WEMI IFLA LRM 2017

WEMI IFLA LRM 2017#

FRBR Library Reference Model

Dokument: [RBoeufvZumer17]

Warum Sprache EN?

Alle Vorgängermodelle des LRM wurden vollständig ins Deutsche übersetzt. Im vorliegenden Fall hat sich die deutschsprachige Anwendergemeinschaft gegen eine Vollübersetzung entschieden. Gleichzeitig wurde jedoch gewünscht, dass die wichtigsten Begriffe des LRM in deutscher Sprache zur Verfügung stehen und mit der neuen RDA-Terminologie nach dem 3RProjekt übereinstimmen. ([RBoeufvZumer], S.4 )

Begriffe in DE: LRM-E1 Res, LRM-E2 Werk, LRM-E3 Expression, LRM-E4 Manifestation, LRM-E5 Exemplar, LRM-E9 Nomen, LRM-E11 Zeitraum

LRM-E1 Res#

Definition:

  • Any entity in the universe of discourse

Scope notes#

Res (“thing” in Latin) is the top entity in the model. Res includes both material or physical things and concepts. Everything considered relevant to the bibliographic universe, which is the universe of discourse in this case, is included. Res is a superclass of all the other entities that are explicitly defined, as well as of any other entities not specifically labelled.

LRM-E2 Work#

Definition:

  • LRM-E2 Work The intellectual or artistic content of a distinct creation

Constraints:

  • Superclass: res; The entities work, expression, manifestation, item are disjoint

Scope notes#

A work is an abstract entity that permits the grouping of expressions that are considered functional equivalents or near equivalents. A work is a conceptual object, no single material object can be identified as the work. The essence of the work is the constellation of concepts and ideas that form the shared content of what we define to be expressions of the same work. A work is perceived through the identification of the commonality of content between and among various expressions. However, similarity of factual or thematic content alone is not enough to group several expressions as realizing the same instance of work. For example, two textbooks both presenting an introduction to calculus, or two oil paintings of the same view (even if painted by the same artist), would be considered distinct works if independent intellectual or artistic effort was involved in their creation.

In the case of aggregating works and serial works, the essence of the work is the concept or plan for the selection, assembly and ordering of the expressions of other works to be embodied in the resulting aggregate manifestation.

A work comes into existence simultaneously with the creation of its first expression, no work can exist without there being (or there having been at some point in the past) at least one expression of the work. A work can be recognized retrospectively from an examination of the individual realizations or expressions of the work. The work consists of the intellectual or artistic creation that lies behind all the various expressions of the work. As a result, the content identified with an instance of work can evolve as new expressions of it are created.

Bibliographic and cultural conventions play a crucial role in determining the exact boundaries between similar instances of works. User needs are the basis for determining whether instances of expression are considered to belong to the same instance of work. When the majority of users, for most general purposes, would regard the expression instances as being intellectually equivalent, then these expressions are considered to be expressions of the same work.

Generally, when a significant degree of independent intellectual or artistic effort is involved in the production of an expression, the result is viewed as a new work with a transformation relationship to the source work. Thus paraphrases, rewritings, adaptations for children, parodies, musical variations on a theme and free transcriptions of a musical composition are usually considered to represent new works. Similarly, adaptations of a work from one literary or art form to another (e.g., dramatizations, adaptations from one medium of the graphic arts to another, etc.) are considered to represent new works. Abstracts, digests and summaries are also considered to represent new works.

LRM-E3 Expression#

Definition:

  • A distinct combination of signs conveying intellectual or artistic content

Constraints:

  • Superclass: res; The entities work, expression, manifestation, item are disjoint

Scope notes#

An expression is a distinct combination of signs of any form or nature (including visual, aural or gestural signs) intended to convey intellectual or artistic content and identifiable as such. The term “sign” is intended here in the meaning used in semiotics. An expression is an abstract entity distinct from the carriers used to record it.

An expression is a distinct combination of signs of any form or nature (including visual, aural or gestural signs) intended to convey intellectual or artistic content and identifiable as such. The term “sign” is intended here in the meaning used in semiotics.

An expression is an abstract entity distinct from the carriers used to record it.

The process of abstraction leading to the identification of the entity expression indicates that the intellectual or artistic content embodied in one manifestation is in fact the same, or substantially the same, as that embodied in another manifestation even though the physical embodiment may differ and differing attributes of the manifestations may obscure the fact that the content is similar in both.

On a practical level, the degree to which bibliographic distinctions are made between variant expressions of a work will depend to some extent on the nature of the work itself, on the anticipated needs of users and on what the cataloguer can reasonably be expected to recognize from the instance of the manifestation being described.

Variations within substantially the same expression (e.g., slight variations that can be noticed between two states of the same edition in the case of hand press production) would be ignored in most applications. However, for some applications of the model (e.g., comprehensive databases of early printed texts, complete listings of the states of prints), each variation may be viewed as a different expression.

Inasmuch as the form of expression is an inherent characteristic of the expression, any change in form (e.g., from written notation to spoken word) results in a new expression. Similarly, changes in the intellectual conventions or instruments that are employed to express a work (e.g., translation of a textual work from one language to another) result in the production of a new expression. If a text is revised or modified, the resulting expression is considered to be a new expression of the work. Minor changes, such as corrections of spelling and punctuation, etc., may be considered as variations within the same expression.

When an expression of a work is accompanied by augmentations, such as illustrations, notes, glosses, etc. that are not integral to the intellectual or artistic realization of the work, such augmentations are considered to be separate expressions of their own separate work(s). Such augmentations may, or may not, be considered significant enough to warrant distinct bibliographic identification. (Further discussion of aggregates resulting from augmentation is found in section 5.7, Modelling of Aggregates.)

LRM-E4 Manifestation#

Definition:

  • A set of all carriers that are assumed to share the same characteristics as to intellectual or artistic content and aspects of physical form. That set is defined by both the overall content and the production plan for its carrier or carriers

Constraints:

  • Superclass: res; The entities work, expression, manifestation, item are disjoint

Scope notes#

A manifestation results from the capture of one or more expressions onto a carrier or set of carriers. As an entity, manifestation represents the common characteristics shared by those carriers, in respect to both intellectual or artistic content and physical form.

A manifestation is recognized from the common characteristics exhibited by the items resulting from the same production process. The specification of the production process is an intrinsic part of the manifestation. The production may be explicitly planned so as to take place over time, as, for example, in printing on demand. The production plan may involve aspects that are not under the direct control of the producer, such as the specific digital storage media onto which an online file is downloaded by different end-users. Whatever storage media is used, the downloaded files are instances of the same manifestation as the online file.

Production processes cover the range from formal industrial processes to artisanal or artistic processes. A production process may result in a set of multiple items that are interchangeable for most purposes. The manifestation can be defined by the specific properties and attributes that any item belonging to that manifestation should portray.

In other cases, such as for holograph manuscripts, many artisanal or artistic productions or reproductions for preservation purposes, the intention is that the production process result in a single, unique item. The manifestation in this case is the singleton set (a set with a single member) that captures the idea of the item in question.

The boundaries between one manifestation and another are drawn on the basis of both intellectual or artistic content and physical form. When the production process involves changes in physical form, the resulting product is considered a new manifestation. Changes in physical form include changes affecting display characteristics that are incidental to the conception of the work (e.g., a change in typeface, size of font, page layout, etc.), changes in physical medium (e.g., a change from paper to microfilm as the medium of conveyance), and changes in the container (e.g., a change from cassette to cartridge as the container for a tape). Where the production process involves a publisher, producer, distributor, etc., and there are changes signalled in the product that are related to publication, marketing, etc. (e.g., a change in publisher, repackaging, etc.), the resulting product may be considered a new manifestation. Whenever the production process involves modifications, additions, deletions, etc. (other than minor changes to spelling, punctuation, etc.) that affect the intellectual or artistic content, the result is a new expression of the work which is embodied in a new manifestation. On a practical level, the degree to which distinctions between manifestations are accounted for in catalogues will depend to some extent on the anticipated needs of users and on the differences that the cataloguer can reasonably be expected to recognize. Certain minor variations or differences in packaging may not be considered bibliographically significant and will not warrant the recognition of a new manifestation.

Changes that occur deliberately or inadvertently during the production process that affect the items result, strictly speaking, in a new manifestation of the same expression. A manifestation resulting from such a change may be identified as a particular “state” or “issue” of the publication.

Changes that occur to an individual item after the production process is complete (damage, wear and tear, the loss of a page, repairs, rebinding into multiple volumes, etc.) are not considered to result in a new manifestation. That item is simply considered to be an exemplar of the manifestation that no longer fully reflects the original production plan.

However, when multiple items from different manifestations are physically combined or joined (books or pamphlets bound together, audio tapes spliced together, etc.) the result is a new singleton manifestation.

LRM-E5 Item#

Definition:

  • An object or objects carrying signs intended to convey intellectual or artistic content

Constraints:

  • Superclass: res; The entities work, expression, manifestation, item are disjoint

Scope notes#

In terms of intellectual or artistic content and physical form, an item exemplifying a manifestation normally reflects all the characteristics that define the manifestation itself.

An item is in many instances a single physical object, but in other cases, an item may consist of multiple physical pieces or objects. An item may be a part of a larger physical object, for example, when a file is stored on a disc which also contains other files, the portion of the disc holding the file is the physical carrier or item.

LRM-E9 Nomen#

Definition:

  • An association between an entity and a designation that refers to it

Constraints:

  • Superclass: res

Scope notes#

A nomen associates whatever appellation (i.e., combination of signs) is used to refer to an instance of any entity found in the bibliographic universe with that entity. Any entity referred to in the universe of discourse is named through at least one nomen.

An arbitrary combination of signs or symbols cannot be regarded as an appellation or designation until it is associated with something in some context. In that sense, the nomen entity can be understood as the reification of a relationship between an instance of res and a string. The string itself does not constitute an instance of the nomen entity but is modelled as the value of the nomen string attribute of an instance of the nomen entity.

Two instances of the nomen entity can have perfectly identical values for their nomen string attribute and yet remain distinct, as long as they either refer to distinct instances of the res entity, or have distinct values for one or more of their other attributes (while referring to the same instance of the res entity).

A nomen associates a combination of signs with an instance of an entity on the basis of a cultural or linguistic convention: by associating a nomen string with a res, the nomen establishes a meaning that is not inherent in the nomen string itself. Depending on context of use, nomens having identical values for their nomen string attribute can involve instances of different entities in the real world even within the same language (polysemy and homonymy). Conversely, the same instance of an entity can be referred to through any number of nomens (synonymy). In the controlled environment of a bibliographic information system, though, synonymy is avoided and the nomen string attribute values of nomens would generally be disambiguated, so that each nomen string is associated with only one instance of the res entity within the specific scheme.

The identity of a nomen is determined by the combination of the res it involves, the choice and order of the symbols used within its nomen string attribute, and the values of all of its other attributes. Variation in the symbols used (such as transliteration into another script) or variation in their ordering usually results in a different nomen, but variation in the visual representation of the symbols present in the nomen string attribute value (such as different fonts that may be used to present alpha-numeric or character strings) does not result in a different nomen string.

Nomens are assigned and associated with instances of entities either formally (such as by bibliographic agencies) or informally through common usage. When nomens are assigned formally, the construction of the nomen string attribute value may follow predetermined rules.

A nomen string attribute value may consist of components or parts. In this case, the corresponding nomen can be viewed as being derived from two or more pre-existing nomens, and this derivation process may be governed by rules (for example, the ordering of name-title access points for works, the citation order in a faceted classification scheme, or the order of subdivisions in a subject heading system). For example, a new nomen for a person may be derived by combining a pre-existing nomen for that person and a nomen for the time-span of that person’s lifetime; similarly, a new nomen for a work may be derived by combining a nomen for a person who authored that work, and a pre-existing nomen for that work.

Examples#

Nomens for a person:

  • ‘Agatha Christie’ as a way of referring to {the person Dame Agatha Christie, Lady Mallowan}

  • […]

Nomens for an international organization in several languages:

  • ‘United Nations’ as a way of referring to {the collective agent United Nations} in English

  • ‘Vereinigte Nationen’ as a way of referring to {the collective agent United Nations} in German

  • […]

Nomens for a work:

  • ‘Christie, Agatha, 1890-1976. Murder with mirrors’ as a way of referring to {the work Murder with mirrors by Agatha Christie} [preferred access point in the LC/NACO authority file]

  • […]

Nomens for musical works:

  • ‘Brahms, Johannes, 1883-1897. Quartets, violins (2), viola, cello, no. 1, op. 51, no. 1, C minor’ as a way of referring to {Johannes Brahms’s work String Quartet No. 1} [preferred access point according to RDA in the LC/NACO authority file]

  • […]

Nomens for the one day time-span 2015-03-01:

  • ‘March 1, 2015’ as a way of referring, in English and within the Gregorian calendar scheme, to the time-span that elapsed between zero o’clock on the 1st of March 2015 and midnight on the 1st of March 2015

  • ‘1 marzo 2015’ as a way of referring, in Italian and within the Gregorian calendar scheme, to the time-span that elapsed between zero o’clock on the 1st of March 2015 and midnight on the 1st of March 2015

  • ‘01/03/2015’ as a way of referring, in the DD/MM/YYYY notation convention and within the Gregorian calendar scheme, to the time-span that elapsed between zero o’clock on the 1st of March 2015 and midnight on the 1st of March 2015

  • ‘10 Adar 5775’ as a way of referring, in Romanized Hebrew and within the Jewish calendar scheme, to the time-span that elapsed between nightfall on the 28th of February 2015 and nightfall on the 1st of March 2015

  • ‘1936 Phalguna 10’ as a way of referring, in Romanized Hindi and within the Indian civil calendar scheme, to the time-span that elapsed between zero o’clock on the 1st of March 2015 and midnight on the 1st of March 2015

Nomens for a subject concept:

  • ‘Music’ as a way of referring to music in LCSH [valid term in LCSH]

  • ‘780’ as a way of referring to music in the DDC [classification number for the topic {music} in DDC]

  • ‘Music’ as a way of referring to music in LCGFT [valid genre term in LCGFT]

Nomens in the form of identifiers:

  • ‘978-0-375-50291-0’ within the ISBN scheme [ISBN for the manifestation: Seabiscuit: an American legend / Laura Hillenbrand published in 2001 by Random House]

Nomens and the notions of polysemy and homonymy:

  • ‘Lusitania’ as a way of referring to the ancient Roman province that corresponds to current Portugal and part of current Spain in the Iberian Peninsula

  • ‘Lusitania’ as a way of referring to the British luxury liner that was sunk by a German submarine in the North Atlantic on May 7, 1915

  • ‘Verve’ as a way of referring to {the record label Verve}

  • ‘Verve’ as a way of referring to {the periodical Verve}

  • ‘Verve’ as a way of referring to {the rock music band Verve}

  • ‘Verve’ as a way of referring to {the notion of vivacious eloquence} in the English language

  • ‘Verve’ as a way of referring to {the notion of vivacious eloquence} in the French language

LRM-E11 Time-span#

Definition:

  • A temporal extent having a beginning, an end and a duration

Constraints:

  • Superclass: res

Scope notes#

A time-span is a period of time that can be identified by specifying its beginning and end. The resulting duration can be associated with actions or occurrences that happened during that period of time. Even a very precise time-span has a measurable duration, however brief it may be.

In library implementations, the instances of time-span considered useful in bibliographic or authority data are often expressed in years (year of birth of a person, year of death of a person, year a corporate body ceased to exist, year of publication of a manifestation), even though the associated event took place during only a portion of the year.

The information available to the cataloguer, or the inherent characteristics of the time-span being identified, will be reflected in the degree of precision used in recording of a temporal extent. For example, ‘14th century’ may be sufficiently precise in recording the beginning of the Renaissance, while a decade may be more appropriate when identifying the beginning of a musical style.

Dates serve as the appellations or nomens for time-spans in different calendar or time-keeping systems. Time-spans can also be referred to by more general terms, such as for ages, geological eras, or epochs.

Examples#

  • {the period of time beginning on 1st January 2015, ending on 31 December 2015, and having a duration of one year} [may be referred to as ‘2015 A.D.’ (using Anno Domini) or as ‘2015 CE’ (using common era)}

  • {2015-03-01} [time-span of a day expressed in the Gregorian calendar in YYYY-MM-DD format]

  • {20120808094025.0} [time-span of one-tenth of a second expressed in YYYYMMDDHHMMSS.S format]

  • {Twentieth Century}

  • {Ordovician Period} [time-span lasting from 488.3 to 443.7 million years before present]

  • {488.3 million years before present} [time-span of the beginning of the Ordovician period]

  • {Ming Dynasty}

  • {Bronze Age} [a time-span although the exact time covered will vary depending on location]

  • {Age of Enlightenment}

bekiari2024_LRMoo1.0#

The LRMoo model includes all classes and properties required, in addition to classes and properties already declared in CIDOC CRM, to express the concepts covered by IFLA LRM. […] LRMoo is strictly an extension of CIDOC CRM and cannot be implemented without using key classes and properties from CIDOC CRM. (p.2)

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