1. 1 Descriptive Cataloging Using RDA Module 6 Identifying Works and Expressions Cooperative and Instructional Programs Division Library of Congress 2014

2. 2 Acknowledgements  This 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 America  It has been adapted from training developed by Barbara Tillett and Judith Kuhagen, Library of Congress Policy and Standards Division, and other Library of Congress staff  COIN gratefully acknowledges PSD’s permission to adapt the material for the present purpose

3. 3 About This Material  This 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.

4. 4 Learning Objectives oIdentifying Works oIdentifying Expressions

5. 5 Unit 1: Identifying Works  Where are the Instructions?  “Naming the Work”  LC Policies  Authorized Access Points for Works

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

7. 7 Where are the Instructions? – Special Instructions  Constructing access points for special types of works musical 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 types musical works (6.14.2) legal works (6.19.2) religious works (6.23.2) official communications (6.26.2)

8. 8 “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 proper e.g., a translation of a Shakespeare play  MARC has four ways to code this in bibliographic records for a single work 1XX + 240 1XX + 245 130 245

9. 9 LC Policies  In some places, RDA itself is non- prescriptive and allows institutions to make their own policy decisions  LC has done so in three areas regarding the identifying of works …  LC-PCC PS 6.27

10. 10 LC Policies – Work Attributes as Bibliographic Data  Whether work attributes are recorded as bibliographic data, or authority data, or both?  LC Policy Identify the work by providing an access point in the bibliographic record Sometimes, further identify the work by making a title or name/title authority record  These situations are delineated in Descriptive Cataloging Manual Z1

11. 11 LC Policies – Using Core Elements to Distinguish Works  Whether 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 Policy Record them as additions to the authorized access point of the bibliographic record Cataloger judgment to also record them as separate elements in authority records  LC-PCC PS 6.27.1.9

12. 12 LC Policies – Language and Script of the Preferred Title  How do you choose the language and script for the title of a work?  LC policy Follow 5.4, Alternative: romanized form is always used in authorized access points Further:  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 alternative  Non-Latin forms may be recorded as variant fields in authority records

13. 13 Authorized Access Points for Works  Preferred Title for the Work  Entities Responsible for a Work  Collaborations and Compilations  Additions to Access Points for Works

14. 14 Authorized Access Points for Works  How do you construct the authorized access point for the Work?  The rest of this Unit will cover all the components that factor in this decision First, we’ll learn the general principle Then, we’ll look at each component in depth  preferred title  entities responsible for a work  collaborations and compilations  additions to the access point

15. 15 Authorized Access Points for Works – General Principle  6.27.1  Constructing an authorized access point Preferred 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?

16. 16 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”

17. 17 Preferred Title for the Work -- Terminology  Preferred 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”

18. 18 Preferred Title for the Work – Choosing and Recording  For 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 sources Often: title of first manifestation received  Example Hamlet (Preferred title for work first published under the title: The tragicall historie of Hamlet, Prince of Denmarke)

19. 19 Preferred Title for the Work – Choosing and Recording  For 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 sources if the evidence is inconclusive, choose (in this order) the title most often found in: a) modern editions b) early editions c) manuscript copies  Example De bello Gallico (Preferred title for the work by Julius Caesar)

20. 20 Preferred Title for the Work – Choosing and Recording -- Outline  Single works and compilations of works by different entities 6.2.2.8 apply the basic instructions at 6.2.1  Part or parts of a work 6.2.2.9 See following slides  Compilations of the works of one entity 6.2.2.10 Covered later in this module

21. 21 Preferred Title for the Part(s) of a Work -- One Part (6.2.2.9.1)  Use the part title; apply 6.2.1 basics Preferred title for a part of J.R.R. Tolkien’s The lord of the rings Two towers  If 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 part Preferred title for a part of Homer’s Iliad Book 1

22. 22 (Clarification – Constructing the Full Access Point)  Remember that 6.2.2.9 only prescribes how you determine the preferred title for the part  6.27.2 provides instruction on combining this element with other components to form the full authorized access point Tolkien, J. R. R. (John Ronald Reuel), 1892–1973. Two towers Homer. Iliad. Book 1

23. 23 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

24. 24 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

25. 25 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 title Now, let’s discuss that ‘if appropriate’ component …

26. 26 Entities Responsible for a Work  Statement of Responsibility is an attribute of the manifestation  Entities Responsible for a Work reflect relationships to the work  Although the latter is often based on the former, this is not necessarily true The creator need not appear on the resource  e.g., an edition of Macbeth that doesn’t bear Shakespeare’s name on the resource will still include a 1XX for Shakespeare as creator AACR2 principle of ‘justification’ is not in RDA

27. 27 Entities Responsible for a Work  Statement 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)

28. 28 Entities Responsible for a Work  Two kinds of entities responsible for a work Creator (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

29. 29 Entities Responsible for a Work  In this discussion, we will not be concerned with the MARC fields in which these entities may be recorded  Generally, ‘Creators’ may appear in 1XX or 7XX fields  1XX -- ‘Main Entry’ Fields  7XX -- ‘Added Entry’ Fields ‘Other entities’ may appear in 7XX fields

30. 30 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 recorded If principal responsibility is not indicated, only the first-named creator is required Cataloger judgment whether to provide authorized access points for additional creators, beyond core (LC-PCC PS 19.2)

31. 31 Entities Responsible for a Work – Compilers and Modifiers as Creators  Compilers as creators In 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 compilation  e.g., bibliography, genealogy, dictionary encyclopedia? Not quite the same idea

32. 32 Entities Responsible for a Work – Compilers and Modifiers as Creators  Modifiers as creators In some cases, the modification of a previously existing work substantially changes the nature or content of the original and results in a new work When this occurs, the person, family, or corporate body responsible for modifying the previously existing work is considered to be the creator of the new work  Remember the “Family of Works” slide? When does an expression become a new work?

33. 33 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 issued  If in doubt, “yes, it satisfies” the work falls into one of the delineated categories of works  If in doubt, “no, it doesn’t satisfy”  Important LC-PCC PS 19.2.1.1.1  If a corporate body and person(s) collaborate, consider first these instructions for corporate bodies as creators

34. 34 Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1)  Categories of works a) works of an administrative nature … b) works that record the collective thought of the body … c) works that record hearings … d) works that report the collective activity of a conference... e) works that result from the collective activity of a performing group … f) cartographic works … g) legal works … h) named individual works of art …

35. 35 Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1) a) works of an administrative nature dealing with the body itself e.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

36. 36 Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1) b) works that record the collective thought of the body e.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

37. 37 Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1) c) 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

38. 38 Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1) d) 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.

39. 39 Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1) e) 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.

40. 40 Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1) f) 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

41. 41 Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1) g) legal works of certain types laws, 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)

42. 42 Entities Responsible for a Work – Corporate Bodies as Creators (19.2.1.1.1) h) named individual works of art by two or more artists acting as a corporate body Maison de poupée / Pierre et Gilles

43. 43 Entities Responsible for a Work – Government and Religious Officials  Considered 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)

44. 44 Entities Responsible for a Work – Review of Examples in RDA  Let’s look at the numerous examples in 19.2.1.3 …

45. 45 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 addressed person honored by a festschrift director, cinematographer sponsoring body institution, etc., hosting an exhibition or event  Example Authorized access point representing the issuing body for: Occasional papers of the California Academy of Sciences California Academy of Sciences

46. 46  Editors, translators, illustrators, arrangers of music, performers, writers of commentary, and others  These 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”)

47. 47 Collaborations and Compilations  Important distinction!  Determines how each is ‘identified’ What is the preferred title? Who is the creator?  Constructing authorized access points Collaborations (6.27.1.3) Compilations of works  by different entities (6.27.1.4)  by one entity (6.27.1.2, refers back to 6.2.2)  Remember the ‘aggregate work’ idea

48. 48 Collaborations and Compilations -- How to Decide?  You have a compilation if: there are no collaborators if there are collaborators, there is an indication who created what  From the preferred source, table of contents, preface, notes, home page, other  You have a collaboration if: there is no indication who created what you are in doubt  We will first look at compilations …

49. 49 Collaborations and Compilations – Multiple Works by One Creator -- Compilation  There are no collaborators  Identified by Preferred title + Creator  The only decision is to determine the preferred title 6.2.2.10  There is no question about the creator

50. 50 Collaborations and Compilations – Multiple Works by One Creator -- Compilation  Determining the preferred title …  Is this compilation ‘known’ by a title? If so (which is rare) use that known title  Whitman’s Leaves of grass is an example of a compilation that is ‘known’ by a title If not, use a conventional collective title  Complete works: use “Works”  Complete works in a single form: use a term chosen by the cataloger  Other compilations of two or more (but not all) works: add “Selections” to the conventional collective title

51. 51 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

52. 52 Collaborations and Compilations -- Multiple Creators  If a compilation Preferred title Without a 1XX creator -- because there is no single creator of the aggregate Slides 53-59  If a collaboration Preferred title + Creator (principal or first-named) Slides 60-62

53. 53 Collaborations and Compilations – Multiple Creators -- Compilation  Preferred title, without a creator The title by which the compilation has become known (this situation is rare) or The title proper of the manifestation Preferred title for Music in the classic period : essays in honor of Barry S. Brook / [edited by] Allan W. Atlas Music in the classic period

54. 54 Collaborations and Compilations – Multiple Creators -- Compilation w/o Collective Title Community band concerts by Sharon Polk Fall 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

55. 55 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.

56. 56 Collaborations and Compilations – Multiple Creators -- Compilation w/o Collective Title Electra by Sophocles Mourning Becomes Electra by Eugene O’Neill Another example … Two dramatic masterpieces Electra by Sophocles Mourning Becomes Electra by Eugene O’Neill

57. 57 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.

58. 58 Collaborations and Compilations -- Multiple Creators -- Compilation w/o Collective Title  Preferred title is usually the preferred title of the manifestation  What is the p.t. of the manifestation?  6.27.14 Title proper of first work in the compilation  LC 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)

59. 59 Collaborations and Compilations – Multiple Creators -- Compilation w/o Collective Title Strategy: u se 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?

60. 60 Collaborations and Compilations -- Multiple Creators -- Collaboration  Because you cannot distinguish distinct contributions, treat it as a single work  Preferred title + Creator Principally-responsible, or First-named  Exceptions (no 1XX creator) moving image resources some resources involving corporate bodies and persons some musical collaborations treaties

61. 61 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

62. 62 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

63. 63 Collaborations and Compilations – Commentary, etc. Added to Existing Work  6.27.1.6  If presented as a commentary … Treat as a new work Authorized access point (a.a.p.): preferred title for the commentary + creator of the commentary Example: commentary that includes the text of the law 100 Akram, Malik M. 245 Comprehensive and exhaustive commentary on the Transfer of Property Act, 1882

64. 64 Collaborations and Compilations – Commentary, etc. Added to Existing Work  6.27.1.6  If presented as an edition … Treat as an expression of the original work Authorized access point (a.a.p.): preferred title for the original work + creator of the original work Example: edition with annotations 100Joyce, James, 1882–1941. 240Dubliners 245James Joyce’s Dubliners : an illustrated edition with annotations / [edited by] John Wyse Jackson & Bernard McGinley

65. 65 Additions to Access Points for Works  Recap: Formulating the Authorized Access Point preferred title creator, if appropriate addition(s), to make it distinct  We have discussed the preferred title  We have discussed the creator  Now … what are the possible additions?

66. 66 Additions to Access Points for Works  Form 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 source  Before we look closely at each addition, let’s look at how works are differentiated

67. 67 Additions to Access Points for Works Differentiating Works (LC-PCC PS 6.27.1.9)  “catalog” = the file against which cataloging is done; may also take into account any known resource  resolve the conflict by making an addition in the record being created; do not also modify the existing record  use the authorized access point whenever the resource is referred to in other access points  do not predict a conflict  For republications, use the authorized access point for the original

68. 68 Additions to Access Points for Works Differentiating Works (LC-PCC PS 6.27.1.9)  How? “ … with a parenthetical qualifier … ” Choice of qualifier  corporate body  date of publication  descriptive data elements, e.g., edition  place of publication  any word(s) that will distinguish the works Use more than one qualifier if needed list not prescriptive, not in priority order first choice for generic titles

69. 69 Additions to Access Points for Works Differentiating Works (LC-PCC PS 6.27.1.9)  Form of qualifier If corporate body: use the authorized form If place of publication: use the authorized form, without any cataloger’s addition  Multiple qualifiers separate the qualifiers with a space-colon- space ( : ) within one set of parentheses

70. 70 Additions to Access Points for Works -- Form of Work (6.3)  CORE ELEMENT when needed to differentiate  Scope = “class or genre to which a work belongs”  No controlled vocabulary 130 0# $a Chanson de Roland (Poem)

71. 71 Additions to Access Points for Works -- Date of Work (6.4)  CORE ELEMENT when needed to differentiate  Scope = “earliest date associated with a work” created, first published, or released  even FRBR is loose about “Date of the Work”  Year(s) alone  See examples in 6.4.1.3 110 2# $a Connecticut Commission on Children. 240 10 $a Annual report (2005)

72. 72 Additions to Access Points for Works -- Place of Origin of Work (6.5)  CORE ELEMENT when needed to differentiate  Scope = “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.)

73. 73 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)

74. 74 Additions to Access Points for Works -- Examples Advocate (Boise, Idaho) Advocate (Nairobi, Kenya) Bulletin (New York State Museum : 1945) Bulletin (New York State Museum : 1976) Dublin magazine (1762) Dublin magazine (1965)

75. 75 Exercise on Works  Exercise #4 Identifying Works

76. 76 Unit 2: Identifying Expressions  “Naming the Expression”  Entities Responsible for an Expression  LC Policy  Authorized Access Points for Expressions General Principle Addition of Expression Elements  Using Existing Name Authority Records for Works and Expressions

77. 77 “Naming the Expression”  ‘the way in which a work is expressed’, e.g. Language (i.e., alpha-numeric) Sound Images Performance  Modeled after naming the work Name the work Add information identifying the expression (FRBR has no attribute, ‘title of expression’)  Chapter 6 – naming expressions

78. 78  “ … contributing to the realization of a work through an expression” Editors, translators, illustrators, arrangers of music, performers, writers of commentary, and others  Chapter 20 – entities associated with expressions  CORE ELEMENT for LC only for illustrators of resources intended for children Entities Responsible for an Expression – “Contributors”

79. 79  For the following categories of resources, identify expressions by adding an expression attribute to the authorized access point for the work Music 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 6.27.3 LC Policy – Expression Identified in the Access Point

80. 80  For resources that do not fall into the preceding categories, LC uses other fields to identify expression attributes Content type  336 field Language  008/35-37 (codes)  041 field (codes)  546 field (terms ) Edition statement  250 field LC Policy – Expression Identified in Other Elements

81. 81  General Principle  Addition of Expression Elements Authorized Access Points for Expressions

82. 82  6.27.3  Two components Authorized access point for the work Additions as outlined in 6.27.3 General Principle 100 Goncourt, Edmond de, 1822–1896. 240Frères Zemganno. English. Example: The Zemganno brothers / by Edmond de Goncourt. (An English translation of a French novel)

83. 83 Addition of Expression Elements  Possible additions Content 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 differentiate may be taken from any source “and/or” – use judgment which to choose

84. 84 Addition of Expression Elements – Content Type (6.9)  CORE ELEMENT if needed to differentiate  Scope = “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 6.9.1.3  Recorded 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)

85. 85 Addition of Expression Elements – Date of Expression (6.10)  CORE ELEMENT if needed to differentiate  Scope = “earliest date associated with an expression” Often, use date of manifestation

86. 86 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 list  Recorded in access point -- $l not repeatable the correct subfield order is $a $k $l  because language is an expression attribute, do not interpose it between the work attributes of Preferred title and Selections

87. 87 Addition of Expression Elements – One Language of Expression  give $l only if a translation  do not give $l unless a translation 100 1# $a Brunhoff, Jean de, $d 1899-1937. 240 10 $a Babar en famille. $l English 245 10 $a Babar and his children. 100 1# $a Shakespeare, William, $d 1564-1616. 240 1# $a Hamlet 245 10 $a Shakespeare’s Hamlet

88. 88 Addition of Expression Elements – Two or More Languages of Expression  Original and one translation Do not identify the expression using a 240  Doing so would erroneously name a compilation of two expressions by identifying only one of the expressions  RDA does not allow two languages to be recorded in a single access point 240 $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)

89. 89 Addition of Expression Elements – Two or More Languages of Expression Original and one translation 041 1# $a eng $a spa $h eng 100 1# $a Macken, JoAnn Early, $d 1953- 245 10 $a Mail carrier = $b El cartero / $c JoAnn Early Macken. 246 31 $a Cartero 546 ## $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.

90. 90 Addition of Expression Elements – Two or More Languages of Expression  Original 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

91. 91 Addition of Expression Elements – Two or More Languages of Expression Original and more than one translation 245 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

92. 92 Addition of Expression Elements – Two or More Languages – Other Situations  Two or more expressions in different languages, and original is not present Record at least one expression in an authorized access point, with $l  Example (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

93. 93 Addition of Expression Elements – Two or More Languages – Other Situations  Two or more expressions in different languages, and you cannot determine the original  Two or more languages, translation not involved e.g., UN publications issued in multiple languages  Same 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 original one access point without $l at least one access point with $l  Example …

94. 94 Addition of Expression Elements – Two or More Languages – Other Situations  Example 245 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

95. 95 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 point unless 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

96. 96 Using Existing Name Authority Records for Works and Expressions  Consult PCC Post RDA Test GuidelinesPCC Post RDA Test Guidelines Available 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 NAR If you use an RDA-acceptable heading, you are ‘strongly encouraged’ to evaluate and recode the authority record to RDA whenever possible

97. 97 Exercise on Expressions  Exercise #5 Identifying Expressions