emph>
</l>
<l>Oh dear! think of a scheme, odd though it seem—</l>
<l>I’m sure ’twill succeed if you make it by steam.</l>
</lg>
<lg>
<l>You may sleep, you may dream, you may travel by steam,</l>
<l>For the outcry is still to go faster;</l>
<l>And what does it reck, should you e’en break your neck,</l>
<l>If ’tis <emph>steam</emph> that brings on the disaster?</l>
<ellipsis resp="#ChambersEdnbrghJrnl1880">
<metamark function="multilineEllipsis"> * * * * </metamark>
<desc resp="#teiProjectEditor2021">The printer omits four lines here,
skipping the second half of the second octave, before the refrain.</desc>
</ellipsis>
<l>Oh dear! think of a scheme, odd though it seem—</l>
<l>I’m sure ’twill succeed if you make it by steam.</l>
</lg>
<l>What projects men make—what queer turns they take,</l>
<l>Since <emph>steam</emph> has improved our condition;</l>
<l>They never are still, but must cure or must kill</l>
<l>With steam physic or steam ammunition.</l>
<l>But a short time ago, to a quack you would go,</l>
<l>To steam a fat man to a thinner;</l>
<l>Now changed from all that, if you wish to get <emph>fat</emph>,</l>
<l>Come to Barton’s and eat a <emph>steam dinner!</emph>
</l>
<l>Oh dear! think of a scheme, odd though it seem—</l>
<l>I’m sure ’twill succeed if you make it by steam.</l>
</lg>
<lg>
<l>You may sleep, you may dream, you may travel by steam,</l>
<l>For the outcry is still to go faster;</l>
<l>And what does it reck, should you e’en break your neck,</l>
<l>If ’tis <emph>steam</emph> that brings on the disaster?</l>
<ellipsis resp="#ChambersEdnbrghJrnl1880">
<metamark function="multilineEllipsis"> * * * * </metamark>
<desc resp="#teiProjectEditor2021">The printer omits four lines here,
skipping the second half of the second octave, before the refrain.</desc>
</ellipsis>
<l>Oh dear! think of a scheme, odd though it seem—</l>
<l>I’m sure ’twill succeed if you make it by steam.</l>
</lg>
1 The TEI Infrastructure
1.3.1.1.3 Rendition Indicators
<p> ... Their motives <emph rend="italics">might</emph> be pure
and pious; but he was equally alarmed by his knowledge of the ambitious <name rend="italics">Bohemond</name>, and his ignorance of the Transalpine chiefs:
...</p>
and pious; but he was equally alarmed by his knowledge of the ambitious <name rend="italics">Bohemond</name>, and his ignorance of the Transalpine chiefs:
...</p>
1.3.1.1.3 Rendition Indicators
<p> ... Their motives <emph style="font-style: italic">might</emph> be pure and pious; but he was equally alarmed by his knowledge of
the ambitious <name style="font-style: italic">Bohemond</name>, and his ignorance of
the Transalpine chiefs: ...</p>
the ambitious <name style="font-style: italic">Bohemond</name>, and his ignorance of
the Transalpine chiefs: ...</p>
4 Default Text Structure
<text>
<front>
<docTitle>
<titlePart> The Adventures of Sherlock Holmes
</titlePart>
</docTitle>
<docImprint>First published in <title>The Strand</title>
between July 1891 and December 1892</docImprint>
<!-- any other front matter specific to this collection -->
</front>
<group>
<text>
<front>
<head rend="italic">Adventures of Sherlock
Holmes</head>
<docTitle>
<titlePart>Adventure I. —</titlePart>
<titlePart>A Scandal in Bohemia</titlePart>
</docTitle>
<byline>By A. Conan Doyle.</byline>
</front>
<body>
<p>To Sherlock Holmes she is always
<emph>the</emph> woman. ... </p>
<!-- remainder of A Scandal in Bohemia here -->
</body>
</text>
<text>
<front>
<head rend="italic">Adventures of Sherlock Holmes</head>
<docTitle>
<titlePart>Adventure II. —</titlePart>
<titlePart>The Red-Headed League</titlePart>
</docTitle>
<byline>By A. Conan Doyle.</byline>
</front>
<body>
<p>I had called upon my friend, Mr. Sherlock Holmes, one day
in the autumn of last year and found him in deep conversation
with a very stout, florid-faced, elderly gentleman with fiery red hair …
</p>
<!-- remainder of The Red Headed League here -->
</body>
</text>
<text>
<front>
<head rend="italic">Adventures of Sherlock Holmes</head>
<docTitle>
<titlePart>Adventure XII. —</titlePart>
<titlePart>The Adventure of the Copper Beeches</titlePart>
</docTitle>
<byline>By A. Conan Doyle.</byline>
</front>
<body>
<p>
<q>To the man who loves art for its
own sake,</q> remarked Sherlock Holmes ...
<!-- remainder of The Copper Beeches here -->
... she is now the head of a private school
at Walsall, where I believe that she has
met with considerable success.</p>
</body>
</text>
<!-- end of The Copper Beeches -->
</group>
</text>
<!-- end of the Adventures of Sherlock Holmes -->
<front>
<docTitle>
<titlePart> The Adventures of Sherlock Holmes
</titlePart>
</docTitle>
<docImprint>First published in <title>The Strand</title>
between July 1891 and December 1892</docImprint>
<!-- any other front matter specific to this collection -->
</front>
<group>
<text>
<front>
<head rend="italic">Adventures of Sherlock
Holmes</head>
<docTitle>
<titlePart>Adventure I. —</titlePart>
<titlePart>A Scandal in Bohemia</titlePart>
</docTitle>
<byline>By A. Conan Doyle.</byline>
</front>
<body>
<p>To Sherlock Holmes she is always
<emph>the</emph> woman. ... </p>
<!-- remainder of A Scandal in Bohemia here -->
</body>
</text>
<text>
<front>
<head rend="italic">Adventures of Sherlock Holmes</head>
<docTitle>
<titlePart>Adventure II. —</titlePart>
<titlePart>The Red-Headed League</titlePart>
</docTitle>
<byline>By A. Conan Doyle.</byline>
</front>
<body>
<p>I had called upon my friend, Mr. Sherlock Holmes, one day
in the autumn of last year and found him in deep conversation
with a very stout, florid-faced, elderly gentleman with fiery red hair …
</p>
<!-- remainder of The Red Headed League here -->
</body>
</text>
<text>
<front>
<head rend="italic">Adventures of Sherlock Holmes</head>
<docTitle>
<titlePart>Adventure XII. —</titlePart>
<titlePart>The Adventure of the Copper Beeches</titlePart>
</docTitle>
<byline>By A. Conan Doyle.</byline>
</front>
<body>
<p>
<q>To the man who loves art for its
own sake,</q> remarked Sherlock Holmes ...
<!-- remainder of The Copper Beeches here -->
... she is now the head of a private school
at Walsall, where I believe that she has
met with considerable success.</p>
</body>
</text>
<!-- end of The Copper Beeches -->
</group>
</text>
<!-- end of the Adventures of Sherlock Holmes -->
8 Transcriptions of Speech
8.3 Elements Unique to Spoken Texts
<!-- ... in the <particDesc>: --><listPerson>
<person xml:id="mar">
<!-- ... -->
</person>
<person xml:id="ros">
<!-- ... -->
</person>
<person xml:id="fat">
<!-- ... -->
</person>
</listPerson>
<!-- ... in the <text>: -->
<u who="#mar">you
never <pause/> take this cat for show and tell
<pause/> meow meow</u>
<u who="#ros">yeah well I dont want to</u>
<incident>
<desc>toy cat has bell in tail which continues to make a tinkling sound</desc>
</incident>
<vocal who="#mar">
<desc>meows</desc>
</vocal>
<u who="#ros">because it is so old</u>
<u who="#mar">how <choice>
<orig>bout</orig>
<reg>about</reg>
</choice>
<emph>your</emph> cat <pause/>yours is <emph>new</emph>
<kinesic>
<desc>shows Father the cat</desc>
</kinesic>
</u>
<u trans="pause" who="#fat">thats <pause/> darling</u>
<u who="#mar">
<seg>no <emph>mine</emph> isnt old</seg>
<seg>mine is just um a little dirty</seg>
</u>
<u who="#P1">I proposed that <foreign xml:lang="de"> wir können
<pause dur="PT1S"/> vielleicht </foreign> go to warsaw
and <emph>vienna</emph>
</u>
<pause dur="PT1S"/> vielleicht </foreign> go to warsaw
and <emph>vienna</emph>
</u>
14 Names, Dates, People, and Places
<persPronouns> (en)
<person>
<persName>
<forename>SUE</forename>
<addName>the T. rex</addName>
</persName>
<residence>The Field Museum. Chicago, Illinois, United States.</residence>
<sex value="0"/>
<persPronouns value="they">they/them</persPronouns>
<note>
<cit>
<quote>Specimen FMNH PR 2081. Legendary Fossil. Apex
Predator. National Treasure. <emph style="text-transform:uppercase; letter-spacing:0.25rem;">Murderbird.</emph>
</quote>
<bibl>SUEtheTrex, Twitter biography.
<ptr target="https://twitter.com/SUEtheTrex"/>.
Accessed <date when="2020-03-25">March 25th, 2020</date>.</bibl>
</cit>
</note>
</person>
<persName>
<forename>SUE</forename>
<addName>the T. rex</addName>
</persName>
<residence>The Field Museum. Chicago, Illinois, United States.</residence>
<sex value="0"/>
<persPronouns value="they">they/them</persPronouns>
<note>
<cit>
<quote>Specimen FMNH PR 2081. Legendary Fossil. Apex
Predator. National Treasure. <emph style="text-transform:uppercase; letter-spacing:0.25rem;">Murderbird.</emph>
</quote>
<bibl>SUEtheTrex, Twitter biography.
<ptr target="https://twitter.com/SUEtheTrex"/>.
Accessed <date when="2020-03-25">March 25th, 2020</date>.</bibl>
</cit>
</note>
</person>
17 Linking, Segmentation, and Alignment
<q>
<s xml:id="qs2">Monsieur Paul, after he has taken equal
parts of goose breast and the finest pork, and
broken a certain number of egg yolks into them,
and ground them <emph>very</emph>, very fine,
cooks all with seasoning for some three hours.</s>
<s xml:id="qs3">
<emph>But</emph>,</s>
</q>
<s xml:id="ps2">she pushed her face nearer, and looked with
ferocious gloating at the pâté
inside me, her eyes like X rays,</s>
<q>
<s xml:id="qs4">he never stops stirring it!</s>
<s xml:id="qs5">Figure to yourself the work of it —</s>
<s xml:id="qs6">stir, stir, never stopping!</s>
</q>
<s xml:id="qs2">Monsieur Paul, after he has taken equal
parts of goose breast and the finest pork, and
broken a certain number of egg yolks into them,
and ground them <emph>very</emph>, very fine,
cooks all with seasoning for some three hours.</s>
<s xml:id="qs3">
<emph>But</emph>,</s>
</q>
<s xml:id="ps2">she pushed her face nearer, and looked with
ferocious gloating at the pâté
inside me, her eyes like X rays,</s>
<q>
<s xml:id="qs4">he never stops stirring it!</s>
<s xml:id="qs5">Figure to yourself the work of it —</s>
<s xml:id="qs6">stir, stir, never stopping!</s>
</q>
17.9.3 Stand-off Markup in TEI
<body>
<p xml:id="par1">home, <emph>home</emph> on Brokeback Mountain.</p>
<p xml:id="par2">That was the <emph>song</emph> that I sang</p>
</body>
<p xml:id="par1">home, <emph>home</emph> on Brokeback Mountain.</p>
<p xml:id="par2">That was the <emph>song</emph> that I sang</p>
</body>
18 Simple Analytic Mechanisms
18.3 Spans and Interpretations
<p xml:id="MaQp1s2p114">
<s xml:id="MaQp1s2p114s1">There was certainly a definite point at which the
thing began.</s>
<s xml:id="MaQp1s2p114s2">It was not; then it was suddenly inescapable,
and nothing could have frightened it away.</s>
<s xml:id="MaQp1s2p114s3">There was a slow integration, during which she,
and the little animals, and the moving grasses, and the sun-warmed
trees, and the slopes of shivering silvery mealies, and the great
dome of blue light overhead, and the stones of earth under her feet,
became one, shuddering together in a dissolution of dancing
atoms.</s>
<s xml:id="MaQp1s2p114s4">She felt the rivers under the ground forcing
themselves painfully along her veins, swelling them out in an
unbearable pressure; her flesh was the earth, and suffered growth
like a ferment; and her eyes stared, fixed like the eye of the
sun.</s>
<s xml:id="MaQp1s2p114s5">Not for one second longer (if the terms for time
apply) could she have borne it; but then, with a sudden movement
forwards and out, the whole process stopped; and <emph rend="italic">that</emph> was <soCalled rend="dquo">the
moment</soCalled> which it was impossible to remember
afterwards.</s>
<span from="#MaQp1s2p114s3"
to="#MaQp1s2p114s5">the moment</span>
<s xml:id="MaQp1s2p114s6">For during that space of time (which was
timeless) she understood quite finally her smallness, the
unimportance of humanity.</s>
</p>
<s xml:id="MaQp1s2p114s1">There was certainly a definite point at which the
thing began.</s>
<s xml:id="MaQp1s2p114s2">It was not; then it was suddenly inescapable,
and nothing could have frightened it away.</s>
<s xml:id="MaQp1s2p114s3">There was a slow integration, during which she,
and the little animals, and the moving grasses, and the sun-warmed
trees, and the slopes of shivering silvery mealies, and the great
dome of blue light overhead, and the stones of earth under her feet,
became one, shuddering together in a dissolution of dancing
atoms.</s>
<s xml:id="MaQp1s2p114s4">She felt the rivers under the ground forcing
themselves painfully along her veins, swelling them out in an
unbearable pressure; her flesh was the earth, and suffered growth
like a ferment; and her eyes stared, fixed like the eye of the
sun.</s>
<s xml:id="MaQp1s2p114s5">Not for one second longer (if the terms for time
apply) could she have borne it; but then, with a sudden movement
forwards and out, the whole process stopped; and <emph rend="italic">that</emph> was <soCalled rend="dquo">the
moment</soCalled> which it was impossible to remember
afterwards.</s>
<span from="#MaQp1s2p114s3"
to="#MaQp1s2p114s5">the moment</span>
<s xml:id="MaQp1s2p114s6">For during that space of time (which was
timeless) she understood quite finally her smallness, the
unimportance of humanity.</s>
</p>
21 Non-hierarchical Structures
21.1 Multiple Encodings of the Same Information
<lg>
<l>Catholic woman of twenty-seven with five children</l>
<l>And a first-rate body—pointed her finger</l>
<l>at the back of one certain man and asked me,</l>
<l>"Is that guy a psychiatrist?" and by god he was! "Yes,"</l>
<l>She said, "He <emph>looks</emph> like a psychiatrist."</l>
<l>Grown quiet, I looked at his pink back, and thought.</l>
</lg>
<l>Catholic woman of twenty-seven with five children</l>
<l>And a first-rate body—pointed her finger</l>
<l>at the back of one certain man and asked me,</l>
<l>"Is that guy a psychiatrist?" and by god he was! "Yes,"</l>
<l>She said, "He <emph>looks</emph> like a psychiatrist."</l>
<l>Grown quiet, I looked at his pink back, and thought.</l>
</lg>
21.1 Multiple Encodings of the Same Information
<p>
<seg>Catholic woman of twenty-seven with five children And a
first-rate body—pointed her finger at the back of one certain man and
asked me, "Is that guy a psychiatrist?" and by god he was!</seg>
</p>
<p>
<seg>"Yes," She said, "He <emph>looks</emph> like a
psychiatrist."</seg>
</p>
<p>
<seg>Grown quiet, I looked at his pink back, and thought.</seg>
</p>
<seg>Catholic woman of twenty-seven with five children And a
first-rate body—pointed her finger at the back of one certain man and
asked me, "Is that guy a psychiatrist?" and by god he was!</seg>
</p>
<p>
<seg>"Yes," She said, "He <emph>looks</emph> like a
psychiatrist."</seg>
</p>
<p>
<seg>Grown quiet, I looked at his pink back, and thought.</seg>
</p>
21.1 Multiple Encodings of the Same Information
<ab>Catholic woman of twenty-seven with five children And a first-rate
body—pointed her finger at the back of one certain man and asked me,
<said>Is that guy a psychiatrist?</said> and by god he was!
<said>Yes,</said> She said, <said>He <emph>looks</emph> like a
psychiatrist.</said> Grown quiet, I looked at his pink back, and
thought.</ab>
body—pointed her finger at the back of one certain man and asked me,
<said>Is that guy a psychiatrist?</said> and by god he was!
<said>Yes,</said> She said, <said>He <emph>looks</emph> like a
psychiatrist.</said> Grown quiet, I looked at his pink back, and
thought.</ab>
21.3 Fragmentation and Reconstitution of Virtual Elements
<lg>
<l>Catholic woman of twenty-seven with five children</l>
<l>And a first-rate body—pointed her finger</l>
<l>at the back of one certain man and asked me,</l>
<l>
<said n="quotation1">Is that guy a psychiatrist?</said> and by god he was!
<said n="quotation2">Yes,</said>
</l>
<l>She said, <said n="quotation2">He <emph>looks</emph> like a
psychiatrist.</said>
</l>
<l>Grown quiet, I looked at his pink back, and thought.</l>
</lg>
<l>Catholic woman of twenty-seven with five children</l>
<l>And a first-rate body—pointed her finger</l>
<l>at the back of one certain man and asked me,</l>
<l>
<said n="quotation1">Is that guy a psychiatrist?</said> and by god he was!
<said n="quotation2">Yes,</said>
</l>
<l>She said, <said n="quotation2">He <emph>looks</emph> like a
psychiatrist.</said>
</l>
<l>Grown quiet, I looked at his pink back, and thought.</l>
</lg>
21.3 Fragmentation and Reconstitution of Virtual Elements
<lg>
<l>
<seg part="I">Catholic woman of twenty-seven with five children</seg>
</l>
<l>
<seg part="M">And a first-rate body—pointed her finger</seg>
</l>
<l>
<seg part="M">at the back of one certain man and asked me,</seg>
</l>
<l>
<seg part="F">"<seg>Is that guy a psychiatrist?</seg>" and by god he was!</seg>
<seg part="I">"<seg part="I">Yes,</seg>"</seg>
</l>
<l>
<seg part="F">She said, "<seg part="F">He <emph>looks</emph> like a psychiatrist.</seg>"</seg>
</l>
<l>
<seg>Grown quiet, I looked at his pink back, and thought.</seg>
</l>
</lg>
<l>
<seg part="I">Catholic woman of twenty-seven with five children</seg>
</l>
<l>
<seg part="M">And a first-rate body—pointed her finger</seg>
</l>
<l>
<seg part="M">at the back of one certain man and asked me,</seg>
</l>
<l>
<seg part="F">"<seg>Is that guy a psychiatrist?</seg>" and by god he was!</seg>
<seg part="I">"<seg part="I">Yes,</seg>"</seg>
</l>
<l>
<seg part="F">She said, "<seg part="F">He <emph>looks</emph> like a psychiatrist.</seg>"</seg>
</l>
<l>
<seg>Grown quiet, I looked at his pink back, and thought.</seg>
</l>
</lg>
22 Certainty, Precision, and Responsibility
22.1.2 Structured Indications of Uncertainty
22.1.2 Structured Indications of Uncertainty
I have a <emph xml:id="CE-P3">bun</emph>.
<certainty target="#CE-P3" locus="value"
assertedValue="gun" degree="0.8">
<desc>a gun makes more sense in a holdup</desc>
</certainty>
<certainty target="#CE-P3" locus="value"
assertedValue="gun" degree="0.8">
<desc>a gun makes more sense in a holdup</desc>
</certainty>