Quoting "Beacom, Matthew" <[email protected]>:
Sometimes I feel like we should all have the FRBR diagram tattoo'd on
our arms so we can consult it any time anywhere. :-)
With as complex a thing as a film--so many "authors", images, music,
dialog, acting, sets, costume, etc., etc., etc., applying the FRBR
model is tough, and your implementation is quite sensible. However,
I had a small question about one thing you said about FRBR not
allowing language at the work level. That doesn't seem right to me.
How could the language of a thing that is primarily or even
partially a work made of language--like a novel or a motion picture
with spoken dialogue would not necessarily be considered at the work
level and not at some other level.
Matthew, I can't answer how it is possible but I can tell you that it
is a fact: language is an attribute of Expression, not of Work. That's
kind of the key meaning of frbr:Expression -- it is the Expression of
the Work, and the Work doesn't exist until Expressed. So Work is a
very abstract concept in FRBR. (Which is why more than one attempted
implementation of FRBR that I have seen combines Work and Expression
attributes in some way.)
Not only that, but Kelley's model uses something that I consider to be
missing from FRBR: the concept of a "original Expression." For FRBR
(and thus for RDA) all expressions are in a sense equal; there is no
privileged first or original expression. Yet there is evidence that
this is a useful concept in the minds of users. Some recent user
studies [1] around FRBR showed that this is a concept that users come
up with spontaneously. Also, I can't think of any field of study where
knowing what the original expression of a work was wouldn't be
important.
Because of the way we treat translations--not just in FRBR--as what
FRBR calls expressions not as new works, a translation from the
original language to another would be considered an FRBR expression.
Could you explain this a bit more?
The FRBR relationship "translation of" is an Expression-to-Expression
relationship. (See my personal "cheat sheet" of RDA/FRBR relationships
[2]).
kc
[1] http://www.asis.org/asist2010/abstracts/75.html
[2] http://kcoyle.net/rda/group1relsby.html
Thank you.
Matthew
-----Original Message-----
...
This also allowed us to get around some of the areas of more
orthodox FRBR modeling that we found unhelpful. For example, FRBR
doesn't allow language at the Work level, but we think it is
important to record the original language of a moving image at the
top level.
--
Karen Coyle
[email protected] http://kcoyle.net
ph: 1-510-540-7596
m: 1-510-435-8234
skype: kcoylenet
