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AustLit: The Australian Literature Resource

C. Guidelines for Special Work Types and Work Forms

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C.1 Author Biographies

1. The primary role of the biography is to demonstrate the agent's significance. Biographies for Austlit are limited to three hundred words with some flexibility depending on the significance of the author. This limit makes it essential for each biography to present the significant aspects of a person's life clearly and concisely. To achieve this, ask yourself the following questions when preparing a biography:
   
   • What is the most significant contribution the person has made to Australian literature? Is the person remembered primarily for a particular poem or novel? Is the person remembered for their 'place' in Australian literature (e.g. Caroline Leakey's novel, The Broad Arrow, is not considered 'great' literature, but it is one of the first novels that uses a convict as a primary character). What are the major themes or issues that concern this person?
   
   
   
   • What aspects of this person's life significantly affected this contribution? Are certain aspects of the person's life significant to Australian literary culture? NOTE RELATIONSHIPS WITH OTHER LITERARY FIGURES AND ADD (q.v.) AFTER THEIR NAMES, the standard reference indicating that an entry/record for the person etc. named exists elsewhere in the book/database e.g. the comment in Charles Chomley's biography 'Chomley is the uncle of Martin Boyd (q.v.). You may create a hyperlink as well.
   
   
   
   • How has this person's life and work been recorded (e.g. literary criticism, biographies, inclusion in anthologies, new editions etc.)?
   
   
   
   • To get a sense of the importance of the person it is best to consult a number of sources (e.g. ADB, Oxford Companion, short and long biographies) because their reputation might change significantly within a decade. When you have answered these questions, little room will be left for general information about birth-dates, birth-place, deaths etc. This type of information is already contained in the agent's record. Use it sparingly in the biography.
   
   
   
   • Have a look at the following examples:
     
     John Lang:http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A%236K http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A%236K
     
     Christopher Brennan: http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A)X%2c
     
     Eve Langley: http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A(@p
     
     Sally Morgan: http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A%2bv!
     
     Peter Porter: http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A$bG
   
   
   
2. Biographies for living and deceased authors will have to be treated differently. The biography of a deceased author will remain relatively stable. A living author's biography is subject to change (marriages, divorces, births, employment etc.). Because of this, observe a more acute literary focus. DO NOT RECORD MARITAL RELATIONSHIPS FOR LIVING AUTHORS.



3. There will be very few opportunities to update biographies, so keep the biographies of living authors as open-ended as possible. We need to word them in such a way that they will not become quickly outdated. Try to use 'timeless' phrases such as 'has lived' (rather than 'lives'), 'has taught' (rather than 'teaches') when we don't have specific dates. When modifying information from a website or other source it will usually be necessary to rephrase sections, change the tenses and delete words such as 'currently' which anchor the biography in the present.



4. When writing the biography, consider the user and the electronic environment in which the biography is held. The page in which the author's details and biography are presented is one point within the network of information provided by Austlit. Think of the biography as a brief point of reference for the user's further explorations. Therefore try not to provide distractions:
   
   • Do not write with overt subjectivity. You may think the author is great, but the user might not agree.
   
   
   
   • Do not present the author familiarly. Use the author's last name as the subject of your sentences, not their first name. If the first name of a female author has to be used for clarity, use it sparingly. For example, see the record for Barbara Baynton: or both http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A(Vn.
   
   
   
   • Do not make lists of everything an author wrote and try not to repeat information that can be found elsewhere in Austlit. Works to be mentioned in the biography include important works outside AustLit scope which show that the author was an expert in or published widely in a non-literary field e.g. Donald Horne, Manning Clark, Robert Hughes. Include the tiles of the works and the date of first publication.
   
   
   
   • Awards and honours should not be listed in the biography if they can be listed in the searchable Award field but they can be mentioned generally.
   
   
   
   • Avoid awkward sentences and confusing presentations of time. Always write in complete sentences. Try to tell the story of the person's life with clarity so that the significant details are easy to remember. Imagine you are explaining the significance of the person to a friend who has only two minutes to spare.
   
   
   
   • Be mindful of privacy issues. This is most prevalent to living authors. Do not record private information unless the information has been verified or is available in the public domain. If you are unsure, store the information as a private note until the information can be verified.
   
   
   
   • Always use the Bio source field to record the sources - published and unpublished, both print and electronic - that you have used to write your biography.
   
   
   



5. Within the biography field, follow the rules for capitalisation, representing titles and citing references as set out in the manual section E.1 E. 1 Writing Style and Format.

Before saving the biography, double-check your writing and make sure the details are correct.

All biographies should be marked private until checked by a reviewer.

C.2 (A) Author Focused Work

The aim of this comprehensive bibliographic research is to make available a full representation of the separately published works, and careers to date, of individual writers, together with a representation of major critical works about them.

The compilation of a full author record for AustLit requires the following information:

Agents

• Dates and places of birth and death



• Name variations and pseudonyms used. Careful thought needs to be given to the choice of the Common name - check reference sources to make sure there is agreement. If in doubt check with content manager. If a pseudonym is used as the common name it should be enclosed in single quotes. Refer also to Manual E.3. Form of Names and Titles/Honorifics for further guidance.



• Biographical outline of writer's life - a short 200-300 word note about the author and his/her literary career. Refer to guidelines on Author Biographies. Record the sources of the information in the Biog. Source field.



• Archives: This does not display on the AustLit record. Use this attribute to record holdings of major collections you find from your Libraries Australia search and/or by doing the AustLit Literary Archives search.
  • Use for a body of papers only, not for single items.
  
  
  
  • Use NUC symbols for locations or define institutional identity in the Archives attribute note field. Use only the top-level NUC symbol - NSL not NSL:M; QU not QU:FRYER. Order alphabetically for multiple locations.
  
  
  
  • List institution only. No local ID numbers. No collection numbers. Users will find items through their catalogues.
  
  
  
  • Overseas material: Do not search for these - add if known.
  
  
  
  • Consult with content manager if in doubt.
  
  
  



• Merge duplicate agent records where they exist.



• Check for best author photograph from the National Library collection and link using the NLA Image Id



• Make changes to the public record if your research alerts you to an error.




Works

• Fill in the gaps in the current representation. There are large numbers of records already in AustLit, but many authors will be inadequately represented and many work records will be incomplete: they may be lacking multiple edition details (including first edition details), translations, ISBNs, extent details and full description of illustrations.



• Review the currently listed works by the author in AustLit first. Check other sources for additional works - other editions, translations, revisions, etc. Start with Libraries Australia, double-check using other overseas libraries e.g. WorldCat, British Library, Index Translationum, Karlsruher etc. Each indexer should set up their own list of sources to check, using the References for Secondary Sources list and bookmarking URLs for available electronic resources



• In many cases, it will be a bit like filling in the pieces of a jigsaw puzzle and you may find it useful to start a collection of print-outs of library or Libraries Australia records with holdings details, photocopies of bibliographic references etc, until you have a fairly clear idea of the full history of an agent's creative works.



• Braille, sound recordings, large print editions are recorded using a work level Other Formats attributes which has its own F2 menu for wording.



• A completed record will have:
  1. Full bibliographical details of the first editions of each separately published work
  
  
  
  2. Full details of subsequent editions, particularly translations, revisions and new editions, together with details of reprints readily available. It is not necessary to have a complete representation of multiple reprints.
  
  
  
  3. Sighted information: If your home institution holds the work, sight it there (Refer to Sighting instructions) and record the NUC code for your library in the field e.g. QU, QSL, NUN. If the item is not held by your home institution list several partner libraries that do, preceded by ns@ - e.g. ns@ADFA. Sight pulp fiction and self-published works only in cases of uncertainty. Arrange sighting at other institutions or through Document Delivery.
  
  
  
  4. Publisher series information . Use the Part of Publisher Series attribute and the Series Number field to record this.
  
  
  
  5. 'Written as' information. Use the Written as field for this.
  
  
  
  6. 'Title note'. Record any information about title variations in 'Title note' field
  
  
  
  7. Notes to record any information of relevance.
  
  
  
  8. Appropriate maintenance notes, including notes about content and subject indexing needed - TBI, SIN etc.
  
  
  



• Multicultural Writers: list only first editions if works are published in Languages other than English. Use a note to record titles with their correct diacritics.
• Pulp Fiction: List only separately published works.



• Children's Literature:
  - No readers or information books; significant publication in this area may warrant mention in the author's biography
  - Any works with 420s Dewey numbers are definitely readers and anything that has Dewey numbers outside of the range A819 to A823 should be regarded suspiciously
  




Libraries Australia Searching

1. • Use Browse function in the National Bibliographic Database (NBD), to discover all of the author's works listed under variations of the common writing name: choose the Browse option; type in surname of the author; search for variations of the author's name also, e.g. if your author is Fogarty, Lionel George, you would also search for Fogarty, Lionel and even Fogarty, L. G.
   
   
   
   • The browse list looks like this:
     4 Fogarty, L.
     1 Fogarty, Leslie
     4 Fogarty, Liam G.
     1 Fogarty, Lionel
     12 Fogarty, Lionel George
   
   
   
   • The numbers refer to works listed under that name. Thus, searching the Browse list tells you that you should find a total of 13 entries for your author when you do a search for his works, plus another 4 that should be investigated as possibilities (Fogarty, L.). Apart from looking for variations of the author's name in the Browse list, this browse function should also be used to check under any pseudonyms the author might have used.
   
   
   
Interpreting Libraries Australia records:
• Use as a guide



• If in doubt sight



• Always work in the full view, but check the brief view as well because this sometimes has information about printing not in the full view. The complete information is also found in the Librarians' View so this is worth checking.



• Beware of records with no holdings




C.2 (B) Children's Literature

The Australian Children's Literature subset provides information about Australian writing for children and young adults. Read the introduction to the subset page http://www.austlit.edu.au/specialistDatasets/LuRees

Scope

The Scope Policy for the children's subset does not differ from the AustLit Scope Policy. Note that Austlit includes

• critical works on Australian children's literature written by non-Australian agents



• picture books written by an Australian agent and illustrated by non-Australian agents (but not usually picture books written by non-Australian agents but illustrated by Australian agents).




Readers Series

We do not make records for works that are part of reading schemes unless they have first been published independently e.g. Judah Waten's work Bottle-O http://www.austlit.edu.au/run?ex=ShowWork&workId=CxKr

Identifying Readers series
• Library classification numbers Any works with 420s Dewey numbers or PE Library of Congress call numbers are readers and anything that has Dewey numbers outside of the range A819 to A823 are regarded suspiciously.
  A few reading schemes have been given literature classification numbers but further research has shown that they are quite definitely readers. Check whether the publisher series is already on the database and if it is check notes made on the work record for the series.



• Check ACB and other sources for any information. AustLit uses Australian Children's Books: A bibliography, Vols. 1-3 (ACB) as a guide to reader series.



• The handling and clean up of publisher series of readers and individual records for readers in the database is currently a work in progress and there are many contradictions in the database. Ideally reader series will have a note to guide indexers e.g. Momentum series: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23$gp and, slightly differently, the Spectrum Violet series: http://www.austlit.edu.au/run?ex=ShowWork&workId=C{VA .



Further questions:
• Q. There are many other readers already on the database in this publisher series can I add this one?
  A. No. Indexing practices have changed. Make an appropriate note on the agent record for the author if required. 'This author also wrote readers for children'. If the work(s) appear in ACB add a note as appropriate to the agent's record: 'For information about this author's works for children not yet included in AustLit, see Australian Children's Books by Marcie Muir and Kerry White (Melbourne: Melbourne University Press, 1992-2004).' This note is accessed through Special Function Key 2. Significant publication in this area can be covered by information in an author's biography e.g. Lois Krok: http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A%23ra . We can also use the F2 text where some readers are listed in ACB. Edel Wignell http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A(XQ



• Q. This is a text book and is out of scope what shall I do?
  A. Make an appropriate note on the agent record for the author 'This author also wrote non-fiction/school text books for children' OR 'The author has written educational texts for chidren in the Bookshelf, Crackers, Momentum and Wings readers series http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A-zJ If the work(s) appear in ACB add a note as appropriate to the agent's record: 'For information about this author's works for children not included in AustLit, see Australian Children's Books by Marcie Muir and Kerry White (Melbourne: Melbourne University Press, 1992-2004).' This note is accessed through Special Function Key 2.



• Q. This reader and text book that are out of scope already have a single work record on the database.
  A. If it is agreed that the work is out of scope ensure information is recorded as appropriate on author or publisher series records. Any reviews of the work or articles about the work and agents attached to the work need to be investigated and amended/deleted before the work is deleted. Some of the un updated records in the database may be out of scope. Check with your supervisor first before deleting.



• Q. I have read the Scope Policy but I am still unsure whether this work is in scope.
  A. Refer the work to the Content Manager for a decision.




Children's Fiction Forms

For a complete list of Form Terms see the Form Terms authority list.

• Children's fiction is used for all children's fiction, regardless of length. It includes nearly all fiction and illustrated fiction works written for children pre World War II and fiction and illustrated fiction written for older children pre the 1960s.



• Novel, Novella and Short story are used to index adult and young adult fiction. However, in indexing fiction written for children, these terms are not used. Instead a separate form Children's fiction is used in recognition of the difficulty of assigning more specific categories to fiction that varies in length and character and in nature over time.



• Form terms Picture book, Poetry and Drama are assigned to works written for children where appropriate



• A Picture book is an illustrated book where the text and illustrations work together to tell a story, both elements being integral to the work as a whole eg Graeme Base's Animalia. As a guide, works intended as picture books are those written post World War II, usually with 32 pages or less, having artistic and literary unity with the illustrations extending the meaning of the text. The Children's Book Council of Australia (CBCA) Picture Book of the Year award was first instituted in 1955 recognising the development of the form. Picture books can also be written for young adults and for adults. See Guidelines on Illustrations and Picture Books for further information.



• Picture Book, Children's Fiction or Poetry ?
  
  - Early works written for children are given the form Children's fiction see Tasmanian Friends and Foes by Louisa Anne Meredith http://www.austlit.edu.au/run?ex=ShowWork&workId=C@JS .
  
  - In the 20th Century the nature of children's fiction began to change. The CBCA instituted a Picture Book of the Year award in 1952 to acknowledge the development of the picture book post World War II. Works previous to World War II, even those known for their illustrative content, such as Elves and Fairiesof Ida Rentoul Outhwaite (1916) http://www.austlit.edu.au/run?ex=ShowWork&workId=C%7DwH&mode=full are to be given the form Children's fiction, Poetry or Drama.
  
  - Library catalogues and author/publisher websites can help with decisions on whether a book should be classed as a Picture book or as Children's fiction. Size, shape and pagination are a clue. Library call numbers can also be a clue and the author/publisher may have the work listed under a category on their website. Short listed for the CBCA Picture Book award would be a good indication that a work is a picture book!
  
  - A picture book with rhyming text is usually given the form Picture book not Poetry; and verse novels, such as those by Steven Herrick, are Young adult novelshttp://www.austlit.edu.au/run?ex=ShowWork&workId=CHr2.



• The form Information book is currently under review. Current (January 2007) practise is to index only those Children's information books that win literary awards and to use other appropriate forms such as biography, autobiography, prose or (as a last resort) non-fiction.




Children's Fiction Genres

For a complete list of Genre Terms see the Genre Terms authority list.

• Genre Terms describe the sort of thing (literary style, tradition, etc.) a work is - the work is fantasy children's fiction, or a novel written for young adults. More than one genre can be used on the same record excepting for the genres 'Children's' and 'Young adult' which are not used together.



• The genre 'Children's' must be used with the form Children's fiction even though it seems to be saying the same thing. A separate genre term is necessary to facilitate genre searching



• The genre 'Children's' is used for fiction intended for a 0-13 year old audience and fiction intended for children regardless of age pre 1960s.



• The genre 'Young adult' is used for fictional works intended for an audience covering teenagers or young adults approximately 13-18 years old. 'Young adult' is a modern (late 20th century) genre. Generally the American author S. E. Hinton's work The Outsiders (1967) is seen as a turning point towards the 'Young adult' genre. The CBCA first listed works for older readers as a separate category in 1982 on the introduction of the Younger Readers award. The CBCA defines 'Young adult' as pertaining to rights of passage issues which may include relationships, drug and alcohol and sexual awareness and mental health. Works written from the 1960s can be considered as 'Young adult' while fiction written for children pre the 1960s, including works with older aged protagonists, are considered as Children's fiction in the 'children's' genre not as Novels in the 'Young adult' genre. There are some works with the genre 'Young adult' on the database pre 1960. This is an issue that needs to be addressed.




Children' s Fiction - New Works? New Expressions?

Works may often be changed on ways necessitating the creation of new works or expressions. This is particularly true of works for children.

• New expression?:
  New illustrations alone do not warrant the creation of a new expression. Add the new illustrator as a creator role attribute at manifestation level. If more than one manifestation has been illustrated by the same illustrator the name can be added as a creator role at expression level. For example, Seven Little Australians has different illustrators but the new expressions were created because of changes in the different editions of the work proper such as additional text. See http://www.austlit.edu.au/run?ex=ShowWork&workId=C3on



• Only Picture books warrant a new work when the illustrator changes. For further information see guidelines for Illustrations and Picture books.
  Translations are always a new expression.



• New work?:
  Creation of a new work is warranted if the work is transformed considerably for another audience i.e. a poem becoming a picture book eg Annette MacArthur-Onslow, The Man from Snowy River http://www.austlit.edu.au/run?ex=ShowWork&workId=CyBb. if a picture book is republished with a new illustrator e.g. Sharpur the Carpet Snake: http://www.austlit.edu.au/run?ex=ShowWork&workId=CrU}, or if a play or musical theatre or film is made based on a creative work eg Hating Alison Ashley : The Play http://www.austlit.edu.au/run?ex=ShowWork&workId=CsDY.
  The new work is always related to the work it incorporates or on which it is based.




Children's Fiction Series

Many works for children and young adults are written as an Author series defined as a collection of individual works that form a series by a single author. See guidelines for Series Author and Publisher

C.3 Criticisms, Reviews and Columns

Criticisms, reviews and columns are recorded in their own right on Austlit, however they must have a link to an eligible Austlit agent and/or work.

C.3.1 Criticisms

Literary criticism - critical essays and articles on literature and writers - from books, periodicals and newspapers discusses, analyses or evaluates a subject in an in-depth, formal manner. Criticism differs from columns in that it provides a deeper, more academic analysis of the work and/or agent being appraised. It differs from reviews in that it is not usually linked to a publication event. Criticism of an author's work is often combined with biographical information. Assign the form that reflects the greater emphasis and use subject concepts to cover other possibilities. Refer to Criticism guidelines for further information
Note: AustLit's scope includes criticism of Australian literature and writers. Literary criticism by Australian creative writers on subjects outside AustLit scope is of interest only insofar as it reflects on the writer's own work. Australian criticism of 'Asian' literature is included as this is an Australian literary response to 'Asia' and part of that subset.

C.3.2 Reviews

Reviews are articles or essays, usually published in newspapers or periodicals, which review a recent publication, performance or art event. Reviews often contain good bibliographic details and a broad overview of the work. They are usually linked to a publication event, that is they are often pieces which concern new or 'soon to be released' works, where the general focus is on 'selling' a work or evaluating a new contribution to a field of study. Other reviews, particularly in scholarly journals, may use a recent publication as a starting point to explore a subject or an author's work in a more general sense; these are still reviews but are sometimes called 'Review Essays' or 'Review Articles'.
A review which has a wider focus than a reviewed work or works can have subject concepts assigned e.g. Peter Craven's 'Review Essay' 'The Perils of the Popular' which reviews three works, including Winton's Dirt Music in the context of popular fiction writing : http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23%23Nj

C.3.3 Columns

Columns are brief articles, including newspaper columns, short journalistic type articles and short pieces of reporting in journals. The focus of these works is broad rather than in-depth. Columns can relate to works, agents, or any other Austlit matter that meets the selection criteria.

When biographical or autobiographical information about an AustLit agent appears in column format, choose the Work Form 'Column', rather than the Work Forms 'Biography' or 'Autobiography', and assign the relevant Subject Agent to the work.

C.4 Drama Guidelines

Information about a dramatic work may be entered either as a result of the performance of a work or as a result of its publication or both.

1. Performance only:
• Relevant when creating drama records from reviews of performances.



• Choose Form Drama or Drama+Radio play. Do not use form Performance.



• Enter production details in the dedicated field Production Notes at work level as fully as possible - place and date of production, name of company producing play. Include name of director in note if available. Do not choose an agent role for a director



• Enter the date of the first production of a drama in the First Date field at Expression level



• Do not create a manuscript record for a drama unless details of a specific manuscript holding can be given (if a manifestation is created for an unpublished drama a library holdings link will be generated to the frustration of our users.)



• Assign subject headings as far as possible



• Make a Maintenance note : IFR (Refer to Common Maintenance Notes guidelines.)



• Relate the work to other relevant works such as videos, films and radio plays.



• See David Williamson's drama 'Soulmates' http://www.austlit.edu.au/run?ex=ShowWork&workId=Cyxw



2. Performance and publication:
• If this drama is subsequently published enter manifestation details within the same expression box as the first date. See Louis Nowra example below.



• The first publication of a drama is its first recorded expression. If a drama has been performed before it is published, add the date of first performance in the First Date field at expression level e.g. Nowra's Summer of the Aliens, first published in 1992 but first performed in 1989. http://www.austlit.edu.au/run?ex=ShowWork&workId=CSX1



• (Where you find instances of this in the database please add the first date as described)




C.5 Electronic Journals

Definition: A Periodical and its issues that appear only in electronic form (ie. available only through a website).

When periodicals are published simultaneously in electronic and print versions, or the print version is supported by a web presence, the primary source for indexing is the print version. Often the web version is a selection from the print publication, a 'taste' or a method of advertising the new edition and will not be referenced at all on the individual issue level.

Templates:
There are two templates associated with electronic journals they are:

1. Ejournal
2. Ejournal Issue

Electronic or web-based journals and their issues are described as Periodicals and Periodical issues as this is the type of work they are. We do not use any forms to denote their electronic status as the system automatically generates an icon against all records that contain a URL. The icon symbolises that the work is available electronically.

C.5.1 Instructions for E-journal (Periodical) records

Create an ejournal Periodical record by choosing the Periodical template after a search on the title has proved that it does not exist.

A good example:
AHR: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cslk

E-JOURNAL RECORDS SHOULD INCLUDE THE FOLLOWING INFORMATION

1. WORK LEVEL

WorkType:
• Periodical.


Title (Work attribute):
• To determine the correct form of the title check a recognised authority such as such as Ulrichs Periodicals Directory (for current titles) or Libraries Australia.



• Note: If the definite article ('The') is part of the title always include it in the title field. Do not invert title , e.g. The Animist, not Animist or Animist, The: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cv7j



• Include the subtitle (i.e. any other title information after a colon) in the title area only if:
  - it is integral to the name,
  - it may be considered a search term,
  - it is regularly used (check a recognised authority such as Ulrichs Periodicals Directory (for current titles) or Libraries Australia to assess whether it is regularly used),
  - and it is not lengthy.
  



• In other cases record the subtitle information in the subtitle field within the 'Add Scope' attribute activated by the 'Is Periodical assertion
  For example, The Tasmanian Mail is subtitled: A Weekly Journal of Politics, Literature, Science, Agriculture, News & Notes for Tasmania. http://www.austlit.edu.au/run?ex=ShowWork&workId=CZp%2b The subtitle is not integral to the name, it is unlikely to be used as a search item, it is not regularly used (eg in Libraries Australia) as part of the title and it is quite lengthy. Therefore we should record it in a note because it does add information about the publication's scope.
  The same applies to The Australian Journal: A Weekly Record of Literature, Science and the Arts, where the subtitle is also recorded as a note: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZw3
  Compared these with Thylazine where a user might remember only the subtitles and want to search under Australian Arts and Literature on Landscape and Animals and we would make an Alternative Title: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cv7o


Alternative Title (Work attribute):
• If the periodical is known by an alternative title(s), select the Alt. Title option from the Work-Attribute list. For example the Australian Humanities Review has the Alternative Title AHR.



• Record as many alernative titles as are necessary to cover search possibilities, given the parameters above. For example the Australian Women's Book Review has the alternative title AWBR http://www.austlit.edu.au/run?ex=ShowWork&workId=CZo[.



• If variant subtitles exist and are not considered likely search terms enter the information in the subtitle field either simply with phrase 'Subtitle varies' (if the variations are very minor) or by entering the exact subtitles, for example Commonwealth : http://www.austlit.edu.au/run?ex=ShowWork&workId=CZm1



• When there are multiple variations over a period of time explain these variations with appropriate details and dates in notes, for example The Chronicle: http://www.austlit.edu.au/run?ex=ShowWork&workId=CuTC



• For guidelines as to whether a title change implies a new work refer to Content Managers.


Abstract (Work attribute):
• All Periodical records should have some descriptive text about the journal - details on what it covers, its field of interest or its particular focus. This can usually be found on the front page of the journal - cutting and pasting the information from a library catalogue or website is appropriate where this is possible. For example, The Animist http://www.austlit.edu.au/run?ex=ShowWork&workId=Cv7j



• Information can be taken from the document itself, Libraries Australia, recognised reference sources etc. The extent of detail here depends on the relevance of the journal to AustLit. For example a detailed record is desirable for an Australian journal with a literary focus such as Overland Express or Jacket but not necessary for an overseas newspaper such as the Boston Evening Transcript.


Is Periodical (Work attribute):
• Make this assertion and click on its 'Add Scope' attribute. This will open a series of dedicated fields to record the following information.




• 1. Subtitle information
  2. Frequency - (Monthly, weekly, annual, 3 issues per annum, irregular, frequency varies)
  3. Range
  4. Continues
  5. Continued by
  6. Mergers - including absorptions, incorporations etc.
  7. Index - include special features information
  8. Supplements
  9. The fields for Size, Price, Graphics and Advertising are not for general use. They have been used when periodical/newspaper records have been created as part of special projects
  10. Note - use for information that doesn't neatly fit in a dedicated field e.g. Date/volume/ numbering/series information as with Science Fiction : A Review of Speculative Literature, issues also have whole numbering - vol.15 no.2 2000 is number 42; http://www.austlit.edu.au/run?ex=ShowWork&workId=CZuE or publication history/ceased suspended publication etc. (eg. July 5 1854 - Jan 1 1858 as Hobarton Mercury.
• Some examples: are Cordite http://www.austlit.edu.au/run?ex=ShowWork&workId=CZmF
  Biblionews and Australian Notes & Queries: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZkr
  Reading Time: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cmn%23


ISSN:
• Only ever 8 digits long, enter the first four digits, hyphen then the last four digits (eg. 1234-5678; 1222-345X).


Creation of Work:
• Use this only to record the editorship of a journal and the associated dates. Other details about the publication of a periodical should be recorded at Expression/manifestation level.



• Creator:
  Default is Editor. Record the name of the General editor/s, ie. the editor/s normally responsible for editing the periodical, do not add particular issue editors.
  Create a new agent record for the Editor/s if necessary
  NB. Guest Editors are recorded on the periodical issue record. If there is no identifiable General Editor, delete creation box.


Date:
• Enter the Date Range for the editorship of the periodical




2. EXPRESSION LEVEL:

First Date:
• Enter the year that the first issue of the ejournal was expressed (eg. the first issue of Jacket was 1997).




3. MANIFESTATION LEVEL

External Reference (Manifestation attribute within expression box):
• Check if PANDORA has a Persistent Identifier (PI) (also known as a PURL) for the Periodical . To do this visit PANDORA (http://pandora.nla.gov.au/index.html) - check under the alphabetical listing of titles at the bottom of the PANDORA page for the relevant Periodical.



• If PANDORA has a Persistent Identifier (PI) (also known as a PURL) for the Periodical, enter the PI address in the URL box (this will generally be the PANDORA page with links to issues and archiving dates), in the prompt box enter PANDORA Archive (Upper case PANDORA, capital A and then lower case for Archive, no punctuation). (The phrase is available in the F2 standard text selection menu; it is quicker to use this.) See record for Australian Humanities Review http://www.austlit.edu.au/run?ex=ShowWork&workId=Cslk



• If the ejournal is not archived on PANDORA (i.e. no PI), use the form on the Maintenance homepage: http://www.austlit.edu.au/common/messages/pandora.html to alert the Content Managers who will assess the item and request archiving from PANDORA if appropriate. Remember to make a Maintenance Note recording this request.


URL:
• While awaiting feedback from Content Managers about PANDORA use the URL address of the front/home page of the journal in the URL field.


Prompt:
• Enter the note: Web resource (Capital W, lower case r, no punctuation). (The phrase is available in the F2 standard text selection menu; it is quicker to use this.)


Access note:
• Enter e.g. Sighted: 04/10/2001. (in the following form, capital S, colon, date in form dd/mm/yyyy.) (The phrase is available in the F2 standard text selection menu; it is quicker to use this.)



• NB: if there is no PURL and the URL points to the current issue of the journal, use it and insert a comment in the access note box - "URL points to current issue". Remember to add "Sighted: dd/mm/yyyy" as well.


Publisher (Manifestation attribute):
• Choose the Publisher name. Create a new agent record for the publisher if necessary.


Place (Manifestation attribute):
• Choose the Place of Publication. Note: When it is possible to ascertain the Place of Publication through the institutional location choose place of publication. Eg. if University of Queensland was responsible for the publication of a periodical, St Lucia, Qld would be chosen as Place of Publication.


Date (Manifestation attribute):
• Use this field to record a date range if periodical has ceased publication or has changed place or publisher. If the periodical is current make the closing date of the range 2999. Also enter first date information at First Date at the Expression level.


Note:
• It may be necessary to create more than one manifestation box to reflect changes in Place of Publication and/or Publisher. For example Australian Literary Studies: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZk-




Update when finished.

C.5.2 E-Journal Issues

Search for periodical issue title. It is particularly important to check that no issue has been already created: if you are inside a record, use year to refine the search and check the Show option. If you are not familiar with the periodical or any uncertainty exists check the parent Periodical record - use the Show button or search in a new window. It is also useful to keep an eye open for misspellings etc. If there is no relevant result choose the Periodical Issue template.

Work type:
• Periodical Issue. Default in template.


Title:
• Enter the title of the periodical. At this stage always check parent periodical record. Adopt the title chosen there and record any changes to title, subtitle etc as an Alternative Title or as a note. Record as many alternative titles as are necessary to cover search possibilities. If variant subtitles exist and are not considered likely search terms enter the information in the note field. Refer to Title and Alternative Title guidelines in instructions for Newspapers/Periodicals records.



• Alternative titles relevant to the issue eg. special issue titles should be entered at Expression level. Refer to the issue of the Journal of Australian Studies which is also known as The Beautiful and the Damned: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cuu5.



• For special sections, eg. Spectrum in the Sydney Morning Herald, record the section name in the Section field of the Source attribute at Expression level. See Special Sections guidelines.


Issue details:
• Vol. - enter any volume details as they appear on the periodical (eg. 4; 12; 3-4). Use only Arabic numerals. If the periodical uses Roman numerals convert them.



• No. - enter any number/issue details as they appear. Check parent Periodical record when complicated numbering occurs, eg. e.g. with Science Fiction : A Review of Speculative Literature, issues also have whole numbering - vol.15 no.2 2000 is number 42: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cq;g; or to see whether multiple series exist eg. Heat: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZoY&mode=full.



• Period - enter any additional information relating to the period of publishing - day, month, season etc., typing all month names in full, day first (eg. 9 April ; January; May-July; Autumn) (Note: Year is entered at the Manifestation level)


Issue Of:
• Relate issue to the parent Periodical record (ie. the authority record which links together all the issues) by choosing the relevant Periodical record. Eg. For Cordite No. 4, the parent periodical is just Cordite and will appear in the Choose search a Cordite [periodical].



• Remember that many periodical titles are similar. It is particularly important to check that the issue is linked to the correct parent record: use year to refine the search and check the Show option. If any uncertainty exists check the parent Periodical record in a separate window for place of publication, date range etc.


Note:
• Although the AustLit scope policy indicates that many works are selectively indexed, it is often a good idea to add a note at WORK LEVEL when a periodical issue contains very few relevant items. The note "Contents indexed selectively" is available in the F2 drop down menu in the note field. Do not use this note for newspapers where it is well understood that selectivity is exercised.


Creation of Work
• Default is Editor. Use to record special issue editors (eg. guest editors) NB. General editors are recorded against the parent periodical record.



• If you would like to record more information about the special role, use the note field at Work or Expression level.



• If there is no special editor, delete the entire creation attribute from the Expression box.




Manifestation: (Within Expression Box)

External Reference:
• Your indexing of current issues of ejournals may occur before PANDORA provides a PI. In all cases the PI takes precedence if available. Insert the URL and change to the PI when you are notified that it is available.



• Enter the PI/URL address in the URL field.



• For a PURL, in prompt box enter: PANDORA archive (Upper case PANDORA, capital A and then lower case for Archive, no punctuation). (The phrase is available in the F2 standard text selection menu; it is quicker to use this.)



• For an URL, in prompt box enter Web resource (Capital W, lower case r, no punctuation) if using URL



• Enter Sighted: 04/10/2001 in the access note box if the URL is used. (Capital S, colon, date as dd/mm/yyyy.) (The phrase is available in the F2 standard text selection menu; it is quicker to use this.)Do not enter sighted details if PI is used.


Internet Archive or Wayback machine:
• The PANDORA Archive is interested in archiving web sources of national significance to Australians, but there are sources that AustLit may be interested in that do not fit the selection guidelines for PANDORA. In these instances it will be more appropriate to use the archive copy of a web document held on the Wayback Machine rather than asking PANDORA to archive it. Content Managers will decide this and advise staff when this is the case. See separate instructions for using the Wayback Machine. [Forthcoming]


Date:
• Enter the year of publication - usually this will be 4 digits. For periodical issues that cross 2 years, use the range (eg. 2000-2001). If the date is uncertain, tick the [Brackets] box. This will render the date in square brackets.


Entering Contents:
• Enter contents of the periodical issue through the Contains option within the manifestation box, or if you prefer, ignore the Contains box, update the record, and enter each item individually using the method of indexing the individual item and adding a source.



• In either case you will enter information in the source box which has the following attributes: Title, Page info, URL, Section and supplement details where relevant (see Special Sections guidelines) and Notes to convey additional information about the expression in this particular source.



• NB. Remember that this field has an F2 drop down list of shortcuts such as 'Editor's note'



• Add a link to the electronic version of an individual work (eg. a poem or a short story), by choosing URL from the Source Attribute list of the relevant expression). Note: Only add an item level electronic address for an individual item (e.g. the interview with John Kinsella entitled 'John Kinsella in Conversation with Rosanna Licari' http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23Gj5 once the issue has been archived by PANDORA.



• Many items published in an ejournal may have been published elsewhere and will require a new source rather than full indexing.




Update when finished

C.6 Extracts

• Extracts are excerpts from larger works and are usually published in periodicals or anthologies. You can choose 'Extract' as either the work type or the form type to identify the work as being an extract or as containing an extract.



• Only use Work Type 'Extract' for an individual work which is an extract eg. an extract from a Tim Winton story: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cx]%2c.



• Use Work Form 'Extract' when creating a record for a 'container' work type such as an anthology or selected work which may contain one or more forms such as poetry, extract, short story. Eg.: the Christina Stead selected work edited by Geering and Segerberg: http://www.austlit.edu.au/run?ex=ShowWork&workId=CNCM&mode=full.




C.6.1 Creating an Extract Record

• Always search for the extract title from the Maintenance homepage - this will enable you to check if the extract exists. It will also allow you to check whether another (complete) work already exists in AustLit with the same name. It is useful to check via an author search as well - the extract may have a different name to the complete work.



• If there is no existing record for the extract, choose the Extract template.



• Extracts can be published before or after the complete work is published and in some cases the complete work is never published. For this reason, there are different approaches to recording Work Type extracts in AustLit.



• In all cases, however, the general rules for representing a title should be followed: enter the title of the extract as it is published in the document in hand as regards wording but not necessarily punctuation and capitalisation. Examples follow below.



• An extract may have no title other than an indication of its source e.g. From 'Evening Alone at Bunyah'; or from The Ash Range. Record this information in the title field. Do not supply the word Untitled for such extracts. Use a colon to indicate the title of the work from which the extract comes. Eg. An extract from Murray's 'Evening Alone at Bunyah', is presented as From : Evening Alone at Bunyah (http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23Zh ). See also the extract from Laurie Duggan's The Ash Range (http://www.austlit.edu.au/run?ex=ShowWork&workId=C2)p).




C.6.2 Extracts From Unpublished/Unfinished Works

• Use the Extract template.



• Enter the Title: If the extract is published before the publication of the complete work, enter the title of the extract as it is published in the document in hand with the details of proposed title of the work-in-progress in parentheses if these details are given.



• Note: Follow the capitalisation and punctuation in these and following examples: lower case and hyphens for from and work-in-progress inside parentheses.



• The title may appear in several different ways, for example:
  1. It may have a different title to the complete work:
     A Kind People (from: Carpentaria, a work-in-progress) (http://www.austlit.edu.au/run?ex=ShowWork&workId=C{;4),
     or only the source of the extract is given: eg. From "Sites" so we enter it as follows and add (a work-in-progress) (http://www.austlit.edu.au/run?ex=ShowWork&workId=CxcL). No need to repeat the From Sites in the parentheses.
  2. No proposed title details may be given for the complete projected work. In this case enter the title of the extract as it is published in the document in hand with (from a work-in-progress) appended in the title field. Eg. Shirley Shackleton's extract The House Divided (from a work-in-progress) (http://www.austlit.edu.au/run?ex=ShowWork&workId=C7cb&mode=full).
  3. The extract may have the same title as the complete work, eg. The Layman (from : The Layman, a work-in-progress) (http://www.austlit.edu.au/run?ex=ShowWork&workId=CHWx).
  • Assign the form associated with the complete work (if known), eg. Novel, Poetry. If the form of the complete work is unknown, assign the form 'Unclassified fiction'.
  
  
  
  • Enter any subjects or settings that relate to the extract (the template provides a default for Subject-Concept, the others can be found in the Work Attribute list).
  
  
  
  • Choose/create the author of the extract.
  
  
  
  • Choose/create the source in which the extract appears, in many cases this will be a periodical issue or anthology. If there are any details relating to when the complete work is expected to be published, add a Work level Note (from the Work Attribute list) to record the details.
  
  
  
  • The note should say: 'Work-in-progress, publication is expected in ... '. We will then be able to run a program across this field (on a regular basis) to follow up on the complete works.




C.6.3 Extracts From Published Sources

• When an extract is published after the publication of the complete work, the approach is different. The published work may already exist on the system or you may have to create a new work record for it. Remember it is useful to check via an author search as well as a title search as the extract may have a different name to the complete work. With extracts from published works, the relationship with the complete record will be made through the Related Work Attribute.



• Use the Extract template



• Titles:
  1. The title may be the same as that of the published work, eg. An extract from Laurie Duggan's The Ash Range (http://www.austlit.edu.au/run?ex=ShowWork&workId=C2)p).
  2. Or it may have its own extract title, eg. an extract from a Bryce Courtenay novel (http://www.austlit.edu.au/run?ex=ShowWork&workId=CxNx).



• Assign the form associated with the complete work (if known), eg. Novel, Poetry. If the form of the complete work is unknown, assign the form 'Unclassified fiction'.



• Enter any subjects or settings that relate to the extract (the template provides a default for Subject-Concept, the others can be found in the Work-Attribute list).



• From the Work Attribute list choose the Related Work attribute and choose/create the record for the complete work. This will establish that there is a relationship between the two records.



• Choose/create the author of the extract.



• Choose/create the source in which the extract appears, in many cases this will be a periodical issue. [Note: The complete work is not considered the source of the extract, the source is the periodical or monograph in which the extract is published.]



• See some more examples:
  'Albatross Pie' extract by Christine Balint: http://www.austlit.edu.au/run?ex=ShowWork&workId=CAVv
  'Writers and Lovers' extract by Nadia Wheatley: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cq2o
  'Myself When Young' extract by Henry Handel Richardson http://www.austlit.edu.au/run?ex=ShowWork&workId=C-Bq



• Note: There are many existing Extracts/Complete works which are on the system, which are yet to be 'Related'. If you happen to discover some of these records, you may amend them if you wish.




C.6(B)Film/TV

A single work form Film/TV replaced Film/TV/Video and Screenplay from Feb. 2007.

Older records will be merged and cleaned up by a nominated team.

C.6(B)1 Film/TV - Scope

• Use the work form Film/TV for adaptations of Australian literary works and original feature films, short films or animation, telemovies (including those originally broadcast in parts), TV mini series, screenplay award winning episodes in a television live action or animation series or serials, and documentaries where this material has literary content within AustLit scope. See examples below.



• Works conceived as ongoing serials (eg Home and Away and Neighbours) and ongoing series (eg All Saints, Blue Heelers, and the Blinky Bill animated series) are not to be included in AustLit.




C.6(B)2 Record Creation

Create records for Film/TV using the standard template and recording standard information - title, subjects, settings

Related Works : if the work is an adaptation, relate the work as appropriate e.g. to the novel. See the Film/TV adaptation of Lindsay's Cousin from Fiji http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23A%2cX

Creation of Work:
• Author is the only creator role at work level for Film/TV.



• The creator(s) of the work will most usually be the author or authors of the screenplay. Sometimes the director may be named as an author in which case add his/her name as an author at work level



• The creator role director is added to the manifestation for the filmed expression of the work. Other roles, e.g. compiler or editor of a published script, are added to the appropriate manifestation.



• Use the creation attribute note to record any creator role notes, such as 'after a treatment by ...'; 'based on the book by ...', or to help express any differing contributions by the creator(s).



• Note: All other roles such as film editor, original author of an adapted novel (unless he/she actually contributed to the work or its expressions/manifestations), film editor, film composer etc, are NOT included anywhere in the record.



• Note: Film/TV by different authors are to be treated as different works even when adapted from the same original work, e.g. two different films of Songs of a Sentimental Bloke http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23(Pv http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23(Q$



Awards:
• add awards specific to writing for film/TV (eg Victorian Premier's Literary Awards, The Village Roadshow Prize for Screen Writing; AWGIE Awards; Australian Film Institute (AFI) Awards, Best Original Screenplay. (e.g., Three Dollars http://www.austlit.edu.au/run?ex=ShowWork&workId=C%236ok , and 'Honey and Wounds' http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23Ek{



• Add awards for best film to the record with a descriptive note e.g. 'for the feature film directed by ...'



• All other awards, such as those for acting, cinematography and including those for direction, are out of scope for AustLit.



• If the work is not published or filmed, add a first known date as a First Date attribute at Expression level. Information about a First Date and the source of this information may be incorporated in a Work Level note. See Eucalyptus http://www.austlit.edu.au/run?ex=ShowWork&workId=C%231f%23



• The realisation of the work as either a film or a published work is recorded as an expression. Use the Date attribute at Manifestation level and the Manifestation attributes to record the physical embodiment of an expression. Add a First Date at expression level if it is earlier than the first realised date e.g. Look Both Ways where the work received an award in 2004 although not released until 2005: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%237l5



• Minimal manifestation details are required for filmed expressions. Formats (DVD, VHS etc) and production details are not required; the production company and place of production, if known, may be added as publisher and place of publication. The only creator role required at manifestation level is the director(s).



• EXAMPLES:Documentary: A Portrait of Dorothy Hewett, Playwright, Novelist and Poet : Rapunzel in Suburbia http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23!Bb
  Award winning episode of TV series: 'Honey and Wounds' http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23Ek{
  Three Dollars http://www.austlit.edu.au/run?ex=ShowWork&workId=C%236ok
  Puberty Blues http://www.austlit.edu.au/run?ex=ShowWork&workId=C%237Hz
  The Sound of One Hand Clapping http://www.austlit.edu.au/run?ex=ShowWork&workId=Ceeh
  Lantana http://www.austlit.edu.au/run?ex=ShowWork&workId=Cv-E




C.7 Illustrations and Picture Books

A. Illustrations
• While AustLit is not an illustration database, many literary works, particularly for children, have important illustrative content.



• Use the Creator role for an illustrator only if they are named on the title page; if working from an existing bibliographic record, use only when an illustrator is named in the statement of responsibility area of the record (this appears in the title field of catalogue records) or when an added entry is made for that agent (this usually appears as 'Personal name (added' on Libraries Australia; 'Other auth.' on UQ).
  Example of illustrator using Creator role: Ethel Turner's Seven Little Australians. This work has illustrations by illustrators we want to be searchable. http://www.austlit.edu.au/run?ex=ShowWork&workId=C3on
  Otherwise, record the information in a manifestation level note e.g. Illustrated by XXX, John Blight's A Beachcomber's Diary http://www.austlit.edu.au/run?ex=ShowWork&workId=CX4C



• When there is only one Expression and one Manifestation of an illustrated work, it is preferable to use the creator role at Manifestation level.



• If several different manifestations within the same expresion have the same illustrator, record the information at Expression Level to avoid repetition e.g. Frank Hardy's The Yarns of Billy Borker where all manifestations are illustrated by Vane Lindsay and he is named on the title page: http://www.austlit.edu.au/run?ex=ShowWork&workId=CTy). If the illustrator is not named on the title page or in the statement of responsibility and has illustrated all the manifestations within an expression this can be recorded as an Expression level note.



• Editions of creative works in AustLit with new illustrations will usually require only the creation of a new manifestation. In these cases record the illustrations at Manifestation level.



• A new expression will be required where the illustrations become an essential part of the work proper. If the illustrations seem to be very important e.g. by the author, and are an inseparable and integral part of the work proper, make a new expression and record the illustrator at Expression Level (Realisation attribute. [Examples coming]




B. Picture Books

Record the illustrator of a children's picture book at Creation of Work level as in the examples above. Illustrators of all other Work Types should be recorded at Manifestation Level (Creator role) or Expression Level (Realisation attribute), as in the examples above.

In the case of some picture books, a work is transformed considerably for another audience i.e. a poem becoming a children's picture book. In this case the creation of a new work is warranted, eg. Annette MacArthur-Onslow's picture book incorporating 'The Man from Snowy River' http://www.austlit.edu.au/run?ex=ShowWork&workId=CyBb. Always relate this new work to the work it incorporates or on which it is based.

If a picture book is republished with a new illustrator, create a new work record for it and create a relationship between the two works.For example there are three work records for Sharpur the Carpet Snake: http://www.austlit.edu.au/run?ex=ShowWork&workId=CrU}. This solves problems with awards appearing on the wrong illustrator's record.

C.8 Literary Non-Fiction

C.8.1 Definition Literary Non-Fiction

Non-fiction forms in which:

• the subject matter is mediated through the personal sensitivity/temperament of the writer and where this mediation takes the form of the careful use of language



• the techniques of novelists, poets, journalists, critics and historians are used to create narrative writing that absorbs what it needs of these other disciplines



• techniques such as narration, characterization, setting/place, personal involvement are used to draw the reader in



• there is a hybrid of literature and non-fiction containing literary elements such as voice/feel;story/narration;characterization;place/scene/setting;author personally engaged; artistic, instinctual; polished language




C.8.2 Illustrative Comments

C.8.3 Literature Board

The Literature Board offers assistance to writers of non-fiction of literary interest - this includes books of essays 'In recognition of the changing parameters of literary activity, the Board particularly encourages cross-artform collaborations, multi-arts and emerging forms of practice" "The purpose of this category is to assist the creation of new work by emerging, developing and established Australian writers and picture-book illustrators. Funding is available for living allowances and/or assistance with travel and research costs associated with the preparation and writing of nominated project(s). Applications will be accepted only in the following genres: fiction; literary non-fiction (defined by the Board as autobiography, biography, essays, histories, literary criticism or analytical prose); children's literature; poetry; and creative writing for performance or new media'

C.8.4 Individual Comments

• Elizabeth Webby: This is a quote from a forthcoming ALS review of BAL A-E by Elizabeth Webby: 'Any bibliographic project needs to set certain limits which in the case of a major one like the Bibliography of Australian Literature may later come to seem unduly restrictive. Here, while rejecting any notion of the literary canon for works classed as fiction, poetry, drama and children's literature, the editors decided that non-fiction would only be included if written by an author who had also published in their targeted genres. This may now seem regrettable, especially given the flourishing of non-fiction genres like the essay and the autobiography/memoir over the last decade.'



• Larry Buttrose, in Writing Queensland : 'A travel narrative is often more about the interior journey than the exterior one ... [this article] explores why people write travel stories and how the genre has changed to reflect the attitudes of the times.' (Editor's note.) http://www.austlit.edu.au/run?ex=ShowWork&workId=C}nh



• 'Shifting from Fiction to Non-Fiction'(AustLit Sept/Oct newsletter).In her new collection of essays, Timepieces, Drusilla Modjeska argues that readers are currently engaged in a shift from fiction towards 'literary non-fiction'. While previous generations were caught up in the imaginative worlds of novels, Modjeska contends that today's readers are turning to "reality". As post-modern fiction detaches itself 'more and more from local realities and local experience', a space has been created for reflective non-fiction. According to Modjeska, current publications in the field of biography and memoir are marked 'not only by the recounting of personal or family experience but reflection, or meditation, on that experience. It is more interested in posing the questions than in finding the answers.'



• 'Fiction's Lost the Plot.' By Mark Mordue http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23!W] Examines the apparent shift in reader taste towards non-fiction (including essays) and away from fiction. Mordue suggests that non-fiction may be providing greater relevance to readers in reflecting Australian culture. He also argues the case for an improved dialogue between journalism, academia and writers.




C.8.5 University of Oregon Website

Comments from University of Oregon website:

• What is Literary Non-fiction?
  Literary non-fiction
  Creative non-fiction
  Factual fiction
  Documentary narrative
  The literature of actuality



• This powerful, ever-controversial genre is called by many names. Whatever you call it, it is a form of storytelling as old as the telling of stories



• The genre recognizes both the inherent power of the real and the deep resonance of the literary. It is a form that allows a writer both to narrate facts and to search for truth, blending the empirical eye of the reporter with the moral vision -- the I -- of the novelist



• In a culture saturated by data without context, facts without insight and information without enlightenment, literary non-fiction holds a special and vital place. "Facts... they lie unquestioned, un-combined," wrote the poet Edna St. Vincent Millay:
  Wisdom enough to leech us of our ill
  Is daily spun, but there exists no loom
  To weave it into fabric



• But the loom does exist. Literary non-fiction is the loom



• Throughout the centuries, inventive hybrid writers, from (novelist) Daniel DeFoe to (journalist) John Hersey to (essayist) Joan Didion have helped construct it. The stories they have woven on this loom are about real people, real places and real emotions. They are timely stories that tap into the moment. But they are also timeless tales that transcend it



• This is because literary non-fiction is able to tell both the small story -- the damming of a river, the building of a house, a murder -- and the bigger one, the human narrative with its enduring themes



• The 'literary' in literary non-fiction pertains to the exploration of these themes. It also defines how the story itself is told



• Literary non-fiction writers commonly use the techniques of fiction, including creation of a narrative arc, character development, scene-setting, action sequences, dialog and interior monolog



• The true stories they write using these techniques have the drama of fiction and force of fact



• Literary non-fiction takes shape in many forms, from reportage to memoir, from personal essay to biography. Nature writing, travel writing and science writing all have their literary practitioners



• The true crime 'novel' is an artifact of literary non-fiction. Writers in the genre tackle everything from prison riots to orchid collecting, from fifth grade classrooms to nuclear disasters, from wilderness hiking to frozen orange juice.




C.8.6 Selection Guidelines

• Include all non-fiction of a literary nature by Australian authors whether its author also publishes in 'core' creative forms or not.



• Exclude all non-fiction of a non-literary nature by Australian authors whether its author also publishes in 'core' creative forms or not. If an author publishes widely in a field outside AustLit scope, record this information in his/her biography e.g. for Laurie Duggan: 'He has published ten books of poems as well as literary criticism and articles on art, architecture and cultural criticism'.



• Decision rests on the literary nature of the work, not on the literary STATUS of the agent (given that all literary non-fiction, autobiography etc. by creative Australian authors and Australian critics of Australian Literature are included as above).



• Naturally include all non-fiction relating to Australian literature as covered in our scope



• NON-LITERARY NON-FICTION is outside AustLit scope and includes:
  1. unambiguously political, historical, economic, sociological, practical or scientific articles/prose
  2. textbooks, guidebooks, information books,
  3. columns and feature articles on subjects outside AustLit scope in newspapers with social/personal comment/opinion unless distinguished by a by-line or editorial comment e.g. see essay 'Recovery': http://www.austlit.edu.au/run?ex=ShowWork&workId=C{cb mentioned above.
  4. [Extract from Lit Board: The main focus of the Literature Board is the creation of literary works. It does not assist the following categories of work: textbooks and other educational materials (primary, secondary or tertiary); newsletters; books which are primarily works of interviews; local and oral histories; military studies; instruction manuals; how-to books; university theses; bibliographies; dictionaries; encyclopaedias; professional reference titles; guide books; catalogues; personal growth, lifestyle and hobby books; works of physical or natural sciences; theology; psychology; cooking; medicine; and law.]



• Staff are encouraged to discuss inclusion with content managers if questions arise.




C.8.7 Specific Guidelines and Examples

C.8.8 Essays

Definition

• For Austlit purposes an essay is defined as a literary form that discusses a subject or proposes an argument without claiming to be a complete or rigorous exposition. The literary essay is more relaxed in style than a formal academic treatise -it is usually personal and imaginative in its treatment of subject and may contain such elements as digression, free association of ideas, whimsy, humour and fantasy; language is of great importance. It is a form of literary non-fiction. Use for works such as Peter Porter's piece 'Depth Soundings': http://www.austlit.edu.au/run?ex=ShowWork&workId=CASX about music.



• For critical essays that discuss, analyse or evaluate Australian literature and/or Australian writers in a more 'in-depth', formal manner, use the form Criticism.



• For biographical essays that deal with Australian creative writers use the form Biography.



• For autobiographical essays written Australian creative writers use the form Autobiography.




Guidelines

Include all essays published in anthologies of essays; include those from journals and newspapers which are in some way distinguished as 'literary' e.g. essay 'Recovery' had an editorial classification 'Essay' to distinguish it from other feature articles http://www.austlit.edu.au/run?ex=ShowWork&workId=C{cb

Examples

• Essay by Brian Matthews and poem by Hal Colebatch on same subject both included because both poetry and essay are literary forms: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cygt and http://www.austlit.edu.au/run?ex=ShowWork&workId=Cxok



• Exclude Brian Matthews's weekly columns in The Weekend Australian Magazine



• Exclude Judith Wright on environment in some cases e.g 'The question rests with you. -Preservation of native fauna and 25 years of the Wildlife Preservation Society of Queensland' from Wildlife Australia 24.2 1987; 'Environmental amenity and high population growth: are they compatible?' from How Many Australians? 1988. Some of this type of work has been individually indexed in the past when it has turned up in a selected work. A Work level note 'Also includes papers and articles on xxxx' would suffice here in future. See, for example the record for Murray's A Working Forest http://www.austlit.edu.au/run?ex=ShowWork&workId=CWH}



• Exclude Laurie Duggan on art unless also on poetry - add note to bio: 'He has published ten books of poems as well as literary criticism and articles on art, architecture and cultural criticism'.



• Exclude Hugh McKay's regular opinion column



• Exclude Jane Fraser's weekly column



• Exclude John Fuerst's publications on microbiology even though he is a creative writer




C.8.9 Autobiography

Definition

Works written by the subject of the work himself/herself which relate to their life, identity, memories and perceptions of experience. Use both for chronological narratives of an individual's life, or for briefer specially-focused pieces such as personal memoirs that provide glimpses or windows into a person's life or time. Can appear as an article or a monograph.

Guidelines

Include all Australian monograph publications. Include all autobiographical material relating to Australian creative and critical writers from newspapers and periodicals in the form of columns and articles.

Examples

• Ruth Cracknell's autobiographical Journey from Venice http://www.austlit.edu.au/run?ex=ShowWork&workId=Czj=



• Sarah Turnbull's autobiography: http://www.austlit.edu.au/run?ex=ShowWork&workId=Czqh



• John Bell's autobiography: http://www.austlit.edu.au/run?ex=ShowWork&workId=C}NL



• Albert Facey's autobiography: http://www.austlit.edu.au/run?ex=ShowWork&workId=CE!F



• Kerryn Goldsworthy's autobiographical essay: http://www.austlit.edu.au/run?ex=ShowWork&workId=CzrO



• Frank Moorhouse's autobiographical essay: http://www.austlit.edu.au/run?ex=ShowWork&workId=C{)O




C.8.10 Biography

Definition

The story of a person's life written by someone other than the subject of the work. Use both for chronological narratives of an individual's life, or for briefer specially-focused pieces such as personal memoirs that provide glimpses or windows into a person's life or time. Can appear as an article or a monograph.

Guidelines

Monograph works relating to the life and identity of an Australian creative writer or a significant figure in the Australian literary world; Monograph works of literary interest and merit relating to a significant figure in Australian culture (such as Don Watson's biography of Paul Keating, which won a literary award), or written by Australian creative writers (such as Louis Nowra's biography of Shane Warne). Includes all biographical material relating to Australian creative writers from newspapers and periodicals in the form of columns and articles.

Examples

Don Watson's biography: http://www.austlit.edu.au/run?ex=ShowWork&workId=C}lx

C.8.11 Prose

Definition

Literary writing that cannot be defined in terms of other prose literature forms (short story, autobiography, essay) but which displays literary qualities.

Examples

Includes creative, imaginative writing such as Liam Davison's 'Land Sounds' http://www.austlit.edu.au/run?ex=ShowWork&workId=C}lx and extended prose works in the travel, historical, humour and satire genres, such as Nicholas Jose's Black Sheep : http://www.austlit.edu.au/run?ex=ShowWork&workId=C{qb ; Ernestine Hill's The Territory: http://www.austlit.edu.au/run?ex=ShowWork&workId=CwDB, Barry Humphries's Bazza Pulls It Off: http://www.austlit.edu.au/run?ex=ShowWork&workId=CwUW.

C.8.12 Letters (Correspondence) and Diaries

• Include all by Australian creative writers. Include others if they possess literary qualities defined in point C.8.3 above and not falling into the categories excluded in point C.8.5 above.



• Jane Franklin's Diary: http://www.austlit.edu.au/run?ex=ShowWork&workId=C}(8



• A Wild Life : Bringing up a Bush Menagerie http://www.austlit.edu.au/run?ex=ShowWork&workId=Cy)-



• Malaguna Road http://www.austlit.edu.au/run?ex=ShowWork&workId=Cz(l




C.8.13 Criticism

Literary criticism - critical essays and articles on literature and writers - from books, periodicals and newspapers discusses, analyses or evaluates a subject in an in-depth, formal manner. Criticism differs from columns in that it provides a deeper, more academic analysis of the work and/or agent being appraised. It differs from reviews in that it is not usually linked to a publication event. Criticism of an author's work is often combined with biographical information. Assign the form that reflects the greater emphasis and use subject concepts to cover other possibilities. Refer to Criticisms guidelines for further information
Note: AustLit's scope includes criticism of Australian literature and writers. Literary criticism by Australian creative writers on subjects outside AustLit scope is of interest only insofar as it reflects on the writer's own work.

C.8(a) Lyric/Song

A brief overview of some terms used to describe poetry and poetic forms highlights the inter-relatedness and overlap of these terms, many of which are related to the terms song or singing.

Many literary works in verse use these terms freely, varyingly and loosely in their titles in a way not indicative of any particular literary form. See list of definitions at end of this section.

AustLit has two work forms to cover these - POETRY and LYRIC/SONG

POETRY:
• For AustLit purposes all these types of work in verse - odes, songs, lyrics, ballads, canticles, cantos, cantatas, hymns etc. - are to be given the form POETRY when they are published without an accompanying musical score or when they have been first published without any accompanying musical score e.g.



• Lawson's 'The Ballad of the Drover' http://www.austlit.edu.au/run?ex=ShowWork&workId=CENo (Several musical settings by George Drefus not yet listed in AustLit - January 2007)



• Furphy's 'Christmas Hymn' http://www.austlit.edu.au/run?ex=ShowWork&workId=CrDB



• Samuel Henry Wintle's 'Ode to Mount Wellington' http://www.austlit.edu.au/run?ex=ShowWork&workId=CVyn



• M.T.C. Cronin's 'Canto of an Ant' http://www.austlit.edu.au/run?ex=ShowWork&workId=C}6U



• Bruce Dawe's 'Song for the Coming Republic' http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23!%2c4



• Anon's 'Canticle of the Congregation' : http://www.austlit.edu.au/run?ex=ShowWork&workId=Cs34



• McAuley's 'The Martyrdom of St. Cecilia : A Spoken Cantata': http://www.austlit.edu.au/run?ex=ShowWork&workId=C4vR



• Swilliam's 'A Jubilee Cantata' http://www.austlit.edu.au/run?ex=ShowWork&workId=CUo%2c



• Les Murray's 'The Buladelah-Taree Holiday Song Cycle' http://www.austlit.edu.au/run?ex=ShowWork&workId=COgp



• Lawson's 'Song of the Republic' : http://www.austlit.edu.au/run?ex=ShowWork&workId=CVQK



• NOTE: Musical settings of these poetic works can be dealt with as another manifestation.



• Digital copies of musical settings: MusicAustralia has many digital copies of such works. When linking a manifestation to its digital copy at the NLA use the phrasing in the following examples: Maybanke Anderson's Australian Songs for Australian Children: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23$hP or James Menzies's 'An Australian Hymn'http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23@Cg



LYRIC/SONG:
• When a verse work has been expressly composed to have a musical accompaniment, in collaboration with a composer, and first published with that accompanying music, use the form LYRIC/SONG e.g.



• Edwin Exon's The Victorian Jubilee Ode http://www.austlit.edu.au/run?ex=ShowWork&workId=CsgA, 'Written by Edwin Exon ; and composed by Alfred Plumpton expressly for the Metropolitan Leidertafel, Melbourne.'



• Gwen Harwood and Gordon Kerry's Festival Cantata : http://www.austlit.edu.au/run?ex=ShowWork&workId=Cppm%20 Harwood and Penberthy's Southland : A Cantata for Baritone, Two Choirs and Orchestra http://www.austlit.edu.au/run?ex=ShowWork&workId=Cpoc



• Maybanke Anderson's Australian Songs for Australian Children: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23$hP



OR
• a musical work has been created that include several previously published works of poetry e.g.



• Barbeler and Llewellyn's Figs : Song Cycle for High Voice and Piano http://www.austlit.edu.au/run?ex=ShowWork&workId=C%237TG which is a musical setting of six poems from a selected work. It cannot be a manifestation of that selected work but includes manifestations of those six poems.



• 'The Gwen Harwood Song Cycle' http://www.austlit.edu.au/run?ex=ShowWork&workId=Cpof%20



SOME DEFINITIONS
• Hymn: A song of praise to God; any composition in praise of God which is adapted to be chanted or sung; spec. a metrical composition adapted to be sung in a religious service. An ode or song of praise in honour of a deity, a country, etc.



• Ode: In early use (esp. with reference to ancient literature): a poem intended to be sung or one written in a form originally used for sung performance (e.g. the Odes of Pindar, of Horace, etc.). Cf. choral odes s.v. CHORAL a.1 b. Later: a lyric poem, typically one in the form of an address to a particular subject, written in varied or irregular metre.



• Lyric: Of or pertaining to the lyre; adapted to the lyre, meant to be sung; pertaining to or characteristic of song. Now used as the name for short poems (whether or not intended to be sung), usually divided into stanzas or strophes, and directly expressing the poet's own thoughts and sentiments.



• Cantata: Originally, a narrative in verse set to recitative, or alternate recitative and air, for a single voice, accompanied by one or more instruments; now applied to a choral work, either sacred and resembling an oratorio but shorter, or secular, as a lyric drama set to music but not intended to be acted.



• Ballad: A light, simple song of any kind; now spec. a sentimental or romantic composition of two or more verses, each of which is sung to the same melody, the musical accompaniment being strictly subordinate to the air.



• Verse: A succession of words arranged according to natural or recognized rules of prosody and forming a complete metrical line; one of the lines of a poem or piece of versification.




C.9 Newspapers and Periodicals

C.9.1 Newspaper and Periodical Records

Note: In all examples check regular display and edit screen.

DEFINITION:

Newspaper:
'A publication issued in several parts bearing numeric or chronological designations and intended to be continued indefinitely.'(AACR II p.622). Newspapers are generally considered by AustLit to be those publications which have certain format specifications such as tabloids, broadsheets eg. The Sunday Mail, The Australian, The Courier-Mail.

Examples of newspaper records are:
The Chronicle: http://www.austlit.edu.au/run?ex=ShowWork&workId=CuTC
and The Mercury: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZxT

There is not always an absolute distinction between the work types - Periodical and Newspaper. AustLit uses Newspapers in Australian Libraries : A Union List. 4th ed. Canberra, ACT: National Library of Australia, 1985 as a means of distinguishing between the two. If a work is listed in this publication, it is treated as a newspaper.

Periodical:
'A publication issued in several parts bearing numeric or chronological designations and intended to be continued indefinitely.' (AACR II p.622). For Austlit purposes periodicals are non-newspaper academic, literary or current affairs journals and magazines published at regularly recurring intervals in print and/or electronic formats.

Some good examples of periodical records are:
Antipodeshttp://www.austlit.edu.au/run?ex=ShowWork&workId=CZiz

Biblionews http://www.austlit.edu.au/run?ex=ShowWork&workId=CZkr

There are special instructions for Electronic Journals and Newspapers/Periodical Issues Published as Monographs.

A PERIODICAL RECORD WILL INCLUDE THE FOLLOWING INFORMATION

1. WORK LEVEL

WorkType:
• Periodical


Title (Work attribute):
• To determine the correct form of the title check a recognised authority such as Libraries Australia.



• It is also useful to keep the AACR rules in mind. They state that the: chief sources of information in order of preference, are the title page of the first issue, the title page of the first available issue, cover, caption, masthead, editorial pages, colophon, other pages (AACR II 12.0B).



• Note: If the definite article ('The') is part of the title always include it in the title field. Do not invert title , e.g. The Courier-Mail, not Courier-Mail or Courier-Mail, The.



• Include the subtitle (i.e. any other title information after a colon) in the title area only if:
  - it is integral to the name,
  - it may be considered a search term,
  - it is regularly used (check a recognised authority such as Libraries Australia to assess whether it is regularly used),
  and
  - it is not lengthy.



• In other cases record the subtitle information in the subtitle field within the 'Add Scope' attribute activated by the 'Is Periodical assertion
  For example, The Tasmanian Mail is subtitled: A Weekly Journal of Politics, Literature, Science, Agriculture, News & Notes for Tasmania. http://www.austlit.edu.au/run?ex=ShowWork&workId=CZp%2b The subtitle is not integral to the name, it is unlikely to be used as a search item, it is not regularly used (eg in Libraries Australia) as part of the title and it is quite lengthy. Therefore we should record it in a note because it does add information about the publication's scope.
  The same applies to The Australian Journal: A Weekly Record of Literature, Science and the Arts, where the subtitle is also recorded as a note: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZw3
  Compare these with After Dark, where a user might remember only the subtitles and want to search under A Fiction Magazine for Men or A Man's Magazine. In this case we would include the subtitle in the title field and make an Alternative Title: http://www.austlit.edu.au/run?ex=ShowWork&workId=CoYB


Alternative Title (Work attribute):
• If the periodical is known by an alternative title(s), select the Alt Title option from the Work attribute list. For example the Australian Women's Book Review has the alternative title Hecate's Australian Women's Book Review and AWBR; Australian Literary Studies has the Alternative Title ALShttp://www.austlit.edu.au/run?ex=ShowWork&workId=CZk- .



• Record as many alternative titles as are necessary to cover search possibilities, given the parameters above.



• If variant subtitles exist and are not considered likely search terms enter the information in the subtitle field either simply with phrase 'Subtitle varies' (if the variations are very minor) or by entering the exact subtitles, for example Commonwealth : http://www.austlit.edu.au/run?ex=ShowWork&workId=CZm1.



• When there are multiple variations over a period of time explain these variations with appropriate details and dates in notes or other relevant fields, for example The Chronicle: http://www.austlit.edu.au/run?ex=ShowWork&workId=CuTC.



• For guidelines as to whether a title change implies a new work refer to Content Managers.


Abstract (Work attribute):
• All Periodical records should have some descriptive text about the journal - details on what it covers, its field of interest or its particular focus. This can usually be found on the front page of the journal - cutting and pasting the information from a library catalogue or website is appropriate where this is possible. For example Meanjin: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZqs.



• Information can be taken from the document itself, Libraries Australia, recognised reference sources etc. The extent of detail here depends on the relevance of the journal to AustLit. For example a detailed record is desirable for an Australian journal with a literary focus (Meanjin, Sidewalk, Reading Time) but not necessary for an overseas newspaper such as the Boston Evening Transcript.


Is Periodical (Work attribute):
• Make this assertion and click on its 'Add Scope' attribute. This will open a series of dedicated fields to record the following information.




• 1. Subtitle information
  2. Frequency - (Monthly, weekly, annual, 3 issues per annum, irregular, frequency varies)
  3. Range
  4. Continues
  5. Continued by
  6. Mergers - including absorptions, incorporations etc.
  7. Index - include special features information
  8. Supplements
  9. The fields for Size, Price, Graphics and Advertising are not for general use. They have been used when periodical/nesspaper records have been created as part of special projects
  10. Note - use for information that doesn't neatly fit in a dedicated field e.g. Date/volume/ numbering/series information as with Science Fiction : A Review of Speculative Literature, issues also have whole numbering - vol.15 no.2 2000 is number 42; http://www.austlit.edu.au/run?ex=ShowWork&workId=CZuE or publication history/ceased suspended publication etc.
• Some examples:
  are The Mercury:http://www.austlit.edu.au/run?ex=ShowWork&workId=CZxT
  Biblionews and Australian Notes & Queries: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZkr
  Reading Time: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cmn%23


ISSN (Work attribute):
• Only ever 8 digits long, enter the first four digits, hyphen then the last four digits (eg. 1234-5678; 1222-345X).



• Can have multiple ISSNs if applicable.


Creation of Work:
• Use this only to record the editorship of a journal and the associated dates. Other details about the publication of a periodical should be recorded at Expression/manifestation level.



• Creator:
  Default is Editor. Choose the name of the General editor/s, ie. the editor/s normally responsible for editing the periodical, do not add special issue editors at this level.
  Create a new agent record for the Editor/s if necessary.
  NB. Guest Editors are recorded on the periodical issue record. If there is no identifiable General Editor, delete this field.


Date:
• Enter the DATE RANGE for the editorship of the periodical




2. EXPRESSION LEVEL

First Date:
• Enter the year that the first issue of the journal was expressed (eg. the first issue of Meanjin was 1940).




3. MANIFESTATION LEVEL (Within Expression Box)

Publisher (Manifestation attribute):
• Choose the Publisher name. Create a new agent record for the publisher if necessary.


Place (Manifestation attribute):
• Choose the Place of Publication. Note: When it is possible to ascertain the Place of Publication through the institutional location choose place of publication. Eg. if University of Queensland was responsible for the publication of a periodical, St Lucia, Qld would be chosen as Place of Publication.


Date (Manifestation attribute):
• Use this field to record a date range if periodical has ceased publication or has changed place or publisher. If the periodical is current make the closing date of the range 2999. Also enter first date information at First Date at the Expression level.


Note:
• It may be necessary to create more than one manifestation box to reflect changes in Place of Publication and/or Publisher. For example Australian Literary Studies: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZk-




Update when finished.

C.9.2 Newspaper/Periodical Issues

Search for periodical issue title. It is particularly important to check that no issue has been already created: if you are inside a record, use year to refine the search and check the Show option. If you are not familiar with the periodical, or any uncertainty exists, check the parent Periodical record - use the Show button or search in a new window. It is also useful to keep an eye open for misspellings etc. If there is no relevant result choose the Periodical Issue template.

Work type:
• Periodical Issue. Default in template.


Title:
• Enter the title of the periodical. At this stage always check parent periodical record. Adopt the title chosen there and record any changes to title, subtitle etc as an Alternative Title or as a note. Record as many Alternative titles as are necessary to cover search possibilities. If variant subtitles exist and are not considered likely search terms enter the information in the note field. Refer to Title and Alternative Title guidelines in instructions for Newspapers/Periodicals records.



• Alternative titles relevant to the issue eg. special issue titles should be entered at Expression level. Refer to the issue of the Journal of Australian Studies which is also known as The Beautiful and the Damned http://www.austlit.edu.au/run?ex=ShowWork&workId=Cuu5



• For special sections eg. Spectrum in the Sydney Morning Herald - record the section name in the Section field of the Source attribute at Expression level. See Special Sections guidelines.


Issue details:
• Vol. - enter any volume details as they appear on the periodical (eg. 4; 12; 3-4). Use only Arabic numerals. If the periodical uses Roman numerals convert them.



• No. - enter any number/issue details as they appear. Check parent Periodical record when complicated numbering occurs, eg. e.g. with Science Fiction : A Review of Speculative Literature, issues also have whole numbering - vol.15 no.2 2000 is number 42: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZuE ; or to see whether multiple series exist eg. Heat: :http://www.austlit.edu.au/run?ex=ShowWork&workId=CZoY



• Period - enter any additional information relating to the period of publishing - day, month, season etc., typing all month names in full, day first (eg. 9 April ; January; May-July; Autumn) (Note: Year is entered at the Manifestation level)


Issue Of:
• Relate issue to the parent Periodical record (ie. the authority record which links together all the issues) by choosing the relevant Periodical record. Eg. For Journal of Australian Studies No. 69, the parent periodical is just Journal of Australian Studies and will appear in the Choose search a Journal of Australian Studies [periodical].



• Remember that many periodical titles are similar. It is particularly important to check that the issue is linked to the correct parent record: use year to refine the search and check the Show option. If any uncertainty exists check the parent Periodical record in a separate window for place of publication, date range etc.


Note:
• Although the AustLit scope policy indicates that many works are selectively indexed, it is often a good idea to add a note at WORK LEVEL when a periodical issue contains very few relevant items. The note 'Contents indexed selectively' is available in the F2 drop down menu in the note field.


Creation of Work
• Default is Editor. Use to record special issue editors (eg. guest editors) NB. General editors are recorded against the parent periodical record.



• If you would like to record more information about the special role, use the note field at Work or Expression level.



• If there is no special editor, delete the entire creation attribute from the Expression box.




Manifestation: (Within Expression Box)

Date:
• Enter the year of publication - usually this will be 4 digits.



• For periodical issues that cross 2 years, use the range (eg. 2000-2001). If the date is uncertain, tick the [Brackets] box. This will render the date in square brackets.


Entering Contents:
• Enter contents of the periodical issue through the Contains option within the manifestation box, or if you prefer, ignore the Contains box, update the record, and enter each item individually using the method of indexing the individual item and adding a source.



• In either case you will enter information in the source box which has the following attributes: Title, Page info, URL and Section and supplement details where relevant (see Special Sections guidelines) and Notes to convey additional information about the expression in this particular source.
  NB. Remember that this field has an F2 drop down list of shortcuts such as 'Editor's note'.



• Many items published in a periodical may have been published elsewhere and will require a new source rather than full indexing.




C.9.3 Newspaper/Periodical Issues Published as Monographs

Use the following procedures when a work is published both as a periodical issue and as a monograph. The work record will have periodical issue details (vol., no., ISSN, etc.) and monograph details (title, publisher, ISBN, extent, etc). All information relating to the publication must be recorded.

The Journal of Australian Studies No. 67, 2001, was published both as an issue of the journal and as a book, Fresh Cuts: New Talents 2001 (http://www.austlit.edu.au/run?ex=ShowWork&workId=CoXV).

Precedence is given to the periodical status of the work (recording those details at the work level) because, despite its appearance as a monograph, the work remains primarily an issue of a periodical. In addition, the monograph title is sometimes only recorded on the cover. Searches on either title will find both titles.

• Search AustLit for the monograph title and the periodical issue. If there are no results, create a record for the work.


Work Attributes
• As the primary Work Type is considered to be the periodical issue, choose the periodical issue template. The periodical title will be recorded in the Title.



• Add another Work Type attribute, and select 'Anthology' from the drop-down list. Do not add any Form terms to describe the anthology.



• Fill in the other work level details relating to the periodical issue (refer to general instructions for Newspaper/Periodical Issues).


Expression / Manifestation Attributes
• Select 'Alt title' from the ADD: EXPRESSION ATTRIBUTE list. Enter the monograph title of the work, eg. Fresh Cuts: New Talents 2001.



• Add a Manifestation event by selecting 'Manifestation' from the ADD: EVENT list in the EXPRESSION (REALISATION) section.



• In the Date attribute, enter the year of the periodical issue.



• Record other relevant manifestation information (add other manifestation attributes to the record by selecting the desired attributes from the ADD: MANIFESTATION ATTRIBUTE list).



• If the monograph title is on the cover but not on the title page, select 'Note' from the ADD: MANIFESTATION ATTRIBUTE list and make a note: Alternative title from cover.




C.9.4 Special Sections in Newspapers/Periodicals

These guidelines and instructions apply only to separately paginated sections of newspapers and periodicals.

Many newspapers and periodicals have sections that are regular features in every issue, eg. 'Books Art Movies' in The Courier-Mail and 'Spectrum' in The Sydney Morning Herald.

These sections are parts of a particular issue of a newspaper or periodical, eg. an issue of The Courier-Mail, April 7, 2001. (Each of these issues is in turn related to parent newspaper/periodical records, eg. The Courier-Mail.

Use the following procedures when you are entering an individual record for a work which is in a special separately paged section of a newspaper/magazine. Eg. Debra Kim Adelaide's In Short review, featured in 'Spectrum' (http://www.austlit.edu.au/run?ex=ShowWork&workId=CoP7&mode=full).

Work Attributes
• Enter the Work Type, Title, Creator and other relevant work level details.


Expression Attributes
• From the ADD: EXPRESSION ATTRIBUTE list, select 'Source'.



• Click on choose, and select or create the record for the periodical issue, eg. The Sydney Morning Herald, 13 January, 2001.



• Enter pagination in the Source PAGE INFO field.



• From the ADD: SOURCE ATTRIBUTE list, select 'Section'.



• Type in the section name in full (eg. 'Spectrum', 'Books, Art, Movies', 'Agenda').



• Enter other relevant expression information.



• Note: Previously, we recorded the section as part of the issue information in the title field, eg. 'The Sydney Morning Herald (Spectrum) 24 February 2001 periodical issue EDIT HOLDINGS'. This practice has changed, so that the section is no longer part of the issue title, but is recorded in the SECTION field of the Source attribute.




C.10 Non-Literary Works

Definition: Non-Literary works can be added as subject-works in Austlit in the following instances:

• When a non-literary work such as a painting, photograph, sculpture, piece of music, film, opera or a performance of a dance inspires or influences a creative work or works.



• When a column or criticism discusses in depth, with biographical references, a painting, photograph or sculpture depicting an Austlit author



Notes
• 1. All non-literary works must have titles.
• 2. Non-literary works should only be added as a subject-work in Austlit if the indexer feels that a particular work is so important that the broader subject concepts (eg. paintings; portraits; photographs, operas, ballets) cannot adequately index the creative work in hand. For example, A. D. Hope's poem 'Dalla sua Pace' relates specifically to Mozart's opera Don Giovanni: http://www.austlit.edu.au/run?ex=ShowWork&workId=CI%2c! so it is appropriate to create a subject work as well as using the general subject concept 'Opera and operetta'.
• 3. Forms Musical theatre and Film/TV can also be used for literary works when the words and/or libretto/screenplay are by an Australian creative writer.

Some examples of Titled Paintings and Photographic Images are:


• The Drover's Wife http://www.austlit.edu.au/run?ex=ShowWork&workId=CqA[
  
• Portrait of A.D. Hope 1992-1993 http://austlit.edu.au/run?ex=ShowWork&workId=Co]u
  
• Prime Minister Gough Whitlam Pours Sand into the Hands of Traditional Landowner Vincent Lingiari, Northern Territory http://austlit.edu.au/run?ex=ShowWork&workId=Cwuq

Procedures:

• Search for the title of the work on the Austlit database. If the title is not on AustLit, search for the title in authoritative reference works and/or web sites.



• If the title is not located through an authoritative source do not proceed with a work record. Use subject concepts to index the creative work in hand, eg. paintings; portraits; photographs, operas, ballets. Add a note at work level if deemed appropriate.



• Choose appropriate template e.g. Artwork, Musical theatre.




Work Type:	Single work. Leave as defaulted.
Title:	Enter the title of the work.
Add. Work Attributes:
Subject Agent:	Choose a subject agent from the authority list only in the case of an AustLit author being the subject of the work.
Creation of Work:	Creator: Default is Author. Change default to - Creator for creators of Artwork, - Composer for Musical theatre, Choose the name of the creator. Create a new agent record if necessary, following guidelines for Agents.
Expression (realisation):	Add. Expression attribute: Choose Form: - For Artworks choose the form Painting, Image, Sculpture or Photographic image as appropriate - For Musical theatre choose the form Musical Notation, Musical Sound or Performance as appropriate
	Add. Expression attribute: Choose First Date: Enter the date the work was created. If the date is approximate, tick the circa box.
	Add. Expression attribute: Choose Note: Add name of holding institution if appropriate (e.g. for Artworks) in note field only, e.g. National Gallery of Australia, Canberra, ACT. Do not add name to the Holding attribute. Enter description information to hand including dimensions. It is not necessary to search for description and dimensions. Separate items of description with a coma and separate items of description from dimensions with a semi colon, e.g. Oil on canvas; 51.3cm x 61.3cm
	Remember not to enter details of non-literary works at Manifestation level because this will generate a Library Holdings link.
	Add any relevant and informative notes to hand about the work in a Work Attribute Note
	Delete all other options.
	Update when finished.

C.11 Notes Guidelines

For writing styles and format of notes see E.1 Writing Style and Format guidelines . Austlit provides opportunity for notes at various levels in the work description -

• Maintenance notes are always private and a vehicle for in-house communication. Refer to Maintenance Note instructions.



• General Note fields exist at Work level, Expression level, Creation level, Realisation level, Manifestation level and Source level as well as within the Reprint attribute and on Agent records. Notes at Work level are searchable in the text attribute search.



• An F2 drop down menu is available in all note fields. Please familiarise yourself with these and check regularly as new options are added regularly, depending on demand.



• Affiliation Notes are available at Work level and on Agent records. A special F2 drop down menu is available in this note field. Refer to Affiliation Note instructions and Specialist Subset guidelines.



• Notes at all these levels may be either public or private. See our privacy policy at http://www.austlit.edu.au/about/privacy.



• Try not to include or duplicate information that belongs more appropriately in another attribute, eg. birth/death details, awards, new manifestation details. If there is a more appropriate attribute, use it instead.



• There are retrospectively added records which contain notes that should be moved to more appropriate fields (eg. often we have enough information to create new manifestations), if you come across these and have a little time available, please feel free to amend the records.



• Position of notes:
  There can be no hard and fast rule about the position of notes on a record and the appropriate place to position a note may change as the record evolves. For example
  1. When a work (poem, short story, novel) first appears, it is legitimate to have the a note (e.g epigraph or dedication) at Work Level. It relates to the work at this stage. If the poem is re-published in another expression or manifestation still with the same dedication we thus avoid repetition.
  2. If the work is republished with a different dedication, we can shift the original note to Source or Manifestation level and add a new note also at source or manifestation level.
  3. If the work is published without the dedication, say once out of five times, we can put the source or manifestation note 'Appears without dedication'.



• When dealing with an old record, and the indexer is not sure which sources have epigraphs, dedications etc. it is more appropriate to make a general note at work level: 'The poem appears with and without the dedication: xxxxx'



• Note: Be especially vigilant about moving notes when creating new expressions. Where works have multiple expressions make sure that the notes attach to the correct expression, or consider moving the note to work level. See comment below about sound recordings etc.




C.11.1 Common Maintenance Notes

The Maintenance Note box will appear by default on any new templates selected and appears at the top of the edit screen on records in the system that already have information in this field. If it does not appear you can select it from the Work Attribute menu.

The Maintenance Note is an invaluable tool for identifying sources of information, communicating information to other current and future team members and for writing notes for yourself when working. It should be used frequently to record progress on a record, to communicate with others and remind yourself why you made a certain decision etc. Consistent use of FOS and TBI notes will also enable us to find records and renew them at a later date.

It is also helpful to date and intitial the maintenance note because the last person to touch the record will not necessarily be the person who made the note.

Use the following abbreviations (or their fuller version if you prefer) in the Maintenance Note field. Additional texts will be available in the F2 drop-down menu and you may also compose your own notes.

BIA	Biographical information available. Usually accompanied by a reference to a print or electronic source. Used when an indexer has discovered a source but doesn'r have the time to make use of it.
VPG	Verify Pagination
RIR	Reader Interpretation Required. Use when meaning is uncertain or when item can be interpreted on a number of levels
TBI	To Be Indexed. Use when creating/amending a title record for a work which needs topics and/or subjects added
FOS	From Other Source (An item not sighted by the indexer).Use when creating a title record for a work not yet seen by the indexer, but for which adequate details are provided in another publication to construct a meaningful record (eg. new works cited in brief reviews, old works cited in critical material or bibliographies). Check another source to verify information (eg. National Library catalogue or Libraries Australia) and record source of data.
IFR	Indexed From Review. Use when creating a title record from a review. Check another source to verify information (eg. National Library catalogue or Libraries Australia) and record source of data.
IP@	In Process @ [Institution]. Use for records that are not yet complete, just awaiting time to complete.
SIN	Subject Indexing Not Yet Done. Replaces previous TOP code.
SNR	Subjects Not Required. Use for essays etc which do not require subject indexing. Replaces previous ST code.

C.12 PANDORA Citation Service

PANDORA has addressed the need to deep link into various PANDORA pages by creating a system to allow users to create Persistent Identifiers (PIs) for any part or page of the PANDORA archive. Note: The URL of the more persistent version of a valid PI will always contain the words 'nla.arc'.

Title Entry Page
• To use the Citation Service you need to have a Title Entry Page (TEP) URL - the TEP is provided by PANDORA once an item has been archived.



• Go to the PANDORA Archive at http://pandora.nla.gov.au/index.html



• Go to the TEP URL of the website you wish to link to. Eg. http://pandora.nla.gov.au/tep/10500 for the archive front page for the ejournal Divan


Individual Pages
• If you go to the next level (eg. to the issue level for periodicals), you can link to any of the issues individually but this will be to the less permanent URL. The citation service makes it possible for us to create our own persistent identifier (ie. nla.arc ) URLs for the individual pieces rather than requesting that PANDORA archive each individual piece we are interested in.



• Eg. to create our own persistent identifier (ie. nla.arc ) URL for Issue 4 of Divan :
  You can open up another window (Ctrl N)
  In this new window, find the page from PANDORA you want to link to (eg. Issue 4 of Divan) and highlight and copy the URL from that page.
  Go to the window with the index page (containing the TEP)
  Paste the individual issue (or resource) URL into the Citation Service text box at the bottom of the page and click on Go.
  This will bring up a new page. This page has the URL you entered, the new nla.arc PI and a PI for the TEP.



• To cite the individual issue (or resource) in AustLit, use the third link listed (ie. the nla.arc version Eg. The persistent URL for this resource is http://nla.gov.au/nla.arc-10500-20021001-www.bhtafe.edu.au/divan/divan4/index.html


Individual Items
• If you do not have a TEP or you want to generate a PI for the more specific individual items (eg. a poem or article within an archived issue of an ejournal), the easiest way is to use the link to the Citation service which is on the left hand bar of the PANDORA home page or go directly to http://pandora.nla.gov.au/cgi-bin/cite.pl.



• You can the enter the PANDORA resource URL for the specific item in the field and the service will then create a new nla.arc URL.



• Using this service we can now safely and persistently link to any image, page or issue already in the PANDORA archive.




C.13A Poetry Indexing

Indexing poetry brings up a variety of issues about how best to describe the particular (and sometimes peculiar) ways poetry is published. Poetry appears in a variety of formats: as single uncomplicated works comprising a series of stanzas; as multi-part works with numbered and/or titled sections; as sequences with clear divisions between poems, as sequences with numbered and/or untitled parts; with and without dedications; as book length novels in poetic form; as epic poems, etc.

AustLit's mission is to represent poetry as accurately and usefully as possible. We need to keep users in mind and attempt to capture the structure, author's intent and meaning of the work as closely as possible. Because poetry is probably the most amorphous of the literary arts and the most difficult to contain within a simple rule structure, the following points will help determine ways of handling particular types of poems.

C.13A.1 General Rules

1. AustLit aims to index all individual poems by Australians wherever they appear.
2. Provide title, agent, subject/s (where suitable) and source. Or if a single book-length work, manifestation details.
3. For long poems, abstracts are useful
4. Index individual parts of sequences as single works belonging to a sequence only when they have a separate title.
5. Do not index individual parts of sequences that are defined only by numbers (either Arabic or Roman). Instead, describe the poem or sequence in the work note - 'A poem in six numbered parts', or 'A sequence in 24 numbered, untitled parts.'
6. Do not create sequence records for parts of selected works - ie. when a book is divided sections (perhaps thematic or period divisions). If a collection of poetry is divided into parts, note this in a work note: eg. 'The collection is divided into three parts entitled - "From a Dark Cottage", "The Sunlit Plains", and "Salt Harbour".'
7. Do not include dedications in the title.
8. If part of a larger work appears separately, even with a distinct title, it is treated as an extract.

Note: These rules represent a change in policy especially in relation to indexing sequences - there will not be a concerted retrospective clean up. However, when you come across sequences made up of untitled numbered poems (say, in your priority author work) merge them into a single work - leaving sequence as work type if appropriate.

C.13A.2 Titles of Poems

Dedications
• The essential work attribute is the title, not the dedication. Dedications (ie. for Brian, in memory of Eve Langley, etc) are not part of the title of a poem. Record dedications in the appropriate note field. Refer to Notes Guidelines for guidance on the position of notes.



• Please correct existing records if you come across a poem with a dedication recorded in the title. If there is more than one expression or source, move the dedication information to a work note as we will not know if it appears on all expressions or sources.



• Transcribe the dedication exactly as it appears on the poem.



Epigraphs
• Treat in the same way as dedications with the following exception: if the epigraph is lengthy - more than two or three lines - just record its existence as with the poem 'Cambridge Considered as the Cocos and Keeling Islands': http://www.austlit.edu.au/run?ex=ShowWork&workId=Cuh;



Editorial titles and graphics
• Because much poetry is published within other works - selected works, periodicals, anthologies - special care must be taken when determining a poem's title. For example editorial titles such as 'Five Poems', 'Geoff Page - Three Poems', should be disregarded. Sometimes it is necessary to check the contents page as well to determine a title or the relationship of poems to each other (the graphics in some 2001 issues of Meanjin were particularly confusing) .




Refer also to general rules about Titles.

C.13A.3 Poetry Template

Use the Poetry Template to index individual poems and the Sequence Template to organise the sequence parts into a single record. Sequence records can have manifestation details when all of the sequence parts are published together (see http://www.austlit.edu.au/run?ex=ShowWork&workId=Cw5; - Bronwen Lea's 'Seven Feet and Where They're From').

C.13A.4 When is a poem a Single work or a Sequence?

• A single poem can sometimes be incorrectly identified as a sequence because it is long or because it is made up of several parts. However, we only identify works as belonging to a sequence when the sequence as a whole is a collection of related but separate poems held together by a common theme or focus. For example when a poet writes a series of poems as a response to an event, a city or experience in her/his life and groups them together under a collective title.



• A sequence is defined by the poet, not by the grouping of a number of poems on a page or the existence of a common title ('Three Poems' by Les Murray is not a sequence title). They can be published separately or collectively and when published separately they retain their single work status and their 'part of' relationship to the sequence. Parts of sequences can stand alone as independent works, for example Gwen Harwood's 'A Simple Story', published separately and as part of 'A Quartet for Dorothy Hewett': http://www.austlit.edu.au/run?ex=ShowWork&workId=CU1o




C.13A.5 Single Works

• Be aware of the tradition of poetic forms. Long poems such as epic poetry (whether or not made up of individual parts) are single works, just as a novel is. We do not index individual chapters within a novel and there is no reason to index parts of a long poem. Patrick White's novel The Solid Mandala and Hardy's novel Power Without Glory are both divided into books with distinct titles but we do not use a contains option or make the individual sections into separate works, or assign subject topics to them separately.



• The same is true for verse novels such as Les Murray's Fredy Neptune, Dorothy Porter's The Monkey's Mask and Alan Wearne's The Lovemakers. It is easier to see these as single works because they are all obviously novels. However, the same is also true of other longer poems such as Rex Ingamalls's The Great South Land : An Epic Poem http://austlit.edu.au/run?ex=ShowWork&workId=C22n&mode=full. Under the these revised rules this should appear as a single work, recognising it as an epic poem, divided into books in the same way that Paradise Lost is divided into books. Other examples include Spenser's The Faerie Queene, which is divided into books, Derek Walcott's Omeros and Pope's The Rape of the Lock which are divided into cantos or James McAuley's Captain Quiros is divided into parts: http://www.austlit.edu.au/run?ex=ShowWork&workId=C2Yd&mode=full. All of these are actually single works. The Great South Land and Captain Quiros are in effect no different to The Solid Mandala or Power Without Glory. That the latter are prose and the others verse is immaterial.



• Note: If part of the work appears separately, even with a distinct title, it is treated as an extract. See an extract from Captain Quiros: http://www.austlit.edu.au/run?ex=ShowWork&workId=C5K-



• It is often possible to distinguish between:
  a)a sequence of individual but related units and
  b)a single work with internal divisions.
  The clues to this can be found in the publication itself, in the title, in guides such as OCAL and in the critical literature about important works. Eg. Dorothy Hewett's 'The Crab': http://www.austlit.edu.au/run?ex=ShowWork&workId=CsQj&mode=full and 'Writing Poems in the Blue Mountains': http://www.austlit.edu.au/run?ex=ShowWork&workId=CsyR from the collection Halfway up the Mountain (2001) are both single poems in 6 parts, not sequences. If read carefully one can see that each part deals with the same subject matter and they are intimately connected to each other. 'The Crab' deals with illness and hospitalisation, and 'Writing Poems in the Blue Mountains' with the speaker's frailty and old age and her reminiscences about love, sex and youth - it is dream-like in its rhythm and each section would not work effectively as a single work. On the other hand, 'The Good Companions' is a sequence of 6 poems, each with a different character, and stand-alone quality: http://www.austlit.edu.au/run?ex=ShowWork&workId=CM!8. Each poem has a central character and is a single distilled memory and exploration of a childhood friendship or acquaintance.



Where does this leave the indexer?
• As with much literary categorisation, there will be blurred areas and individual judgements can vary and be justified. Sometimes in the end it is a matter of degrees on a scale rather than being in totally different categories. Les Murray's The Boys Who Stole the Funeral is a good example of how confusing this is:
  - It is separately published
  - It is a narrative
  - Murray has described it as 'a novel in poetry', 'a verse play' and 'a verse movie ... because of its filmic construction' (OCAL p.110)
  - On the other hand, the subtitle is 'A Novel Sequence"'and it is composed of 140 untitled but numbered sonnets.
  - A good case could be made for treating it as a sequence but consideration of all the "clues" mentioned above (in the publication itself, in the title, in guides such as OCAL and in the critical literature) show that the balance tips in favour of reading it as one single work rather than as a group of individual but related works.
  - Another indication of how this is really best represented as a single work is to see what the result would be if it were treated as a sequence. How valuable would 140 untitled works be? How off-putting and unmanageable in the display? What would be gained by making the numbers act as titles? Realistically, how often are these elements going to appear in other than their complete form?
  - To date, since its publication in 1980, there has been one extract from this work (http://www.austlit.edu.au/run?ex=ShowWork&workId=CL]g) and Murray has never split up the work itself in his own selected works.



• See 'The Buladelah-Taree Holiday Song Cycle' http://austlit.edu.au/run?ex=ShowWork&workId=COgp for an example of the single poem appearing in numerous places and extracts appearing elsewhere and being related to the original work. The note lifted from OCAL gives the user further details of why it is a single work. Multiple subjects also provide a good description on one AustLit record of this work.




C.13A.6 So when is poetry a sequence?

Types of sequence can be:

1. Loose sequences/thematic groupings: eg. McAuley's 'Black Swans : 1946-1955' http://www.austlit.edu.au/run?ex=ShowWork&workId=CuDx
2. Tighter/structured sequences: Les Murray's 'The Sydney Highrise Variations' http://austlit.edu.au/run?ex=ShowWork&workId=Cv)7. In both cases the elements in the sequence have a collective title but also clear individual titles and an independent life of their own, often published separately. They are recognisably separate but related. They have a meaningful 'stand aloneness' and should be treated as single works within a sequence i.e. have their own work record.
3. In rare cases individual numbered poems published collectively can be a sequence, however, even if such a work is identified as a sequence, we do not separately index poems that are simply numbered. It is acceptable to describe the collection of poems as a sequence and to give the sequence subject terms and publication details, but do not index each section separately. It does not add value to have a long list of numbers. Index the whole sequence as - work type: single work, sequence, form: poetry, Note: 'A sequence in 10 numbered but untitled parts'.

C.14 Publisher Guidelines

Sources of Information

Sources of Information for publisher details are: title page, other preliminaries such as the title page verso, colophon (in that order of priority). Refer to (AACR II p.63).

Place of Publication

• Give the place of publication that appears on the source. If two or more places in which a publisher has offices are named, give the first named place. Give any subsequently named place that is given prominence by the layout or typography. If the first named place and any named place given prominence are not [Australian] give the first Australian place as well (AACR II p.36).



• For example if the place is given as London, Melbourne, Toronto, with no prominence (eg. larger font, bolding) given to Toronto then we should put both London (first named) and Melbourne (because Australian).



• It's a bit of a grey area and we'll often be working from records where this hasn't been done - e.g. in bibliographies - so it's the first-named and most prominent criteria that should carry most weight.



• What we are doing is allowing the publisher dictate the place of publication. With a lot of early 20th century books, when publishers had offices in both London and an Australian city, London is often listed first, even when the book has been printed in Australia. In cases like this, we will still give London as the first place of publication but we should make a note 'Printed in Australia'. See Hoffman's George and Margo: http://www.austlit.edu.au/run?ex=ShowWork&workId=CA2m
  Here the title page reads London-New York-Sydney-Paris-Durban. We record London (first named) and Sydney (because Australian); no prominence is given to any others so we leave them out. Note that in this record, the printer field is also used because it clarifies the publication details.



• When an Australian place is the first named, only that place need be recorded e.g. the 1954 edition of The Fortunes of Richard Mahony. The title page reads Melbourne , London, Toronto. It is only necessary to record Melbourne, although in this case I've noted that it was in fact printed in England. (Whereas the 1946 ed. also Melbourne first named was printed in Australia!!): http://www.austlit.edu.au/run?ex=ShowWork&workId=CR%2c)



• For self-published works the place of printing is used as the place of publication, even if this is not the place of the author's residence at the time of writing e.g. a work printed by Fast Books is recorded as being published in Glebe, NSW even if the author is a resident of Brisbane.



• Note: Libraries Australia records often have an English and a US place - this is because they have been copy-catalogued from American MARC records.




Publisher

• Decide the publisher according to the priorities above - title page, other preliminaries, colophon.



• Give preference to the IMPRINT on the title page over the information about the publisher on other pages. For example Wild Surmise, by Dorothy Porter is published by Pan Macmillan Australia under their Picador IMPRINT. Picador appears on the title page. This is what we should put even though on the verso of the title page we see that this is an IMPRINT of Pan Macmillan Australia : http://www.austlit.edu.au/run?ex=ShowWork&workId=C{yO
  Note; Many people are already doing this but there has been understandable confusion. I hope this makes it clearer.



• Another example is Bruce Dawe's The Headlong Traffic. The title page IMPRINT is Longman and this should go in the AustLit record even though on the verso of the title page the copyright data etc. refers to Pearson Education Australia. http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23%2bal



• We will gradually bring all the imprints of publishing houses together through the use of the Related agent attribute and 'biographies' of companies. See the record for Pan Macmillan Australia: http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A%2cd[



• SPECIAL NOTE: 19th Century publishers:
  If a printer's name appears on the title page, then that business should be treated as the publisher even if it was likely that the author themselves was the actual publisher or paid up front for the book to be published.
  If there are no publisher or printer details on title page and printer details of printer appear on the colophon (at back of book), then we should say published by the author and include the printer in the printer field.




Form of Publisher Name

• This can be tricky. The AACR rule is 'Give the name of the publisher ... in the shortest form in which it can be understood and identified internationally' (p.37). Their examples are PENGUIN cf. PENGUIN BOOKS; W.H. ALLEN cf. ALLEN. But we need to be careful not to confuse different forms of the name (which we will record as AKAs) with different names.



• This may mean creating a new Organisation record to reflect changes in the Company structure, subsidiary companies, mergers etc. For example Longmans Educational is not an AKA for Longmans but a separate Agent.



• Have a look at George Robertson : http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A%2c9@



• Here all the variations on the company name, while it was just his company, are AKAs but the firm of Robertson and Mullen is a different but related company and should not be abbreviated.



• This is where we will use the Related Agent attribute




Joint Publishers

In the past 'double agents' were created to cater for situations when two publishers are given for a work. A clean-up is underway albeit slowly. The new publisher instructions are not to create new 'double-agents' of the type 'Currency Press in Association with La Mama'. Instead, choose the publisher option twice, putting 'Currency Press' in one box and 'La Mama' in the other.
This will render on the public screen with an 'and' between the two: e.g. Jill O'Callaghan's Some Mother's Son http://www.austlit.edu.au/run?ex=ShowWork&orkId=C$A;
If you feel the relationship between the two agents needs further explanation, use a note.

Multiple Publishers

If multiple publishers are listed, you may assign multiple Publisher attributes.

Uncertain Publishers

If the publisher cannot be absolutely verified, enter the known information and tick the [Brackets] box. In the display, the text will be enclosed in square brackets, eg. '[Spinifex Press]'.

Self-Published Works

• For self-published works select the name of the author in the publisher field. The name will appear in the edit screen in its inverted mode but in the full public display this will be rendered as 'The Author'. For example Beyond the Mist by Roma Foley O'Brien http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23%23JJ.



• Do note create a 'non-inverted' agent record for the author unless that is actually an organisational name e.g. George Robertson.



• For self-published works add a printer if one is named



• Often it is impossible to decide whether a work is self-published (i.e. by The Author) or whether the printer is the publisher. In these cases prefer The Author. As we will always list the printer as well, we are giving all the information to the user. If we put the printer as publisher, we are not conveying the possibility of the work being self-published.



• SPECIAL NOTE: 19th Century publishers:
  If a printer's name appears on the title page, then that business should be treated as the publisher even if it was likely that the author themselves was the actual publisher or paid up front for the book to be published.
  If there are no publisher or printer details on title page and printer details of printer appear on the colophon (at back of book), then we should say published by the author and include the printer in the printer field.




C.15 Selected Works and Anthologies

Anthologies OR Selected works?

A work containing items by three or fewer authors will be a selected work by joint authors rather than an anthology. Usually an anthology has an editor or compiler but not always. If an anthology has a very large number of 'authors' and no editor (applies to many published by collectives, writers' groups etc.) it is probably best to put no editor at all and a note saying no editor identified so all authors are listed - up to a limit of twelve:
Example:Amor y Sombra: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23$1q

Contents of Selected Works

During 2003-2005 we've decided not to index the contents of selected and collected creative works but instead to put in a brief note or abstract and a TBI in the maintenance note so we can identify works that need fully indexing at a later stage.
An example of a note could be the one on Robert Gray's The Grass Script : Selected Earlier Poems. 'The poems in this representative collection were written between 1968 and 1987 and are drawn from Creek Water Journal (1974), Grass Script (1978), The Skylight (1983) and Piano (1988).' A note for Les Murray's Collected Poems: 'This selection comprises all the poems from Murray's New Selected Poems (1998) together with poems from the more recent Poems the Size of Photographs (2002).'
Several team members are indexing specific anthologies.

C.16 Serialised Works

Instalments of serialised works are not treated as separate works in AustLit; we record a works's serialised nature as a separate expression of that work (novel, novella, short story) and give information about instalments, dates and page references in a note.

There is a 'Reverse angle' view, activated by the 'Serialised by' Expression attribute, so that if you look at the 'parent record' for the periodical it will list the works serialised in it: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZp)

If there are more than 4 works serialised by a particular publication they will be hidden behind a clickable button like the contents button.

Users will be able to search for serialised works by selecting a 'Has Been Serialised' attribute available in the new advanced search screen, in the category 'Publication details'.

Serialisations Procedures

Work Separately Published

1. Create a new expression for each serialised format and within that expression choose the 'Serialised by' Expression Attribute
2. Create an Alt. Title (Expression attribute) if it differs from the first published title
3. In the source field select the Periodical or Newspaper in which the serialisation was published
4. In the First date field at Expression level add the year or the date range of the serial's publication
5. Add an Expression level note e.g. 'Serialised in the Adelaide Observer in 36 weekly instalments 2 April 2 to 3 December 3 1892': http://www.austlit.edu.au/run?ex=ShowWork&workId=CKe$
   with only a few (3 or fewer) instalments, page references etc may be spelt out: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23%2b%2cx
6. On the issue records of the Periodical/Newspaper Issues add Expression level notes : e.g. also contains episode of One Too Many for Him pp. x-xx. We need to do this if we are to represent the issues of a particular publication - e.g. the Australian Journal - properly. Also users may approach a work from an issue point-of-view - i.e. go looking for a particular issue of something expecting to find serial details in the contents: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23%230c

Work Not Separately Published

Record as above. Select the form Fiction (Unclassified) unless you are sure from publication/ref.sources that the work is definitely a novel or short story.

C.17 Series - Author and Publisher

There are two types of series recorded for AustLit

• A. Author series
• B. Publisher series

General Points:
- Both series can consist of either separately published items or items published within another work - a series of separately published monographs or a series of articles, interviews etc within a periodical or newspaper. This will make a difference to where in the record the dates are recorded because of implications for the Library Holdings link. (Dates at Manifestation level generate the Library Holdings link so for a series published within another source, dates cannot be put at this level. See example of 'And Then There Were Women': http://www.austlit.edu.au/run?ex=ShowWork&workId=C%230FY)
- Series differ from Serials or Serialisations - Series are groups of single works with a common link whereas Serials or Serialisations are single works split into parts, episodes or instalments for publication. See C. 14 Instructions for Serialised Works.

A. Author Series

Author Series: can be different kinds:

• A number of works by the same author, with continuity of plot, setting and characters. Examples:
  John Marsden's Tomorrow Series http://www.austlit.edu.au/run?ex=ShowWork&workId=CoN) [add final ) to link]
  Isobelle Carmody's Obernewtyn Chronicles http://www.austlit.edu.au/run?ex=ShowWork&workId=CoMX
• A number of works, each self-contained, with no continuity of plot but continuity of some kind, such as continuity of character Examples:
  Geoffrey McSkimming's 'Cairo Jim' Series - http://www.austlit.edu.au/run?ex=ShowWork&workId=CoQ6
  Kerry Greenwood's Phryne Fisher Mysteries http://www.austlit.edu.au/run?ex=ShowWork&workId=Cq%2cX
• A number of inter-related works, not conceived of as a series by their authors, but which have been defined as a series by subsequent critical work Example:
  The Goldfields Trilogy by Katharine Susannah Prichard. http://www.austlit.edu.au/run?ex=ShowWork&workId=CoNF

Difficult Cases

• Multiple authors/Joint authors: - treat a series produced by multiple authors as a Publisher series BUT if two authors have written a whole series together, treat as joint authors of an Author series Note: An Author series can be written by joint authors under a joint pseudonym.
  However, be careful to distinguish between pseudonyms used by authors compared to pseudonyms used by a publishing house eg. Virginia Baxter (http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A-lD ) is a name used by several authors for the 'Surfside High'series: http://www.austlit.edu.au/run?ex=ShowWork&workId=CwN0 . This should be treated as a publisher series
• Where one author has had creative input in each work of a series, but has had different authors collaborating with them on each new work. The author series is attributed to the author who has had a continuous role in the series and the co-author information is attributed on the individual works. For example, with 'Teen Power Inc.' Emily Rodda was the major writer on each work but she also had co-authors. The author series is attributed to Emily Rodda and the co-author information is attributed on the individual works: http://www.austlit.edu.au/run?ex=ShowWork&workId=CobW

B. Publisher Series

• A Publisher series may be based around a theme, genre, a group of writers or a literary form. One author may write more than one work for the series, but usually different authors are responsible.
  Examples:
  Australian Classics (Angus & Robertson): http://www.austlit.edu.au/run?ex=ShowWork&workId=CqIO
  Wakefield Crime Classics: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cq2V
  UQP Black Australian Writers: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cps@
  Jacaranda Poets Series : http://www.austlit.edu.au/run?ex=ShowWork&workId=CqEU

C. Series Instructions

Author Series Template

General Instructions:
• The link between the Author series work record and the works that are part of a series can be created from the individual work by linking to the parent series record ('Part of Author Series/seq.' attribute) An Author series can also be created from within the series parent record by linking to existing works, ('Series/seq contains:' attribute). Procedures for both methods are below.



• Individually indexed works which are parts of a series may be assigned a 'Part of Author Series/Seq.' attribute linking the part to the parent series work (for which you may need to create a record).



• This procedure may be done in reverse for an Author series. Use the relevant template to create a parent record for the series. This record must then be assigned multiple Series/Sequence Contains attributes to link the series to each of its parts (for which you may need to create individual work records).



• WorkType: Author Series



• Form: Assign forms common to the individual works within the series, eg. Novel, Short story,



• Genre: (Choose from Work attribute menu if required.). Assign genres common to the individual works within the series e.g. Crime, Young Adult, Adventure, Children's (more than one can be added)



• Title: Enter the name of the author series as recorded on the work or in a library catalogue record. In some cases it may be necessary to create and supply a title. This has been done in the following examples:
  The 'Specky Magee' series: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%2301w
  The Melling Girls: http://www.austlit.edu.au/run?ex=ShowWork&workId=C}{N



• Series/Seq Contains: If you wish to link to the individual works from within the series record, use the following steps:
  - Select the Author Series/Seq Contains attribute at work level
  - Click on the Choose button and search for the individual work that is part of the series. If the record does not exist, you will need to create a new record.
  - Add another Series/Seq Contains box and repeat the steps for other works in the series



• Creation of Work: Choose and search for the Author/s name that is linked with the series. If the series is written using a Pseudonym, choose the agent record for the pseudonym. Eg. the 'Deltora Quest' series (there are three of them) are linked to the agent record for Emily Rodda (pseudonym), not to Jennifer Rowe.



• Note: Use to provide some descriptive information relating to the series. See note on The Fortunes of Richard Mahony http://www.austlit.edu.au/run?ex=ShowWork&workId=Cv28



• Dates:
  - 1. For series of separately published works enter the date or date range at manifestation level (if the series is not finished have an open date range see manual E.4.3) and the start date(date of first-published item) in first date at expression level e.g. Isobelle Carmody's The Obernewtyn Chronicles: http://www.austlit.edu.au/run?ex=ShowWork&workId=CoMX
  - 2.For series of works published within another source, enter the start date in First Date at Expression level and add a note about the date span of the series as an expression level note e.g. Betty Lockwood's 'And Then There Were Women': http://www.austlit.edu.au/run?ex=ShowWork&workId=C%230FY:



• Numbering of Author Series:
  -Authors generally make decisions about the sequence of an author series, so this is not usually subject to change and can be noted in a Work Level Note.
  - There is no hard and fast phrasing for this note but one of the most common will be e.g. 'Book 2 of The Goldfields Trilogy' (included in the F2 menu).
  Avoid repeating the word series unnecessarily, particularly when the series title includes a cumulative noun:
  Examples:
  The Teneban Trilogy http://www.austlit.edu.au/run?ex=ShowWork&workId=C%2c[A
  The Well of Echoes Quartet http://www.austlit.edu.au/run?ex=ShowWork&workId=CwmP




Publisher Series template:

• Work Type: Publisher Series



• Form: Assign forms common to the individual works within the series, eg. Novel



• Genre: (choose from Work Attribute List if needed). Assign genres common to the individual works within the series. eg. Adventure, Childrens, Young Adult



• Title: Enter the name of the publisher series



• Creation of Work: Choose and search for the Publisher of the series. eg. University of Queensland Press for UQP Australian Authors. Usually there is only one publisher.



• Note: Use to provide some descriptive information relating to the series. See note on Surfside High http://www.austlit.edu.au/run?ex=ShowWork&workId=CwN0



• Dates/Publication details:
  - 1. If publication details and dates for series of separately published works are known enter the place, publisher and date or date range at manifestation level and the start date in first date at expression level e.g. Miegunyah Press Series: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23-s). Remember that an 'open' date rage can be recorded by making the second date 2999. See Form of Unknown Dates Note that this may mean the publisher appears twice on the record e.g. http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23Gha
  - 2. For series of works published within another source, enter the start date in First Date at expression level and add a note about the date span of the series as an expression level note e.g 'Writers in Profile' series: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23(6t



Linking and numbering PUBLISHER SERIES
• When publishers make decisions about what books to include in a series there is room for significant variation and a work may appear in a number of different series:
  Example:
  Eleanor Dark's The Little Company http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23E]



• Link a manifestation to a Publisher series using the 'Part of Publisher Series' attribute at Manifestation level.



• If a publisher series is numbered add the number in the 'Series Number' field from the manifestation attribute menu.



• EXCEPTION: parts of Publisher series in newspapers or journals consisting of 'themed' columns or stories are to be linked at work level like Author series. See for example 'City Picture' by Barcoo, part of 'The Sketcher' series of themed short stories appearing in a regular Sydney Mail: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23;Ce and
  Maysie Greig's 'My First 170 Novels', part of 'The Way I Write' series published in the Observer: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%23)aF




C.18 Specialist Subsets

Australian Literary Responses to 'Asia'

Scope::

This subset tracks literary responses by any Australian writers, of any cultural heritage, to that diverse region called 'Asia'. It includes information on works about, set in, or in some cases, containing references to or images of countries in Asia, North East Asia, South East Asia, South Asia, the Middle East and Papua New Guinea. It does not cover the Asian diaspora (e.g. Fiji). While the Australian Literary Responses to Asia subset concentrates on creative and critical literature, in accordance with the AustLit Scope Policy, some non-creative works are included. The subset also includes some Australian literary critical responses to Asian literature.

The Australian Multicultural Literature subset automatically includes Australian authors identifying with particular Asian cultural heritages. On the other hand, the Australian Literary Responses to 'Asia' subset only includes works - it is works-based, and not author-based. It includes works by Australian writers identifying with particular Asian cultural heritages only when those works view their Asian heritage and homelands, or relate to their perceptions of themselves as viewed by Australians.

Examples:
• A writer of Australian heritage can write a poem, say, on an Asian subject (or something with an Asian setting or Asian imagery or references) and this poem will be included in the Australian Literary Responses to 'Asia' subset. Works which do not have Asian content or references will not be included.



• Likewise, works by a writer of Asian cultural heritage in Australia will be included if they are about an Asian subject (or written with an Asian setting or Asian imagery or references), or if they are written about something which indicates the writer's Asian background or heritage. Works which do not have Asian content or references, and do not indicate the writer's Asian background or heritage, will not be included. Compare the following poems by Ouyang Yu:
  
  1. 'Domestic Politics':http://www.austlit.edu.au/run?ex=ShowWork&workId=CFMW
     'Domestic Politics'
     
     my Wife is the opposition leader
     
     if i sit on the left
     she'll sit on the right
     
     if i lie down on my back
     she'll lie down on her belly
     
     if she cooks
     i have to do the dishes
     
     if she cleans
     i have to clean the rubbish
     
     when she speaks
     i keep my mouth shut....
     This would not be included because the topic is universal and does not indicate his Asian heritage.
  
  
  2. 'The Ungrateful Immigrant' (http://www.austlit.edu.au/run?ex=ShowWork&workId=Cw--) on the other hand refers to attitudes of Australians to Chinese immigrants, and would be included. As would also his
  
  
  3. 'Far and Near' (http://www.austlit.edu.au/run?ex=ShowWork&workId=CBBH) which highlights the cultural gap between Australians and Chinese.
     
     Far and Near
     
     in Australia
     i am as far from any Australians
     as china is from Australia
     
     and i am as near them
     as a cloud
     near the sky



• Sometimes a writer will indicate his Asian heritage by reflecting how he/she is perceived by other Australians, and this can be included because it is a literary reflection of Australian attitudes to Asia. See Ouyang Yu's 'The Other Eye', in Cordite 4, p. 9. See: http://www.austlit.edu.au/run?ex=ShowWork&workId=CRaa



• Again, the writer might consciously (or perhaps even unconsciously) highlight differences between Australian and Asian lifestyles, and this can be included because it is 'looking back' to Asia from Australia and commenting on it - again a literary reflection of Asia from Australia.



• Or the writer might reflect on a changed relationship with the home land, for example Ouyang Yu's 'Second drifting':
  
  i remember i died once
  when I left china
  the sky on my way to an alien country
  was strewn with an ashen memory
  among the comings and goings of people
  in the airport
  no-one came to my funeral




Procedures:

Could indexers please be particularly sensitive to 'Asian-ness' in works, giving Asian subjects or settings where applicable, and where there is an Asian focus or quality or reference or imagery for which it would not be appropriate to give such a subject or setting, but which could still be of interest to someone searching for evidence of Australian literary reflections of Asia,:

• Add the Asia Affiliation (from the Work Attribute Affiliation field) and



• Add a note of why you did so in the Affiliation Note (also Work Attribute field). A standardised note is available. To use this:
  1. Have the cursor in the Affiliation Note field
  2. Use the F2 key (a truncated form of the note will appear)
  3. Press Enter
  4. The note: 'Associated with the AustLit subset Australian Literary Responses to 'Asia' as the work contains an ['Asian'] character/ has minor references to ['Asia']/uses ['Asian'] imagery' will appear
  5. Edit the note as appropriate eg. 'Associated with the AustLit subset Australian Literary Responses to 'Asia' as the work contains a Chinese character'. If appropriate you may vary the wording slightly
  6. Note: Delete quotes and square brackets as appropriate but retain quotes if using the words 'Asia' and 'Asian' to conform with AustLit practice in our scope policy (our definition of 'Asia' is arguable). Some examples:
     Jim Aubrey's poem 'Former PM' : http://www.austlit.edu.au/run?ex=ShowWork&workId=Cz%5D!. Associated with the 'Australian Literary Responses to 'Asia' subset as the work contains a reference to East Timor.
     Andrew Lau's poem 'Exodus': http://www.austlit.edu.au/run?ex=ShowWork&workId=C%3B3T. Associated with the Australian Literary Responses to 'Asia' subset as the work contains references to 'Asian' cultures.
     Brook Emery's poem 'Three Feet': http://www.austlit.edu.au/run?ex=ShowWork&workId=Czlq. Associated with the Australian Literary Responses to 'Asia' subset as the work contains images of Vietnam.
     Benjamin Brady's short story 'A is for Geophysics'; http://www.austlit.edu.au/run?ex=ShowWork&workId=Cz%5B%23. Affiliation Note: Associated with the Australian Literary Responses to 'Asia' subset as one segment, "h is for Java", contains references to 'Asia'.
     Ouyang Yu's 'Titles for a Poem': http://www.austlit.edu.au/run?ex=ShowWork&workId=Cy!6. Associated with the Australian Literary Responses to 'Asia' subset as the work contains references to the poet's Chinese heritage.
     Amy Witting's 'In a Robe Museum': http://www.austlit.edu.au/run?ex=ShowWork&workId=CZK!. Associated with the Australian Literary Responses to 'Asia' subset as the work contains references to a Chinese prisoner.
     Robertshaw's stories: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cz%2cS. Associated with the Australian Literary Responses to 'Asia' subset as station hands in the stories include a Chinese cook.



• Note: Asian subjects or settings automatically make the link to the Asia subset and previously no additional Affiliation link was considered necessary where these were present. However, it was decided at the training session that it would be considered good practice to affix the Affiliation link wherever an Asian link is warranted, whether or not there are Asian subjects or settings. Where there is an Asian subject or setting, the reason for the affiliation is obvious, and the Affiliation Note is not necessary. (Guidelines written by Anne Chittleborough June 2002.)




Bibliography of Australian Literature

Print volumes 3 and 4 of this bibliography will be derived from AustLit. Instructions relevant to work in preparation for them can be found in the section on Author Focused Work in this manual. Follow links in this section to other relevant sections in the Works and Agents manuals.

C.19 Theses Guidelines

C.19.1 Unpublished Thesis

• Select form Thesis from the form list



• Record all the details of a thesis noting that the examining institution is recorded as a 'Sponsor'. Note: record only the name of the broader conferring institution as 'Sponsor', not the particular school or centre where a degree was completed i.e. Flinders University, not Flinders University, School of Social Sciences, Women's Studies Unit. This extra detail may be recorded in a Work Level note, as in this thesis on three South Australian women writers: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cq5p



• Make a Work Level note about the degree for which the thesis was submitted. Note: There is no standard format for this note. If it simplifies 'cutting and pasting' from a catalogue record, the sponsoring organization can be listed not only as a sponsor but also as part of the work level note together with the level of thesis, as with this Sydney University thesis http://www.austlit.edu.au/run?ex=ShowWork&workId=Cs%5BJ



• Use the following standard punctuation for degrees: MA, PhD, BA (Hons). Where there is something non-standard such as Performance Studies, Creative Writing etc. spell it out in full.



• Record all other appropriate information - subjects, abstract, pagination etc. http://www.austlit.edu.au/run?ex=ShowWork&workId=Cq5p



• Dates: At Manifestation level record the date as it appears in the source of information - e.g. library catalogue, title page. If this differs froom the conferral date, include the conferral date in a note.



• Microform manifestation: if the thesis has been published as a microform, make a separate manifestation and use Form of Manifestation Microfilm from the manifestation attribute menu, as with Amanda Nettelbeck's thesis: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cs(G



• Internet manifestation: where the thesis is available on the internet as in Peitzker's thesis http://www.austlit.edu.au/run?ex=ShowWork&workId=Cyvo make a separate manifestation and use Form of Manifestation Application/PDF (or other as appropriate) from the manifestation attribute menu



• Note on Creative Writing Theses: where a thesis consists of a novel and critical essay which falls within AustLit scope, as in many Creative Writing theses, choose the Work Type 'Thesis' and use the Contains option to list both the creative work and the critical work and make individual records for both these elements. For example 'Curve of the Earth': http://www.austlit.edu.au/run?ex=ShowWork&workId=CrD- and 'My Life is Over Now' http://www.austlit.edu.au/run?ex=ShowWork&workId=C%3Ds7




C.19.2 Thesis Later Published

• For a Thesis already recorded in AustLit and later published: make a separate work record for the new publication. The new publication will be treated as a new work with a different form, not as a new expression or manifestation



• select appropriate Work Type and/or Form (Selected Work, Criticism, Biography, Novel, etc.)



• relate the two work records



• Example: Thesis by Laurie Duggan later published as a Criticism http://www.austlit.edu.au/run?ex=ShowWork&workId=Csbi



• Example: Thesis (Creative writing) by Lea later published as a Selected Work http://www.austlit.edu.au/run?ex=ShowWork&workId=C{j%2b




C.19.3 Work First Submitted as Thesis

• For a Selected Work, Criticism, Biography, Novel, etc. first published as a thesis (no record in AustLit):



• Select appropriate Work type and/or form (Selected Work, Criticism, Biography, Novel, etc.)



• Index appropriately and record manifestation details



• Make a note that the work was originally submitted as a thesis: http://www.austlit.edu.au/run?ex=ShowWork&workId=CwzX Note: If you have sufficient details you can make a separate Thesis record and relate the two as in: http://www.austlit.edu.au/run?ex=ShowWork&workId=C{j%2b




C.20 Translated Works

A translated work is a version of a work rendered in a language other than the original.

In Austlit, three different translation activities are recorded:

• 'straight' translations



• 'free' translations. See C.20.3 Free Translations NOTE: Translations of poetical works by Australian poets are almost always to be regarded as 'free' translations and entered in AustLit. They appear in Australian journals, anthologies, etc. because they have been translated by an Australian poet. Examples include translations of Rimbaud by John Kinsella, translations of Chinese poets in Overland by Ouyang Yu, a number of Alan Gould's poems published in Quadrant and the many poems by authors such as Manifold, Duggan, McAuley etc. which are translations but which the authors include in their collected/selectedworks.



• parallel texts




C.20.1 Straight Translations

A straight translation is a work that is translated from one language to another without significant additional creative input from the translator(s) for example the translation of Ivan Southall's Bread and Honey from English into French: http://www.austlit.edu.au/run?ex=ShowWork&workId=C5Fo

Different translators may produce slightly different versions of a work, but if they have remained faithful to the content and context of the original work, the works can be considered a straight translation.

In AustLit two forms of straight translations are recorded:

• works within the AustLit scope created in English and translated into another language;



• works within the AustLit scope created in a Language Other Than English (LOTE) and translated into English and/or other languages.




Note: Straight translations of works outside the AustLit scope should not be recorded. If an AustLit agent is a translator of works outside the AustLit scope, a reference should be made in the agent's biographical summary, eg. 'Hart has written extensively on literary theory and poetry including studies of A. D. Hope and Samuel Johnson, and he has translated the poetry of Giuseppe Ungaretti. He has written and translated works on religion and spirituality (including The Dark Gaze : Maurice Blanchot and the Sacred (2004)) and edited the Oxford Book of Australian Religious Verse (1994).

C.20.2 General Rules for Straight Translations

Work Level
• Record the Work level title (and other work level details e.g. First Line of a poem) in the language of the earliest published exp/manifestation available to the indexer. Eg. The selected work Ho sporos tes eirenes by Dinas Amanatides: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cs5n or the poem by S.S. Charhianakis: http://www.austlit.edu.au/run?ex=ShowWork&workId=C2fn



• If the title (and/or other information) about a work's original publication in another language is unknown, add an explanatory work note: eg. 'Translated from the Greek'. For example, see Lola Kalemi's poem: http://www.austlit.edu.au/run?ex=ShowWork&workId=CZ0R



• If the first appearance in AustLit of a work is in a bilingual/parallel text prefer the English title, as with Hoa Pham's short story: http://www.austlit.edu.au/run?ex=ShowWork&workId=C}PQ and Thuong Quan's poem http://www.austlit.edu.au/run?ex=ShowWork&workId=C}PV



• If a work has not been formally expressed and manifested in English, but an English translation of the title is available from a reliable source these details can be recorded as a Work level note, see for example: http://www.austlit.edu.au/run?ex=ShowWork&workId=C{KQ The note: 'English translation of the title : 'From the Years - We Cannot Forget', has been added by the indexer from a reliable source. It is not recorded as an Alternative title as the translated title does not appear on the work itself.



• Note: In all cases, if details of an earlier expression/manifestation in another language subsequently become known, record them at the Work level, and move the details of the later expression to the expression level.



Expression Level
• Record each translation of a work as a separate expression.



• Record the translated title of the work using the Alt. Title attribute at Expression Level. Note: for poetry also record the translated First Line using the First Line attribute at Expression Level as with Slessor's poem 'Five Bells': http://www.austlit.edu.au/run?ex=ShowWork&workId=C%2c;X



• Record the language into which the work was translated in the Language attribute at Expression level.



• Record the translator of the LOTE expression by selecting the Realisation attribute 'Creator'. Choose the role translator'. If the translator is unknown, select the Agent attribute 'Unknown" as this will enable translations to be searched. See Realisation Attribute : Creator.



Manifestation Level
• At Manifestation Level enter the publication details and other information relating to the manifestation, for example Southall's novel Bread and Honey: http://www.austlit.edu.au/run?ex=ShowWork&workId=C5Fo
  OR, add a source for the expression if it is published within another work, see Lawson's 'The Drover's Wife': http://www.austlit.edu.au/run?ex=ShowWork&workId=CMCg




C.20.3 'Free' Translations

A 'free' translation is a work translated from one language to another with significant creative input from the translator(s) and/or other creator(s), so that the translation is not just a straight translation. It becomes a new creative work, and not just an expression of a work rendered in a language other than its original.

There are two types of 'free' translations:

1. Translations by poets of poetry written in another language where significant creative input occurs as part of the translation process. In this case the translator is recorded at Creation of Work level because he/she has established some creative ownership of the work. NOTE: Translations of poetical works by Australian poets are almost always to be regarded as 'free' translations and entered in AustLit. They appear in Australian journals, anthologies, etc. because they have been translated by an Australian poet. Examples include translations of Rimbaud by John Kinsella, translations of Chinese poets in Overland by Ouyang Yu, , Alan Gould poems published in Quadrant and the many poems by authors such as Manifold, Duggan, McAuley etc. which are translations but which the authors include in their collected/selectedworks.



2. Poetry inspired by or modelled on poetry written by another writer in another language. Here the 'translation' is so free that it is not really a translation at all - the 'translator' becomes the author and the author or work that provided his inspiration is recorded in the 'Influence work' or Influence Agent' field (depending on the amount of specific information available). See example 2 in each of the cases below.
   
   Note: Free translations may occur for other literary forms. If in doubt refer to Content Managers.




C.20.4 General Rules for Free Translations

• The choice between author and translator is a matter of balance according to the extent of the literary debt. Information about this may be found in reference sources or in the work itself.



• Sometimes there is a direct acknowledgement that the poem is a translation and in this case the translator should be recorded as 'Translator" at Creation of Work level.



• Often the literary debt is unclear - the words 'After', 'from' may be used to acknowledge that a work has been translated from or inspired by another. When the situation is unclear or the details (e.g. title) of the original poem are unknown, assign the Author role to the 'translator' and use the Influence-agent to acknowledge the literary debt.




C.20.5 Examples of Free Translations

Laurie Duggan's two poems:

1. 'Evening on the Po': http://www.austlit.edu.au/run?ex=ShowWork&workId=C=dP is an acknowledged translation but there is sufficient creative input to record Duggan as translator at Creation of Work level. Compare this to
2. Duggan's Epigrams of Martial which have been inspired by the poetry of Martial http://www.austlit.edu.au/run?ex=ShowWork&workId=C-QL where Duggan is recorded as author and Martial as the 'Influence agent'.

John Manifold's two poems:

1. 'Lyrisches Intermezzo 58' which is a translation of a poem by Heine: http://www.austlit.edu.au/run?ex=ShowWork&workId=C-QL but there is sufficient creative input to record Manifold as translator at Creation of Work level compared with
2. Manifold's poem inspired by the German poet Rilke http://www.austlit.edu.au/run?ex=ShowWork&workId=CGmT. There is no specific information about to what extent the poem is a translation or indeed what it is a translation of. Manifold is recorded as author and Rilke as the 'Influence agent'.

Moscow Trefoil

• A further example involving both 'free' and 'straight' translation is Rosemary Dobson and David Campbell's Moscow Trefoil: Poems from the Russian of Anna Akhmatova and Osip Mandelstam: http://www.austlit.edu.au/run?ex=ShowWork&workId=CpMy.



• This work consists of a series of poems created by Dobson and Campbell in the style of the two Russian poets Anna Akhmatova and Osip Mandelstam. Each poem in the selection appears in two versions, and some in three - the 'straight' translation from the Russian by Natalie Staples and a poetic re-working of that translation by either by David Campbell or Rosemary Dobson, or both. A.D. Hope commented in the foreword that rather than being a book of translations, the poems by Dobson and Campbell are 'to be seen primarily as the equivalents in another country in another language of those by Anna Akhmatova and Osip Mandelsam'.



• Please think carefully about using Influence-Work and Influence-Agent or Related Work as we do not want to populate the database with a huge number of non-Austlit agents/works. Influence-Agent is preferable to the more specific Influence-Work or Related work, which may be recorded in a note. For example, a user may want to find poems by Australian authors influenced by Rilke. If they want to find poems influenced by particular poems by Rilke they will have to scroll through the results from that first search. For example with John Manifold's poem 'From a Sonnet of Rilke's' it is sufficient to use Influence-Agent Rilke, rather than making an Influence-Work record for Rilke's poem: http://www.austlit.edu.au/run?ex=ShowWork&workId=CGmT.




C.20.6 Parallel Texts

AustLit Definition: a work published in two (or more) languages within the same work. One work may be a translation of the other or they may be both by the same bilingual author. If the work is a monograph publication it may be described as a bilingual edition.

These works may be published in a variety of formats - a line in one language, followed by a line in another; a whole poem in one language followed by the same poem in another language, a section of a book in one language and another section in another language. For AustLit purposes these are all considered parallel texts.

A work may be published in parallel text format either before or after it has been published in single language format or may never be published in single language format:

1. Published in parallel text after original publication: Slessor's poem 'Five Bells': http://www.austlit.edu.au/run?ex=ShowWork&workId=C%2c;X and Dimitris Tsaloumas's selected work: http://www.austlit.edu.au/run?ex=ShowWork&workId=CqTE



2. Published in parallel text format first then re-published in a single language (English in this case: see. the Lithuanian poem 'Sketch' http://www.austlit.edu.au/run?ex=ShowWork&workId=CE]Q



3. Published in parallel text format with multiple expressions but no single language manifestations: Can I Have a Lamington Please: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%7B%2B%5D

[Previously we represented each of the language versions of the text as separate expressions and then added the same source and a note to indicate when something had been published in parallel text. We have changed this approach - now we consider the parallel text as a separate expression. This means that you could have: Expression 1, English version(s) in Source(s) A(and B); Expression 2, Spanish version in Source C; Expression 3, Parallel text (English and Spanish) in Source D.]

C.20.7 General Rules for Parallel Texts

• Make a separate expression for a publication in parallel text format



• If the first appearance of a work is in a bilingual/parallel text exp/manifestation prefer the English title, as with Hoa Pham's short story: http://www.austlit.edu.au/run?ex=ShowWork&workId=C}PQ and Thuong Quan's poem http://www.austlit.edu.au/run?ex=ShowWork&workId=C}PV . Enter the English title of the work as the main Work Level title in the title field and the LOTE title as a Work Level Alt. Title. Enter the first lines of the work in both languages separated by = . See Aldrette's poem 'Dices': http://www.austlit.edu.au/run?ex=ShowWork&workId=CtfH.
  An example of a monogaph first published as a parallel text is Terry Mazarakis's selected work Outcry http://www.austlit.edu.au/run?ex=ShowWork&workId=CqUQ.



• Record the author and/or translator details. If the translator is unknown, select the Agent attribute 'Unknown" as this will enable translations to be searched. Refer to Realisation Attribute: Creator.



• Add a Note (eg. 'Spanish and English texts published together', 'Spanish and English texts published in separate sections of the volume', 'Spanish and English texts published on facing pages'. Do not use phrase 'Parallel text' in your note.



• Add as many appropriate notes as necessary explaining the translation process wherever ambiguity may occur e.g. 'Translated from Greek' 'Translated into Greek' 'Translated by the author' 'Translated by the author from Chinese into English'.



• In the Language field at Expression level choose both languages



• Record the source or manifestation details for the work



• If the work is published elsewhere in one language only, create a new expression and record all appropriate details for the single-language expression. Note: if that same single language expression is itself re-published create a new manifestation.



• (Reminder: In cases where the text is published for the first time as a single language text, enter the title in the language of that first publication and use the Alt. Title at Expression level for titles and first lines in subsequent single or parallel text expressions.)



• Note: In all cases, if details of an earlier expression/manifestation in another language subsequently become known, record them at the Work level, and move the details of the English expression to the expression level. Time-consuming as it may be, if an earlier expression/manifestation comes to hand the whole record may need to be edited and re-structured because we do not always index material in the chronological order of their publication.




C.20.8 Examples of Parallel Texts

• Aldrette's poem 'El Immigrante': http://www.austlit.edu.au/run?ex=ShowWork&workId=CEKC
• Aldrette's poem 'Al Fin del Ano Viejo': http://www.austlit.edu.au/run?ex=ShowWork&workId=CtfJ
• Kefala's poem 'The Goddess': http://www.AustLit.edu.au/run?ex=ShowWork&workId=CPgT

C.21 Websites - Authors

C.21.1 General Issues

• Create work records for Websites created by or about Australian creative and critical authors as works.



• Do not simply add an External Reference URL to the Agent record. The website will only appear on the lists of works by or works about if a work record exists.



• We aim to create work records for websites providing good quality information about AustLit authors or eligible creative and critical writing (see the Internet Scope Policy for further guidelines http://www.austlit.edu.au/common/scope/ScopePolicy.html#InternetBasedResources).



• Eligible websites may have been:
  1. created by the author themselves (personally or by a design or publishing company on their behalf); or
  2. created by someone other than the author; student, fan, university etc.



• Some good examples of applications of these instructions:
  Bernard Cohen's Homepage : http://www.austlit.edu.au/run?ex=ShowWork&workId=Cw%2b[
  Amy Witting Website: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cv3F




C.21.2 Instructions

When you find a website that is eligible for indexing, follow these steps.

• From Maintenance home page, search AustLit for the website by title. If you don't find the title, choose guided search option to undertake the combined search of Work Type: Website and Subject Agent: agent name as an alternative search.



• If there is no result create a new Website record by choosing the Website template.




C.21.3 Work Details

Work Type:	Website (automatically generated)
Form:	Assign forms very carefully: If the material included on the site is more than purely information about the author add other forms but only if it adds significant value to existing AustLit information. Almost all websites will have biographical and bibliographical material and users are likely to assume they will find biographical and bibliographical details on websites, however, only include these forms when the information is of high quality and quantity. For example, the Amy Witting site contains excellent biographical and bibliographical information and these forms have been assigned. Multiple forms may be added to Work Type Website. Note: Do not use forms to denote the electronic status as the system automatically generates an icon on all records containing an URL or PURL. The icon symbolises that this work is available electronically. Some websites contain Multimedia elements and can have that form assigned when relevant. This form is intended only for those works where the creator consciously uses 'multimedia-ness' to create a literary 'assemblage' or image, word and sound experience which cannot really be characterised within other forms.
Title:	The title of the Website, is usually quite prominent (ie. on the front page or in a banner at the top of the homepage). Enter the title details following the Writing Style and Format general guidelines. Eg. Why Bother with Patrick White. Do not add 'Website' to the title unless it is a part of the title.
Creation of Work:	Use creation role 'creator', not author. The agent responsible for the creation of the website is often the author, who either personally created the site or commissioned a designer or publisher. You can assume that the author is responsible unless it is obvious that someone else has created it. If the site was created, and is maintained, by someone other than the author (eg. Yvonne Miels created and maintains the Amy Witting Website http://www.austlit.edu.au/run?ex=ShowWork&workId=Cv3F), then the creator role is attributed to the website creating/maintaining agent. Do not use the design company's name as creator.
Abstract:	Write a brief, but comprehensive, overview of the site's contents. Eg. 'Consists of a biography of Amy Witting, comprehensive bibliography of her works, synopses, bibliography of reviews and criticisms. Also lists manuscripts held at the Mitchell Library.' NB. Because we do not index individual contents of author websites, we rely upon a comprehensive abstract to give users a thorough description of the site before choosing to visit it.
Subject Agent:	Choose the authority name of the author that the website relates to (eg. Patrick White, Bernard Cohen, Amy Witting). Add other subject agents if relevant.
Subjective rank:	Assign a subjective rank if you think the website warrants one. Do not be seduced by bells and whistles - lots of images and flashing text does not mean that it is a useful site. Look for: - High quality content - Easy navigation - Good links - Availability of teaching material - Extracts from the author's work

C.21.4 Manifestation Details (within Expression Box)

The template contains expression attributes that will be commonly used in a website record.

Publisher:	When it is possible to ascertain the publisher and place of publication (ie. the institution responsible for publishing the website, choose the Publisher name from the Agent Authority list. Eg. Children's Book Council or Australia, Currency Press, etc. Delete option if not used.
Place of Publication:	Choose a place of publication when it is possible to ascertain the place of publication through the location of the publisher. Eg. if Flinders University was responsible for the publication of a website, Adelaide, SA would be chosen as place of publication.Delete option if not used.
Date:	Dates can be problematic on websites as they do not conform to standard publishing rules. Attempt to find a year that is likely to be the year of establishment of the website. Use the [Brackets] option if you are unable to be definitive. The year can also be ascertained from a copyright date, or it may be noted in an Introduction or in an About section within the website. You might also find it in the View Source option on your web browser (Click on View on the toolbar of browser, choose Source. A notepad screen will open with the html code displayed. It may contain the date. Don't spend too much time on the source code search.) Use the Last Updated date which is present on many websites, if it is the only date available (this at least gives provides a date access point).
External Reference:	We preference the PANDORA Archive copy of the website when it is available as PANDORA provides a persistent, or permanent, URL (see: http://pandora.nla.gov.au). Commercial or private websites can frequently fail and disappear. Before entering external reference details, search PANDORA. Use alphabet prompt list at the bottom of the PANDORA page and search for the likely name. (PANDORA does not have a key-word search function, unfortunately, and you may need to try some variations of the title before giving up.) If the site is archived on PANDORA, record only the PI (or PURL) address (copy from the address window at the top of your browser, and paste into URL box). If you enter a PURL address in the URL field. Type: PANDORA Archive (Upper case PANDORA, capital A and then lower case for Archive, no punctuation) in the Prompt field or select it from the F2 menu. If you enter an URL address in the URL field, enter the words: Web resource (Capital W, lower case r, no punctuation) in the Prompt field. If the site is not archived on PANDORA (i.e. no PI), use the form on the Maintenance homepage: http://www.austlit.edu.au/common/messages/pandora.html to alert the Content Managers who will assess the item and request archiving from PANDORA if appropriate. Remember to make a Maintenance Note recording this request.
Access Note:	If only the URL is available, you must include the date on which you viewed the site in the following form, eg. Sighted: 01/08/2001 (Capital S, colon, Note the form of date is dd/mm/yyyy) and any relevant access notes, eg. Access is restricted to subscribers. Do not use brackets around this information.
Entering Contents:	We do not plan to index as a matter of course the individual contents of websites, the preference is that you provide good content information in the Abstract field, and the user can choose to visit the website to find the contents.

C.21.5 Currency of Websites

Note on maintaining currency of websites: In order to maintain the currency of websites you are required to look for an email address for contact purposes. Use AustLit form letter to ask for advice about updates on site changes. [Forthcoming]

C.21.6 Copyright Considerations

• There are some excellent biographical summaries and other pieces of biographical and bibliographical details to be found on websites, in fact, authors themselves have often directed us to use these details.



• In compiling a biographical summary for AustLit it is acceptable to paraphrase from these resources, however, we only 'copy' this information with the permission of the copyright owner, fully acknowledging this at the end of the summary (eg. See Amy Witting's AustLit record which has the biographical summary by Yvonne Miels incorporated. Adapted with permission from the Amy Witting Website, maintained by Yvonne Miels: http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A(V6.)



• A copyright permissions letter is currently being finalised and this will be used to obtain the permission to reuse information.



• If there is no evidence of the identity of the copyright owner, but the information is in the public domain, the information can be used, but the source of the information must be acknowledged.




C.22 Websites - Organisations

C.22.1 General Issues

• Create work records for Websites created by or about eligible organisations such as publishers, writers' organisations, theatre companies, government bodies, etc. Ask Content Managers for advice if there is doubt about eligibility.



• Do not simply add an External Reference URL to the Agent record. The website will only appear on the lists of works by or works about if a work record exists.




C.22.2 Instructions

When you find a website that is eligible for indexing, follow these steps.

• From the Maintenance home page, search AustLit for the website by title. If you don't find the title, choose guided search option to undertake the combined search of Work Type: Website and Subject Agent: agent name as an alternative search.



• If there is no result create a new Website record by choosing the Website template.




C.22.3 Work Details

Work Type:	Website (automatically generated)
Form:	Assign forms very carefully when the material included in more than purely information about the organisation or general details about titles and authors. Some organisational websites, especially publisher sites, will have biographical and bibliographical material, however, only assign these forms when the information is of high quality and quantity and when it adds value to existing AustLit information. See the UQP website entry for a standard publisher site: http://www.austlit.edu.au/run?ex=ShowWork&workId=Cw%2Bk&mode=full The Currency Press website has a diverse range of material including critical material. Criticism has been added as a form because it contains full text educational resources for teachers and students. http://www.austlit.edu.au/run?ex=ShowWork&workId=Cw%23$ Note:Do not use forms to denote the electronic status as the system automatically generates an icon on all records containing an URL or PURL. The icon symbolises that this work is available electronically. Some websites contain Multimedia elements and can have that form assigned when relevant. This form is intended only for those works where the creator consciously uses 'multimedia-ness' to create a literary 'assemblage' or image, word and sound experience which cannot really be characterised within other forms.
Title:	The title of the Website, is usually quite prominent (ie. on the front page or in a banner at the top of the homepage). Enter the title details following the Writing style and format general guidelines. Eg. Why Bother with Patrick White. Do not add 'Website' to the title unless it is a part of the title.
Creation of Work:	Use creation role 'creator', not author. The organisation's name will usually be the responsible agent. You may need to create a new agent record. Remember to assert organisational status and delete gender details. Do not use the design company's name as creator.
Abstract:	Write for a brief, but comprehensive, overview of the site's contents. For example, for Currency Press: 'Australia's leading independent publisher of the performing arts. The site provides details of the Press's activities, its history and place in the publishing of Australian theatre texts. It also has a good selection of freely available online study guides for students and teachers, which have been out of print for several years. These booklets are useful introductions to the plays, including comments from the playwrights and excerpts from reviews.' Note: As we do not as a general rule index the contents of organisational websites we rely on the quality of the abstract to give the user a good insight into the resources available.
Subject Agent/Work/Concept:	Choose the Authority name of agents if the site has comprehensive details about AustLit agents. Add other subjects as relevant. Always add subject concept 'Publishing and book trade' to publishers' websites.
Subjective rank:	Assign a subjective rank if you think the website warrants one. Do not be seduced by bells and whistles - lots of images and flashing text does not mean that it is a useful site. Look for: - High quality content - Easy navigation - Extracts from authors'work - Good links - Availability of teaching material

C.22.4 Manifestation Details (within Expression Box)

The template contains expression attributes that will be commonly used in a website record.

Publisher:	When it is possible to ascertain the publisher and place of publication (ie. the institution responsible for publishing the website, choose the Publisher name from the Agent Authority list. Eg. Children's Book Council or Australia, Currency Press, etc. Delete option if not used.
Place of Publication:	Choose a place of publication when it is possible to ascertain the place of publication through the location of the publisher. Eg. if Flinders University was responsible for the publication of a website, Adelaide, SA would be chosen as place of publication. Delete option if not used.
Date:	Dates can be problematic on websites as they do not conform to standard publishing rules. Attempt to find a year that is likely to be the year of establishment of the website. Use the [Brackets] option if you are unable to be definitive. The year can also be ascertained from a copyright date, or it may be noted in an Introduction or in an About section within the website. You might also find it in the View Source option on your web browser (Click on View on the toolbar of browser, choose Source. A notepad screen will open with the html code displayed. It may contain the date. Don't spend too much time on the source code search.) Use the Last Updated date which is present on many websites, if it is the only date available (this at least gives provides a date access point).
External Reference:	We preference the PANDORA Archive copy of the website when it is available as PANDORA provides a Persistent Identifier (PI), or permanent URL (PURL). See PANDORA http://pandora.nla.gov.au. Commercial or private websites can frequently fail and disappear. Before entering external reference details, search PANDORA. Use alphabet prompt list at the bottom of the PANDORA page and search for the likely name. (PANDORA does not have a key-word search function, unfortunately, and you may need to try some variations of the title before giving up.) If the site is archived on PANDORA, record only the PURL address (copy from the address window at the top of your browser, and paste into URL box). If you enter a PURL address in the URL field. Type: PANDORA Archive in the Prompt field (Upper case PANDORA, capital A and then lower case for Archive, no punctuation)or select from the F2 menu. If you enter an URL address in the URL field, enter the words: Web resource (Capital W, lower case r, no punctuation) in the Prompt field. If the site is not archived on PANDORA use the site's URL and notify the Content Managers. We will apply for the archiving and registration of a PURL for the website.
Access Note:	If only the URL is available, you must include the date on which you viewed the site in the following form, eg. Sighted: 01/08/2001 (Capital S, colon, Note the form of date is dd/mm/yyyy) and any relevant access notes, eg. Access is restricted to subscribers. Do not use brackets around this information.
Entering Contents:	We do not plan to index as a matter of course the individual contents of websites, the preference is that you provide good content information in the Abstract field, and the user can choose to visit the website to find the contents. If, however, there is sufficient reason to index the contents we will create work records for individual pages or elements of an organisation's website. Discuss any concerns with the Content Managers as sites vary greatly and may require assessment and individual ways of handling the data. For example, Currency Press has released some out-of-print critical works via its website. See http://www.austlit.edu.au/run?ex=ShowWork&workId=Cw%2bl for the way this situation has been handled

C.22.5 Currency of Websites

Note on maintaining currency of websites: In order to maintain the currency of websites you are required to look for an email address for contact purposes. Use AustLit form letter to ask for advice about updates on site changes. [Forthcoming]

C.22.6 Copyright Considerations

• There are some excellent biographical summaries and other pieces of biographical and bibliographical details to be found on websites. .



• In compiling a biographical summary for AustLit it is acceptable to paraphrase from these resources, however, we only 'copy' this information with the permission of the copyright owner, fully acknowledging this at the end of the summary (eg. See Amy Witting's AustLit record which has the biographical summary by Yvonne Miels incorporated. Adapted with permission from the Amy Witting Website, maintained by Yvonne Miels: http://www.austlit.edu.au/run?ex=ShowAgent&agentId=A(V6.)



• A copyright permissions letter is currently being finalised and this will be used to obtain the permission to reuse information.



• If there is no evidence of the identity of the copyright owner, but the information is in the public domain, the information can be used, but the source of the information must be acknowledged.




C.23 Work/Expression/Manifestation

The FRBR report stops short of defining the exact boundaries between the three entities Work, Expression and Manifestation so 'we need to do our own clarifying, because nobody else is doing it for us' (Marie-Louise Ayres, 2001). To do this we need to answer the questions: 'What is a Work, an Expression and a Manifestation?' and 'What changes to an already published or created work constitute a new Work, a new Expression or a new Manifestation?'

What is a work?
• the distinct intellectual or artistic creation



• an abstract entity with no material object



• the work is realised (made accessible) through various expressions and manifestations



• 'A work is an abstract entity recognised through individual realisations or expressions ... the work is not a particular text but the intellectual creation that lies behind all the expressions of the work (IFLA 3.2.1) Note: In the context of these instructions we have used the term Work Proper to define this entity.



What is an Expression?
• The intellectual or artistic realisation or production of the work.



• Encompasses the specific words, sentences, paragraphs that result from the realisation or expression of a work.



• Provides distinction in the intellectual content between one realisation and another



• Any change in the intellectual or artistic content constitutes a change in expression: includes revisions, updates, abridgements, enlargements, translations.



What is a Manifestation?
• The physical embodiment of an expression of a work - the expression that is issued or published.



• There can be one (1) copy or there can be millions of copies of a manifestation.




C.23.1 Work Proper

The decision to enter a new expression is made by assessing whether there is evidence of intervention in the work proper which creates a distinctly different version of the work i.e. 'whenever the production process involves modifications, additions, deletions etc. that affect the artistic or intellectual content.' It is from this base that the decision is made to create a new Expression or Manifestation.

The following elements of a work are not considered to be part of the work proper.
A. Titles
B. Introductions, forewords, notes, afterwords, (by an author or editor
C. Variations in the form of the agent's name or the use of pseudonyms
D. Physical and marketing 'package' of the work - publishers, pagination, ISBNs

A. Titles
• These are a volatile part of a work and may often change during the creative and publishing processes. They are not necessarily an integral part of the intellectual and artistic content of a work. For example:



• Working titles: a title may change during the course of writing. And an author may use working titles or pre-publication titles before the final title is arrived at.
  Examples:
  1. the original working title for Peter Carey's The Unusual Life of Tristan Smith (1994) was 'The Dog, the Duck and the Mouse' , Illywhacker was called 'Pets', working titles considered for Jack Maggs included 'The Old Dart' and 'The Somnambulist'. (See details of manuscripts in the Carey collection in the Guide to Australian Literary Manuscripts.)
  2. With Kim Wilkins's The Infernal, 'Wicked Deeds' was used as a pre-publication title and is thus recorded as an alternative title at work level.



• Editorial titles : different titles may be chosen by publishers in different countries to appeal to local tastes
  Examples:
  1. Les Murray's Collected Poems published in the USA as The Rabbiter's Bounty http://www.austlit.edu.au/run?ex=ShowWork&workId=C4XI.
  2. and Ruth Park's The Good Looking Women where the title changed to Serpent's Delight for the first Australian edition (and was subsequently re-instated for later American and Australian editions) but the work proper was not altered: http://www.austlit.edu.au/run?ex=ShowWork&workId=C%2cqN.
  • Note: If the title of the work changes, you will need to use your assessment skills and discretion to determine whether the title change represents 'evidence of intervention'. If a work is republished with an altered title (perhaps with an expansion or a contraction of the title,), but there is no evidence of revision, annotation, etc. of the Work Proper, it is a new manifestation only, not a new expression.
  
  
  
  B. Introductions, forewords, notes, afterwords, (by the author, or an editor)
  • AustLit sees these elements as part of a package enclosing the work proper, not as part of the work itself; the package surrounding the work may change while the work itself is unchanged and therefore does not necessitate creating a new expression.
    Examples:
    1. Jonah by Louis Stone where the intellectual content of Stone's novel has not been changed by the addition of a new introduction: http://www.austlit.edu.au/run?ex=ShowWork&workId=CHMF.
    2. and Dorothy Hewett's Bobbin Up http://www.austlit.edu.au/run?ex=ShowWork&workId=CJgb.
  
  
  
  C. Variations in the form of the agent's name or the use of pseudonyms
  • These do not constitute intervention into the work proper. See 'Carpe Diem' by Walter Lehmann (Gwen Harwood) http://www.austlit.edu.au/run?ex=ShowWork&workId=C$1@.
  
  
  
  • This information can be recorded using the Realisation attribute at the Expression level or the Statement of Responsibility at the Manifestation level (which ever is applicable).
  
  
  
  D. Physical and marketing 'package' of the work - publishers, pagination, ISBNs
  • Changes to the physical container of the work do not constitute intervention into the work proper. Different publisher, different pagination, different ISBNs do not warrant new expressions.
  
  
  
  • Examples:
    Set Up by Claire McNab where there is a different publisher and a different ISBN - http://www.austlit.edu.au/run?ex=ShowWork&workId=CD)m. This is a new manifestation not a new expression because the work proper has not changed. It has not been revised or re-edited. Where the production process involves a publisher, producer, distributor and there are changes signalled in the product that are related to publication marketing (change of publisher, physical format) the resulting product is a new manifestation.
  
  
  




C.23.2 New Expressions

C.23.3 Intervention in Work Proper

The following changes affect the work proper and warrant the creation of new Expressions:
• Examples (for separately published works):
  1. Revisions e.g. Chris Koch's Across the Sea Wall : http://www.austlit.edu.au/run?ex=ShowWork&workId=CSwj.
  2. Updates to an earlier text.
  3. Abridgements e.g. Frederic Manning's Her Privates We : http://www.austlit.edu.au/run?ex=ShowWork&workId=CZEQ
  4. Enlargements of an existing text e.g. Kate Grenville's Lilian's Story: http://www.austlit.edu.au/run?ex=ShowWork&workId=CJC0
  5. Scholarly annotated editions e.g. the Academy Editions of Australian Literature series including Clive Probyn's edition of Henry Handel Richardson's The Getting of Wisdom : http://www.austlit.edu.au/run?ex=ShowWork&workId=CR2Y and Marcus Clarke's His Natural Life: http://www.austlit.edu.au/run?ex=ShowWork&workId=C@A%2c
  6. Translations from original language to another, for example Keneally's novel Schindler's Ark: http://www.austlit.edu.au/run?ex=ShowWork&workId=CX(8



• Examples (for works republished within other works)
  1. Les Murray's sequence 'Presence : Translations from the Natural World'. The whole sequence has been published twice but with additions and deletions of some poems: http://www.austlit.edu.au/run?ex=ShowWork&workId=COKy (picked up when entering the second publication).
  2. Barbara Hanrahan's 'Daph' where there have been modifications to the text as well as a title change (title change alone would not warrant a new expression): http://www.austlit.edu.au/run?ex=ShowWork&workId=CAm- (information gained during priority author work).
  3. Robert Dixon's critical article: http://www.austlit.edu.au/run?ex=ShowWork&workId=CThV (information on revision from author's note).



How can the indexer tell when a new expression is warranted?
• The examples above give some guidance here.



• Clues can be found in footnotes and acknowledgements as well as through research. These may be encountered when you are indexing the second instance of the item, and there is a reference to the earlier version, such as 'previously published as xxxx in yyyy'. This was the case with Robert Dixon's article referred to above: http://www.austlit.edu.au/run?ex=ShowWork&workId=CThV



• Changes in first line of poetry often indicate significant textual changes and suggest a new expression is warranted (some further checking here proved this to be the case) e.g. Les Murray's 'Evening Alone at Bunyah': http://www.austlit.edu.au/run?ex=ShowWork&workId=COeu and Robert Gray's 'Gardenias': http://www.austlit.edu.au/run?ex=ShowWork&workId=CQZ%2c.



To what extent does the indexer need to check and research to ensure accuracy?
• Obviously we are not expected to conduct detailed textual analysis and time to check back is a luxury. It is thus a matter of careful judgment - if title and first line of a poem are both different, if title and play extent of a drama are both different etc. it would be wise to make a new expression. (its always useful to add a Maintenance Note and perhaps a public Note explaining why).




C.23.4 No Intervention in Work Proper

Changes not warranting the creation of a new expression
• A. Change of title
  Many title changes do not constitute intervention into the work proper:
  Examples:
  1. Les Murray's well-known poem 'The Mitchells' was first published with title 'Dedication, Written Last: For the Vernacular Republic'. In all subsequent publications (currently 12 as of May 2002) it is entitled 'The Mitchells': http://www.austlit.edu.au/run?ex=ShowWork&workId=Cv%2b[. [One could speculate about the reasons for this. The first title is long and describes the circumstances of the poem's writing which could arguably be puzzling for readers of later selected works etc. who would not necessarily know that Murray's later selected work was called The Vernacular Republic (1976) and that the concept seems to have had a special meaning for him. The poem's title is the only element changed.]
  2. J. P. McKinney's play 'The Well': http://www.austlit.edu.au/run?ex=ShowWork&workId=CsBt. Here the title change reflects the difference between the two publications in which the article appears. In manuscript form and on its first publication in the Theatregoer it is entitled 'The Well: A Play in Three Acts'. When republished in Three Australian Plays,1968, edited by Eunice Hanger (the American edition of Khaki, Bush and Bigotry), it is entitled 'The Well: A Universal Folk Tale in an Australian Idiom'. McKinney died in 1966 so one suspects this is an editorial change designed as a gesture to the American readership.
  3. Ken Stewart's critical article 'Maurice Guest and the Siren Voices': http://www.austlit.edu.au/run?ex=ShowWork&workId=CQbd. Here again the title change reflects the difference between the two publications in which the article appears. The title 'Maurice Guest and the Siren Voices', considered appropriate in the specialized academic journal Australian Literary Studies, is replaced with the title 'Henry Handel Richardson's Maurice Guest and the Siren Voices' in a selection targeted at a broader readership.
  4. Martin Duwell's interview with Kris Hemensley: http://www.austlit.edu.au/run?ex=ShowWork&workId=CJ%2Bf. Here again the title change reflects the difference between the two publications in which the article appears. In the journal Makar the interview appears with the title 'Where We Are Now'. When republished in a selection of interviews it (and all the other 12 interviews) simply have the interviewee's name as a title. The author's preface indicates no changes have been made to the texts.
  5. Keep in mind the context of the publication. For example, an article may be published in a monograph and then published in a newspaper with a different title. In such cases, the title is often changed for the purposes of creating a catchy headline, and it does not constitute a new expression because there has been no intervention in the work per se.



B. Addition or deletion of an epigraph.
• The deletion, addition or retention of an epigraph is often as much an editorial as an authorial decision. Examples:
  1. Malouf's poem 'The Interpretation of Dreams': http://www.austlit.edu.au/run?ex=ShowWork&workId=CW}e. In this case we have no way of knowing whether the epigraph was omitted by the editor in the first publication in Nation Review or whether it was an addition to the poem by Malouf in his later selected work. The text of the poem is unchanged, the epigraph noted and its relationship to the two publications explained.
  2. Les Murray's sequence 'Five Gaelic Poems': http://www.austlit.edu.au/run?ex=ShowWork&workId=Cv%2bk.



C. Addition or deletion of a dedication
• Example:
  Murray's poem 'The Burning Truck': http://www.austlit.edu.au/run?ex=ShowWork&workId=COaD. The dedication appears in some publications and not in others (not known now exactly which of the 12 publications have dedication). The deletion, addition or retention of a dedication is often as much an editorial as an authorial decision.



D. Spelling/minor variations in first lines of poetry
• Where there is a minor variation such as:



1. There is a difference in the spacing - eg. The word dragonfly appears as a single word in one first line as ('dragonfly') and as two words in another ('dragon fly')
2. There is a minor spelling variation - eg. colour or color
• In these examples you will need to add a new manifestation and you will need to add an alternative First line at Expression level with a note on the relevant source - see: http://www.austlit.edu.au/run?ex=ShowWork&workId=CsVD.



• If, after careful consideration, you are still in doubt, it would be better to err on the side of a new expression.




C.23.5 New Edition - New Expression/New Manifestation?

The term edition is used very loosely by publishers to signal a variety of changes many of which do not involve intervention in the Work Proper.

There are different types of editions: large print editions, centenary editions, anniversary editions, cheap editions, book club editions etc. Some Australian classics such as Flynn of the Inland by Ion Idriess have up to 25 'editions'.

These editions are not necessarily new expressions. If editions only reflect changes in the 'packaging' of the work proper should be recorded as new manifestations within the same expression.

C.23.6 Editions Not Warranting New Expressions

1. Editions which are part of a publisher series such as Wild Cat Falling: http://www.austlit.edu.au/run?ex=ShowWork&workId=C8%2bX.
2. First American editions, cheap editions see Jonah by Louis Stone: http://www.austlit.edu.au/run?ex=ShowWork&workId=CHMF.
3. Large print editions.
4. Commemorative editions such as the Bobbin Up 40th anniversary edition which is a new manifestation of the same expression: http://www.austlit.edu.au/run?ex=ShowWork&workId=CJgb.
5. Note: New editions of works by deceased authors are less likely to warrant new expressions unless scholarly editions with textual variations and annotations are published.

C.23.7 Editions Warranting New Expressions

1. Revised and updated editions: Note: You need to verify that 2nd and 3rd editions etc have been revised/updated before adding them as a new expression. An introduction or author's note (where present), the CIP data and other information on the verso of the title page or in the preliminaries , including copyright information, can provide evidence of revision.
2. Editions with new illustrators may require a new expression where the illustrations become an essential part of the work proper. If the illustrations seem to be very important e.g. by the author , and are an inseparable and integral part of the work proper make a new expression.( for example Examples coming) Refer to Illustrations and Picture Books guidelines for editions that are transformed considerably for another audience i.e. a poem becoming a children's picture book.

C.23.8 Republished Works - published within other works

When the same work is published in different publications with some changes you will need to use your assessment skills and discretion to determine whether the changes represent 'evidence of intervention' in the work proper. If they do, then a new expression is warranted; if they do not, then a new manifestation with an alternative title or an explanatory note is created.

C.23.9 New Work

Sometimes there are very significant changes between versions, particularly in the case of Selected Works and Anthologies and Picture Books where they undergo transformation (reordering, deletions, additions) between expressions. If a new edition of a work has undergone significant revision and reordering, treat the new edition as a new work rather than a new expression, even if the work ostensibly has the same title. Two examples of this issue are the six volumes of selected poems by Gwen Harwood, and Bruce Dawe's Sometimes Gladness collections. Refer to instructions for indexing Selected Works and Anthologies that undergo transformation (reordering, deletions, additions) between expressions.Forthcoming.

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Last updated: 19 September August 2008.
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