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The following classified, annotated list of titles is intended to provide reference librarians with a current checklist of new reference books, and is designed to supplement the RSR review column, “Recent Reference Books,” by Frances Neel Cheney. “Reference Books in Print” includes all additional books received prior to the inclusion deadline established for this issue. Appearance in this column does not preclude a later review in RSR. Publishers are urged to send a copy of all new reference books directly to RSR as soon as published, for immediate listing in “Reference Books in Print.” Reference books with imprints older than two years will not be included (with the exception of current reprints or older books newly acquired for distribution by another publisher). The column shall also occasionally include library science or other library related publications of other than a reference character.

States that there has been a recent explosion in the publication of reference works in the field of African American studies which indicates the mature field of scholarship being achieved in this area. Provides a bibliographic guide for those wishing to identify and use research tools for studying African American literature.

The authors, seven women–writers–performers–artists–academics, have been working collectively for a year, storying, de-storying and re-storying the experience of our lives. The authors write to “taste life twice, in the moment and in retrospect” (Nin, 1976), to uncover and learn ourselves through writing (Richardson, 1997), to take the “risky” steps of talking to each other about our inner lives (Palmer, 1998). Cognisant of the limitations and masculinities of traditional academic discourses, in form and content, and heavily confined by neoliberal expectations to count and be counted, we write and express the stories of lives the authors did not choose or imagine – lives we are given and live through. Our expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development. The paper aims to discuss these issues.

This paper is designed as a collective memoir.

The authors write and express the stories of lives we did not choose or imagine – lives we are given and live through. The expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development.

The research focuses on autoethnography and lived experience.

Auto-ethnography/lived experience offers rich insights into the personal and political actions and actors within higher education.

Communications regarding this column should be addressed to Mrs. Cheney, Peabody Library School, Nashville, Term. 37203. Mrs. Cheney does not sell the books listed here. They are available through normal trade sources. Mrs. Cheney, being a member of the editorial board of Pierian Press, will not review Pierian Press reference books in this column. Descriptions of Pierian Press reference books will be included elsewhere in this publication.

Life studies are a rich source for further research on the role of the Afro‐American woman in society. They are especially useful to gain a better understanding of the Afro‐American experience and to show the joys, sorrows, needs, and ideals of the Afro‐American woman as she struggles from day to day.

This paper aims at exploring the usefulness of street theatre as critical pedagogy in teaching of social studies education. It gives a brief background of street-theatre and its linkages with critical pedagogy. In the light of theoretical underpinnings of this arts-based pedagogy, the paper deliberates upon the relevance and efficacy of street theatre in a social studies classroom. This paper uses a street theatre performance case to look at the techniques such as: body motion, body work, props, use of visual and audio aids, etc.; processes such as: conscientization and catharsis; and dialogical approach employed by street theatre to bring awareness about socio-political and cultural issues prevalent in a society. The analysis of this performance act shows that street theatre successfully encourages spectators or the oppressed masses to reflect, and triggers action in them to come out of socio-political oppression. When looked at from educational perspective, street theatre encourages the employment of multiple-intelligences of both students and teachers; and therefore, it can be one innovative strategy to make students aware of the issues infecting their society and also to empower students for action

Commodification doubles self and work, life and object, uniqueness and standardization and art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works”. Making art is intimate, personal and individual; selling art requires public display, pleasing the all important customer(s) and dealing with many sorts of in-betweens. What commodification is on the artist/art work level is doubling on the I/me, self/persona, private/public and in-group/out-group level. This paper aims to examine the commodification and doubling in the case of the Gee’s Bend quilt makers. The quilts foreshadowed the modernist aesthetic and are of the highest aesthetic quality. But, they were made in a traditional rural society by very poor, uneducated black women. The quilts were not made to be sold but were dedicated to familial remembrance and to immediate aesthetic pleasure. But now that they are on display: is escape from commodification possible?

Reprint for special issue.

Doubling, in the original article below, was tendentious but artistically and politically to be overcome; doubling currently seems much more ominous, omnipresent and out of control. Signifyin(g) has become bomb throwing. Present day doubling apparently produces terror and not just commodification.

Invited for publication.

During the 1920s and 1930s in the colonial city of Seoul, a group of women called the New Women and the Modern Girls expressed their modern identities by wearing different clothing, hairstyles and make-up; visiting cafés; viewing Western movies; and consuming other foreign merchandise. While these women were admired by many women as being pioneers of modernity, they were severely criticized by others under the pretext that they indulged their vanity without considering the economy of their families and their colonized nation. These criticisms continue in twenty-first century Korea. Based on the striking similarity between the two eras, an understanding of the consumption and the criticisms of the Modern Girls could provide a historical context for understanding women's experiences in the consumer culture of twenty-first century Korea. The paper aims to discuss these issues.

As secondary sources, literature published in both English and Korean was included. Primary data were obtained from articles in Korean newspapers, magazines and print advertisements from the 1920s and 1930s.

The New Women and Modern Girls expressed their modern identities by consuming various fashion goods, including Western-style clothes, make-up and various accessories, adopting Western hairstyles and frequenting modern cafés, theaters and department stores. However, their behaviors escaped the boundaries of the “wise mother, good wife” ideology, and they were severely criticized by those adhering to the neo-Confucianism and Korean nationalist ideology that was deeply rooted in Korean society. Thus, the reputations of the Modern Girls were tainted and the individuals were stigmatized.

This research illuminates the negative aspects of self-expressive consumption, showing how individualistic, identity-driven consumption can be stigmatized in the collectivistic culture of Korea that is rooted in neo-Confucian nationalism.

The purpose of this paper is to reflect on critical race theory’s application in organisational visuals research with a focus on forms of visual white supremacy in the workplace.

Drawing on the authors’ personal experiences as racialised “Others” with organisational white supremacy, this paper employs reflective autoethnography to elucidate how whiteness is positioned in the academic workplace through the use of visual imagery. The university, departments and colleagues appearing in this study have been de-identified to ensure their anonymity and protect their privacy.

The authors’ autoethnographic accounts discuss how people of colour are appropriated, commodified and subordinated in the ongoing practice of whiteness.

Illuminating the subtle ways through which white supremacy is embedded in the visual and aesthetic dimensions of the organisation provides a more critical awareness of workplace racism.

This paper advances the critical project of organisational visual studies by interrogating the ways by which white dominance is enacted and reinforced via the everyday visual and aesthetic dimensions of the workplace. An added contribution of this paper is in demonstrating that visual racism extends beyond misrepresentations of people of colour, but can also manifest in what the authors conceptualise as “visual white supremacy”.

The purpose of this paper is to pursue the themes of feminine identity, doubling and (in)visibility; first in terms of “signifyin(g)” as a cultural and literary strategy, and second, in terms of quilting seen from the fiction of Alice Walker to the quilting of Gee's Bend. In the background, there plays the relationship between art and commodification.

The paper examines “commodification” and “doubling” in the case of the Gee's Bend quilt makers. The quilts foreshadow the modernist aesthetic and are of the highest aesthetic quality. They were made in a traditional rural society by very poor uneducated black women. The quilts were not made to be sold, but were dedicated to familial remembrance and to immediate aesthetic pleasure.

Commodification doubles self and work, life and object, uniqueness and standardization, art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works.” Making art is intimate, personal and individual; selling art requires public display, pleasing the all‐important customer(s) and dealing with many sorts of in‐betweens. What “commodification” is on the artist/art work level, is “doubling” on the I/me, self/persona, private/public, and in‐group/out‐group level.

The author proposes, from the example of quilt‐making, a wide‐ranging interrogation: “Is escape from commodification possible?”