Definition of Object-Oriented frbr

F6 Concept

Equal to: E28 Conceptual Object

Scope note: An abstract notion or idea. [FRBR_ER] Includes fields of knowledge, disciplines, schools of thought (philosophies, religions, political ideologies, etc.), etc. Includes theories, processes, techniques, practices, etc. [Definition from the FRAD model, unchanged]

This class comprises non-material products of our minds and other human produced data that have become objects of a discourse about their identity, circumstances of creation or historical implication. The production of such information may have been supported by the use of technical devices such as cameras or computers.

Characteristically, instances of this class are created, invented or thought by someone, and then may be documented or communicated between persons. Instances of E28 Conceptual Object have the ability to exist on more than one particular carrier at the same time, such as paper, electronic signals, marks, audio media, paintings, photos, human memories, etc.

They cannot be destroyed. They exist as long as they can be found on at least one carrier or in at least one human memory. Their existence ends when the last carrier and the last memory are lost. [Scope note for E28 Conceptual Object in CIDOC CRM version 5.0.1]

Examples: Natural history of whales

Cultural history of Wales

The appreciation of Victor Hugo’s works in Germany between 1870 and 1914

F7 Object

Equal to: E18 Physical Thing

Scope Note: This class comprises all persistent physical items with a relatively stable form, man-made or natural.

[This is the beginning of scope note for E18 Physical Object in CIDOC CRM version 5.0.1]

Examples: Buckingham Palace

The Lusitania

Apollo 11

The Eiffel Tower

F8 Event

Equal to: E4 Period

Scope note: This class comprises sets of coherent phenomena or cultural manifestations bounded in time and space.

It is the social or physical coherence of these phenomena that identify an E4 Period and not the associated spatio-temporal bounds. These bounds are a mere approximation of the actual process of growth, spread and retreat. Consequently, different periods can overlap and coexist in time and space, such as when a nomadic culture exists in the same area as a sedentary culture.

Typically this class is used to describe prehistoric or historic periods such as the ‘Neolithic Period’, the ‘Ming Dynasty’ or the ‘McCarthy Era’. There are however no assumptions about the scale of the associated phenomena. In particular all events are seen as synthetic processes consisting of coherent phenomena. Therefore E4 Period is a superclass of E5 Event. For example, a modern clinical E67 Birth can be seen as both an atomic E5 Event and as an E4 Period that consists of multiple activities performed by multiple instances of E39 Actor.

There are two different conceptualisations of “artistic style”, defined either by physical features or by historical context. For example, Impressionism can be viewed as a period lasting from approximately 1870 to 1905 during which paintings with particular characteristics were produced by a group of artists that included (among others) Monet, Renoir, Pissarro, Sisley and Degas. Alternatively, it can be regarded as a style applicable to all paintings sharing the characteristics of the works produced by the Impressionist painters, regardless of historical context. The first interpretation is an E4 Period, and the second defines morphological object types that fall under E55 Type.

Another specific case of an E4 Period is the set of activities and phenomena associated with a settlement, such as the populated period of Nineveh.

[This is the Scope note for E4 Period in CIDOC CRM version 5.0.1]

[Note that in CIDOC CRM, E12 Production, E13 Attribute Assignment, and E65 Creation are indirect subclasses of E4 Period = F8 Event; as a consequence, F8 Event is an indirect superclass of: F27 Work Conception, F28 Expression Creation, F40 Identifier Assignment, F41 Representative Manifestation Assignment, F42 Representative Expression Assignment, F32 Carrier Production Event, F33 Reproduction Event, and F30 Publication Event]

Examples: The battle of Trafalgar

Printing for the publisher named ‘Doubleday’ in 2003 all the copies of the first print run of the novel entitled ‘Da Vinci Code’ (F32)

Having the initial idea that eventually resulted in the existence of the opera entitled ‘Der fliegende Holländer’ (F27)

Creating for Mozart’s 41^st symphony the uniform title that was thereafter consistently used to refer unambiguously to that symphony everywhere in the Library of Congress’s catalogue (F40)

F9 Place

Equal to: E53 Place

Scope note: This class comprises extents in space, in particular on the surface of the earth, in the pure sense of physics: independent from temporal phenomena and matter. The instances of E53 Place are usually determined by reference to the position of immobile objects such as buildings, cities, mountains, rivers, or dedicated geodetic marks. A Place can be determined by combining a frame of reference and a location with respect to this frame. It may be identified by one or more instances of E44 Place Appellation.

It is sometimes argued that instances of E53 Place are best identified by global coordinates or absolute reference systems. However, relative references are often more relevant in the context of cultural documentation and tend to be more precise. In particular, we are often interested in position in relation to large, mobile objects, such as ships. For example, the Place at which Nelson died is known with reference to a large mobile object – H.M.S Victory. A resolution of this Place in terms of absolute coordinates would require knowledge of the movements of the vessel and the precise time of death, either of which may be revised, and the result would lack historical and cultural relevance.

Any object can serve as a frame of reference for E53 Place determination. The model foresees the notion of a section of an E19 Physical Object as a valid E53 Place determination. [Scope Note for E53 Place in CIDOC CRM version 5.0.1]

Note that Places may be determined by the location of historical or contemporary objects, geographic features, events or geo-political units.

Examples: The area referred to as ‘Lutèce’

The area referred to as ‘verso of the title page of the Library of Congress’s copy of the 1^st edition of the novel entitled ‘Da Vinci Code’’

F10 Person

Equal to: E21 Person

Scope note: This class comprises real persons who live or are assumed to have lived. Bibliographic identities or personae assumed by an individual or a group should be modelled as F12 Nomen and connected to the relevant person or group with an instance of F35 Nomen Use Statement, even if nothing more can be said about this person or group. In a bibliographic context, a name presented following the conventions usually employed for personal names will be assumed to correspond to an actual real person (F10 Person), unless evidence is available to indicate that this is not the case. The fact that a persona may erroneously be classified as an instance of F10 Person does not imply that the concept comprises personae.

Examples: Margaret Atwood

Hans Christian Andersen

Queen Victoria

F11 Corporate Body

Subclass of: E74 Group

Superclass of: E40 Legal Body

Scope note: This class comprises organisations and groups of two or more people and/or organisations acting as a unit.

To be considered an F11 Corporate Body a gathering of people needs to bear a name and exhibit organisational characteristics sufficient to allow the body as a whole to participate in the creation, modification or production of an E73 Information Object. Groups such as conferences, congresses, expeditions, exhibitions, festivals, fairs, etc. are modelled as F11 Corporate Bodies when they are named and can take collective action, such as approving a report or publishing their proceedings.

Examples: The International Machaut Society

The British Library

The Jackson Five

The Regional Municipality of Ottawa-Carleton

Symposium on Glaucoma

F12 Nomen

Subclass of: E41 Appellation

Superclass of: F13 Identifier

Scope note: This class comprises any sign or arrangements of signs following a specific syntax (sequences of alphanumeric characters, chemical structure symbols, sound symbols, ideograms etc.) that are used or can be used to refer to and identify a specific instance of some class or category within a certain context. The scripts or type sets for the types of symbols used to compose an instance of F12 Nomen have to be explicitly specified. The identity of an instance of F12 Nomen is given by the order of its symbols and their individual role with respect to their scripts, regardless of the semantics of the larger structural components it may be built from. Structural tags occurring in the nomen string are regarded as symbols constituting the nomen. Spelling variants are regarded as different nomina, whereas the use of different fonts (visual representation variants) or different digital encodings do not change the identity.

Examples: ‘杜甫’ [the name of a Chinese poet of the 8^th century, in simplified Chinese characters]

‘Du Fu’ [Pinyin romanised form of the name of a Chinese poet of the 8^th century]

‘Tu Fu’ [another romanised form of the name of a Chinese poet of the 8^th century]

‘Thơ Ðô Phủ’ [Vietnamese form of the name of a Chinese poet of the 8^th century]

‘جامعة صفاقس’ [Arabic name of the Sfax University (Tunisia), in Arabic script]

‘Ğāmi‘at̀̀ Ṣafāqis’ [Arabic name of the Sfax University (Tunisia), transliterated]

‘Université de Sfax’ [French name of the Sfax University (Tunisia)]

‘3-[(2S)-1-methylpyrrolidin-2-yl]pyridine’ [the IUPAC systematic name for nicotine]

‘Murders in the rue Morgue’ [English title of a textual work] (to put the image of the formula)

‘Poe, Edgar Allan, 1809-1849. Murders in the rue Morgue’ (F50) [controlled author/title access point for a textual work]

‘modelling’ [not the activity, just the written signs that represent its English name in British spelling]

‘modeling’ [not the activity, just the written signs that represent its English name in American spelling]

Properties: R33 has content: E62 String

(R33.1 has encoding: E55 Type)

F13 Identifier

Subclass of: F12 Nomen

Superclass of: F50 Controlled Access Point

Equal to: E42 Identifier

Scope note: This class comprises strings or codes assigned to instances of E1 CRM Entity in order to identify them uniquely and permanently within the context of one or more organisations. Such codes are often known as inventory numbers, registration codes, etc. and are typically composed of alphanumeric sequences. The class E42 Identifier is not normally used for machine-generated identifiers used for automated processing unless these are also used by human agents. [Adapted from the Scope Note of CIDOC CRM E42 Identifier ver. 5.0.1]

Examples: ISSN ‘0041-5278’

ISRC ‘FIFIN8900116’

Shelf mark ‘Res 8 P 10’

‘Guillaume de Machaut (1300?-1377)’ (F50) [a controlled personal name access point that follows the French rules]

‘Guillaume, de Machaut, ca. 1300-1377’ (F50) [a controlled personal name access point that follows the AACR rules]

‘Rite of spring (Choreographic work: Bausch)’ (F50)

Properties: R8 consists of (forms part of): E90 Symbolic Object

F14 Individual Work

Subclass of: F1 Work

Superclass of: F17 Aggregation Work

Scope note: This class comprises works that are realised by one and only one self-contained expression, i.e., works representing the concept as expressed by precisely this expression.

Inherent to the notion of work is the completion of recognisable outcomes of the work. These outcomes, i.e. the Self-Contained Expressions, are regarded as the symbolic equivalents of Individual Works, which form the atoms of a complex work. Normally creators would characterise an outcome of a work as finished. In other cases, one could recognise an outcome of a work as complete from the elaboration or logical coherence of its content, or if there is any historical knowledge about the creator deliberately or accidentally never finishing (completing) that particular expression. In all those cases, one would regard the corresponding expression as equivalent to one Individual Work.

Examples: Abstract content of Giovanni Battista Piranesi’s ‘Carcere XVI: the pier with chains: 1^st state’

Abstract content of Giovanni Battista Piranesi’s ‘Carcere XVI: the pier with chains: 2^nd state’ [explanation: these are two states of the same etching, but with so many and so significant differences between them that they can scarcely be recognised as conveying the same work; more generally speaking, each individual state of an etching, as a Self-Contained Expression, conveys its own F14 Individual Work (even if the differences are not so blatant as in the case of ‘Carcere XVI’), and is regarded as part of the larger, abstract F15 Complex Work that encompasses all distinct states of the same etching]

Abstract content of the recording made of performances of Johann Sebastian Bach’s ‘Toccata in C minor BWV 911’ by Glenn Gould on May 15 & 16, 1979, in Toronto, Eaton’s Auditorium

Properties: R9 is realised in (realises): F22 Self-Contained Expression

F15 Complex Work

Subclass of: F1 Work

Superclass of: F18 Serial Work

Scope note: This class comprises works that have other works as members. The members of a Complex Work constitute alternatives to other members of the work.

In practice, no clear line can be drawn between parallel and subsequent processes in the evolution of a work. One part may not be finished when another is already revised. An initially monolithic work may be taken up and evolve in pieces. The member relationship of Work is based on the conceptual relationship, and should not be confused with the internal structural parts of an individual expression. The fact that an expression may contain parts from other work(s) does not make the expressed work complex. For instance, an anthology for which only one version exists is not a complex work.

The boundaries of a Complex Work have nothing to do with the value of the intellectual achievement but only with the dominance of a concept. Thus, derivations such as translations are regarded as belonging to the same Complex Work, even though in addition they constitute an Individual Work themselves. In contrast, a Work that significantly takes up and merges concepts of other works so that it is no longer dominated by the initial concept is regarded as a new work. In cataloguing practice, detailed rules are established prescribing which kinds of derivation should be regarded as crossing the boundaries of a complex work. Adaptation and derivation graphs allow the recognition of distinct sub-units, i.e. a complex work contained in a larger complex work.

As a Complex Work can be taken up by any creator who acquires the spirit of its concept, it is never finished in an absolute sense.

Examples: Work entitled ‘La Porte de l’Enfer’ by Auguste Rodin

Work entitled ‘Hamlet’ by William Shakespeare

Work entitled ‘Der Ring der Nibelungen’ by Richard Wagner

Work entitled ‘Carceri d’invenzione’ by Giovanni Battista Piranesi

Work entitled ‘Mass in B minor BWV 232’ by Johann Sebastian Bach

Properties: R10 has member (is member of): F1 Work

F16 Container Work

Subclass of: F1 Work

Superclass of: F17 Aggregation Work

F19 Publication Work

F20 Performance Work

Scope note: This class comprises works whose essence is to enhance or add value to expressions from one or more other works without altering them, by the selection, arrangement and/or addition of features of different form, such as layout to words, recitation and movement to texts, instrumentation to musical scores etc. This does not make the contents of the incorporated expressions part of the Container Work, but only part of the resulting expression. Container Work may include the addition of new, original parts to the incorporated expressions, such as introductions, graphics, etc.

A new version of a container work does not make the resulting complex work a Container Work as well. The inclusion of expressions from a complex work in a Container Work does not make the Container Work itself complex.

Examples: The aggregation and arrangement concept of the anthology entitled ‘American Women Poets of the Nineteenth Century: An Anthology’, edited by Cheryl Walker and published by Rutgers University Press in July 1992 (F17)

The concept for the layout created by printer Guido Morris for the text of Michael Hamburger’s English translation of 12 poems by Georg Trakl for publication in 1952 (F19)

The concept by the publisher named ‘Dell’ of issuing together, in 2002, three novels entitled ‘The Partner’, ‘The Street Lawyer’, and ‘A time to kill’, by the author named ‘John Grisham’, with just the statement ‘Three #1 bestsellers by John Grisham’ as a collective title (F19)

The concept of Sergei Radlov’s mise-en-scène of a Yiddish translation of the textual work entitled ‘King Lear’ in Moscow in 1935 (F20)

The concept of putting together the English text of ‘King Lear’ and a Spanish translation thereof in a bilingual edition of ‘King Lear’ (F17)

F17 Aggregation Work

Subclass of: F14 Individual Work

F16 Container Work

Scope note: This class comprises works whose essence is the selection and/or arrangement of expressions of one or more other works. This does not make the contents of the aggregated expressions part of this work, but only part of the resulting expression. F17 Aggregation Work may include additional original parts.

An expression of a work may include expressions of other works within it. For instance, an anthology of poems is regarded as a work in its own right that makes use of expressions of the individual poems that have been selected and ordered as part of an intellectual process.

A new version of an aggregate work does not make the resulting complex work an aggregate work as well. The inclusion of expressions from a complex work in an aggregation work does not make the aggregation work itself complex.

Examples: The aggregation and arrangement concept of the anthology entitled ‘American Women Poets of the Nineteenth Century: An Anthology’, edited by Cheryl Walker and published by Rutgers University Press in July 1992

The aggregation and arrangement concept of the Web site named ‘IFLANET’

The aggregation and arrangement concept of the collection of articles entitled ‘Marij Kogoj (1892-1992): zbornik referatov s kolokvija ob stoletnici skladateljevega rojstva 7.10.1992 v Ljubljani = Marij Kogoj (1892-1992): proceedings from the colloquium held in Ljubljana at the centenary of the composer’s birth on October 7^th, 1992’ and edited by a person named ‘Ivan Klemenčič’

F18 Serial Work

Subclass of: F15 Complex Work

F19 Publication Work

Scope note: This class comprises works that are, or have been, planned to result in sequences of Expressions or Manifestations with common features. Whereas a work can acquire new members during the time it evolves, Expressions and Manifestations are identified with a certain state achieved at a particular point in time. Therefore there is in general no single Expression or Manifestation representing a complete serial work, unless the serial work has ended.

Serial Works may or may not have a plan for an overall expression.

The retrospective reprinting of all issues of a Serial Work at once, in the form of a monograph, is regarded to be another member of a Complex Work, which contains the Serial Work and the Individual Work realised in the monograph. This does not make the monograph part of the Serial Work.

Examples: The periodical entitled ‘The UNESCO Courier’, ISSN ‘0041-5278’

The periodical entitled ‘Courrier de l’UNESCO’, ISSN ‘0304-3118’ [French edition of the periodical titled ‘The UNESCO Courier’, ISSN ‘0041-5278’]

The series entitled ‘L’évolution de l’humanité’, ISSN ‘0755-1843’ [a monograph series comprising volumes that were published from 1920 on, and some of which were reprinted, with different physical features and rearranged in a different order, from 1968 on, in a distinct series also entitled ‘L’évolution de l’humanité’, ISSN ‘0755-1770’]

Properties: R11 has issuing rule (is issuing rule of): E29 Design or Procedure

F19 Publication Work

Subclass of: F16 Container Work

Superclass of: F18 Serial Work

Scope note: This class comprises works that have been planned to result in a manifestation product type or an electronic publishing service and that pertain to the rendering of expressions from other works.

Examples: The concept of publishing Stephen Crane’s complete poems (as edited by Joseph Katz), which includes the idea that every time a stanza jumps over a page change, the statement ‘[NO STANZA BREAK]’ should be printed as a warning for readers that the new page continues the same stanza

The concept, on behalf of publisher named ‘Verlag Neue Kunsthandlung’, of issuing together, around 1925, three formerly independent publications (‘Emil Orlik’ by Max Osborn – vol. 2 within the series named ‘Graphiker der Gegenwart’, published in 1920; ‘Anders Zorn’ by Paul Friedrich – vol. 10 within the series named ‘Graphiker der Gegenwart’, published in 1924; and ‘Max Slevogt’ by Julius Elias – vol. 11 within the series named ‘Graphiker der Gegenwart’, published in 1923) as one, new publication, entitled ‘102 Bilder aus der Sammlung Graphiker der Gegenwart’

The concept, on behalf of publisher named ‘Dell’, of issuing together in 2002 three novels, titled ‘The partner’, ‘The street lawyer’, and ‘A time to kill’, by author named ‘John Grisham’, with just the statement ‘Three #1 bestsellers by John Grisham’ as a collective title

F20 Performance Work

Subclass of: F16 Container Work

Scope note: This class comprises the sets of concepts for rendering a particular or a series of like performances.

F20 Performance Work is declared as a subclass of F16 Container Work. This implies that the incorporated expressions (such as the text of the staged play, the text of the argument for the ballet, the recorded music to be used for the ballet, or the content of the musical score to be used for a concert, etc.) are not by themselves a part of the expression of this F1 Work. Rather, an expression (F25 Performance Plan) of the instructions the stage production, choreography or musical performance consists of incorporates (P165) that textual or musical content. In other words, the text of ‘Hamlet’ is not a component of the concepts that underlie a given mise-en-scène of ‘Hamlet’, but any staging directions (F25 Performance Plan) that convey a given director’s vision of ‘Hamlet’ must necessarily incorporate the text of ‘Hamlet’.

Examples: The conceptual content of Sergei Radlov’s mise-en-scène of a Yiddish translation of the textual work entitled ‘King Lear’ in Moscow in 1935

The conceptual content of Pina Bausch’s choreography of the ballet entitled ‘Rite of spring’ in Wuppertal in 1975

The conceptual content of Bruno Walter’s performance of Gustav Mahler’s 9^th symphony in 1961

The conceptual content of the “performance handbook” for Luigi Nono’s musical work entitled ‘À Pierre’

Properties: R12 is realised in (realises): F25 Performance Plan

F21 Recording Work

Subclass of: F1 Work

Scope note: This class comprises works that conceptualise the capturing of features of perdurants. The characteristics of the manifestation of a recording work are those of the product of the capture process. The characteristics of any other works recorded are distinct from those of the recording work itself. In the case where the recorded perdurant expresses some Work, the respective instance of F21 is also an F16 Container Work.

The concept of recording is not necessarily linked to the use of modern devices that allow for mechanical recording, such as tape recorders or cameras. However, in practice, library catalogues tend to regard as recordings only the products of such mechanical devices.

But the concept of recording is very much linked to the notion that there is something that is recorded. In general, photographs or animated images are not to be regarded as instances of F21 Recording Work just because of the use of the medium, but simply as instances of F1 Work (or F15 Complex Work). Only such photographs and animated images that can be used as documentation are to be regarded as recordings.

Examples: The concept of recording the Swedish 17^th century warship Vasa in August 1959 to April 1961

The concept of documenting the Live Aid concerts July 13, 1985, London, Philadelphia, Sydney and Moscow

The concept of making a photograph of the three Allied leaders at Yalta in February 1945

Oceania Project’s concept of making a large digital acoustic data archive dedicated to East Australian humpback whale songs

The concept of recording Louise Bourgeois’s activity in the documentary movie entitled ‘Louise Bourgeois: The Spider, the Mistress, and the Tangerine’

Properties: R13 is realised in (realises): F26 Recording

F22 Self-Contained Expression

Subclass of: F2 Expression

Superclass of: F24 Publication Expression

F25 Performance Plan

F26 Recording

Scope note: This class comprises the immaterial realisations of individual works at a particular time that are regarded as a complete whole. The quality of wholeness reflects the intention of its creator that this expression should convey the concept of the work. Such a whole can in turn be part of a larger whole.

Inherent to the notion of work is the completion of recognisable outcomes of the work. These outcomes, i.e. the Self-Contained Expressions, are regarded as the symbolic equivalents of Individual Works, which form the atoms of a complex work. A Self-Contained Expression may contain expressions or parts of expressions from other work, such as citations or items collected in anthologies. Even though they are incorporated in the Self-Contained Expression, they are not regarded as becoming members of the expressed container work by their inclusion in the expression, but are rather regarded as foreign or referred to elements.

F22 Self-Contained Expression can be distinguished from F23 Expression Fragment in that an F23 Expression Fragment was not intended by its creator to make sense by itself. Normally creators would characterise an outcome of a work as finished. In other cases, one could recognise an outcome of a work as complete from the elaboration or logical coherence of its content, or if there is any historical knowledge about the creator deliberately or accidentally never finishing (completing) that particular expression. In all those cases, one would regard an expression as self-contained.

Examples: The Italian text of Dante’s ‘Inferno’ as found in the authoritative critical edition La Commedia secondo l’antica vulgata a cura di Giorgio Petrocchi, Milano: Mondadori, 1966-67 (= Le Opere di Dante Alighieri, Edizione Nazionale a cura della Società Dantesca Italiana, VII, 1-4)

The musical notation of Franz Schubert’s lied known as ‘Ave Maria’

The musical notation of Franz Schubert’s lieder cycle entitled ‘Seven Songs after Walter Scott’s The Lady of the Lake’, of which ‘Ave Maria’ is a distinct part

The musical notation of Franz Liszt’s piano transcription of Franz Schubert’s lied known as ‘Ave Maria’

F23 Expression Fragment

Subclass of: F2 Expression

Scope note: This class comprises parts of Expressions and these parts are not Self-Contained Expressions themselves.

The existence of an instance of F23 Expression Fragment can be due to accident, such as loss of material over time, e.g. the only remaining manuscript of an antique text being partially eaten by worms, or due to deliberate isolation, such as excerpts taken from a text by the compiler of a collection of excerpts.

An F23 Expression Fragment is only identified with respect to its occurrence in a known or assumed whole. The size of an instance of F23 Expression Fragment ranges from more than 99% of an instance of F22 Self-Contained Expression to tiny bits (a few words from a text, one bar from a musical composition, one detail from a still image, a two-second clip from a movie, etc.).

Examples: The only remnants of Sappho’s poems

The words ‘Beati pauperes spiritu’ (excerpted from Matthew’s Gospel 5,3 in Latin translation)

F24 Publication Expression

Subclass of: F22 Self-Contained Expression

Scope note: This class comprises complete sets of signs present in publications, reflecting publishers’ final decisions as to both selection of content and layout of the publications. Frequently the creation of a Publication Expression includes both adding graphical form and fonts to Expressions consisting of words alone and selecting illustrations and other content. As such, an instance of Publication Expression incorporates all Expressions combined for the resulting final form of rendering, whether visual, audio or tactile. An instance of Publication Expression is one entity regardless of the number of independent Expressions published within it, as long as it represents one unit of release. The published third party content can be associated via the property P165 incorporates (is incorporated in).

Examples: The text, its layout and the textual and graphic (Saur’s logo on p. [i]) content of front and back cover, spine (spine title), and p. [i-iv] of the publication entitled ‘Functional Requirements for Bibliographic Records: final report’, published by K. G. Saur in 1998, identified by ISBN ‘3-598-11382-X’

The overall content of the book identified by ISBN ‘0-8014-9130-4’: the text of Stephen Crane’s complete poems as edited by Joseph Katz, the numbering system introduced by Joseph Katz in order to identify each individual poem by Stephen Crane, page numbers, the text of Joseph Katz’s dedication, preface, acknowledgements, and introduction, the table of contents, the index of first lines, the statements found on title page, back of title page (including CIP bibliographic record), cover front, back front, and spine, and the layout of the publication; for one of Stephen Crane’s longer poems, printed on p. 142-143, a statement reads at bottom of p. 142: ‘[NO STANZA BREAK]’: obviously, this statement does not belong to the Self-Contained Expression intended by Stephen Crane, and presumably not to the one intended by editor Joseph Katz either, but was more probably added by the publishing team, due to characteristics of the layout of the publication: a cautious reader can easily interpret ‘[NO STANZA BREAK]’ as non-belonging to the poem itself, but an OCR process would not make the distinction between the text of the poem and the statement made by the publisher; ‘[NO STANZA BREAK]’ belongs to the Publication Expression, although it does not belong to the Self-Contained Expression intended by Stephen Crane and Joseph Katz

The overall content of the LP sound recording identified by label and label number ‘CBS 34-61237’: a recorded performance of Terry Riley’s musical work ‘In C’, the text of liner notes by Paul Williams translated into French by Bernard Weinberg, technical statements such as ‘Stereo,’ publisher’s logo, series logo, title and statement of responsibility on front, back, and spine of the cover and on the recording itself, duration statement, cover art by G. Joly, overall layout, etc.; a special, shunting sound was added at the end of side one and beginning of side two, as Terry Riley’s work is in the form of a continuous musical flow without any interruption and the technical possibilities of vinyl LPs did not allow the complete performance to be contained on just one side: that special, shunting sound was not intended in Riley’s score nor in the performance but was added by the publisher (with or without Riley’s consent, this detail is not documented), and as such it is part of the Publication Expression although it is not part of the composer’s and the performers’ Self-Contained Expression (this shunting sound was no longer needed in subsequent releases on CD)

The overall content of the DVD entitled ‘The Aviator (2-Disc Full Screen Edition)’, released in 2004: Martin Scorsese’s movie itself; layout of the box and the two DVDs contained in the box; pictures on the DVDs themselves; English, Spanish, and French subtitles; English and French audio tracks; and bonuses: commentaries by director Martin Scorsese, editor Thelma Schoonmaker, and producer Michael Mann; a deleted scene (‘Howard Tells Ava About His Car Accident’); and featurettes ‘A Life Without Limits: The Making of The Aviator’; ‘The Role of Howard Hughes in Aviation History’; ‘Modern Marvels: Howard Hughes, A Documentary by the History Channel’; ‘The Visual Effects of The Aviator’; ‘The Affliction of Howard Hughes: Obsessive Compulsive Disorder’; ‘The Age of Glamour: The Hair And Makeup of The Aviator’; ‘Costuming The Aviator: The Work of Sandy Powell’; ‘Constructing The Aviator: The Work of Dante Ferretti’; ‘An evening with Leonardo DiCaprio and Alan Alda’; ‘OCD Panel Discussion With Leonardo DiCaprio, Martin Scorsese, and Howard Hughes’ Widow Terry Moore’; ‘Still Gallery’; ‘Scoring The Aviator: The Work Of Howard Shore’; and ‘The Wainwright Family – Loudon, Rufus and Martha’

F25 Performance Plan

Subclass of: F22 Self-Contained Expression

E29 Design or Procedure

Scope note: This class comprises sets of directions to which individual performances of theatrical, choreographic, or musical works and their combinations should conform.

In the case of theatrical performances, such directions incorporate, but are not limited nor reducible to, the text of a given version of the play performed (e.g., a translated text, some passages of which are deliberately omitted, with some rephrased lines, etc.).

In the case of choreographic performances, such directions may incorporate, but are neither limited nor reducible to, the notation of choreographic movements in systems such as labanotation.

In the case of musical performances, such directions may incorporate, but are neither limited nor reducible to, the musical score. In case of electronic music, they may incorporate software instructions.

These directions may or may not completely determine the form of the intended performance. Depending on the nature of the directions, the form of the intended performance, such as the sets of movements or the sound characteristics, may or may not be predictable from the directions.

Note that a performance plan may be more or less elaborate, and may even foresee just improvisation.

Examples: The set of instructions for the production of a Yiddish translation of the textual work entitled ‘King Lear’, as directed by Sergei Radlov in Moscow in 1935

The set of instructions for the production of the ballet entitled ‘Rite of spring’, as choreographed by Pina Bausch in Wuppertal in 1975

The set of instructions by Bruno Walter for performing Gustav Mahler’s 9^th symphony, delivered by him to the Columbia Symphony Orchestra during rehearsals in Hollywood in 1961 (as partially documented in the CD entitled ‘Bruno Walter conducts and talks about Mahler symphony No. 9: rehearsal & performance’)

The set of instructions contained in the “performance handbook” for Luigi Nono’s musical work entitled ‘À Pierre’

F26 Recording

Subclass of: F22 Self-Contained Expression

Scope note: This class comprises expressions which are created in instances of F29 Recording Event. A recording is intended to convey (and preserve) the features of one or more perdurants.

Examples: The set of signs that make up the third alternate take of the musical work entitled ‘Blue Hawaii’ as performed by Elvis Presley in Hollywood, Calif., Radio Recorders, on March 22^nd, 1961

The set of signs that make up the famous photograph of the three Allied leaders at Yalta in February 1945

The set of signs that make up the sound recording of an East Australian humpback whale song in 1994

The set of signs that make up the sequences from the documentary movie entitled ‘Louise Bourgeois: The Spider, the Mistress, and the Tangerine’ in which Louise Bourgeois is seen at work

F27 Work Conception

Subclass of: E65 Creation

Scope note: This class comprises beginnings of evolutions of works.

An instance of F27 Work Conception marks the initiation of the creation of a work. The work, as an intellectual construction, evolves from this point on, until the last known expression of it. The instance of E39 Actor with which a work is associated through the chain of properties F1 Work R16i was initiated by F27 Work Conception P14 carried out by E39 Actor corresponds to the notion of the “creator” of the work. In the case of commissioned works, it is not the commissioning that is regarded as the work conception, but the acceptance of the commission.

This event does not always correlate with the date assigned in common library practice to the work, which is usually a later event (such as the date of completion of the first clean draft).

In addition, F27 Work Conception can serve to document the circumstances that surrounded the appearance of the original idea for a work, when these are known.

Examples: Ludwig van Beethoven’s having the first ideas for his fifth symphony

Pablo Picasso’s acceptance, in 1930, of Ambroise Vollard’s commission for a set of 100 etchings, now known as the ‘Vollard Suite’

René Goscinny’s and Albert Uderzo’s first collaborative ideas for the comic book entitled ‘Asterix in Britain’ [comment: Goscinny wrote the script and Uderzo made the drawings; both are regarded as co-creators of that collaborative, at the same level of creative input, and no attempt is made to ascertain whether the ideas for the script preceded the ideas for the drawings, or vice-versa]

The combination of activities, carried out, among others, by Alfred Hitchcock, that began the process which eventually resulted in the movie entitled ‘Psycho’ coming into being

Oscar Wilde’s having by May 1897 the initial idea of writing his poem entitled ‘The ballad of the Reading gaol’, inspired by his stay in the Reading prison from November 20, 1895 to May 18, 1897, and the execution of Charles Thomas Woolridge on July 7, 1896

Properties: R16 initiated (was initiated by): F1 Work

F28 Expression Creation

Subclass of: E12 Production

E65 Creation

Superclass of: F29 Recording Event

F30 Publication Event

Scope note: This class comprises activities that result in instances of F2 Expression coming into existence. This class characterises the externalisation of an Individual Work.

Although F2 Expression is an abstract entity, a conceptual object, the creation of an expression inevitably also affects the physical world: when you scribble the first draft of a poem on a sheet of paper, you produce an instance of F4 Manifestation Singleton; F28 Expression Creation is a subclass of E12 Production because the recording of the expression causes a physical modification of the carrying E18 Physical Thing. The work becomes manifest by being expressed on a physical carrier different from the creator’s brain. The spatio-temporal circumstances under which the expression is created are necessarily the same spatio-temporal circumstances under which the first instance of F4 Manifestation Singleton is produced. The mechanisms through which oral tradition (of myths, tales, music, etc.) operates are not further investigated in this model. As far as bibliographic practice is concerned, only those instances of F2 Expression that are externalised on physical carriers other than both the creator’s brain and the auditor’s brain are taken into account (for a discussion of the modelling of oral traditions, see: Nicolas, Yann. ‘Folklore Requirements for Bibliographic Records: oral traditions and FRBR.’ In: Cataloging & Classification Quarterly (2005). Vol. 39, No. 3-4. P. 179-195).

It is possible to use the P2 has type (is type of) property in order to specify that the creation of a given expression of a given work played a particular role with regard to the overall bibliographic history of that work (e.g., that it was the creation of the progenitor expression on which all other expressions of the same work are based; or that it was the creation of the critical edition that served as the basis for canonical references to the work).

Examples: The creation of the original manuscript score of ‘Uwertura tragiczna’ by Andrzej Panufnik in 1942 in Warsaw

The reconstruction from memory of the manuscript score of ‘Uwertura tragiczna’ by Andrzej Panufnik in 1945 after the original score was destroyed during the war

The creation, by Lord Byron, of the English text of his work entitled ‘Manfred’ (P2 has type E55 Type {major original contribution})

The creation, by Woldemar Starke, of his German translation of Lord Byron’s text entitled ‘Manfred’ (P2 has type E55 Type {translation})

The recording of the third alternate take of ‘Blue Hawaii’ performed by Elvis Presley in Hollywood, Calif., Radio Recorders, on March 22^nd, 1961 [each individual take is a distinct instance of F2 Expression]

Properties: R17 created (was created by): F2 Expression

R18 created (was created by): F4 Manifestation Singleton

R19 created a realisation of (was realised through): F1 Work

F29 Recording Event

Subclass of: F28 Expression Creation

Scope note: This class comprises activities that intend to convey (and preserve) the features of perdurants in a recording, such as a live recording of a performance, a documentary, or other capture of a perdurant. Such activities may follow the directions of a recording plan. They may include postproduction.

Examples: The making of the recording of the third alternate take of the musical work titled ‘Blue Hawaii’ as performed by Elvis Presley in Hollywood, Calif., Radio Recorders, on March 22^nd, 1961

The making of the photograph of the three Allied leaders at Yalta in February 1945

The making of the recording of an East Australian humpback whale song in 1994 in the framework of the Oceania Project

Filming Louise Bourgeois at work in the context of the shooting of the documentary movie entitled ‘Louise Bourgeois: The Spider, the Mistress, and the Tangerine’

Properties: R20 recorded (was recorded through): E2 Temporal Entity

R21 created (was created through): F26 Recording

R22 created a realisation of (was realised through): F21 Recording Work

R65 recorded aspects of (had aspects recorded through): E18 Physical Thing

F30 Publication Event

Subclass of: F28 Expression Creation

Scope note: This class comprises the activities of publishing. Such an event includes the creation of an F24 Publication Expression and setting up the means of production. The end of this event is regarded as the date of publication, regardless of whether the carrier production is started. Publishing can be either physical or electronic. Electronic publishing is regarded as making an instance of F24 Publication Expression available in electronic form on a public network. Electronic Publishing does not mean producing a physical instance of F5 Item by partially electronic means. Making an electronic file available on a physical carrier can be regarded as equivalent to setting up the means of production; downloading the file is regarded as the electronic equivalent of F32 Carrier Production Event.

Examples: Publishing Amerigo Vespucci’s ‘Mundus novus’ in Paris ca. 1503-1504

Establishing in 1972 the layout, features, and prototype for the publication of ‘The complete poems of Stephen Crane, edited with an introduction by Joseph Katz’ (ISBN ‘0-8014-9130-4’), which served for a second print run in 1978

Making available online the article by Allen Renear, Christopher Phillippe, Pat Lawton, and David Dubin, entitled ‘An XML document corresponds to which FRBR Group 1 entity?’

Properties: R23 created a realisation of (was realised through): F19 Publication Work

R24 created (was created through): F24 Publication Expression

F31 Performance

Subclass of: E7 Activity

Scope note: This class comprises activities that follow the directions of a performance plan, such as a theatrical play, an expression of a choreographic work or a musical work; i.e., they are intended to communicate directly or indirectly to an audience.

Such activities can be identified at various levels of granularity, and can be contiguous or not. Any individual performance (with or without intermissions) is a single instance of F31 Performance. In addition, a complete run of performances can also be seen as an instance of F31 Performance, with individual performances as parts. A complete run of performances may comprise an original run plus any of its extensions and tours.

Note that a performance plan may be more or less elaborate, and may even foresee just improvisation.

Examples: Performing the first performance of a Yiddish translation of the textual work entitled ‘King Lear’, as directed by Sergei Radlov, in Moscow, at the Moscow State Jewish Theatre, on February 10, 1935 [individual performance]

Performing the ballet entitled ‘Rite of spring’, as choreographed by Pina Bausch, in Avignon, at the Popes’ Palace, on July 7, 1995 [individual performance]

Performing the operatic work entitled ‘Dido and Aeneas’, as directed by Edward Gordon Craig and conducted by Martin Shaw, in London, Hampstead Conservatoire, on May 17, 18, and 19, 1900 [run of performances]

Properties: R25 performed (was performed in): F25 Performance Plan

F32 Carrier Production Event

Subclass of: E12 Production

Scope note: This class comprises activities that result in instances of F54 Utilized Information Carrier coming into existence. Both the production of a series of physical objects (printed books, scores, CDs, DVDs, CD-ROMS, etc.) and the creation of a new copy of a file on an electronic carrier are regarded as instances of F32 Carrier Production Event.

Typically, the production of copies of a publication (no matter whether it is a book, a sound recording, a DVD, a cartographic resource, etc.) strives to produce items all as similar as possible to a prototype that displays all the features that all the copies of the publication should also display, which is reflected in property R27 used as source material F24 Publication Expression.

Examples: The printing of copies of the 3^rd edition of ‘Codex Manesse: die Miniaturen der großen Heidelberger Liederhandschrift, herausgegeben und erläutert von Ingo F. Walther unter Mitarbeit von Gisela Siebert’, Insel-Verlag, 1988 [a fac-simile edition of an illuminated mediaeval manuscript]

The printing of copies of the ‘Ordnance Survey Explorer Map 213, Aberystwyth & Cwm Rheidol’, ISBN 0-319-23640-4 (folded), 1:25,000 scale, released in May 2005 [a cartographic resource]

The production of copies of the sound recording titled ‘The Glory (????) of the human voice’, RCA Victor Gold Seal GD61175, containing recordings of musical works performed by Florence Foster Jenkins [a sound recording; the question marks in parentheses belong to the original title]

My clicking now on the link , and thus downloading on my PC a reproduction of the electronic file titled ‘Definition of the CIDOC Conceptual Reference Model… version 4.0’ that is stored on the ICS FORTH’s servers in Heraklion, Crete

The second print run, in 1978, of ‘The complete poems of Stephen Crane, edited with an introduction by Joseph Katz’ (ISBN ‘0-8014-9130-4’), a publication dated 1972 [publication of a printed text]

Properties: R26 produced things of type (was produced by): F3 Manifestation Product Type

R27 used as source material (was used by): F24 Publication Expression

R28 produced (was produced by): F54 Utilized Information Carrier

F33 Reproduction Event

Subclass of: E12 Production

Scope note: This class comprises activities that consist in making copies, more or less mechanically, of an instance of E84 Information Carrier (such as an F5 Item or an F4 Manifestation Singleton which is also instance of E84 Information Carrier), preserving the expression carried by it. A Reproduction Event results in new instances of E84 Information Carrier coming into existence. In general, the copy will have different attributes from the original and they are therefore not regarded as siblings.

This class makes it possible to account for the legal distinction between private copying for the purpose of “fair use,” and mass production for the purpose of dissemination.

It can prove difficult to determine where to draw the line between F33 Reproduction Event and F32 Carrier Production Event in cases where multiple copies are produced. In this case, the copies, but not the original, may be regarded as instances of F5 Item. It is the existence of an explicit production plan that makes the difference. As a consequence, F33 Reproduction Event and F32 Carrier Production Event are not declared as disjoint, which makes it possible to account for such situations that could be regarded as instances of both Production Event and Reproduction Event.

Examples: My photocopying now for my own private use an exemplar of the article entitled ‘Federal Court’s Ruling Against Photocopying Chain Will Not Destroy “Fair Use”’ by Kenneth D. Crews, issued in ‘Chronicle of higher education’, 17 April 1991, A48

The BnF’s producing in 1997 the microfilm identified by call number ‘Microfilm M-12169’ of the exemplar identified by shelf mark ‘Res 8 P 10’ of Amerigo Vespucci’s ‘Mundus novus’ published in Paris ca. 1503-1504

The BnF’s reproducing in 2001 the exemplar identified by call number ‘NC His Master’s Voice HC 20’ of a 78 rpm phonogram released by Gramophone in 1932, as part of the CD identified by call number ‘SDCR 2120’

The BnF’s making in 2003 a digitisation, identified by call number ‘IFN 7701015’, of the collection of drawings (held by the BnF) that were made by Étienne-Louis Boullée in 1784 for his project of a ‘Newton Cenotaph’

Properties: R29 reproduced (was reproduced by): E84 Information Carrier

R30 produced (was produced by): E84 Information Carrier

F34 KOS

Subclass of: E32 Authority Document

E29 Design or Procedure

F2 Expression

Scope note: This class comprises documents that establish controlled terminology (nomina) for consistent use. They may also describe relationships between entities and controlled terminology and relationships between entities. Note that any meaningful change in a Knowledge Organisation System (KOS) that affects the validity status of its elements defines a new release (Expression) of the KOS. Note that identifiers created following a rule in a KOS are to be regarded as being taken from this KOS, even though not explicitly spelled out. This definition of KOS reflects current library practice and not the use of the term in general.

Examples: LCSH February 20 to March 19 2012

DDC 19 [19^th English edition, published only in print by Forest Press in 1979]

Properties: R34 has validity period (is validity period of): E52 Time-Span

F35 Nomen Use Statement

Subclass of: F2 Expression

E29 Design or Procedure

Scope note: This class comprises statements relating a Thema with a particular Nomen and its usage in the context of a common Complex Work realized by one or more KOS.

Examples: ‘010 __ |a sh 85082387’…‘150 __ |a Maxwell equations’ [MARC21 encoding of the preferred subject access point from LCSH, http://lccn.loc.gov/sh85082387, as of 19 November 2012]

‘010 __ |a sh 85082387’…‘450 __ |a Equations, Maxwell’ [MARC21 encoding of a variant subject access point, from the same source]

‘001  FRBNF119547493’…‘100  w.0..barus.$aGončarova$mNatalʹâ Sergeevna$d1881-1962’ [INTERMARC encoding of the preferred access point for a personal name, from the authority file of the National Library of France, http://catalogue.bnf.fr/ark:/12148/cb119547494/ INTERMARC, as of 15 June 2012]

‘001  FRBNF119547493’…‘100  w.0..c.rus.$aГончарова$mНаталья Сергеевна$d1881-1962’ [INTERMARC encoding of a parallel access point from the same source]

‘001  FRBNF119547493’…‘400  $w....b.eng.$aGoncharova$mNatalia$d1881-1962’ [INTERMARC encoding of a variant access point from the same source]

Properties: R32 is warranted by (warrants): F52 Name Use Activity

R35 is specified by (specifies): F34 KOS

(R35.1 has status: E55 Type)

R36 uses script conversion (is script conversion used in): F36 Script Conversion

R37 states as nomen (is stated as nomen in): F12 Nomen

R38 refers to thema (is thema of): E1 CRM Entity

R39 is intended for (is target audience in): E74 Group

R54 has nomen language (is language of nomen in): E56 Language

R55 has nomen form (is nomen form in): E55 Type

R56 has related use (is related use for): F35 Nomen Use Statement

(R56.1 has type: E55 Type)

F36 Script Conversion

Subclass of: E29 Design or Procedure

Scope note: This class comprises rule sets for converting signs or arrangements of signs from one script or type set to another.

Examples: ISO 9:1995

F38 Character

Subclass of: E28 Conceptual Object

Scope note: This class comprises fictional or iconographic individuals or groups of individual appearing in works in a way relevant as subjects. Characters may be purely fictitious or based on real persons or groups, but as characters they may exhibit properties that would be inconsistent with a real person or group. Rather than merging characters with real persons, they should be described as disjoint, but related entities.

Examples: Harry Potter [in J.K. Rowling’s series of novels and the films based on them]

Sinuhe the Egyptian [in Mika Waltari’s novel]

The Knights of the Round Table [in fiction]

Properties: R57 is based on (is basis for): E39 Actor

R58 has fictional member (is fictional member of): F38 Character

F39 Family

Subclass of: E74 Group

Scope note: This class comprises groups of two or more persons presented as a family justified by relationships of birth, marriage, adoption, civil union, or similar social or legal status and an assumed common tradition, including examples such as royal families, dynasties, houses of nobility, etc.

Examples: House of Tudor

The Grimm brothers

F40 Identifier Assignment

Equal to: E15 Identifier Assignment

Scope note: This class comprises activities that result in the allocation of an identifier to an instance of any subclass of E1 CRM Entity. An F40 Identifier Assignment may include the creation of the identifier from multiple constituents. Explicit reference to the used constituents can be made using the property P142 used constituent (was used in). The syntax of the identifier and the kinds of constituents to be used in constructing it may be declared in a rule. The construction of controlled access points for the names of persons, families and corporate bodies following specific cataloguing rules is a typical library application of identifier assignment. F40 Identifier Assignment also includes the assignment of uniform titles as controlled access points for works or expressions.

Examples: Assigning the name heading ‘William, Prince, Duke of Cambridge, 1982-’ as a controlled access point for a personal name using the Anglo-American Cataloguing Rules, 2^nd edition

Assigning the name heading ‘Library and Archives Canada’ as an authorised controlled access point for a corporate body name using the Anglo-American Cataloguing Rules, 2^nd edition

Assigning the name heading ‘Bibliothèque et Archives Canada’ as an authorised controlled access point for a corporate body name using the Règles de catalogage anglo-américaines, 2e édition

Assigning the author-title heading ‘Goethe, Johann Wolfgang von, 1749-1832. Faust. 1. Theil.’ as a uniform title for a work

Assigning the title heading ‘Bible. English. American Standard’ as a uniform title for an expression

Properties: R45 assigned to (was assigned by): E1 CRM Entity

R46 assigned (was assigned by): F13 Identifier

R52 used rule (was the rule used in): F43 Identifier Rule

F41 Representative Manifestation Assignment

Subclass of: E13 Attribute Assignment

Scope note: This class comprises activities through which an Agency declares (implicitly or explicitly) that a given instance of F3 Manifestation Product Type or F4 Manifestation Singleton is representative for a given F2 Expression, i.e., that some features found on that instance of F3 Manifestation Product Type or F4 Manifestation Singleton (most prominently, information about the title) can be inferred to also apply to that instance of F2 Expression, no matter within which manifestation it is embodied.

The reasoning behind is that the Work title is known through the title of an Expression that is deemed representative of the Work, and the title of the representative Expression is known through the title proper of a Manifestation that is deemed representative of the Expression representative of the Work.

Examples: Selecting the 1775 edition of Richard Brinsley Sheridan’s textual work entitled ‘St. Patrick’s Day’ as the representative manifestation for the text of Richard Brinsley Sheridan’s textual work entitled ‘St. Patrick’s Day’ and citing that publication as the source for the authority record created by the Library of Congress for that work

Selecting the 2007 edition of John Tavener’s musical work entitled ‘The Eternal Sun’ as the representative manifestation for the notation of John Tavener’s musical work entitled ‘The Eternal Sun’ and citing that publication as the source for the authority record created by the National Library of France for that work

Selecting the 1983 edition of Stanley Karnow’s textual work entitled ‘Vietnam, the war nobody won’ as the representative manifestation for a partial expression of the series entitled ‘Headline series’ and citing that publication as the source for the authority record created by the Library of Congress for that series

Selecting the issue dated October 2002 of the periodical entitled ‘The New Courier’ as the representative manifestation for a partial expression of the periodical entitled ‘The New Courier’ and citing that publication as the source for the bibliographic record created by the National Library of France for that periodical

Selecting the manuscript identified by shelfmark ‘MS-8282’ within the collections of the National Library of France, Department for Music, as representative for the notation of Stanislas Champein’s musical work entitled ‘Vichnou’ and citing that manuscript as the source for the authority record created by the National Library of France for that work

Properties: R43 carried out by (performed): F44 Bibliographic Agency

R48 assigned to (was assigned by): F2 Expression

R49 assigned (was assigned by): F3 Manifestation Product Type

R53 assigned (was assigned by): F4 Manifestation Singleton

F42 Representative Expression Assignment

Subclass of: E13 Attribute Assignment

Scope note: This class comprises activities through which an Agency declares (implicitly or explicitly) that a given instance of F2 Expression is representative for a given F15 Complex Work, i.e., that some attributes of that instance of F2 Expression (most prominently, information about the title) can be inferred to also apply to that instance of F15 Complex Work, no matter in which particular expression it is realised.

The reasoning behind this is that the Work title is known through the title of an Expression that is deemed representative of the Work, and the title of the representative Expression is known through the title of a Manifestation that is deemed representative of the Expression that is representative of the Work.

For instance, by using the qualified uniform title ‘Poe, Edgar Allan, 1809-1849. Murders in the rue Morgue (French)’ for the French rendition of Poe’s ‘Murders in the rue Morgue’ by Baudelaire, an Agency implicitly states that the French text does not constitute a representative F2 Expression for Poe’s F1 Work, however the original English text does constitute a representative F2 Expression for Poe’s F1 Work.

Examples: Selecting the text embodied in the 1775 edition of Richard Brinsley Sheridan’s textual work entitled ‘St. Patrick’s Day’ as the representative expression for Richard Brinsley Sheridan’s textual work entitled ‘St. Patrick’s Day’ and citing that publication as the source for the authority record created by the Library of Congress for that work

Selecting the musical notation embodied in the 2007 edition of John Tavener’s musical work entitled ‘The Eternal Sun’ as the representative expression for John Tavener’s musical work entitled ‘The Eternal Sun’ and citing that publication as the source for the authority record created by the National Library of France for that work

Selecting the publication expression of the 1983 edition of Stanley Karnow’s textual work entitled ‘Vietnam, the war nobody won’ as the representative expression for the series entitled ‘Headline series’ and citing that publication as the source for the authority record created by the Library of Congress for that series

Selecting the publication expression of the issue dated October 2002 of the periodical entitled ‘The New Courier’ as the representative expression of the periodical entitled ‘The New Courier’ and citing that publication as the source for the bibliographic record created by the National Library of France for that periodical

Selecting the content of the manuscript identified by shelfmark ‘MS-8282’ within the collections of the National Library of France, Department for Music, as the representative expression of Stanislas Champein’s musical work entitled ‘Vichnou’ and citing that manuscript as the source for the authority record created by the National Library of France for that work

Properties: R44 carried out by (performed): F44 Bibliographic Agency

R50 assigned to (was assigned by): F15 Complex Work

R51 assigned (was assigned by): F2 Expression

F43 Identifier Rule

Subclass of: E29 Design or Procedure

F2 Expression

Scope note: This class comprises sets of instructions relating to the formulation of a unique identifier.

Examples: AACR2R 25.25-25.35F1

RAK-Musik (Revidierte Ausgabe 2003), Chapter 6

AFNOR Z 44-079

F44 Bibliographic Agency

Subclass of: E40 Legal Body

Scope note: This class comprises agents who create the bibliographic description of publications and perform the authority control associated with such descriptions, for the description of copies of such publications actually held by libraries, and for the description of unique documents (manuscripts, objects…) held by libraries.

The activity of creating such descriptions implies that one has to make decisions (as to the uniform title for a work, as to whether an arrangement still belongs to the same work or is definitely a new work, etc.). Since such decisions always are debatable and different agencies can make different decisions about the same real-world entities, it is important to document which agency made which decision.

Examples: The National Library of France, identified in bibliographic and authority records by the code ‘FRBNF’ at the beginning of INTERMARC field 001

F50 Controlled Access Point

Subclass of: F13 Identifier

Scope note: This class comprises identifiers that are not only designed to be unique for the thing they identify, but also to ensure, by following adequate rules based on widely known and accepted properties for their generation, that an independent agency using the same rule would create the same identifier for the same thing.

F50 Controlled Access Point covers the notion of both “preferred” and “variant” forms. It does not cover the notion of “cross references”. A cross reference may not uniquely identify one entity, but can be shared by two or more entities, regardless of whether it displays the same structural characteristics as preferred controlled access points.

Examples: ‘Maxwell equations’ [preferred subject access point from LCSH, http://lccn.loc.gov/sh85082387, as of 19 November 2012]

‘Equations, Maxwell’ [variant subject access point, from the same source]

‘Gončarova, Natalʹâ Sergeevna (1881-1962)’ [preferred access point for a personal name, from the authority file of the National Library of France, http://catalogue.bnf.fr/ark:/12148/cb119547494/PUBLIC, as of 15 June 2012]

‘Гончарова, Наталья Сергеевна (1881-1962)’ [parallel access point from the same source]

‘Goncharova, Natalia (1881-1962)’ [variant access point from the same source]

F51 Pursuit

Subclass of: E7 Activity

Scope note: This class comprises periods of continuous activity of an Actor in a specific professional or creative domain or field.

Examples: Natalya Goncharova working as a set and costume designer, painter, illustrator and poet in Russia and France in the first half of the 20^th century

Satyajit Ray working as a filmmaker, writer, composer and graphic designer in India in the second half of the 20^th century

Folger Shakespeare Library in Washington studying the works of William Shakespeare

M. & N. Hanhart working in lithographic publishing (1839-1882)

Properties: R59 had typical subject (was typical subject of): E1 CRM Entity

R60 used to use language (was language used by): E56 Language

(R60.1 has type of use: E55 Type)

F52 Name Use Activity

Subclass of: E13 Attribute Assignment

Scope note: This class comprises periods of continuous use of a specific instance of E41 Appellation for a particular instance of E1 CRM Entity by an E39 Actor. It includes in particular the use of the name by its carrier. Characteristically, actors performing an activity may choose a particular appellation for themselves in the context of this activity. Such cases should be modelled by additionally classifying these activities as instances of F52 Name Use Activity.

It is possible to specify the type of name use, through the P2 has type property, e.g.: use of a pseudonym, use of a married name, use of a birth name, use of a blended name, use of a religious name, etc.

Examples: Using the pseudonym ‘Prince’ until 1993, and again from 2000 on

Using the pseudonym ‘Love Symbol’ from 1993 to 2000

Using the pseudonym ‘Lewis Carroll’ when authoring works of fiction (P2 has type E55 Type {use of a pseudonym})

Using the name ‘Charles Dodgson’ when authoring works of mathematics and logics (P2 has type E55 Type {use of a birth name})

Using the name ‘Mother Teresa’ instead of ‘Agnes Gonxha Bojaxhiu’ when becoming head of the Missionaries of Charity (P2 has type E55 Type {use of a religious name})

Using the name ‘Elizabeth Barrett Browning’ instead of ‘Elizabeth Barrett Barrett’ after marrying Robert Browning (P2 has type E55 Type {use of a married name})

Using the name ‘Antonio Villaraigosa’ instead of ‘Antonio Villar’ after marrying Corina Raigosa (P2 has type E55 Type {use of a blended name}) [comment: when former mayor of Los Angeles Antonio Villar and Corina Raigosa got married in 1987, the two spouses decided they would merge their two last names into one]

Properties: R61 occurred in kind of context (was kind of context for): E55 Type

R62 was used for membership in (was context for): E74 Group

R63 named (was named by): E1 CRM Entity

R64 used name (was name used by): E41 Appellation

F53 Material Copy

Subclass of: F54 Utilized Information Carrier

E25 Man-Made Feature

Scope note: This class comprises the features created on an instance of E84 Information Carrier when an F24 Publication Expression is copied to it by an F32 Carrier Production Event. This is the typical result of an electronic publishing process.

Examples: The physical features created on my PC’s hard drive when I clicked on the link , and thus downloaded a reproduction of the electronic file titled ‘Definition of the CIDOC Conceptual Reference Model… version 4.0’ that is stored on the ICS FORTH’s servers in Heraklion, Crete

F54 Utilized Information Carrier

Subclass of: E84 Information Carrier

Superclass of: F53 Material Copy

F5 Item

Scope note: This class comprises physical objects that carry one or more instances of F24 Publication Expression.

Examples: The physical features created on my PC’s hard drive when I clicked on the link , and thus downloaded a reproduction of the electronic file titled ‘Definition of the CIDOC Conceptual Reference Model… version 4.0’ that is stored on the ICS FORTH’s servers in Heraklion, Crete (F53)

Any copy of the modern reprint publication of Marin Mersenne’s ‘Harmonie universelle’, Paris, 1986, ISBN ‘2-222-00835-2’ (F5)

Properties: R6 carries (is carried by): F24 Publication Expression