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Identifying Works and Expressions

Identifying Works and Expressions. Works. Generally, the instructions for identifying works and expressions are in chapter 6. You will also need to consult the related instructions in: Chapter 19, “Persons, Families, and Corporate Bodies Associated with a Work ”

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Identifying Works and Expressions

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  1. Identifying Works and Expressions James/Kuhagen for VLA -- Feb. 5, 2013

  2. Works James/Kuhagen for VLA -- Feb. 5, 2013

  3. James/Kuhagen for VLA -- Feb. 5, 2013 Generally, the instructions for identifying works and expressions are in chapter 6. You will also need to consult the related instructions in: Chapter 19, “Persons, Families, and Corporate Bodies Associated with a Work” Chapter 20, “Persons, Families, and Corporate Bodies Associated with an Expression” Where are the Instructions?

  4. James/Kuhagen for VLA -- Feb. 5, 2013 Naming the Work Just like ‘naming’ persons and corporate bodies (and now, families) Similar to AACR2 concept of “main entry” MARC has four possibilities for where this information can be coded 1XX + 240 1XX + 245 130 245

  5. James/Kuhagen for VLA -- Feb. 5, 2013 Bibliographic or Authority Data? RDA does not prescribe if attributes about the work and the access points are to be recorded as bibliographic data or authority data LC Policy: Always identify the work by giving the access point in the bibliographic record Sometimes identify the work by making a title or name/title authority record -- no changes from policy in DCM Z1

  6. James/Kuhagen for VLA -- Feb. 5, 2013 Terminology Related to Works Title of the work (RDA 6.2.1.1) “word, character, or group of words and/or characters by which a work is known” Preferred title for the work (RDA 6.2.2.1) the form of title used when constructing the authorized access point Variant title for the work (RDA 6.2.3.1) the form of title used when constructing a variant access point aka “see references”

  7. James/Kuhagen for VLA -- Feb. 5, 2013 Sources of Information –Sources for Preferred Titles (6.2.2.2) Commonly-known title For a work created after 1500 From resources embodying the work or from reference sources Sometimes: title proper of the first manifestation received For a work created before 1501 From modern reference sources If this evidence is inconclusive, a priority order is given

  8. James/Kuhagen for VLA -- Feb. 5, 2013 Sources of Information –Sources for Other Elements (6.1.1) For all otheridentifying attributes of works and expressions Take the information from any source

  9. James/Kuhagen for VLA -- Feb. 5, 2013 Authorized Access Points for Works (6.27.1.1 - 6.27.1.8) Construct an authorized access point with … Authorized access point for the creator Preferred title Additions to the preferred title Links back to the instructions on recording each of the specific elements

  10. James/Kuhagen for VLA -- Feb. 5, 2013 Creators of a Work–Where are the Instructions? Creator is a relationship to a work; it isn’t an attribute of the work. So we will find the instructions about creators in Chapter 19, not Chapter 6.

  11. James/Kuhagen for VLA -- Feb. 5, 2013 Creator (19.2) CORE ELEMENT “person, family, or corporate body responsible for the creation of a work” If more than one entity is responsible for the work as a whole: The creator having principalresponsibility named first in the resource is required If principal responsibility is not indicated, only the first-named creator is required LC-PCC PS 19.2 allows for providing additional creator access Remember, not every work has a creator!

  12. James/Kuhagen for VLA -- Feb. 5, 2013 What About Contributors? “ … contributing to the realization of a work through an expression” Editors, translators, illustrators, arrangers of music, performers, writers of commentary, and others Covered more on slide 64

  13. James/Kuhagen for VLA -- Feb. 5, 2013 Corporate Bodies as Creators Categories of works (RDA 19.2.1.1.1) Similar to AACR2 21.1B2 Corporate body takes precedence over a first-named person or family as creator LC-PCC PS, similar to RI for 21.1B2 RDA 19.2.1.1.2 on government and religious officials as creators

  14. James/Kuhagen for VLA -- Feb. 5, 2013 Preferred Title for the Work CORE ELEMENT General instructions Specific instructions

  15. James/Kuhagen for VLA -- Feb. 5, 2013 General Instructions onRecording Titles (6.2.1) Scope: “… by which a work is known” Sources: “… from any source” Capitalization Numbers Diacritics Articles Spacing Abbreviations Covers both preferred and variant titles of works

  16. James/Kuhagen for VLA -- Feb. 5, 2013 Instructions on RecordingPreferred Titles (6.2.2) Scope and sources 6.2.2.1 – 6.2.2.2 Choosing preferred titles 6.2.2.3 – 6.2.2.7 Recording preferred titles 6.2.2.8 – 6.2.2.10

  17. James/Kuhagen for VLA -- Feb. 5, 2013 Parts of a Work –One Part (6.2.2.9.1) Same as AACR2 25.6A Follow basic instructions in 6.2.1if part has its own title Preferred title for a part of J.R.R. Tolkien’s The lord of the rings: Two towers Record designation if it does not Preferred title for a part of the television program Seinfeld Season 3

  18. James/Kuhagen for VLA -- Feb. 5, 2013 Parts of a Work –Two or More Parts (6.2.2.9.2) Consecutively numbered, with only a general designation Same as AACR2 25.6B1 e.g., preferred title for the first six books of Homer’s Iliad: Book 1–6 Two or more unnumbered or non-consecutively numbered parts Record the preferred title for each of the parts e.g., preferred title for a part of Divina commedia in a compilation also comprising the part Paradiso: Purgatorio But see next slide……….

  19. James/Kuhagen for VLA -- Feb. 5, 2013 Two or More PartsLC Policy for the Alternative LC practice (LC-PCC PS 6.2.2.9.2) “Instead of recording the preferred title for each of the parts, record the conventional collective title Selections as the preferred title for the parts.” e.g., preferred title for the parts of the work in a compilation comprising books 1 and 6 of Homer’s Iliad Selections (becomes Homer. Iliad. Selections in authorized access point) PCC has no policy currently

  20. James/Kuhagen for VLA -- Feb. 5, 2013 Authorized Access Point forPart(s) of a Work (6.27.2) Generally: preferred title for part(s) preceded by authorized access point for the creator, if appropriate Authorized access point for a part of Tolkien’s The lord of the rings: Tolkien, J. R. R. (John Ronald Reuel), 1892–1973. Two towers But exceptionally (which applies to a lot of works)…..

  21. James/Kuhagen for VLA -- Feb. 5, 2013 Authorized Access Point forPart(s) of a Work – Exceptions Applies to non-distinctive titles, certain formats, and consecutively-numbered parts Instruction preferred title for part(s) preceded by authorized access point for thework Authorized access point for a part of Homer’s Iliad: Homer. Iliad. Book 1

  22. James/Kuhagen for VLA -- Feb. 5, 2013 Compilations and Collaborations Important distinction Determines how each is ‘identified’ Compilations RDA 6.2.2.10 (for one creator’s works) RDA 6.27.1.4 (for different creators’ works) Collaborations RDA 6.27.1.3

  23. James/Kuhagen for VLA -- Feb. 5, 2013 How to Decide? Compilations of one creator are easy, but… Clues that you have a compilation of works by different creators: Indication of who created what From the preferred source, table of contents, preface, program notes, home page, other components in the resource Assume it is a collaboration if: you have no indication who created what you are in doubt

  24. James/Kuhagen for VLA -- Feb. 5, 2013 Multiple Works by One Creator Are a type of compilation Identified by Creator + Preferred title

  25. James/Kuhagen for VLA -- Feb. 5, 2013 Preferred Title – Compilations of One P - F - CB (6.2.2.10) Has compilation become known by a title? Not usually But, e.g., Leaves of grass is an example of a compilation known by a title If not, use a conventional collective title (doesn’t matter if title proper is distinctive): Complete works = use “Works” Complete works in a single form = use term chosen by cataloger (e.g., Poems) Other compilations of two or more (but not all) works in same or different forms = add “Selections” to the conventional collective title

  26. James/Kuhagen for VLA -- Feb. 5, 2013 Preferred Title – Compilations of One P - F - CB (cont.) Major changes from AACR2! Under RDA, catalogers will no longer need to: Determine if the creator created works only in a single form Determine if the title proper of the compilation is “distinctive” (part of RI 25.10) Treat compilations of 2 works differently from 3 or more

  27. James/Kuhagen for VLA -- Feb. 5, 2013 A2 Example: Compilation of 2Works by the Same Creator AACR2: use the 1st work as the preferred title (but this misidentifies the compilation) 100 1# $a Miller, Arthur, $d 1915-2005 240 10 $a Archbishop’s ceiling 245 10 $a Two plays / $c Arthur Miller. 505 0# $a The Archbishop’s ceiling -- The American clock. 700 12 $a Miller, Arthur, $d 1915-2005. $t American clock.

  28. James/Kuhagen for VLA -- Feb. 5, 2013 RDA Example: Compilation of 2 Works by the Same Creator RDA: apply the alternative to use a conventional collective title 100 1# $a Miller, Arthur, $d 1915-2005 240 10 $a Plays. $k Selections 245 10 $a Two plays / $c Arthur Miller. 505 0# $a The Archbishop’s ceiling – The American clock. 700 12 $a Miller, Arthur, $d 1915-2005. $t Archbishop’s ceiling. *700 12 $a Miller, Arthur, $d 1915-2005. $t American clock. * 2nd 700 not a core requirement but helpful to the user

  29. James/Kuhagen for VLA -- Feb. 5, 2013 Multiple Works by Multiple Creators – Compilations vs. Collaborations Compilation of works by different creators Preferred title Not named by creator because individual works may have individual creators, but no creator for the whole compilation Collaboration Creator (principal or first-named) + Preferred title

  30. James/Kuhagen for VLA -- Feb. 5, 2013 Preferred Title – Compilationsof Works by Different Creators Compilation of separate works Identify the compilation by its preferred title (6.27.1.4) Either … Title by which the compilation has become known (uncommon), or The title proper of the manifestation e.g., Best of Broadway (for a set of five CDs with selections from original cast recordings of various musicals by various composers) But see next slide ………

  31. James/Kuhagen for VLA -- Feb. 5, 2013 What if Such a CompilationLacks a Collective Title? RDA and LC-PCC PS 25.1 How to treat: For the preferred title, use the title proper of the first work in the compilation, and Provide an analytical authorized access point for the predominant or first work in the compilation, when it represents a substantial part of the resource. Generally, do not devise a title to use as a preferred title. LC does not apply the alternative to 6.27.1.4 A work that is part of a larger work is considered a whole-part “related work”

  32. James/Kuhagen for VLA -- Feb. 5, 2013 A2 Example: Compilation of Works by DifferentCreators (No Collective Title) AACR2: use the 1st authorized access point to identify the whole compilation (but this misidentifies the compilation) 100 1# $a Polk, Sharon. 240 10 $a Community band concerts 245 10 $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson. 700 12 $a Swanson, Terri. $t Fall harvest festivals.

  33. James/Kuhagen for VLA -- Feb. 5, 2013 RDA Example: Compilation of Works by DifferentCreators (No Collective Title) RDA: use the title proper of the first work as the preferred title (alternative to devise a title is not shown) 245 00 $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson. 700 12 $a Polk, Sharon. $t Community band concerts. *700 12 $a Swanson, Terri. $t Fall harvest festivals. * 2nd 700 not a core requirement but helpful to the user

  34. James/Kuhagen for VLA -- Feb. 5, 2013 Collaborative Works –Single Work, Multiple Creators No “rule of 3” like AACR2 21.6C2 Principally-responsible, or first-named creator Exceptions listed in 6.27.1.3 moving image resources some resources involving both corporate bodies and persons some musical collaborations treaties

  35. James/Kuhagen for VLA -- Feb. 5, 2013 A2 Example: Multiple Creators –No Principal Responsibility AACR2: enter under title with no 1XX field 245 00 $a Architecture / $c by Susan Brown … [et al.]. 700 $a Susan Brown. Other authors (Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson) listed on source, but not recorded in 245 and not given access points.

  36. James/Kuhagen for VLA -- Feb. 5, 2013 RDA Example: Multiple Creators –No Principal Responsibility RDA: precede preferred title by first-named creator 100 $a Brown, Susan. 245 $a Architecture / $c by Susan Brown, Melanie Carlson, Stephen Lindell, Kevin Ott, and Janet Wilson. *700 $a Carlson, Melanie. *700 $a Lindell, Stephen. *700 $a Ott, Kevin. *700 $a Wilson, Janet. *access points for other creators: cataloger judgment (LC-PCC PS 19.3) Note that all names in a statement of responsibility may be transcribed (see RDA 2.4.1.5) without also giving them access points.

  37. James/Kuhagen for VLA -- Feb. 5, 2013 Additions to Access Points Representing Works Formulating the Authorized Access Point Start with preferred title Precede by creator, if appropriate Addition(s) to make it distinct RDA 6.27.1.9 Each possible addition discussed in detail in earlier provisions of chapter 6

  38. James/Kuhagen for VLA -- Feb. 5, 2013 Additions to Access Points Representing Works Form of work (6.3) Date of the work (6.4) Place of origin of the work (6.5) Another distinguishing characteristic of the work (6.6) Additions are given in parentheses after preferred title • no priority order • can give more than one if needed

  39. James/Kuhagen for VLA -- Feb. 5, 2013 Additions to Access Points – Examples Advocate (Boise, Idaho) Advocate (Nairobi, Kenya) distinguish with place Dublin magazine (1762) Dublin magazine (1965) distinguish with date Bulletin (New York State Museum : 1945) Bulletin (New York State Museum : 1976) use of two qualifiers (corporate body and date)

  40. James/Kuhagen for VLA -- Feb. 5, 2013 Variant Access Points for Works6.27.4.1 - 6.27.4.4 General principle: “use a variant title for the work as the basis for a variant access point.” Example: Authorized access point for the work Dickens, Charles, 1812–1870. Pickwick papers Variant access point for the work Dickens, Charles, 1812–1870. Posthumous papers of the Pickwick Club

  41. James/Kuhagen for VLA -- Feb. 5, 2013 MARC Authority Fields for Works 046Date of work 370Place of origin of work 380 Form of work 381 Other distinguishing characteristic of a work 382 Medium of performance 383 Numeric designation of a musical work 384 Key

  42. Expressions You must have a work to have an expression of that work! James/Kuhagen for VLA -- Feb. 5, 2013

  43. James/Kuhagen for VLA -- Feb. 5, 2013 Expression – the FRBR Entity ‘the way in which a work (the idea in the creator’s mind) is expressed’ through … Language Sound Movement Performance Etc. Some common types of expressions are abridgements, revisions, translations, and musical arrangements

  44. James/Kuhagen for VLA -- Feb. 5, 2013 Identifying the Expression Authorized access points are used in bibliographic records to identify the expression being cataloged; also in 6XX and 7XX to represent relationships to other expressions Forms according to RDA chapter 6 Two steps Name the work Add expression-level identifying information

  45. James/Kuhagen for VLA -- Feb. 5, 2013 LC Decisions on …How to Identify Expressions LC-PCC PS 0.6.3 Identify these expressions by adding an attribute to the authorized access point Music resources (6.28.3) Sacred scriptures (6.30.3) Translations and language editions (6.27.3) PCC policy on access points pending

  46. James/Kuhagen for VLA -- Feb. 5, 2013 LC Decisions on …How to Identify Expressions For other categories, LC will include the expression attributes in other fields in the bibliographic record, e.g., 336 field (Content type) 546 field (Language of content)

  47. James/Kuhagen for VLA -- Feb. 5, 2013 LC Decisions on …How to Identify Expressions Do not add another characteristic to differentiate one expression from another e.g., do not differentiate one translation of Hamlet in French from another French translation e.g., do not differentiate one arrangement of Berlioz’ Corsaire from another arrangement Note that some PCC libraries are differentiating multiple expressions in the same language

  48. James/Kuhagen for VLA -- Feb. 5, 2013 Constructing the Authorized Access Point Representing an Expression 6.27 The basis is the authorized access point for the work Additions as outlined in 6.27.3 Goncourt, Edmond de, 1822–1896. Frères Zemganno. English

  49. James/Kuhagen for VLA -- Feb. 5, 2013 Additions to Authorized Access Points for Expressions content type * (6.9) date of the expression * (6.10) language of the expression * (6.11) another distinguishing characteristic of the expression * (6.12) * if needed to differentiate

  50. James/Kuhagen for VLA -- Feb. 5, 2013 Content Type Recorded in 336 Field One is core, but more may be given May give multiple content types either in repeatable $a of one 336 field or in multiple 336 fields May also use $3 if multiple components and term does not apply to all

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