State Library of Pennsylvania Cataloging PALA 2009

Everything You Ever Wanted to Know aboutCataloging But Were

Afraid to Ask or

Help! OurCataloger Left and I Have to Pick Up

the SlackJean Bahner, Aaron Bert, Kurt Bodling, Tom Duszak, Bill Fee, & Mary Spila

October 20, 2009

“Cataloging is a subset of the larger field that is sometimes called bibliographic control, or organization of information, and it is helpful to view it in that context. Bibliographic control has been defined by Elaine Svenonius as ‘the skill or art … of organizing knowledge (information) for retrieval.’”

--p.3 in Arlene G. Taylor’s Wynar’s Introduction to Cataloging and Classification.” 9th ed. Englewood, Colo., 2000.

“The best cataloging is a compromise somewhere between just putting books on shelves and reproducing the complete text in an indexed form as some hope to do in an online environment.”

--p.590 in Carol Casey’s “An Analytical Index to the Internet: Dreams of Utopia,” College and Research Libraries, 60:586-595 (Nov.1999)

“Cataloging applies a combination of human intelligence and established rules and procedures. Computers might be able to handle the rules, but the intelligence is far beyond them. We need good catalogers and will continue to need them as long as there is material worth cataloging.”

--p.56 in Walt Crawford’s “The Card Catalog and Other Digital Controversies,” American Libraries, 30:52-58 (Jan.1999)

“Our job is to mark ‘em and park ‘em.”

“In the mid-nineteenth century, Anthony Panizzi’s famous 92 rules for the British Museum catalog, printed in 1841, and Charles C. Jewett’s code of 39 rules, published by the Smithsonian Institution in 1852, gave impetus to thought on establishment of a code of cataloguing rules which might be generally applicable to libraries in this country. The epochal year of 1876 saw publication of the first edition of Charles Ammi Cutter’s Rules for a Dictionary Catalog … considered ‘the first code of complete cataloging practice for every kind of entry needed in a dictionary catalog.’”

--p.133 in Maurice F. Tauber et al.’s Technical Services in Libraries. New York: Columbia University Press, 1954.

Descriptive cataloger’s job:

--describes and identifies the item--provides the name and title access points for the bibliographic record--establishes headings for the personal names, corporate names

vs.

Subject cataloger’s job:

--analyze the item for subject content--assign standardized subject headings for access--assign the classification number

“The convenience of the public is always to be set before the ease of the cataloger. In most cases they coincide…. But strict consistency in a rule and uniformity in its application sometimes lead to practices which clash with the public’s habitual way of looking at things. When these habits are general and deeply rooted, it is unwise for the cataloger to ignore them, even if they demand a sacrifice of system and simplicity.”

--preface of Charles Ammi Cutter’s Rules for a Dictionary Catalog. 4th ed. Washington, D.C.: Government Printing Office, 1904.

Cataloging and Classification Tools

--LC Catalogers Desktop (e-format)--Anglo-American Cataloging Rules (AACR)--MARC 21 Format for Bibliographic Data--Library of Congress Rule Interpretations (LRCI)--Library of Congress Subject Headings (LCSH) --Dewey Decimal Classification (DDC)--Library of Congress Classification (LC)

“If the spirit is supposed to be that of a real person, establish the heading for the person (unless he or she is already established) and add the word “(Spirit)” to the complete heading for the person.” For example:

Beethoven, Ludwig van, 1770-1827 (Spirit)

--Library of Congress Rule Interpretations (LCRI) for AACR2 rule 22.14

MARC 21 formats are standards for the exchange of data in machine-readable form. The five formats are:

--authority--bibliographic--classification--community information--holdings.

MARC 21 Format for Bibliographic Data is designed to be a carrier for bibliographic information about printed and manuscript textual materials, computer files, maps, music, continuing resources, visual materials, and mixed materials. Bibliographic data commonly includes titles, names, subjects, notes, publication data, and information about the physical description of an item.

The MARC record structure consists of three main components:

--Leader--Directory--Variable fields.

Areas of Bibliographic Description

Area 1: Title and Statement of Responsibility Area 2: Edition Area 3: Material or Kind of Publication specific details Area 4: Publication and Distribution Area 5: Physical Description Area 6: Series Area Area 7: Notes Area 8: Standard Number and Terms of Availability

Record in MARC Format

010 Library of Congress control number 02x Standard number - Area 8 050 Library of Congress call number 082 Dewey Decimal call number 1xx Main entry 240 Uniform title – Area 1 245 Title and statement of responsibility – Area 1 250 Edition – Area 2 25x Material or Type of publication specific details - Area 3 260 Publication and distribution - Area 4 300 Physical description – Area 5 4xx Series – Area 6 5xx Notes – Area 7 6xx Subject heading/headings 7xx Added entry/entries 8xx Series added entry/entries

Eight Areas and MARC Tags 245 Title and Statement of Responsibility - Area 1 250 Edition - Area 2 25x Material or Publication Specific Details - Area 3 260 Publication and Distribution - Area 4 300 Physical Description – Area 5 4xx Series – Area 6 5xx Notes – Area 7 02x Standard Number and Its Availability – Area 8

Bibliographic Formats and Standards

(Fourth Edition) A cataloger’s best friend http://www.oclc.org/bibformats/

Area 1: Title and statement of responsibility 245 1 0 $a (Title proper) : $b (Other Title

information) / $c (Statement of responsibility) 246 1 3 $a (Variant title) : $b (Other Variant

title information) / $c (Statement of responsibility) Can also be parallel (read other language) title Second indicator determines type of title and

usually display caption

Chief source of information

Source supplying the most complete information of primary importance for identifying the item, e.g., title, responsibility, and source

Prescribed sources The sources that have been identified as standard sources

of data [in AACR2] belonging in a particular area of description

Many times, especially for serials, you may have to do an end run around AACR2 and use “the most stable source of information,” as per Library of Congress Rule Interpretation (LCRI) 12.0 B1 (Continuing Resources, Basis for Description).

Statement of responsibility

A statement of responsibility is a statement transcribed from the item being described relating to: Persons responsible for the intellectual or artistic

content of the item ; Corporate bodies from which the content of the

item emanates ; or Persons or corporate bodies responsible for the

performance of the content of the item.

Examples of Title/Statement of responsibility (the 245)

245 1 0 $a Watchmen / $c Alan Moore, writer ; Dave Gibbons, illustrator/letterer ; John Higgins, colorist.

245 0 0 $a Principia discordia, or, How I found goddess and what I did to her when I found her : $b wherein is explained absolutely everything worth knowing about absolutely anything.

245 1 0 $a Harry Potter and the Half-Blood Prince / $c by J.K. Rowling ; illustrations by Mary GrandPre.






What is an edition?

AACR presents several definitions: For books, an edition is “all copies produced from

essentially the same type image (Whether by direct contact or by photographic or other methods) and issued by the same entity.”

For unpublished items, an edition is “all copies made from essentially the same original production (e.g., the original and carbon copies of a typescript).”

For other materials, an editions is “all copies produced from essentially the same master copy and issued by the same entity.”

Also, consider that a new edition is involved whenever: There is an explicit indication of changes

(including corrections) of content; or, Anything in the following areas or elements of

areas differs from one bibliographic record to another: Title and statement of responsibility area, Edition area, The extent statement of the physical description

area, and Series area.

Whenever the question relates to the publication, distribution, etc., area or to ISBNs, consider that the item is a copy if the only variation is one or more of the following: A difference in the printing or copyright date when there is

also a publication date; A minor variation in an entity’s name.

There are relatively few examples of this phenomenon, which arises when a publisher uses multiple forms concurrently. For example, “Duckworth” and “G. Duckworth” and “St. Martin’s” and “St. Martin’s Press” have been used at the same time by these publishers. A genuine name change, even if minor, should not be considered as a variation;

The addition, deletion, or change of an ISBN; A difference in binding.

For variations in the publication, distribution, etc., area not covered by the preceding statements, consider that the item is a new edition.

Edition statement

Definition: An edition statement may be characterized as a formalized

statement found on the item containing a designation of some kind that is meant to distinguish one manifestation of an item from another. The designation may consist of a number or letter or other characters. The statement may include words such as “edition,” “issue,” or “version,” or other distinguishing terms, and their equivalents in other languages.

Transcription: The edition statement is transcribed “as found on the item”

except that the cataloger is instructed to “use abbreviations as instructed in appendix B and numerals as instructed in Appendix C” of AACR2.

Edition statement examples

1st ed. 1st American ed. 1st Dover ed. Rev. ed. Rev. and enl. Ed. Repr. Apr. 1988 with corrections Household ed. New Wessex ed. Facsim. Ed. 6. Aufl. Draft [3rd ed.]

NOT Edition statements

“This U.S. edition first published in 1991.” “North American edition first published in

1991 by Macmillan.” “Paperback edition first published in 1990

with a new introduction by Farley Smith.”






Area 3

“Material Specific Details Area”

Used only with cartographic materials, music, electronic resources and continuing resources.

Area 3: cartographic

MARC field 255 Includes mathematical details like

Scale (e.g., $a 1:24,000) Projection (e.g., $b Mercator proj.) Coordinates (e.g., $c W 150°--W100°/N… )°

Area 3: music

MARC field 254 Includes description of special formats from

the chief source, e.g., Miniature score Study score

Area 3: electronic

MARC field 256 File characteristics that include the type of file

and the number of records, e.g., Electronic program. Electronic file.

NO LONGER USED IN AACR2

Area 3: continuing resources

MARC field 362 Includes numbering and/or chronological

designations, e.g., Began with Dec. 22, 1877 issue; ceased with

May 2, 1934 issue. Vol. 1, no. 1 (June 1877)- Began in 1876? Nos. 1-2208, (25 Sept. 1924- 2 Feb. 1967).






Why record Publication/Distribution information? To furnish identification of the item being

cataloged Helps to establish the origin of the item To provide publication information to users of the

catalog who may wish to purchase the item To distinguish between works with the same title

published by different companies To date the work and its contents

Date of Publication, Distribution, etc. AACR says:

“For published items, give the date (i.e., year) of publication, distribution, etc., of the edition, revision, etc., named in the edition area. If there is no edition statement, give the date of the first publication of the edition to which the item belongs. Give dates in Western-style arabic numerals.”

Publication, Distribution, etc., area Various possibilities and punctuation:

Place : Publisher [Distributor], Date. Place ; Place : Publisher [Distributor], Date. Place : Publisher [Distributor] : Publisher

[Distributor], Date. Place : Publisher [Distributor] ; Place :

Publisher [Distributor], Date.

Transcribing multiple Publishers: AACR2:

When more than one publisher, distributor, etc., is named on the item, “describe [the item] in terms of the first named and the corresponding place(s).”

Library of Congress Rule Interpretation (LCRI) Record the names of all the publishers appearing on the

chief source of information of the edition being cataloged (or the names appearing on the single source used for the publisher statement when the publisher is not named on the chief source). Record also the name of a U.S. publisher appearing anywhere on the item when a non-U.S. publisher appears on the chief source.

Place of publication uncertain

If no place, give probable place: [Munich?] [Paris?] [Washington, D.C.?]

If no place and no probable place, give larger jurisdiction: [France?] [Virginia?]

If no place at all: [S.l.] (sine loco - "without a place“)

Name of publisher unknown

Place of publication known, but publisher unknown Philadelphia : [s.n.], 1903

Place and publisher unknown [S.l. : s.n.], 1905.

[s.n.] (Sine nomine - "without a name“) Under RDA (Resource Description and Access, AKA the

upcoming replacement for AACR2) S.l. and s.n. have been replaced with “Place of publication not identified” and “publisher not identified,” respectively.

Dates

Publication date: , 1992. Copyright date for printed material: , c1992. Copyright date for recorded material: , p1992. Printing date: , 1992 printing. Publication date and copyright date:

, 1992, c1991. , [1998], c1977.

Publication date and printing date: , 1996 (1999 printing)

Multi-part items: , 1992- , 1992-<1999 >






Area 5

“Physical description area”

Includes extent, illustrations, size, and accompanying materials

Area 5

MARC field 300 $a extent (pages, volumes, etc.) $b illustrations (different kinds) $c size (cm. high; except sound recordings in

inches) $e accompanying (all that other stuff)






Wheel of time Series authority






Why Notes?

Definition: A note is a statement in the bibliographic record that

qualifies or amplifies the formal description. According to AACR2, “notes contain useful descriptive information that cannot be fitted into other areas of the description.”

Notes have several functions. In general they: Contribute to the identification of the item being described Contribute to the intelligibility of the bibliographic record Explain the purpose of the item Give the bibliographic history of the item Supply other information about the item, such as contents

Formal Notes:

Bibliography (504): p. 47 Includes bibliographical references (p. 47)

Adaptation of (500): title and SOR of work adapted. Originally published (534): Place : Publisher, Date. Summary (520): Contents (505):

More on this in round 2.






International Standard Book Number(ISBN) ISBN 0-471-88377-8

Introduced in the U.S. in 1968

1st group = language 2nd group = publisher/producer 3rd group = title identifier 4th group = check digit

International Standard Book Number

ISBN x-xxxx-xxxx-x (pbk.) (or whatever the source may have, e.g. pb.)

ISBN x-xxxx-xxxx-x (lib. Bdg.) ISBN x-xxxx-xxxx-x (v. 1) ISBN x-xxxx-xxxx-x (hard) (or whatever the source

may have, e.g. hb) ISBN x-xxxx-xxxx-x (set) ISBN x-xxxx-xxxx-x (deluxe) ISBN x-xxxx-xxxx-x (lim. ed.) ISBN x-xxxx-xxxx-x (microfiche) ISBN x-xxxx-xxxx-x (alk. paper)

ISBN in the MARC-formatted record

020 0816118574 : $54.00 020 0816118779 (pbk.) : $24.95

However, according to the LCRIs price is not included

Standard numbers – Harry Potter & the Order of the

Phoenix

Tips in Fixing Errors on Bib Records Lower case el vs. number one

lllllllllllllllllllll vs. 1111111111

Upper case O vs. zero

OOOOOOOO vs. 0000

Quiz: Circle correct year below.

l83O 183O l830 1830

Watchmen record – MARC MARC

Watchmen Record- OPAC

OPAC

500 field(General Note)

A free text area for notes that can not be put elsewhere. Title from indicia. Description based on: #1 (Dec. 1993). No. 1 has foil-embossed cover; no 5 is a

Hyperkind crossover. Issue #1 guest stars Spider-Man, issue #2

guest stars Ghost Rider. Writer on no. 50 uncredited, but likely Bill

Mantlo.

505 field(Formatted Contents Note)

505 0 0 ‡t #1 : At Midnight, All the Agents ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer,

and John Higgins, colorer ‡t Under the Hood ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #2 : Absent Friends ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t Under the Hood ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #3 : The Judge of All the Earth ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t Under the Hood ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #4 : Watchmaker ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t Dr. Manhattan: Super-Powers and the Superpowers ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #5 : Fearful Symmetry ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t A Man on Fifteen Dead Men's Chests ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #6 : The Abyss Gazes Also ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t Walter J. Kovacs Police Report ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #7 : A Brother to Dragons ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t Blood from the Shoulder of Pallas ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #8 : Old Ghosts ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t New Frontiersman ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #9 : The Darkness of Mere Being ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t [Sal's Scrapbook] ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #10 : Two Riders Were Approaching... ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t Veidt ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #11 : Look on My Works, Ye Mighty... ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ‡t After the Masquerade ‡r Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- ‡t #12 : A Stronger Loving World ‡r Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer.

505 – method 2

505 0 _ ‡a #1 : At Midnight, All the Agents - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ;

Under the Hood - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #2 : Absent Friends - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Under the Hood - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #3 : The Judge of All the Earth - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Under the Hood - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #4 : Watchmaker - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Dr. Manhattan: Super-Powers and the Superpowers - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #5 : Fearful Symmetry - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; A Man on Fifteen Dead Men's Chests - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #6 : The Abyss Gazes Also - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Walter J. Kovacs Police Report - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #7 : A Brother to Dragons - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Blood from the Shoulder of Pallas - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #8 : Old Ghosts - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; New Frontiersman - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #9 : The Darkness of Mere Being - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; [Sal's Scrapbook] - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #10 : Two Riders Were Approaching... - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Veidt - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #11 : Look on My Works, Ye Mighty... - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; After the Masquerade - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer -- #12 : A Stronger Loving World - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer.

505 - Basic505 0 _

#1 : At Midnight, All the Agents - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Under the Hood - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#2 : Absent Friends - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Under the Hood - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#3 : The Judge of All the Earth - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Under the Hood - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#4 : Watchmaker - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Dr. Manhattan: Super-Powers and the Superpowers - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#5 : Fearful Symmetry - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; A Man on Fifteen Dead Men’s Chests - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#6 : The Abyss Gazes Also - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Walter J. Kovacs Police Report - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#7 : A Brother to Dragons - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Blood from the Shoulder of Pallas - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#8 : Old Ghosts - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; New Frontiersman - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#9 : The Darkness of Mere Being - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; [Sal’s Scrapbook] - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#10 : Two Riders Were Approaching... - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; Veidt - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#11 : Look on My Works, Ye Mighty... - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer ; After the Masquerade - Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer

#12 : A Stronger Loving World - Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer.

505 enhanced

#1 : At Midnight, All the Agents Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer Under the Hood Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #2 : Absent Friends Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer Under the Hood Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #3 : The Judge of All the Earth Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer Under the Hood Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #4 : Watchmaker Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer Dr. Manhattan: Super-Powers and the Superpowers Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #5 : Fearful Symmetry Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer A Man on Fifteen Dead Men’s Chests Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #6 : The Abyss Gazes Also Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer Walter J. Kovacs Police Report Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #7 : A Brother to Dragons Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer Blood from the Shoulder of Pallas Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #8 : Old Ghosts Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer New Frontiersman Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #9 : The Darkness of Mere Being Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer [Sal’s Scrapbook] Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #10 : Two Riders Were Approaching... Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer Veidt Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #11 : Look on My Works, Ye Mighty... Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer After the Masquerade Alan Moore, scripter, Dave Gibbons, penciler and inker, John Higgins, colorer, and typeset (uncredited), letterer #12 : A Stronger Loving World Alan Moore, scripter, Dave Gibbons, penciler, inker and letterer, and John Higgins, colorer.

Other useful 5xx fields

A 506 (Restrictions on Access Note) records restrictions on the title, including those imposed by a donor, such as: Restricted access : Written permission required from parent required for teens, no access for

under 16; Donor

520s (Summary, etc.) can be useful to a patron trying to figure out what a heretofore unknown title is about, and can be either written from scratch or pasted from a review, product or publisher’s description, such as this one, which is uncredited but seems to be from Amazon: Summary : This stunning graphic novel chronicles the fall from grace of a group of superheroes plagued

by all too human failings. The concept of the super hero is dissected and inverted as strangely realistic characters are stalked by an unknown assassin. Originally published as a 12 issue series in 1986 and 1987, Watchmen remains one of DC Comics’ most popular graphic novels.

A 521 (Target Audience Note) is useful in making sure that young people do not get hold of that copy of the 1971 Creepy with the severed heads and scantily clad women, or check out any Alan Moore title: Audience : Mature audiences

To collaborate with local educational objectives… The 526 (Study Program Information Note) is one of the

two fields which allow stated ties with the programs of the local school. This form of cooperation can only improve the library’s reputation in both the educational and local communities, and helps when a student (or their parent) comes looking for that book they need for class. For instance: Popular literature gifted program, Grade 12, 7, 50 , Final reading selection for semester 01.

There is also the 658 (Index Term – Curriculum Objective) which, like the 526, correlates local educational objectives with materials in the library. From the Watchmen record, an example would be: Literary analysis ; understanding language, elements of plots, themes, motives, characters, setting in

graphical literature, HLIT201, highly correlated, AHS Unlike the 526, the 658 allows the naming of a particular program and school, and states how well the

material fulfills the objectives of the program. What it does not allow is the addition of title point values and reading levels of the material.

Best used as a pair.

More useful 5xx fields

If a patron truly loves a title enough to want their own copy (or they are #50 on the reserve list and they need it yesterday), a 530 (Additional Physical Form Available Note) lets them know where they can possibly buy their own, in another or better format: Also available as a library grade Absolute edition, DC Entertainment ; Amazon.com,

http://www.amazon.com/Watchmen-Absolute-Alan-Moore/dp/1401207138/ref=sr_1_1?ie=UTF8&s=books&qid=1254161902&sr=1-1

Although probably not needed by any save the true comic geek, a 534 (Original Version Note) gives information on the original format of publication for that trade paperback (in the comics world a group of issues, usually a storyline, republished in graphic novel format): Originally published as Watchmen no.1-12, New York : DC Comics, 1986-1987 ; published as a Baxter comic

A 540 (Terms Governing Use and Reproduction Note) helps to prevent mass photocopying or scanning of copyrighted titles, or at least can help keep the library from being sued by Marvel, DC or the other comics companies: Photocopying not permitted, if used for any purpose other than private study, scholarship or research, Title

17, United States Code.

Still more useful 5xx fields

545s (Biographical or Historical Data) can give useful biographical info, which can make the OPAC more “Wikipedia-like”. This can satisfy some of the need of the Google generation for one-stop shopping: Alan Moore was born November 18, 1953 in Northampton, England, an industrial town between London and

Birmingham, the oldest son of brewery worker Ernest Moore and printer Sylvia Doreen. In 1979, Moore began working as a cartoonist for the weekly music magazine Sounds, in which a detective story called Roscoe Moscow appeared under the pseudonym Curt Vile. Moore’s early contributions were to Doctor Who Weekly and the famous science-fiction title 2000 AD, under which Moore created several popular series, such as The Ballad of Halo Jones, Skizz, and D.R. & Quinch. Moore then worked for Warrior, a British anthology magazine. Moore’s exceptional writing talent won him his first American series, Saga of the Swamp Thing. In addition to Saga of the Swamp Thing, Moore also penned several other DC titles, such as Tales of the Green Lantern Corps, a Batman Annual and several Superman stories. In 1986, while DC Comics was reconstructing their comic’s universe, Moore quietly came out with Watchmen. http://www.alanmoorefansite.com/bio.html

Although more useful for collection of floppy comic book originals and serials, a 547 (Former Title Complexity Note) can note oddities in issues included in a collection.

E.g. Night Force #8 known as Gems: Convergence Part 2. Story continues from The book of fate (1997) #6, and continues in Challengers of the Unknown (1997) #6.

Useful 5xx fields- the last batch A 561 (Ownership and Custodial History) can be used for

donor information- most want it to be known that they gave this wonderful collection to the library. It can also give credit to the librarians who began the collection. Collection originally begun by William TB Fee and continued by Mary Spila. Donor wishes to remain anonymous.

For students and others looking for more critical studies and reviews, the 581 (Publications About Described Materials Note) provides a place to give this information. For example: Watchmen As Literature: A Critical Study of the Graphic Novel / Sara J. Van Ness. New York : Mcfarland & Co., 2010.

978-0786444755.

And, for that ever important award, such as a Newberry or Caldecott (or the comics awards such as Eisners or Harveys), there is the 586 (Awards Note): Hugo Award (Other Forms), 1988.

Pennsylvania state website

Record for Pennsylvania state website

Harrisburg, Pa. website

Record for Harrisburg, Pa. website

Dickinson/Millersville Slavery & abolition in the US website

Slavery & abolition … website record

Hagley Museum website

Hagley Museum website record

The 040

“Cataloging Source”

040 subfield $b

040 subfield $e

040 subfield $e (another view)

440/490

Series Statement/Added Entry – Title Field 440 is both a series statement and a series added

entry. When a 440 field is present, a corresponding field 830 (Series Added Entry - Uniform Title) is not used since it would duplicate the 440 field.

This field is no longer being used. 490 Series Statement

Field 490 does not serve as a series added entry. When field 490 is used and a series added entry is appropriate, both the series statement (field 490) and a corresponding series added entry (fields 800 - 830) are recorded in the bibliographic record. Always use field 490 when a series statement contains the volume(s) or date(s) during which the publication was issued as an integral part of the title.

810/830

810 Series Added Entry – Corporate Name A name/title series added entry in which the author portion is a

corporate name. Use when the added entry form of a series is different from that in the corresponding series statement. An 810 field is usually justified by a series statement ( field 490) or a general note ( field 500) relating to the series.

This is no longer generally being used with a 490. 830 Series Added Entry – Uniform Title

A title series added entry in which the entry of the series is under a uniform title. Use when the added entry form of a series title is different from that in the corresponding series statement. An 830 field is usually justified by a series statement ( field 490) or a general note ( field 500) relating to the series.

The current preferred form of Series Statements is a 490/830 combination, as shown in the following examples.

39 Clues - Connexion

39 Clues - OPAC

Dora - Connexion

Dora - OPAC

Magic school bus - Connexion

Magic school bus - OPAC

Dewey Decimal Classification: Summary

There are 10 main classes:

000 Computer science, Information and General works; 090=Rare books100 Philosophy and Psychology; 170=Ethics200 Religion; 240=Christian moral and devotional theology300 Social sciences; 390=Customs, etiquette, and folklore400 Language; 460=Spanish and Portuguese languages500 Science; 530=Physics600 Technology; 670=Manufacturing700 Arts and Recreation; 720=Architecture800 Literature; 860=Spanish and Portuguese literatures900 History and Geography; 950=History of Asia

for example: Law--in Dewey at 340--in LC at K

MFHDs (holdings) forPennsylvania state website

MFHDs (holdings) forHarrisburg, Pa. website

MFHDs (holdings) forSlavery & abolition website

MFHDs (holdings) forHagley Museum website

Dates in Fixed Field

Date Display in OPAC

From State Library:

From the Free Library:

See the 008:

The OCLC display:

United States--Census, 1st

(LC Authorities search)

United States--Census, 1790 (1907)

United States--Census, 1790 (1908)

United States--Census, 1790 (Pennsylvania)

Lemoyne, Pa. (Connexion record)

Free (in budget) alternative to OCLC & Connexion

Time-consuming Records can only be obtained one by one Find record in the (free) LC Authorities database -

http://authorities.loc.gov/webvoy.htm Copy record Paste into MarcEdit editor (also free) -

http://people.oregonstate.edu/~reeset/marcedit/html/index.php

Save as .mrc or .mrk Import into ILS

600 (Subject Added Entry – Personal Name) &

610 (Subject Added Entry – Corporate Name) fields

Useful for noting relations to pre-existing works or humans 600 1 0 Carroll, Lewis, 1832-1898 for Hatter M 600 1 0 Churchill, Winston, 1871-1947 for a work

incorporating the famous “Fight on the Beaches” speech Useful for noting relations to pre-existing

corporations 610 2 0 Sony corporation

Useful for noting relations to characters or fictitious organizations 610 2 0 JLX (fictitious organization) 650 1 0 Wonder Woman (fictitious character)

650 (Subject Added Entry – Topical Term)

& 651 (Subject Added Entry–Geographic Name) fields 650 1 0 Thor (fictitious character)

650 1 0 Thor (Norse deity) 650 1 0 Hatter M (Madigan) (fictitious

character) 650 1 0 Mad Hatter (fictitious character) 651 _ 0 Wonderland (imaginary place) 651 _ 0 Washington Monument

(Washington, D.C.) (for a work like Human Fly #15, where the action takes place at the Washington Monument )

Use of the 600 vs. 650, 610 vs. 650 is an aboutness

call from the cataloger…

(in the local catalog, of course…)

There is another possibility…

While the field would have to be changed to a 650 for export (as, save in rare cases, a fictitious character is incapable of authorship), a 600, adopted locally can provide a great many more options for including information. From the Watchmen record: 600 1 7 ‡a The Comedian ‡q (Blake, Edward) ‡e (fictitious character) ‡e (parody of

Peacemaker and Nick Fury) ‡v Comic books, strips, etc. ‡2 local. 600 1 7 ‡a Silk Spectre (II) ‡q (Juspeczyk) ‡e (fictitious character) ‡e (parody of

Nightshade, Black Canary and Phantom Lady) ‡v Comic books, strips, etc. ‡2 local.

Which would export as:

650 1 7 ‡a The Comedian ‡q (Blake, Edward) ‡e (fictitious character) ‡e (parody of Peacemaker and Nick Fury) ‡v Comic books, strips, etc. ‡2 YLL.

650 1 7 ‡a Silk Spectre (II) ‡q (Juspeczyk) ‡e (fictitious character) ‡e (parody of Nightshade, Black Canary and Phantom Lady) ‡v Comic books, strips, etc. ‡2 local.

That is, if one bothered to export them at all.

Local subject fields

Of course, if you don’t feel confident about local subject headings, or want to keep them as a local option, there are always the local 6xx fields.

Won’t export. 690 (Local Subject Added Entry – Topical Term) = 650 691 (Local Subject Added Entry – Geographic Name) 651 695 (Added Class Number) 050, 082, 086, etc. 696 (Local Subject Added Entry – Personal Name) = 600 697 (Local Subject Added Entry – Corporate name) = 610 698 (Local Subject Added Entry – Meeting name) = 611 699 (Local Subject Added Entry – Uniform title) = 630

Library of Congress Classification: Summary

There are 21 main classes.Excluded are the letters: I O W X YFive main classes are:

K Law; KD=Law of the United Kingdom and IrelandL Education; LJ=Student fraternities and societiesM Music; ML=Literature on musicS Agriculture; SD=ForestryT Technology; TX=Home economics

Main letters are also paired with other lettersK LawKF Law - United StatesKFP Law - Pennsylvania

Shapeshifting (LCSH)

Shapeshifting original proposal(Shapeshifters)

040 P $b eng $c P

150 Shapeshifters

450 Shapechanging

450 Therianthropy

450 Skinwalking

670 Cat people (Motion picture) $b A mother and son who can shapeshift into cats

670 Hamilton, Laurell K. Anita Blake, vampire hunter novel $b Series contains characters who are shapeshifters who change into leopards, lions, tigers and snakes, among others

680 $i May subdivide under type of animal whose form is assumed

680 $i For werewolves and wolfweres, use $a Werewolves.

Minor blip in the Shapeshifting roadmap

Local 655s

Coded 655 _ 7 $a $2 local.

“Legal” 655s

Coded 655 _ 0 $a Large type books

Another “legal” 655

Domestic fiction Notice the 2 “legal”

655s coded as 650s

The definitive list

Not official, but regularly updated http://www.hahnlibrary.net/libraries/formgenre.html

655 field(Fee comics cataloging)

Used to add Genre and Item type (Comic Age) to an item

Examples: Superhero comic books, strips, etc. Horror comic books, strips, etc. Toy tie-in comic books, strips, etc. Golden Age comic books, strips, etc. Modern Age comic books, strips, etc.

Form/genre access points

It’s the end of the show as we know it…

“The rabbit-hole went straight on like a tunnel for some way and then dipped suddenly down, so suddenly that Alice had not a moment to think about stopping herself before she found herself falling down what seemed to be a very deep well.” - Lewis Carroll. Alice’s adventures in Wonderland (1916), p. 1.

For further information and sympathy, feel free to contact the presenters at: Jean Bahner – [email protected] Aaron Bert - [email protected] Kurt Bodling – [email protected] Tom Duszak – [email protected] William Fee – [email protected] Mary Spila – [email protected]

State Library of Pennsylvania Cataloging PALA 2009

Education

series area area

notes area

edition area

distribution area

distribution area

standard number area

physical description

uniform title area