1 Descriptive Cataloging - PowerPoint Presentation

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Descriptive CatalogingUsing RDA

Module 6

Identifying

Works

and

Expressions

Cooperative and Instructional Programs Division

Library of Congress

2014

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AcknowledgementsThis course is the result of collaboration between

Tim Carlton, Cooperative and Instructional Programs Division, Library of Congress Ingrid Hsieh-Yee, Ph. D., Dept. of Library & Information Science, Catholic University of AmericaIt has been adapted from training developed by Barbara Tillett and Judith Kuhagen, Library of Congress Policy and Standards Division, and other Library of Congress staffCOIN gratefully acknowledges PSD’s permission to adapt the material for the present purpose

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About This MaterialThis training material has been created for a primary audience of Library of Congress staff.Other audiences are welcome to adapt and utilize it as they see fit. However, it should be understood that it reflects LC policies, and should not be interpreted to either prohibit or require specific practices for other libraries or organizations.

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Learning ObjectivesIdentifying WorksIdentifying Expressions

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Unit 1: Identifying WorksWhere are the Instructions?“Naming the Work”LC PoliciesAuthorized Access Points for Works

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Where are the Instructions?Chapter 6: Identifying Works and ExpressionsChapter 19: Persons, Families, and Corporate Bodies Associated with a Work

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Where are the Instructions? – Special InstructionsConstructing access points for special types of worksmusical works (6.28.1)legal works (6.29.1)religious works (6.30.1)official communications (6.31.1)Determining the preferred title for these typesmusical works (6.14.2)legal works (6.19.2)religious works (6.23.2)official communications (6.26.2)

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“Naming the Work”Just as we ‘name’ persons, corporate bodies, and families“Naming the work” is not always the same as identifying the manifestation by recording the title propere.g., a translation of a Shakespeare playMARC has four ways to code this in bibliographic records for a single work1XX + 2401XX + 245130245

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LC PoliciesIn some places, RDA itself is non-prescriptive and allows institutions to make their own policy decisionsLC has done so in three areas regarding the identifying of works …LC-PCC PS 6.27

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LC Policies –Work Attributes as Bibliographic DataWhether work attributes are recorded as bibliographic data, or authority data, or both? LC PolicyIdentify the work by providing an access point in the bibliographic recordSometimes, further identify the work by making a title or name/title authority recordThese situations are delineated in Descriptive Cataloging Manual Z1

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LC Policies –Using Core Elements to Distinguish WorksWhether those work elements that are core if needed to break a conflict are recorded as additions to the authorized access point, as separate elements elsewhere in the record, or both?LC PolicyRecord them as additions to the authorized access point of the bibliographic recordCataloger judgment to also record them as separate elements in authority recordsLC-PCC PS 6.27.1.9

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LC Policies –Language and Script of the Preferred TitleHow do you choose the language and script for the title of a work?LC policyFollow 5.4, Alternative: romanized form is always used in authorized access pointsFurther:non-Latin forms that appear on the source may be recorded as parallel 880 fields in bibliographic records, for the languages and scripts listed in LC-PCC PS 1.4, first alternativeNon-Latin forms may be recorded as variant fields in authority records

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Authorized Access Points for WorksPreferred Title for the WorkEntities Responsible for a WorkCollaborations and CompilationsAdditions to Access Points for Works

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Authorized Access Points for WorksHow do you construct the authorized access point for the Work? The rest of this Unit will cover all the components that factor in this decisionFirst, we’ll learn the general principleThen, we’ll look at each component in depthpreferred titleentities responsible for a workcollaborations and compilationsadditions to the access point

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Authorized Access Points for Works –General Principle6.27.1Constructing an authorized access pointPreferred title (always)Authorized access point for the creator (if applicable)Additions to the preferred title (if necessary) We will discuss these elements this way:What is the preferred title?What is a creator?What additions are needed?

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Preferred Title for the Work(6.2.2)CORE ELEMENT“the title or form of title chosen to identify the work”“the basis for the authorized access point representing that work”

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Preferred Title for the Work --TerminologyPreferred title for the work (6.2.2.1)“title or form of title chosen to identify the work”Variant title for the work (6.2.3.1)“title or form of title by which a work is known that differs from the title or form of title chosen as the preferred title”Note: neither of these are necessarily the same as “title of manifestation”

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Preferred Title for the Work –Choosing and RecordingFor works created after 1500 (6.2.2.4)the title in the original language by which the work has become known either through use in resources embodying the work or in reference sourcesOften: title of first manifestation receivedExampleHamlet(Preferred title for work first published under the title:The tragicall historie of Hamlet, Prince of Denmarke)

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Preferred Title for the Work –Choosing and RecordingFor works created before 1501 (6.2.2.4)the title or form of title in the original language by which the work is identified in modern reference sourcesif the evidence is inconclusive, choose (in this order) the title most often found in:a) modern editionsb) early editionsc) manuscript copiesExampleDe bello Gallico (Preferred title for the work by Julius Caesar)

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Preferred Title for the Work –Choosing and Recording -- OutlineSingle works and compilations of works by different entities6.2.2.8apply the basic instructions at 6.2.1Part or parts of a work6.2.2.9See following slidesCompilations of the works of one entity6.2.2.10Covered later in this module

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Preferred Title for the Part(s) of a Work -- One Part (6.2.2.9.1)Use the part title; apply 6.2.1 basicsPreferred title for a part of J.R.R. Tolkien’s The lord of the rings Two towersIf the part is identified only by a general term with or without a numeric or alphabetic designation, record the designation of the part as the preferred title for the partPreferred title for a part of Homer’s IliadBook 1

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(Clarification – Constructing the Full Access Point)Remember that 6.2.2.9 only prescribes how you determine the preferred title for the part6.27.2 provides instruction on combining this element with other components to form the full authorized access pointTolkien, J. R. R. (John Ronald Reuel), 1892–1973. Two towers Homer. Iliad. Book 1

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Preferred Title for the Part(s) of a Work-- Two or More Parts (6.2.2.9.2)Consecutively numbered, with only a general designation and number“Record the general term in the singular followed by the inclusive numbers of the parts” preferred title for the first six books of Homer’s Iliad Book 1–6 Again, 6.27.2 covers the construction of the full access point Homer. Iliad. Book 1-6

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Preferred Title for the Part(s) of a Work-- Two or More Parts (6.2.2.9.2)Non-consecutively numbered, or unnumbered 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.”Preferred title for a compilation comprising books 1 and 6 of Homer’s Iliad Selections Again, per 6.27.2, the full access point is Homer. Iliad. Selections

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Entities Responsible for a Work“precede the preferred title, if appropriate, by the authorized access point representing the person, family, or corporate body responsible for the work”We’ve discussed the preferred title …In fact, we always have to determine the preferred titleNow, let’s discuss that ‘if appropriate’ component …

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Entities Responsible for a WorkStatement of Responsibility is an attribute of the manifestationEntities Responsible for a Work reflect relationships to the workAlthough the latter is often based on the former, this is not necessarily trueThe creator need not appear on the resourcee.g., an edition of Macbeth that doesn’t bear Shakespeare’s name on the resource will still include a 1XX for Shakespeare as creatorAACR2 principle of ‘justification’ is not in RDA

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Entities Responsible for a WorkStatement of responsibility is covered in RDA Section 1, Chapter 2. Entities responsible for a work, because they are relationships, are covered in RDA Section 6, Chapter 19.

“contributors” are responsible for an expression discussed in Chapter 20 (and covered later in this Module)

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Entities Responsible for a WorkTwo kinds of entities responsible for a workCreator (19.2)Other entity associated with the work (19.3)‘Creator’ is not to be interpreted, necessarily, as ‘human beings’Both 19.2 and 19.3 can apply to families and corporate bodies as well as to persons

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Entities Responsible for a WorkIn this discussion, we will not be concerned with the MARC fields in which these entities may be recordedGenerally,‘Creators’ may appear in 1XX or 7XX fields1XX -- ‘Main Entry’ Fields7XX -- ‘Added Entry’ Fields‘Other entities’ may appear in 7XX fields

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Entities Responsible for a Work –Creator (19.2)CORE ELEMENT“person, family, or corporate body responsible for the creation of a work”If more than one entity is responsible:The first-named creator having principal responsibility must be recordedIf principal responsibility is not indicated, only the first-named creator is requiredCataloger judgment whether to provide authorized access points for additional creators, beyond core (LC-PCC PS 19.2)

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Entities Responsible for a Work – Compilers and Modifiers as CreatorsCompilers as creatorsIn some cases, the selection, arrangement, editing, etc., of content for a compilation effectively results in the creation of a new work When this occurs, the person, family, or corporate body responsible for compiling the aggregate work may be considered to be the creator of the compilatione.g., bibliography, genealogy, dictionaryencyclopedia? Not quite the same idea

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Entities Responsible for a Work – Compilers and Modifiers as CreatorsModifiers as creatorsIn some cases, the modification of a previously existing work substantially changes the nature or content of the original and results in a new workWhen this occurs, the person, family, or corporate body responsible for modifying the previously existing work is considered to be the creator of the new workRemember the “Family of Works” slide?When does an expression become a new work?

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)Two conditions:body is responsible for originating, issuing, or causing to be issuedIf in doubt, “yes, it satisfies” the work falls into one of the delineated categories of worksIf in doubt, “no, it doesn’t satisfy”Important LC-PCC PS 19.2.1.1.1If a corporate body and person(s) collaborate, consider first these instructions for corporate bodies as creators

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)Categories of worksworks of an administrative nature …works that record the collective thought of the body …works that record hearings … works that report the collective activity of a conference ...works that result from the collective activity of a performing group …cartographic works …legal works …named individual works of art …

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)works of an administrative nature dealing with the body itselfe.g., internal policies, procedures, finances, operations, officers, staff, membership (e.g., directories), resources (e.g., catalogues, inventories) Membership directory / American Bar Association, Section of Intellectual Property Law

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)works that record the collective thought of the bodye.g., reports of commissions, committees; official statements of position on external policies, standards Drinking water quality : a report to the community. — Seattle, WA : Seattle Public Utilities

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)works that record hearings conducted by legislative, judicial, governmental, and other corporate bodies Transcripts of proceedings of the public hearings of the United States Sentencing Commission : November 16–17, 2004 and February 15–16, 2005

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)works that report the collective activity of a conference, etc.conference (e.g., proceedings, collected papers), expedition (e.g., results of exploration, investigation), an event (e.g., an exhibition, fair, festival) Proceedings of the Ninth Congress of the International Organization for Masoretic Studies, 1989 / edited by Aron Dotan.

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)works that result from the collective activity of a performing group where the responsibility of the group goes beyond that of mere performance, execution, etc. Stadium arcadium / Red Hot Chili Peppers ; music transcriptions by Pete Billman and David Stocker.

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)cartographic works originating with a corporate body other than a body that is merely responsible for their publication or distribution The new Oxford atlas for Pakistan / all maps drawn by the Cartographic Unit, Oxford University Press ; editorial adviser, Fazle Karim Khan

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)legal works of certain typeslaws, decrees, bills and drafts of legislation, administrative regulations, constitutions, charters, court rules, treaties, international agreements, charges to juries, indictments, court proceedings, court decisions, etc. Building code of the city of Richmond, Virginia (Many other examples in 19.2.1.1.1)

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Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)named individual works of art by two or more artists acting as a corporate bodyMaison de poupée / Pierre et Gilles

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Entities Responsible for a Work – Government and Religious OfficialsConsidered to be creators when they are responsible for the following types of official communications:official communications by heads of state, heads of government, heads of dependent or occupied territories, or heads of international bodies (e.g., messages to legislatures, proclamations, executive orders)official communications from popes, patriarchs, bishops, etc. (e.g., orders, decrees, pastoral letters, bulls, encyclicals; official messages to councils, synods)

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Entities Responsible for a Work – Review of Examples in RDALet’s look at the numerous examples in 19.2.1.3 …

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Entities Responsible for a Work –Other Entities Associated with a Work (19.3)a relationship other than creator, e.g.person to whom correspondence is addressedperson honored by a festschriftdirector, cinematographersponsoring bodyinstitution, etc., hosting an exhibition or eventExampleAuthorized access point representing the issuing body for: Occasional papers of the California Academy of SciencesCalifornia Academy of Sciences involved at WORKlevel

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Editors, translators, illustrators, arrangers of music, performers, writers of commentary, and othersThese entities contribute “to the realization of a work through an expression” and are “contributors”Covered in later unit on Expressions(Entities Not Responsible for a Work –Not “Creators”)

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Collaborations and CompilationsImportant distinction!Determines how each is ‘identified’What is the preferred title?Who is the creator?Constructing authorized access pointsCollaborations (6.27.1.3)Compilations of worksby different entities (6.27.1.4)by one entity (6.27.1.2, refers back to 6.2.2)Remember the ‘aggregate work’ idea

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Collaborations and Compilations -- How to Decide?You have a compilation if:there are no collaboratorsif there are collaborators, there is an indication who created whatFrom the preferred source, table of contents, preface, notes, home page, otherYou have a collaboration if:there is no indication who created whatyou are in doubtWe will first look at compilations …

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Collaborations and Compilations –Multiple Works by One Creator -- CompilationThere are no collaboratorsIdentified byPreferred title + CreatorThe only decision is to determine the preferred title6.2.2.10There is no question about the creator

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Collaborations and Compilations –Multiple Works by One Creator -- CompilationDetermining the preferred title … Is this compilation ‘known’ by a title?If so (which is rare) use that known titleWhitman’s Leaves of grass is an example of a compilation that is ‘known’ by a titleIf not, use a conventional collective titleComplete works: use “Works”Complete works in a single form: use a term chosen by the catalogerOther compilations of two or more (but not all) works: add “Selections” to the conventional collective title

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Collaborations and Compilations –Multiple Works by One Creator -- Compilation

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.Strategy: use a conventional collective title

* 2

nd

700 not a core requirement but helpful to the user

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Collaborations and Compilations -- Multiple CreatorsIf a compilationPreferred titleWithout a 1XX creator -- because there is no single creator of the aggregateSlides 53-59If a collaborationPreferred title +Creator (principal or first-named)Slides 60-62

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Collaborations and Compilations –Multiple Creators -- Compilation Preferred title, without a creatorThe title by which the compilation has become known (this situation is rare) orThe title proper of the manifestationPreferred title for Music in the classic period : essays in honor of Barry S. Brook / [edited by] Allan W. Atlas Music in the classic period

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Collaborations and Compilations – Multiple Creators -- Compilation w/o Collective Title

Community band concertsby Sharon PolkFall harvest festivals by Terri Swanson What if there is no collective title?

Two Essays

on

Community Events

Community

band

concerts

by

Sharon Polk

Fall

harvest

festivals

by

Terri

Swanson

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Collaborations and Compilations – Multiple Creators -- Compilation w/o Collective Title

w/o a collective title: 245 $a Community band concerts / $c Sharon Polk. Fall harvest festivals / Terri Swanson. First ... How is this title data recorded?

w

/ a

collective

title:

245 $a

Two essays on community events

505 &a Community band concerts

/

Sharon Polk --

Fall

harvest festivals / Terri

Swanson

.

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Collaborations and Compilations – Multiple Creators -- Compilation w/o Collective Title

Electraby SophoclesMourning Becomes Electraby Eugene O’Neill Another example …

Two dramatic masterpieces

Electra

by Sophocles

Mourning Becomes Electra

by Eugene

O’Neill

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Collaborations and Compilations – Multiple Creators -- Compilation w/o Collective Title

w/o a collective title: 245 $a Electra / $c by Sophocles. Mourning becomes Electra / by Eugene O’Neill. Again ... How is the title data recorded?

w

/ a

collective

title:

245 $a

Two dramatic masterpieces

505 &a Electra / $c by Sophocles – Mourning becomes Electra / by Eugene O’Neill.

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Collaborations and Compilations -- Multiple Creators -- Compilation w/o Collective TitlePreferred title is usually the preferred title of the manifestationWhat is the p.t. of the manifestation?6.27.14Title proper of first work in the compilationLC does not generally apply the alternative to devise a title (like the collective titles we saw)Also, provide an analytical authorized access point for the predominant or first work in the compilation, when it represents a substantial part of the resource (25.1 and LC-PCC PS)

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Collaborations and Compilations – Multiple Creators -- Compilation w/o Collective TitleStrategy: use the title proper of the first work as the preferred title; no 1XX creator

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.

* 2

nd

700 not a core requirement but helpful to the user

So, what is the result?

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Collaborations and Compilations -- Multiple Creators -- CollaborationBecause you cannot distinguish distinct contributions, treat it as a single workPreferred title + CreatorPrincipally-responsible, orFirst-namedExceptions (no 1XX creator)moving image resourcessome resources involving corporate bodies and personssome musical collaborationstreaties

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Collaborations and Compilations -- Multiple Creators -- Collaboration (Principal Responsibility Indicated)

100 $a Sweet, Martha. 245 $a Georgia history / $c by Martha Sweet and Linda Bruce with contributions by Gus Peterson and Marilee James.*700 $a Bruce, Linda.*700 $a Peterson, Gus.*700

$a James, Marilee.

* number of access points for other creators:

cataloger judgment (LC-PCC PS 19.3)

Strategy:

preferred title and first-named creator

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Collaborations and Compilations --Multiple Creators -- Collaboration (Principal Responsibility Not Indicated)

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.

* Number of access

points for other creators:

cataloger judgment (LC-PCC PS 19.3)

Strategy:

preferred title and first-named creator

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Collaborations and Compilations – Commentary, etc. Added to Existing Work6.27.1.6If presented as a commentary …Treat as a new workAuthorized access point (a.a.p.):preferred title for the commentary+creator of the commentaryExample: commentary that includes the text of the law100 Akram, Malik M. 245 Comprehensive and exhaustive commentary on the Transfer of Property Act, 1882

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Collaborations and Compilations – Commentary, etc. Added to Existing Work6.27.1.6If presented as an edition …Treat as an expression of the original workAuthorized access point (a.a.p.):preferred title for the original work+creator of the original workExample: edition with annotations100 Joyce, James, 1882–1941.

240 Dubliners 245 James Joyce’s Dubliners : an illustrated edition with annotations / [edited by] John Wyse Jackson & Bernard McGinley

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Additions to Access Points for WorksRecap: Formulating the Authorized Access Pointpreferred titlecreator, if appropriateaddition(s), to make it distinctWe have discussed the preferred titleWe have discussed the creatorNow … what are the possible additions?

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Additions to Access Points for WorksForm of work (6.3)Date of work (6.4)Place of origin of the work (6.5)Other distinguishing characteristic of the work (6.6)

no priority order can give more than one if needed take from any sourceBefore we look closely at each addition, let’s look at how works are differentiated

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Additions to Access Points for WorksDifferentiating Works (LC-PCC PS 6.27.1.9)“catalog” = the file against which cataloging is done; may also take into account any known resourceresolve the conflict by making an addition in the record being created; do not also modify the existing recorduse the authorized access point whenever the resource is referred to in other access pointsdo not predict a conflictFor republications, use the authorized access point for the original

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Additions to Access Points for WorksDifferentiating Works (LC-PCC PS 6.27.1.9)How?“ … with a parenthetical qualifier … ”Choice of qualifiercorporate body date of publication descriptive data elements, e.g., editionplace of publication any word(s) that will distinguish the worksUse more than one qualifier if needed

list not prescriptive, not in priority order

first choice for generic titles

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Additions to Access Points for WorksDifferentiating Works (LC-PCC PS 6.27.1.9)Form of qualifierIf corporate body: use the authorized formIf place of publication: use the authorized form, without any cataloger’s additionMultiple qualifiersseparate the qualifiers with a space-colon-space ( : ) within one set of parentheses

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Additions to Access Points for Works -- Form of Work (6.3)CORE ELEMENT when needed to differentiateScope = “class or genre to which a work belongs” No controlled vocabulary

130 0# $a Chanson de Roland (Poem)

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Additions to Access Points for Works -- Date of Work (6.4)CORE ELEMENT when needed to differentiateScope = “earliest date associated with a work”created, first published, or releasedeven FRBR is loose about “Date of the Work” Year(s) aloneSee examples in 6.4.1.3

110 2# $a Connecticut Commission on Children. 240 10 $a Annual report (2005)

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Additions to Access Points for Works -- Place of Origin of Work (6.5)CORE ELEMENT when needed to differentiateScope = “the country or other territorial jurisdiction from which a work originated”In the form prescribed in Chapter 16

130 0# $a Renaissance history (Boston, Mass.)

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Additions to Access Points for Works --Other Distinguishing Characteristic (6.6)

CORE ELEMENT

when needed to

differentiate

Scope = “a characteristic

other than

form of work, date of work, or place of origin of the work that serves to differentiate a work from another …

”

110 2#

WOR-TV

(

Television

station

)

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Additions to Access Points for Works --ExamplesAdvocate (Boise, Idaho)Advocate (Nairobi, Kenya)Bulletin (New York State Museum : 1945)Bulletin (New York State Museum : 1976)

Dublin magazine (1762)Dublin magazine (1965)

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Exercise on WorksExercise #4 Identifying Works

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Unit 2: Identifying Expressions“Naming the Expression”Entities Responsible for an ExpressionLC PolicyAuthorized Access Points for ExpressionsGeneral Principle Addition of Expression ElementsUsing Existing Name Authority Records for Works and Expressions

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“Naming the Expression”‘the way in which a work is expressed’, e.g. Language (i.e., alpha-numeric)SoundImagesPerformanceModeled after naming the workName the workAdd information identifying the expression(FRBR has no attribute, ‘title of expression’)Chapter 6 – naming expressions

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“ … contributing to the realization of a work through an expression”Editors, translators, illustrators, arrangers of music, performers, writers of commentary, and othersChapter 20 – entities associated with expressionsCORE ELEMENT for LConly for illustrators of resources intended for childrenEntities Responsible for an Expression – “Contributors”

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For the following categories of resources, identify expressions by adding an expression attribute to the authorized access point for the workMusic resources (see 6.28.3)Sacred scriptures (see 6.30.3)Translations (see LC-PCC PS 6.27.3)Language editions (see LC-PCC PS 6.27.3)LC-PCC PS 6.27.3LC Policy –Expression Identified in the Access Point

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For resources that do not fall into the preceding categories, LC uses other fields to identify expression attributesContent type336 field Language008/35-37 (codes)041 field (codes)546 field (terms)Edition statement250 fieldLC Policy –Expression Identified in Other Elements

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General PrincipleAddition of Expression ElementsAuthorized Access Pointsfor Expressions

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6.27.3Two componentsAuthorized access point for the workAdditions as outlined in 6.27.3General Principle

100 Goncourt, Edmond de, 1822–1896. 240 Frères Zemganno.

English.

Example:

The Zemganno brothers / by Edmond de Goncourt.

(An English translation of a French novel)

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Addition of Expression ElementsPossible additionsContent type (6.9)Date of the expression (6.10)Language of the expression (6.11)Other distinguishing characteristic of the expression (6.12)

added if needed to differentiatemay be taken from any source“and/or” – use judgment which to choose

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Addition of Expression Elements –Content Type (6.9)CORE ELEMENT if needed to differentiateScope = “fundamental form of communication in which the content is expressed and the human sense through which it is intended to be perceived ...”Controlled vocabulary in RDA 6.9.1.3Recorded in $h of the access point

100 1# $a Brunhoff, Jean de, 1899–1937.240 1# $a Babar en famille. $l English. $h Spoken word (for the audiobook of an English translation of the original)

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Addition of Expression Elements –Date of Expression (6.10)CORE ELEMENT if needed to differentiateScope = “earliest date associated with an expression”Often, use date of manifestation

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Addition of Expression Elements –Language of Expression (6.11)CORE ELEMENT if needed to differentiate Scope = “language in which a work is expressed”Use term from MARC 21 language listRecorded in access point -- $lnot repeatablethe correct subfield order is $a $k $lbecause language is an expression attribute, do not interpose it between the work attributes of Preferred title and Selections

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Addition of Expression Elements –One Language of Expressiongive $l only if a translationdo not give $l unless a translation

100 1# $a Brunhoff, Jean de, $d 1899-1937.240 10 $a Babar en famille. $l English245 10 $a Babar and his children.

100 1# $a

Shakespeare, William, $

d

1564-1616.

240 1# $a

Hamlet

245 10 $a

Shakespeare’s Hamlet

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Addition of Expression Elements –Two or More Languages of Expression Original and one translationDo not identify the expression using a 240Doing so would erroneously name a compilation of two expressions by identifying only one of the expressionsRDA does not allow two languages to be recorded in a single access point240 $a [Title of work]. $l French $ English Record an analytical authorized access point for the original expression (without $l)Record a separate analytical authorized access point for the translation

(with $l)

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Addition of Expression Elements –Two or More Languages of Expression

Original and one translation041 1# $a eng $a spa $h eng100 1# $a Macken, JoAnn Early, $d 1953-245 10 $a Mail carrier = $b El cartero / $c JoAnn Early Macken.246 31 $a Cartero546 ## $a English and Spanish.700 12 $a Macken, JoAnn Early, $d 1953- $t Mail carrier.700 12 $a Macken, JoAnn Early, $d 1953- $t Mail carrier. $l Spanish.

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Addition of Expression Elements –Two or More Languages of ExpressionOriginal and more than one translation Record an authorized access point for the original expression (without $l for language) Record an authorized access point for at least one translation (with $l for language)Recording additional expressions in analytical access points is cataloger judgment

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Addition of Expression Elements –Two or More Languages of ExpressionOriginal and more than one translation245 00 $a Diplôme international de l'OIV en management du secteur de la vigne et du vin : $b OIV MSc in wine management = International diploma of the OIV in management of the vine and wine sector = Internationales Diplom der OIV im Fachberich

Management im Weinbausektor = Diploma internazionale dell'OIV in getion del settore della vigna e del vino = Diploma internacional de la OIV de management del sector la viña y el vino.730 02 $a Diplôme international de l'OIV en management du secteur de la vigne et du vin.730 02 $a Diplôme international de l'OIV en management

du

secteur de la vigne et du vin. $l English

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Addition of Expression Elements –Two or More Languages – Other SituationsTwo or more expressions in different languages, and original is not present Record at least one expression in an authorized access point, with $lExample (French and German translations; original not present) 100 1# $a Shakespeare, William, ‡d 1564-1616.245 10 $a Roméo et Juliette = $

b Romeo und Julia /$c William Shakespeare.700 12 $a Shakespeare, William, ‡d 1564-1616. $t Romeo and Juliet. $l French* 700 12 $a Shakespeare, William, ‡d 1564-1616. $t Romeo and Juliet. $t German * Cataloger judgment which to give, and how many

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Addition of Expression Elements –Two or More Languages – Other SituationsTwo or more expressions in different languages, and you cannot determine the originalTwo or more languages, translation not involvede.g., UN publications issued in multiple languagesSame principle:treat the manifestation as a compilation of the original and one or more translations, and treat the first title as if it is the originalone access point without $lat least one access point with $l

Example …

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Addition of Expression Elements –Two or More Languages – Other SituationsExample245 00 $a Diplôme international de l'OIV en management du secteur de la vigne et du vin : $b OIV MSc in wine management = International diploma of the OIV in management of the vine and wine sector = Internationales Diplom der OIV im Fachberich Management im Weinbausektor = Diploma internazionale

dell'OIV in getion del settore della vigna e del vino = Diploma internacional de la OIV de management del sector la viña y el vino.730 02 $a Diplôme international de l'OIV en management du secteur de la vigne et du vin.730 02 $a Diplôme international de l'OIV en management du secteur de la vigne et du vin. $l English

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Addition of Expression Elements –Other Distinguishing Characteristic (6.12)CORE ELEMENT if needed to differentiate Scope = ‘a characteristic other than content type, language … or date [that] serves to differentiate an expression’Recorded at end of access pointunless a separate subfield is available, e.g.,$o for musical expressions (e.g., “arranged”)$s for versions of the Bible, etc.

130 #0 $a Bible. $l English. $s Authorized. $f 2004

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Using Existing Name Authority Records for Works and ExpressionsConsult PCC Post RDA Test GuidelinesAvailable from link at LC-PCC PS 9.19.1 For bibliographic record access points:use the authorized forms established in existing Name Authority Records (NARs) if no NAR exists, create an RDA NARIf you use an RDA-acceptable heading, you are ‘strongly encouraged’ to evaluate and recode the authority record to RDA whenever possible

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Exercise on ExpressionsExercise #5 Identifying Expressions