"FRBRer model"@en .
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"This is the element set of native RDF classes and properties described in the current text (Feb 2009) of the Functional Requirements for Bibliographic Records (FRBR) entity-relationship model."@en .
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"Concept"@en .
"Concept"@en .
"An abstract notion or idea."@en .
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"The entity defined as concept encompasses a comprehensive range of abstractions that may be the subject of a work: fields of knowledge, disciplines, schools of thought (philosophies, religions, political ideologies, etc.), theories, processes, techniques, practices, etc. A concept may be broad in nature or narrowly defined and precise. For the purposes of this model concepts are treated as entities only to the extent that they are the subject of a work (e.g., as the subject of a philosophical treatise, of a critique of a school of thought, etc.)."@en .
"Concepto"@es .
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"CorporateBody"@en .
"Corporate Body"@en .
"An organization or group of individuals and/or organizations acting as a unit."@en .
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"The entity defined as corporate body encompasses organizations and groups of individuals and-or organizations that are identified by a particular name, including occasional groups and groups that are constituted as meetings, conferences, congresses, expeditions, exhibitions, festivals, fairs, etc. The entity also encompasses organizations that act as territorial authorities, exercising or claiming to exercise government functions over a certain territory, such as a federation, a state, a region, a local municipality, etc. The entity encompasses organizations and groups that are defunct as well as those that continue to operate. For the purposes of this model corporate bodies are treated as entities only to the extent that they are involved in the creation or realization of a work (e.g., as the sponsors or endorsers of a work, etc.), or are the subject of a work (e.g., as the subject of a history, etc.)."@en .
"Entidad corporativa"@es .
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"Event"@en .
"Event"@en .
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"An action or occurrence."@en .
"The entity defined as event encompasses a comprehensive range of actions and occurrences that may be the subject of a work: historical events, epochs, periods of time, etc. For the purposes of this model events are treated as entities only to the extent that they are the subject of a work (e.g., the subject of an historical treatise, of a painting, etc.)."@en .
"Acontecimiento"@es .
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"Expression"@en .
"Expression"@en .
"The intellectual or artistic realization of a work in the form of alpha-numeric, musical, or choreographic notation, sound, image, object, movement, etc., or any combination of such forms."@en .
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"An expression is the specific intellectual or artistic form that a work takes each time it is \"realized\". Expression encompasses, for example, the specific words, sentences, paragraphs, etc. that result from the realization of a work in the form of a text, or the particular sounds, phrasing, etc. resulting from the realization of a musical work. The boundaries of the entity expression are defined, however, so as to exclude aspects of physical form, such as typeface and page layout, that are not integral to the intellectual or artistic realization of the work as such. Inasmuch as the form of expression is an inherent characteristic of the expression, any change in form (e.g., from alpha-numeric notation to spoken word) results in a new expression. Similarly, changes in the intellectual conventions or instruments that are employed to express a work (e.g., translation from one language to another) result in the production of a new expression. If a text is revised or modified, the resulting expression is considered to be a new expression. The degree to which bibliographic distinctions are made between variant expressions of a work will depend to some extent on the nature of the work itself, on the anticipated needs of users and on what the cataloguer can reasonably be expected to recognize from the manifestation being described. Differences in form of expression (e.g., the differences between the expression of a work in the form of musical notation and the expression of the same work in the form of recorded sound) will normally be reflected in the bibliographic record, no matter what the nature of the work itself may be. Variant expressions in the same form (e.g., revised versions of a text) will often be indirectly identified as different expressions because the variation is apparent from the data associated with an attribute used to identify the manifestation in which the expression is embodied (e.g., an edition statement). Variations that would be evident only from a more detailed analysis and comparison of expressions (e.g., variations between several of the early texts of Shakespeare's Hamlet) would normally be reflected in the data only if the nature or stature of the work warranted such analysis, and only if it was anticipated that the distinction would be important to users."@en .
"Expresi\u00F3n"@es .
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"Item"@en .
"Item"@en .
"A single exemplar of a manifestation."@en .
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"The entity defined as item is a concrete entity. It is in many instances a single physical object (e.g., a copy of a one-volume monograph, a single audio cassette, etc.). There are instances, however, where the entity defined as item comprises more than one physical object (e.g., a monograph issued as two separately bound volumes, a recording issued on three separate compact discs, etc.). In terms of intellectual content and physical form, an item exemplifying a manifestation is normally the same as the manifestation itself. However, variations may occur from one item to another, even when the items exemplify the same manifestation, where those variations are the result of actions external to the intent of the producer of the manifestation (e.g., damage occurring after the item was produced, binding performed by a library, etc.)."@en .
"Ejemplar"@es .
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"Manifestation"@en .
"Manifestation"@en .
"The physical embodiment of an expression of a work."@en .
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"The entity defined as manifestation encompasses a wide range of materials, including manuscripts, books, periodicals, maps, posters, sound recordings, films, video recordings, CD-ROMs, multimedia kits, etc. As an entity, manifestation represents all the physical objects that bear the same characteristics, in respect to both intellectual content and physical form. When a work is realized, the resulting expression of the work may be physically embodied on or in a medium such as paper, audio tape, video tape, canvas, plaster, etc. That physical embodiment constitutes a manifestation of the work. In some cases there may be only a single physical exemplar produced of that manifestation of the work (e.g., an author's manuscript, a tape recorded for an oral history archive, an original oil painting, etc.). In other cases there are multiple copies produced in order to facilitate public dissemination or distribution. In those cases there is normally a more formal production process involved, and a publisher, producer, or distributor takes responsibility for the process. In other cases there may be only a limited number of copies made of an original exemplar for purposes such as private study (e.g., a dubbing of an original recording of a piece of music), or preservation (e.g., a photocopy produced on permanent paper of an author's original typescript). Whether the scope of production is broad (e.g., in the case of publication, etc.) or limited (e.g., in the case of copies made for private study, etc.), the set of copies produced in each case constitutes a manifestation. All copies produced that form part of the same set are considered to be copies of the same manifestation. The boundaries between one manifestation and another are drawn on the basis of both intellectual content and physical form. When the production process involves changes in physical form the resulting product is considered a new manifestation. Changes in physical form include changes affecting display characteristics (e.g., a change in typeface, size of font, page layout, etc.), changes in physical medium (e.g., a change from paper to microfilm as the medium of conveyance), and changes in the container (e.g., a change from cassette to cartridge as the container for a tape). Where the production process involves a publisher, producer, distributor, etc., and there are changes signalled in the product that are related to publication, marketing, etc. (e.g., a change in publisher, repackaging, etc.), the resulting product may be considered a new manifestation. Whenever the production process involves modifications, additions, deletions, etc. that affect the intellectual or artistic content, the result is a new manifestation embodying a new expression of the work. Changes that occur deliberately or even inadvertently in the production process that affect the copies result, strictly speaking, in a new manifestation. A manifestation resulting from such a change may be identified as a particular \"state\" or \"issue\" of the publication. Changes that occur to an individual copy after the production process is complete (e.g., the loss of a page, rebinding, etc.) are not considered to result in a new manifestation. That copy is simply considered to be an exemplar (or item) of the manifestation that deviates from the copy as produced."@en .
"Manifestaci\u00F3n"@es .
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"Object"@en .
"Object"@en .
"A material thing."@en .
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"The entity defined as object encompasses a comprehensive range of material things that may be the subject of a work: animate and inanimate objects occurring in nature; fixed, movable, and moving objects that are the product of human creation; objects that no longer exist. For the purposes of this model objects are treated as entities only to the extent that they are the subject of a work (e.g., as the subject of a scientific study, etc.)."@en .
"Objeto"@es .
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"Person"@en .
"Person"@en .
"An individual."@en .
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"The entity defined as person encompasses individuals that are deceased as well as those that are living. For the purposes of this model persons are treated as entities only to the extent that they are involved in the creation or realization of a work (e.g., as authors, composers, artists, editors, translators, directors, performers, etc.), or are the subject of a work (e.g., as the subject of a biographical or autobiographical work, of a history, etc.)."@en .
"Persona"@es .
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"Place"@en .
"Place"@en .
"A location."@en .
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"The entity defined as place encompasses a comprehensive range of locations: terrestrial and extra-terrestrial; historical and contemporary; geographic features and geo-political jurisdictions. For the purposes of this model places are treated as entities only to the extent that they are the subject of a work (e.g., the subject of a map or atlas, or of a travel guide, etc.)."@en .
"Lugar"@es .
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"Work"@en .
"Work"@en .
"A distinct intellectual or artistic creation."@en .
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"A work is an abstract entity; there is no single material object one can point to as the work. We recognize the work through individual realizations or expressions of the work, but the work itself exists only in the commonality of content between and among the various expressions of the work. Because the notion of a work is abstract, it is difficult to define precise boundaries for the entity. The concept of what constitutes a work and where the line of demarcation lies between one work and another may in fact be viewed differently from one culture to another. Consequently the bibliographic conventions established by various cultures or national groups may differ in terms of the criteria they use for determining the boundaries between one work and another. For the purposes of this model variant texts incorporating revisions or updates to an earlier text are viewed simply as expressions of the same work (i.e., the variant texts are not viewed as separate works). Similarly, abridgements or enlargements of an existing text, or the addition of parts or an accompaniment to a musical composition are considered to be different expressions of the same work. Translations from one language to another, musical transcriptions and arrangements, and dubbed or subtitled versions of a film are also considered simply as different expressions of the same original work. By contrast, when the modification of a work involves a significant degree of independent intellectual or artistic effort, the result is viewed, for the purpose of this model, as a new work. Thus paraphrases, rewritings, adaptations for children, parodies, musical variations on a theme and free transcriptions of a musical composition are considered to represent new works. Similarly, adaptations of a work from one literary or art form to another (e.g., dramatizations, adaptations from one medium of the graphic arts to another, etc.) are considered to represent new works. Abstracts, digests and summaries are also considered to represent new works."@en .
"Obra"@es .
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"complementsExpressionFromExpression"@en .
"complements (expression) (from expression)"@en .
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"Relates an expression of a work to an expression of a prior work that it is intended to be combined with or inserted into, but was not part of the original conception of the prior work. The content may be closely or loosely connected, so the complementary work may be referential or autonomous with respect to the prior work."@en .
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"es complemento (expresi\u00F3n) de (expresi\u00F3n)"@es .
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"complementsWorkFromExpression"@en .
"complements (work) (from expression)"@en .
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"Relates a work to an expression of a prior work that it is intended to be combined with or inserted into, but was not part of the original conception of the prior work. The content may be closely or loosely connected, so the complementary work may be referential or autonomous with respect to the prior work."@en .
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"es complemento (obra) de (expresi\u00F3n)"@es .
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