Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Publications
  3. Publishing partners
  4. Facet Publishing
  5. Content Listing

Refine listing

Refine listing

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

5856 results in Facet Publishing

Page 138 of 293

  • Key points

  • Tim Padfield
  • Book:
    Copyright for Archivists and Records Managers
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp xv-xviii

  • Summary

    There are some points about copyright which it might be helpful to set out in advance, though they are also covered in detail later in this book. Some of these points answer common, elementary questions about copyright, so it is worth studying them carefully first:

  • • Copyright arises automatically: a work is in copyright as soon as it is created, and no registration or formality is required though an assertion of one of the moral rights is necessary (see 1.1.5, 8.1.5).

  • • Copyright protects original works (see 1.1.6) of the mind or ‘authorial works’ (original literary, dramatic, musical and artistic works, and films) and ‘entrepren - eurial works’ (sound recordings, broadcasts and typographical arrangements of published editions) (see 1.1.3–4). It does not protect ideas or facts (see 2.1.4–5). There are also separate but related rights, such as moral rights, database right and performers’ rights (see 1.1.3, 8.1, 8.2, 8.5).

  • • More than one copyright may subsist in a single work, and frequently do so in an archival file (see for instance 2.1.2, 7.9.1). A primary question is, what work or works am I dealing with? If there is written material, might there be more than one work (an introduction by another author, for instance)? Is there a copyright in the typographical arrangement (see 2.6.15)? Identify each artistic work (maps, photographs, drawings). A film is bound to consist of many different works (see 2.4.6).

  • • The first owner of copyright in an authorial work is usually the author, the creator (see 2.1.17–18, 3.2.1). The first owner of copyright in an entrepreneurial work is usually the person or body that financed it (see 1.1.6, 2.4.4, 2.5.4–5, 2.6.7–9, 2.6.12, 2.6.16, 8.2.8).

  • • If the author of an authorial work is an employee and creates the work in the course of employment, the first owner of the copyright is the employer, whether an individual, a company or some other organization (see 3.2.12–16).

  • • A volunteer worker is not an employee and so is the first owner of the copyright in his or her work (see 3.2.21). A record office would be well advised to obtain assignments of copyright (see 3.3.8) from all volunteers before they start work so that the copyright in the results of their efforts (for instance catalogues) belongs to the record office.

  • 14 - Classification scheme application

  • Vanda Broughton
  • Book:
    Essential Classification
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp 153-160

  • Summary

    When the content of the document is decided, and the concept analysis made, the time has come to translate this into the specific language of your chosen scheme. We shall examine several of the general schemes in detail, but first we are going to look at the general appearance and features of a classification scheme, and how to go about using one.

    For the beginner classifier one of the greatest difficulties lies in simply navigating the scheme. This is because at the outset you have little idea of the overall order and structure of the scheme, and no expectation of what you might find in terms of the vocabulary or level of detail. This feeling is multiplied if you're not familiar with any scheme, since the general idea of which topics belong in which discipline tends to be common to them all – what we call consensus – and knowledge of one system is helpful in second guessing the location of classes in another.

    Don't therefore be alarmed, if, when you start cataloguing, you spend a long time looking for things – this is quite usual and you will soon speed up when you get to know the scheme better.

    In this chapter we'll look at the various parts of a published schedule, and examine some ways to help you find your way round a big scheme.

    The composition of the classification scheme

    A classification scheme consists of two parts: the systematic display (or schedules) and the index. Both are important in the application of the scheme, and you should examine both carefully when classifying.

    The index

    We'll begin with the index, because this is where, as a novice, you will have to start.

    In Chapter 4 we discussed how an aspect classification scatters the various aspects of an entity, using the rabbit as an example. The index is very important because it is where the distributed relatives are brought together in an aspect classification and where you find out all the possible places to put a book about rabbits. Although you might make an educated guess at where your subject occurs, you will need the index to discover for certain the various places where your subject is provided for. If you go straight to the schedule you may miss a better location for your document.

  • 4 - Publication, exhibition and performance

  • Tim Padfield
  • Book:
    Copyright for Archivists and Records Managers
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp 99-110

  • Summary

    Significance and nature

    The terms ‘publication’ and ‘published’ need to be approached with care because they are applied to different aspects of copyright law in rather different ways:

  • • Whether a work has been published or not is a matter that can affect its qualification for copyright protection (see 3.1).

  • • The act of publication, which is irrevocable, may have consequences for the duration of copyright (so long as publication was authorized by the copyright owner). It also ‘exhausts’ the copyright owner's rights in that particular copy of the work, so that a book may be sold second-hand for instance (see 5.1.3).

  • • Unauthorized publication of a work, whether previously published or not, is an infringement (see 5.1.3), but perhaps oddly does not result in an unpublished work becoming, for copyright purposes, a published one (see 4.1.9).

  • • First publication of an unpublished literary, dramatic, musical or artistic work or a film in which copyright has expired creates a new publication right for the publisher (see 8.3). However, if such a work is first published while still in copyright, publication right can never be applied to it.

    • The definition of publication contained in the 1988 Act as altered by regulations made in 1996 applies to all copyright works, whether they were made under earlier legislation or not. Previous definitions of publication, therefore, have little practical relevance. Besides the issues outlined above, an archivist or records manager needs to be able to distinguish between published and unpublished works because the legal provisions concerning copy - ing by libraries and archives differ between published and unpublished material, which affects how much of a work may be copied, by whom and for what purposes (see 5.4).

    One of the quirks of copyright is that a work of architecture commenced on or after 1 August 1989 is published when it is constructed. Any building commenced before that date remains unpublished (but see 2.3.4).

  • 15 - Library of Congress Classification 1: basic classmark construction

  • Vanda Broughton
  • Book:
    Essential Classification
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp 161-182

  • Summary

    The Library of Congress Classification (LCC) is unusual among the general schemes in that it was originally a scheme intended for a single library, with no expectation that it would ever be used in any others. Today it is one of the two dominant classification schemes, certainly in the Western world (the other being the Dewey Decimal Classification). It's a popular choice for academic libraries, particularly university libraries, but also for specialist collections in some subjects. It is also used in one British public library (Edinburgh), but is more common in public libraries in the United States.

    Undoubtedly the management advantages of using LCC have influenced modern libraries. The free availability of records on the Library of Congress catalogue, and big union catalogues which include LCC records (such as COPAC in the UK), as well as the excellent bibliographic services offered by the Library of Congress, are very attractive at a time when most libraries regard copy cataloguing as the norm, and do little original cataloguing work.

    History of the Library of Congress Classification

    The Library of Congress itself was founded by order of Congress in January 1802, by ‘An Act concerning the Library for the Use of both Houses of Congress’. This provided for a room for the collection of 740 books (which had been purchased by Senator Samuel Dexter in the previous year), the establishment of rules for the use of the Library, and the appointment of the first librarian, John Beckley. In April 1802 he was able to issue the first catalogue, in which the shelf arrangement is recorded: this was by size.

    In 1812 a subject approach was applied for the first time, the classification used being that of the Library Company of Philadelphia, an independent research library. This classification was based on an adaptation of Bacon's system used in the Encyclopédie of Diderot and d'Alembert. The Library of Congress used only 18 of Philadelphia's 31 main classes, and within each class the books were subdivided by size and arranged alphabetically.

    In 1814 the Capitol, including the Library of Congress, was burned by the British, and most of the collection was lost. Thomas Jefferson offered to sell Congress his own library, which was organized by his own system of 44 main classes, again based on Bacon/d'Alembert.

  • Preface

  • Tim Padfield
  • Book:
    Copyright for Archivists and Records Managers
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp xi-xiv

  • Summary

    This book was written by a retired archivist who worked his entire career in one archival institution and who has had limited legal training. It does not constitute formal legal advice. Archivists and records managers should seek advice from a specialist intellectual property lawyer if they are in any doubt about their legal position or the legality of any action they might wish to take. Also, archivists and records managers themselves should always make abundantly clear to those who consult them that any advice they offer on copyright issues, including the subsistence and ownership of copyright in particular works, does not constitute legal advice or authority to use material protected by copyrights that they do not administer.

    As this book is aimed at archivists and records managers, and at researchers in archives, and not at lawyers, it contains a lot of legal references. Although the primary authority for the law as set out here is statutes and statutory regulations, the UK legal system relies heavily for the interpretation of statutes on the decisions of judges in cases they have heard, including the judges of the Court of Justice of the European Union. As a result, the advice in this book on how the law is applied in particular circumstances derives largely from reports of those cases. The statutes and regulations alone are not enough.

    The references to authorities (treaties, directives, statutes, statutory instruments, law reports) given in the footnotes to each paragraph are abbreviated; full citations appear in the table of authorities (see Chapter 11). Statutes are referred to simply by year (and, where necessary, a word), statutory instruments and regulations by their number and cases by title. There are also a few citations of legal opinions preserved in original documents; the full references are given at 10.1. It is now nearly a decade and a half since the first edition of this book and five years since the last edition. There has been a great deal of change to copyright since 2010, though not as much as I had hoped. When I first started studying copyright, I realized quickly that it contains some absurdities. Most preposterous of all is the duration of copyright until the end of the year 2039 in many unpublished materials, regardless of whether they were created in 1066 or 1966 (see 1.1.7).

  • 17 - Dewey Decimal Classification 1: general properties and basic numbers

  • Vanda Broughton
  • Book:
    Essential Classification
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp 199-218

  • Summary

    The Decimal Classification, devised by Melvil Dewey, is the oldest of the classification schemes still in common use, and by far the most widely used. It is the scheme that most non-librarians are familiar with, and indeed few of them will be aware of any other library classification.

    Although it is the oldest scheme, I have chosen to place it after the Library of Congress Classification, since the latter is a somewhat simpler scheme to apply and doesn't show the complexity of operation that DDC now does. DDC is an enumerative scheme with analytico-synthetic features and as such sits quite neatly between LCC and UDC.

    DDC is used all over the world and in all types of libraries, although most British readers will think of it as the ‘public library’ classification, since there is only one British public library which doesn't use it. It's also the predominant classification in school libraries. As it becomes more detailed and with more facilities for number building, it has increased in popularity as a scheme for academic libraries. Despite the fact that its publishers claim it to be used by 20% of special libraries in the US, it's probably not sufficiently specific for many special libraries or those with a great deal of technical material.

    DDC is quite exceptionally well supported institutionally, and this is undoubtedly one of the reasons for its tremendous success. DDC classmarks appear on all Library of Congress catalogue records, and its editorial office is located there, which enables close monitoring of trends in documentation and the emergence of new topics. It has for several decades been the classification used in the British National Bibliography, and it was adopted by the British Library for the organization of the Reading Room collections at the new library when it opened.

    OCLC, the Online Computer Library Center, a not-for-profit organization, publishes the classification, and maintains WorldCat, a two billion item database of records, which include DDC data, from 10,000 libraries across the globe. OCLC also undertakes research and has a number of interesting projects in the area of vocabulary management and automatic indexing, some of which are concerned with developing new roles and applications for the classification.

    Formal maintenance and revision of the classification is undertaken by the editor-in-chief and assistant editors under the guidance of the Editorial Policy Committee.

  • 5 - Use

  • Tim Padfield
  • Book:
    Copyright for Archivists and Records Managers
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp 111-182

  • Summary

    Introduction

    The law of copyright gives certain rights to the owner of the copyright in a work, but users of a copyright work do not themselves have rights. Rather, in accordance with the common law tradition of the public having liberties rather than rights, they can exercise certain freedoms granted to them by the law, which limit the rights of the copyright owner in various ways.

    The copyright owner has the exclusive right for the limited term of copyright to do the things set out below with his or her copyright work, and to allow other people to do them (see 5.2.2). These rights are subject to the exceptions and limitations that set out the freedoms available to users (see 5.3 and 5.4) and are subject also to the rights of others (see 1.1.3). Some of these rights, known as ‘acts restricted by copyright’, are dealt with in more detail elsewhere, as shown. Carrying out any of these acts without permission and outside the scope of the exceptions and limitations is an infringement (see 5.1.9–17).

    Copying

    The copyright owner has the exclusive right (see 5.1.1) to copy or authorize the copying of a work of any type (but see 5.3, 5.4). This includes any form of copying including, for instance, manual transcription, tracing, photocopying, digitization and the saving of a copy within a computer (see also 2.1.3, 5.1.8). A transient copy made by a computer simply in order to display a work on screen should not infringe (but see 6.1.2), nor does a copy made by an internet service provider in innocently transmitting a work. There is no infringement by making a similar, or even identical, work independently, but if the author of the new work had access to the earlier one he or she is assumed to have copied in the absence of evidence to the contrary (see 2.1.8, 2.1.12).

    The unauthorized copying of a three-dimensional work in two dimensions (and vice versa) is certainly an infringement only if it is an artistic work. It would therefore be an infringement to make a topographical model from a map.

  • 13 - Library of Congress Subject Headings 2: structured headings

  • Vanda Broughton
  • Book:
    Essential Classification
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp 131-152

  • Summary

    In the previous chapter we considered how to express the complete content of a document by using more than one heading. Most of the headings used to illustrate Chapter 12 were pre-coordinated headings, combining more than one concept, such as Ecclesiastical embroidery or Wildlife conservation. In fact it's quite hard to find headings that are not pre-coordinated in this way.

    There is another way for you to combine concepts in LCSH, and that is through the use of structured headings. A structured heading, like a pre-coordinated heading, has two or more concepts combined, but instead of merging them into a natural language phrase, the conceptual structure is displayed using dashes, rather as we've done with the concept analyses or subject strings.

    Examples

    Bumblebees– –Fiction

    Archipelagoes– –Guadeloupe

    Jigsaw puzzles– –Collectors and collecting– –United States

    Cucumbers– –Bibliography

    Tightrope walking– –France– –Case studies

    Chickens in art– –Exhibitions

    Dentures– –Drama

    The normal practice when typing out or entering structured headings is to use a double dash (Bumblebees– –Fiction). This is to distinguish the structured heading from one that simply contains a hyphen (Animalwater relationships or Sugar-beet web-worm).

    Structured subject headings fall into three broad categories:

  • • headings with topical subdivisions

  • • headings with geographical subdivisions

  • • headings with free-floating subdivisions.

    • Topical subdivisions

    Topical subdivisions, or subject subdivisions, are those subdivisions of a heading that are enumerated in the main list of headings. That is to say, LCSH gives us the subdivision, ready-made for use. Just as in the case of the main headings, valid topical subdivisions are shown in bold. Here are some examples:

    Saturn (Planet)

    Saturn (Planet)– –Exploration

    Saturn (Planet)– –Influence on man

    USE Human beings– –Effect of Saturn on

    Saturn (Planet)– – Mythology (May Subd Geog)

    UF Saturn (Planet) (in religion, folklore, etc) [Former heading]

    Saturn (Planet)– –Orbit

    Saturn (Planet)– –Phases

    Saturn (Planet)– –Ring system

    Saturn (Planet)– –Rings

    USE Saturn (Planet)– –Ring system

    Saturn (Planet)– –Satellites

    Saturn (Planet)– –Satellites– –Ephemerides

    This is just a selection of the topical subdivisions under Saturn (Planet). I've left out some of the intervening text, so that you can see the structure more clearly; as a result the BTs and so on are missing here, but you can still see the references from unused terms (non-bold) to preferred terms (bold).

Copyright for Archivists and Records Managers
  • Tim Padfield
  • Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015
  • The fifth edition of this respected work has been extensively revised and updated to include: a description of the major changes to copyright exceptions and limitations for libraries and archives including the changes to permit preservation copying and copying for users of any kind of work, a simplification of the declarations required from users and a new exception permitting onsite access to digital material; a description and discussion of the new schemes for orphan works; a description of the other changes to exceptions for copyright and performer's rights, notably education; quotation; caricature, parody and pastiche; text and data mining; disability; and private copying; a revision of the views expressed on the exhibition of literary, dramatic and musical works; an explanation of why a digital photograph, consisting of a numerical file, is still an artistic work; a description of the changes in duration for sound recordings and especially for sound recordings of performances and for copyright in songs; analysis of new copyright legislation in the Channel Islands and other British overseas territories; an explanation of how national courts decide whether they have jurisdiction over the infringement of copyright on the internet; a description of changes to Crown copyright licensing and the licensing of public sector information; a new section giving links to useful websites; consideration of the many copyright cases that have come before the courts the last few years that have provided help with the interpretation of many aspects of the legislation. Some notable examples are on the meaning of 'transient and incidental', 'scientific research', 'parody' and 'originality'; whether hyperlinking infringes; the importance of a signature on an assignment; the terms that may be implied into a licence; and the relationship between the rights of a copyright owner and freedom of speech.

  • 1 - Introduction

  • Vanda Broughton
  • Book:
    Essential Classification
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp 1-4

  • Summary

    Classification is everywhere. We classify birds and animals, languages and ethnic groups, stars, volcanoes, minerals and clouds, wine and blood, and colours and roses. We classify diseases, occupations and social status; the size of notepaper (grand eagle, elephant and pott); the dimensions of icebergs (small, bergy bits and growlers); and brandy (mellow, pale and superior).

    It is natural to the human mind to classify, and essential if we want to make sense of the world, which is full of unique creatures and objects. Each day we encounter hundreds of these which we might never have seen before, but the process of classification allows us to recognize a street lamp, a dog, a magazine, a train, sandwiches for lunch, bananas, music on the radio, and make sense of those things. We don't need to investigate and learn about every new event in our lives because most of them conform to other objects and phenomena in our personal experience; we know what to expect of a dog or a banana, since they are similar to dogs and bananas we already know.

    Everybody can and does classify, and if we spend so much time and energy classifying the world about us, it is natural to attempt to organize our stores of information about the world. It's necessary, too, to have systems for managing stored information in a way that allows us to find it again – systems that use our human classificatory skills to organize, to match, to predict and to interpret.

    This is a book about some of the systems which people have created for organizing information. It also examines the problems we face in sorting out the relationships between subjects, and imposing order on chaos. It's about the nature of knowledge as it is found in books and other information-carrying media. It is also first and foremost a book about how to classify. The emphasis throughout is on the activity of classification rather than the theory, the practical problems of the organization of collections, and the needs of users.

    You don't need any knowledge or experience of classification to use this book. It's intended for beginners, for students, and for people working in libraries who have never had any formal education or training in classification or subject cataloguing.

  • 16 - Library of Congress Classification 2: use of tables

  • Vanda Broughton
  • Book:
    Essential Classification
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 July 2015, pp 183-198

  • Summary

    As we saw in the previous chapter, it's very straightforward to construct LCC call-marks. In most cases, the subject part of the call-mark is lifted from the schedule without any alteration. The only real intellectual work for the classifier is the creation of the Cutter number, deciding whether it should be for the author or for another aspect of the work, and contriving a number that will fit in with the existing sequence. Very often, even this isn't required, as LCC is so fond of lists that it offers thousands of ready-made subject Cutters.

    There are, however, some areas where more detail can be achieved by a limited sort of number building, and you normally do this by using tables.

    Tables in LCC

    LCC is quite unlike any other classification in its use of tables. In most schemes you would expect to find commonly occurring concepts, such as place, time or form, provided for in a general table to be used throughout the system. This is what happens in DDC and UDC, and of course has its equivalent in LCSH in the free-floating subdivisions.

    In LCC every table is special to the place where it is applied. Even where a table is used frequently in a particular main class (as happens in Class H, Social sciences) it can still be used only where the instructions permit. For example, in the part of the schedule shown in Figure 16.1, Table 21 can be used to expand the classes for Bisons (sic), Edible birds’ nests, Edible caterpillars, Edible snails and Kangaroos, but Table 23 must be used for Goats. You can't use a table to expand Rabbits since there is no instruction to do so, but some enumerated classes are provided.

    This means that adding notation from tables is a laborious business since there is no single consistently used table for common concepts, nor is there any mnemonic value in the notation, since it hardly ever remains the same in two different classmarks.

    In the online version of LCC the tables are very easy to use: when you click on the link to a table it pops up and inserts itself into the schedule, working out the numbers for you.

Page 138 of 293