MARC details
| 000 -LEADER |
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| fixed length control field |
03463cam a2200385Ii 4500 |
| 001 - CONTROL NUMBER |
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| control field |
on1051222313 |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
OCoLC |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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| control field |
20240726105109.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
180910t20182018txu ob 001 0deng d |
| 040 ## - CATALOGING SOURCE |
|---|
| Original cataloging agency |
NT |
| Language of cataloging |
eng |
| Description conventions |
rda |
| -- |
pn |
| Transcribing agency |
NT |
| Modifying agency |
OCLCA |
| -- |
EBLCP |
| -- |
YDX |
| -- |
TEFOD |
| -- |
CUS |
| -- |
CNO |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
|---|
| International Standard Book Number |
9781477317716 |
| Qualifying information |
|
| 050 04 - LIBRARY OF CONGRESS CALL NUMBER |
|---|
| Classification number |
ML420 |
| Item number |
.B496 2018 |
| 049 ## - LOCAL HOLDINGS (OCLC) |
|---|
| Holding library |
MAIN |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
|---|
| Personal name |
Tinsley, Omise'eke Natasha, |
| Dates associated with a name |
1971- |
| Relator term |
Author |
| 245 10 - TITLE STATEMENT |
|---|
| Title |
Beyoncé in formation : |
| Remainder of title |
remixing black feminism / |
| Statement of responsibility, etc. |
Omise'eke Natasha Tinsley. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. |
|---|
| Place of publication, distribution, etc. |
Austin : |
| Name of publisher, distributor, etc. |
University of Texas, |
| Date of publication, distribution, etc. |
(c)2018. |
| 300 ## - PHYSICAL DESCRIPTION |
|---|
| Extent |
1 online resource (204 pages) |
| 336 ## - CONTENT TYPE |
|---|
| Content type term |
text |
| Content type code |
txt |
| Source |
rdacontent |
| 337 ## - MEDIA TYPE |
|---|
| Media type term |
computer |
| Media type code |
c |
| Source |
rdamedia |
| 338 ## - CARRIER TYPE |
|---|
| Carrier type term |
online resource |
| Carrier type code |
cr |
| Source |
rdacarrier |
| 347 ## - DIGITAL FILE CHARACTERISTICS |
|---|
| File type |
data file |
| Source |
rda |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
|---|
| Bibliography, etc. note |
Includes bibliographies and index. |
| 505 00 - FORMATTED CONTENTS NOTE |
|---|
| Formatted contents note |
Introduction : for the Texas bama femme -- |
| Title |
Family album : making lemonade out of marriage, motherhood, and southern tradition -- |
| -- |
Queen bee blues -- |
| -- |
Mama said shoot -- |
| -- |
Most bomb pussy : toward a black feminist pleasure politics -- |
| -- |
Love the grind -- |
| -- |
Unapologetically femme -- |
| -- |
Calling for freedom : black women's activism in the US south -- |
| -- |
Freedom, too -- |
| -- |
I came to slay -- |
| -- |
Outro : I know Beyoncé loves black femmes. |
| 520 8# - SUMMARY, ETC. |
|---|
| Summary, etc. |
Making headlines when it was launched in 2015, Omise'eke Natasha Tinsley's undergraduate course "Beyonce Feminism, Rihanna Womanism" has inspired students from all walks of life. In Beyonce in Formation, Tinsley now takes her rich observations beyond the classroom, using the blockbuster album and video Lemonade as a soundtrack for vital next-millennium narratives. Woven with candid observations about her life as a feminist scholar of African studies and a cisgender femme married to a trans spouse, Tinsley's "Femme-onade" mixtape explores myriad facets of black women's sexuality and gender. Turning to Beyonce's "Don't Hurt Yourself," Tinsley assesses black feminist critiques of marriage and then considers the models of motherhood offered in "Daddy Lessons," interspersing these passages with memories from Tinsley's multiracial family history. Her chapters on nontraditional bonds culminate in a discussion of contemporary LGBT politics through the lens of the internet-breaking video "Formation," underscoring why Beyonce's black femme-inism isn't only for ciswomen. From pleasure politics and the struggle for black women's reproductive justice to the subtext of blues and country music traditions, the landscape in this tour is populated by activists and artists (including Loretta Lynn) and infused with vibrant interpretations of Queen Bey's provocative, peerless imagery and lyrics. In the tradition of Roxanne Gay's Bad Feminist and Jill Lepore's bestselling cultural histories, Beyonce in Formation is the work of a daring intellectual who is poised to spark a new conversation about freedom and identity in America. |
| 530 ## - COPYRIGHT INFORMATION: |
|---|
| COPYRIGHT INFORMATION |
COPYRIGHT NOT covered - Click this link to request copyright permission: |
| Uniform Resource Identifier |
<a href="b">b</a> |
| 600 00 - SUBJECT ADDED ENTRY--PERSONAL NAME |
|---|
| Personal name |
Beyoncé, |
| Dates associated with a name |
1981- |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
African American women singers. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
African American feminists. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Feminism and music. |
| 655 #1 - INDEX TERM--GENRE/FORM |
|---|
| Genre/form data or focus term |
Electronic Books. |
| 856 40 - ELECTRONIC LOCATION AND ACCESS |
|---|
| Uniform Resource Identifier |
<a href="https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1885880&site=eds-live&custid=s3260518">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1885880&site=eds-live&custid=s3260518</a> |
| -- |
Click to access digital title | log in using your CIU ID number and my.ciu.edu password |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
|---|
| Koha item type |
Online Book (LOGIN USING YOUR MY CIU LOGIN AND PASSWORD) |
| DONATED BY: |
|
| VENDOR |
EBSCO |
| Classification part |
ML. |
| PUBLICATION YEAR |
2018 |
| LOCATION |
ONLINE |
| REQUESTED BY: |
|
| -- |
|
| -- |
NFIC |
| Source of classification or shelving scheme |
|
| 994 ## - |
|---|
| -- |
92 |
| -- |
NT |
| 902 ## - LOCAL DATA ELEMENT B, LDB (RLIN) |
|---|
| a |
1 |
| b |
Cynthia Snell |
| c |
1 |
| d |
Cynthia Snell |