讀 RDA相關的一篇文章

在2018 IFLA年會上，來自英國BDS 公司的 J. Wright 的一篇文章   How does true RDA cataloguing change how we catalogue? (http://library.ifla.org/id/eprint/2198) 談到了其公司以 IFLA-LRM 為基礎，設計的編目作業系統。在她舉的例子中，編目員或許多少可對 RDA 編目中 WEM (Work, Expression, Manifestation / 作品, 表現形式, 具體呈現) 更有概念。

例1.  Jane Austen 的Pride and prejudice (傲慢與偏見) (Wright, p. 4- )

檢視其中三本書書名頁背頁，可獲得該書出版歷史及組成成份的訊息，

這三本書的contributors (貢獻者)有所不同，因此為不同的 expressions.

Wright 提到在判斷是否為 expression 時，編目員仍需訓練熟悉(p. 3)：

We found staff were confident in identifying new manifestations, as that's largely ISBN based and presented no great change from previous practice. New works were also generally straightforward, with “distinct creations” being understood. However, deciding if a resource represented a new expression was harder for several reasons.

Often, publishers don't provide enough information at the CIP stage for staff to have confidence in which expression, or version, of a work they are cataloguing. However, even with the resource in-hand, cataloguers were still hesitant. If the content type was different, then that was straightforward and clear, but confidence in distinguishing between different realisations of a work required training.

Bringing a phrase from the scope notes in the IFLA-LRM to the foreground proved most helpful for staff: “An expression comes into existence simultaneously with the creation of its first manifestation”. 

判斷是否為 expression時，可參考LRM 的說明：

“ [某作品]當其 manifestation 第一次出現的同時，其 expression即存在了”

例2.   第八版的生化學(Biochemistry) 比第七版雖只多了一位作者，但此兩本書應視為兩部作品(works) (Wright, p. 5-)

例3.   契訶夫(Chekhov) 的劇本選集(含五部劇本)：我們需為每部劇本建立其作品(work)紀錄；而非依MARC著錄習慣，僅著錄在內容註 (tag 505)中 (Wright, p. 7)