Depicting Canada’s Children is a critical analysis of the visual representation of Canadian children from the seventeenth century to the present. Recognizing the importance of methodological diversity, these essays discuss understandings of children and childhood derived from depictions across a wide range of media and contexts. But rather than simply examine images in formal settings, the authors take into account the components of the images and the role of image-making in everyday life. The contributors provide a close study of the evolution of the figure of the child and shed light on the defining role children have played in the history of Canada and our assumptions about them. Rather than offer comprehensive historical coverage, this collection is a catalyst for further study through case studies that endorse innovative scholarship. This book will be of interest to scholars in art history, Canadian history, visual culture, Canadian studies, and the history of children.

More than a quarter of a century has passed since Canada promised to recognize and respect the rights of children under the United Nations Convention on the Rights of the Child. Ratification of the Convention cannot, however, guarantee that everyone will abandon proprietary notions about children, or that all children will be free to enjoy the substance of their rights in every social and institutional context in which they find themselves, including—and perhaps especially—within families. This disconnect remains one of the most important challenges to the recognition of children’s rights in Canada. The authors argue that social toxins are as harmful to children’s independent welfare and developmental interests as environmental toxins, and that both must be eradicated if Canada is to fulfill its commitments under the Convention. They also argue that if Canada wishes to ensure the substance of the rights outlined in the Convention are socially guaranteed, an attitudinal or cultural shift is required concerning the moral and legal status of children. This revised, expanded, and updated edition of the bestselling Challenge of Children’s Rights for Canada will be of interest to academics, policymakers, parents, teachers, social workers, and human service professionals—indeed to anyone who cares about and for children.

When Miss Onya’s class has the chance to create a mosaic piece of art depicting Canada, they are each given a different tile to glue down. As they begin to place their tiles down to create Canada, they each explain how their tile reminds them of something from their own cultural heritage. The diverse group of children work together to create the whole of Canada, showing how this country of immigrants is made up of a mosaic of people from all across the world—and from right here on our land, too. Join Miss Onya’s class as they discover that the beauty of Canada is found in the diversity of its people.

Remarkably well researched, the essays consider a wide range of texts - from the U.S., Britain and Canada - and take a variety fo theoretical approaches, including formalism and Marxism and those related to psychology, postcolonialism, reception, feminism, queer studies, and performance studies ... This collection pushes boundaries of genre, notions of childhood ... Choice. Back cover of book.

This book provides a wealth of fascinating information about many significant and lesser-known nineteenth-century Christian authors, mostly women, who were motivated to write material specifically for children’s spiritual edification because of their personal faith. It explores three prevalent theological and controversial doctrines of the period, namely Soteriology, Biblical Authority and Eschatology, in relation to children’s specifically engendered Christian literature. It traces the ecclesiastical networks and affiliations across the theological spectrum of Evangelical authors, publishers, theologians, clergy and scholars of the period. An unprecedented deluge of Evangelical literature was produced for millions of Sunday School children in the nineteenth century, resulting in one of its most prolific and profitable forms of publishing. It expanded into a vast industry whose magnitude, scope and scale is discussed throughout this book. Rather than dismissing Evangelical children’s literature as simplistic, formulaic, moral didacticism, this book argues that, in attempting to convert the mass reading public, nineteenth-century authors and publishers developed a complex, highly competitive genre of children’s literature to promote their particular theologies, faith and churchmanships, and to ultimately save the nation.

In the 1920s, with the end of the revolution, the Soviet government began investing resources and energy into creating a new type of book for the first generation of young Soviet readers. In a sense, these early books for children were the ABCs of Soviet modernity; creatively illustrated and intricately designed, they were manuals and primers that helped the young reader enter the field of politics through literature. Children’s books provided the basic vocabulary and grammar for understanding new, post-revolutionary realities, but they also taught young readers how to perceive modern events and communist practices. Relying on a process of dual-media rendering, illustrated books presented propaganda as a simple, repeatable narrative or verse, while also casting it in easily recognizable graphic images. A vehicle of ideology, object of affection, and product of labour all in one, the illustrated book for the young Soviet reader emerged as an important cultural phenomenon. Communist in its content, it was often avant-gardist in its form. Spotlighting three thematic threads – communist goals, pedagogy, and propaganda – The Pedagogy of Images traces the formation of a mass-modern readership through the creation of the communist-inflected visual and narrative conventions that these early readers were meant to appropriate.

From the author of If You Happen to Have a Dinosaur comes a funny and sweet cross-country roadtrip adventure with a sassy septuagenarian and her quirky canine. Feisty Annie Magruder and her dog, Carson, live in British Columbia, Canada, and they're setting out to visit her sister, Elsie, in Newfoundland. In their little rattlebang car, packed with Carson's favorite toy, Squeaky Chicken, and plenty of baloney sandwiches, Annie and Carson hit the road! They travel province by province, taking in each unique landscape and experiencing something special to that particular part of this vast, grand country. For example, they marvel at the beauty of the big, open sky -- and grasshoppers! -- in Saskatchewan and discover the gorgeous red earth and delicious lobster rolls in PEI, before finally being greeted by Elsie -- and a surprise for Carson!