Journal articles on the topic 'French Children stories'

Multidimensional representations of gender in French language publications for children. Gender stereotypes in French language literature for children have not been extensively studied. This study analyses stories with household heroes, in French language publications aimed at pre-school age children. The aim is to evaluate multidimensional representations of gender in these publications. Results reveal major quantitative and qualitative asymmetries in the representations of the two sexes, often to the detriment of the female. Males outnumber females, who more often play secondary roles as compared to males who are more often depicted in the central role; girls are less frequently represented in the illustrations accompanying these stories than boys. Females are depicted in a more stereotyped manner, and are more confined to domestic and in private locations. Additionally, women play a smaller variety of professional roles than men. The asymmetries highlighted in this study are discussed in terms of the influence that may be exercised over children’s construction of their gender identity, and influence particularly on the self-esteem and future aspirations of girls.

Storybooks Canada (storybookscanada.ca) makes multilingual audiovisual stories available in multiple languages to promote language and literacy development. Building on a long tradition of freely available, open educational resources, Storybooks Canada provides online, multimodal, mobile- and teacher-friendly access to 40 African stories in 21 of the most commonly spoken languages in Canada (including English and French)—making it possible to support and encourage the multilingualism of heritage language, immigrant, and refugee students. In doing so, the project demonstrates the potential for working against the normalized North-South directionality of knowledge flows to develop a more equitable ecosystem for the mobilization of knowledge.

Purpose The value of shared reading as an opportunity for learning word meanings, or semantics, is well established; it is less clear whether children learn about the orthography, or word spellings, in this context. We tested whether children can learn the spellings and meanings of new words at the same time during a tightly controlled shared reading session. We also examined whether individual differences in either or both of orthographic and semantic learning during shared reading in English were related to word reading in English and French concurrently and 6 months longitudinally in emergent English–French bilinguals. Method Sixty-two Grade 1 children (35 girls; M age = 75.89 months) listened to 12 short stories, each containing four instances of a novel word, while the examiner pointed to the text. Choice measures of the spellings and meanings of the novel words were completed immediately after reading each set of three stories and again 1 week later. Standardized measures of word reading as well as controls for nonverbal reasoning, vocabulary, and phonological awareness were also administered. Results Children scored above chance on both immediate and delayed measures of orthographic and semantic learning. Orthographic learning was related to both English and French word reading at the same time point and 6 months later. In contrast, the relations between semantic learning and word reading were nonsignificant for both languages after including controls. Conclusion Shared reading is a valuable context for learning both word meanings and spellings, and the learning of orthographic representations in particular is related to word reading abilities. Supplemental Material https://doi.org/10.23641/asha.13877999

Juxtaposing the French and Indian War stories of Elizabeth George Speare, a mid-twentieth- century Anglo-American children's author, against those of Joseph Bruchac, a twenty-first- century Abenaki children's author, reveals how flexible and powerful captivity narratives have been in shaping arguments about gender, nationhood, citizenship, and land in the postwar United States.

Bilingual children sometimes show delays relative to monolinguals on language tasks. In the present studies, we explored whether French–English bilinguals’ tense use and shift would show a developmental lag in the context of narration. In Study 1, we showed that both French and English monolinguals showed age-related changes in tense use, with preschoolers preferring the past and adults the present. A developmental lag among bilingual children could therefore take the form of prolonged use of the past tense through middle childhood. In Study 2, we observed tense use in the narratives of French–English bilingual children (8–10 years), as well as French and English monolinguals from the same age group. The bilinguals tended to use more present tense than the monolinguals. In qualitative analyses, bilinguals also used a multitude of expressive strategies, such as exclamations, repetitions and onomatopoeia, that made the stories more vivid. Taken together these results suggest that French–English bilinguals do not present developmental differences from monolinguals in tense use. Instead, they adopt an imagistic narrative style that differs from the monolinguals in multiple ways, including a greater use of the present tense. The adoption of this style might be linked to both bilingualism and a cultural preference among French–English bilinguals.

The aim of this study was to examine a form of sarcasm that has hardly been considered to date, sarcastic requests, at an earlier period of development than addressed in past developmental research. This article looked specifically at the role of intonation and context in sarcastic-request understanding by native French-speaking children ages 3 to 7 years. Forty-eight children (16 per group) had to complete stories that varied on 2 factors: intonation (sarcastic and neutral) and context (sarcastic and neutral). To maximize the contrast between the 2 types of intonation, the same phrase expressing sarcasm was added at the end of each test utterance. As a methodological control, the intonation of this phrase was evaluated both acoustically (by a computerized signal editor) and perceptually (by a group of adult participants). It turned out that the experimental task was too difficult for the 3-year-olds. However, this study offers some highly interesting information about sarcastic-request understanding by 5- and 7-year-olds. The ability to take into account cues that help children understand sarcastic requests evolves considerably between the ages of 5 and 7: 5-year-olds appear to primarily base their interpretation on intonation; it is not until they are 7 that children are also able to take context into account. Thus, intonation seems to be an earlier cue than context in sarcastic-request understanding.

In 1636, the Jesuits opened an all-boys seminary school for Wendat children just outside of Quebec. The Jesuits hoped to use the school as a tool of conversion, with the expectation that students would then return home to Wendake to bring others to the Catholic faith. While the Wendat agreed to send a few of their children to the school, their goal was to facilitate a friendly relationship between the Wendat and the French. This diplomacy was conducted through the lens of adoption. While at the seminary, the boys engaged with their French educators: they seemed to convert to Catholicism and they adapted their behaviour to match French expectations, as if they had been adopted by their Jesuit instructors. However, upon leaving the school, many reverted to more traditional Wendat practices, indicating their acculturation was a temporary, but practical, means of affiliating themselves with their Jesuit allies. Individual stories from three students are highlighted to illustrate the significance of the youths’ agency, adaptability, and use of kinship relationships to facilitate a diplomatic bond with some of the early French settlers.

AbstractWe investigated how bilinguals choose words in a narrative task, contrasting the possibilities of a developmental delay vs. compensatory strategies. To characterize a developmental delay, we compared younger (three to five years) and older (seven to ten years) children's lexicalization of target words (Study 1). The younger children told shorter stories, omitting many of the target concepts. To characterize compensatory strategies, we compared late second language learning adults to (seven- to ten-year-old) monolingual children (Study 2). The adults often lexicalized the target concepts even when not producing the target words. Finally, we compared French–English bilingual children with French and English monolinguals, all seven to ten years old (Study 3). The bilinguals produced fewer target words than the monolinguals. However, when not producing the target words, the bilinguals often lexicalized the concepts, sharing more in common with the adults (Study 2) in their use of compensatory strategies than with the younger children (Study 1). This interpretation was further corroborated by comparisons across studies (Study 4).

The Multilingual Assessment Instrument for Narratives (MAIN) was designed in order to assess narrative skills in children who acquire one or more languages from birth or from early age. MAIN is suitable for children from 3 to 10 years and evaluates both comprehension and production of narratives. Its design allows for the assessment of several languages in the same child, as well as for different elicitation modes: Model Story, Retelling, and Telling. MAIN contains four parallel stories, each with a carefully designed six-picture sequence. The stories are controlled for cognitive and linguistic complexity, parallelism in macrostructure and microstructure, as well as for cultural appropriateness and robustness. The instrument has been developed on the basis of extensive piloting with more than 550 monolingual and bilingual children aged 3 to 10, for 15 different languages and language combinations. Even though MAIN has not been norm-referenced yet, its standardized procedures can be used for evaluation, intervention and research purposes. MAIN is currently available in the following languages: English, Afrikaans, Albanian, Basque, Bulgarian, Croatian, Cypriot Greek, Danish, Dutch, Estonian, Finnish, French, German, Greek, Hebrew, Icelandic, Italian, Lithuanian, Norwegian, Polish, Russian, Spanish, Standard Arabic, Swedish, Turkish, Vietnamese, and Welsh.

In this article are analyzed the world view of children in French literature during the last centuries and his transmission into Uzbek translations in a comparisons with other works of centuries with allow to establish the differences in the lives of children as well as the imagination of today's children. In particular, for the nineteenth century is chosen “Without family”, written in 1878, one of the most famous novels of Hector Malot and “Mondo and other stories” of JMG Le Clézio, published in 1978, exactly a century after “Without family”. Also, is analyzed the reproduction of French reality words in Uzbek translations as well as to study other translation problems that translators may encounter during their work. For this purpose is chosen the originals of Ch. Perrault's tales as well as their Russian and Uzbek translations in a comparisons of the Uzbek translations of tales by Ch. Minovarov, M. Kholbekov, T. Alimov, I. nZorov and A. Akbar. During the analyzes are revealed several functions of translation such as communicative, cultural common, knowledge-luminous, educational etc. The translation literature serves not only to spread knowledge about the world and man, but actively promotes the formation of the worldview, morale, taste, orientation of values in person, the creation of accurate reports between people, i.e. promotes the establishment of our political, aesthetic, moral and value to life.

Previous studies have shown that bilinguals use more manual gestures than monolinguals (Pika et al., 2006; Nicoladis et al., 2009), suggesting that gestures may facilitate lexical retrieval or may reduce the cognitive load on working memory during speech production. In this study, we tested the generalizability of these findings by comparing the use of gestures in three groups of children (English monolinguals, Mandarin Chinese-English bilinguals, and French-English bilinguals) between 7 and 10 years of age as they retold two short stories about a cartoon. The bilingual children were asked to retell narratives in both languages. The results showed that the French-English bilinguals used significantly more gestures than the Chinese-English bilinguals. With respect to gesture rates accompanying speech in English, the monolinguals did not differ from either bilingual group. The bilingual children’s use of gestures was generally not correlated with our measures of working memory (narrative length and speech rate). These results suggest that culture may be a more important determiner of gesture rate than bilingualism and/or working memory capacity.

This article analyzes the French-language and Russian-language discourse of bilingual children of different types. The goal consists in examination of specificity of correlation between the name and image in a bilingual discourse, as well as in description of the action depicted on the image. The respondents for this research became the natural bilinguals from mixed Russian-French or Russian families in France. The authorial corpus of Russian-French speech of bilingual children served as the material for this study. The corpus consists of the stories based on stimulus material. The research was conducted individually with each respondent in Russian and French separately. The respondents could select the initial language for conversation (Russian or French). The scientific novelty of this work is defined by the fact that the tradition of studying narrative was applied in the context of analysis of the bilingual French-Russian speech. The author examined the Russian-language and French-language names of characters and objects in different groups, and drew parallels between them. The results demonstrate that the name of a character within the framework of a single language could vary from image to image. At the same time, variability of names of the main character is greater in the Russian-language block. The most frequent name version for the main character in the Russian-language block was the cat, while in the French-language block it was “chat” with the definite or indefinite article. It is notable that initially some respondents had other options (cat, squirrel), but in the process of the experiment, they also changed the name of the character to corresponding to the author's concept of the name of cat. Due to the fact that the respondents were asked to adhere to the selected language, there was very few instances of code switching. However, their presence indicates that the respondents are lacking lexical tools in their weaker language.

Abstract In 1885 Louis Pasteur successfully treated two boys from different parts of rural France, Joseph Meister and Jean-Baptiste Jupille, with his experimental rabies vaccine. Arguing that the boys played an important role in shaping images of Pasteur and his vaccine in French culture, this article reconstructs their long relationships with the scientist and then traces their evolving cultural representations during the Third Republic up to 1940. Meister, a young child from Alsace who sought salvation in Paris, was particularly assimilable to nationalist narratives that Pasteur himself encouraged. Jupille, in fighting with a rabid dog to save young children from attack, could provide an exemplar of the selfless yet virile male adolescent whom late nineteenth-century authorities sought to produce. Both boys' stories produced associations that reflected favorably on Pasteur and the Pastorians, yet each also held an independent appeal at particular moments in modern French history.

Drawing on her lived experiences, and using the metaphor of a Snakes and Ladders game, the author reflects on her teacher practice related to using an inquiry approach in her French Immersion Kindergarten classroom. Looking backward while moving forward in time, she makes visible her process of change, foregrounding how her beliefs about children, teaching, and learning—her educational philosophy—paired with a new understanding of learning theories—in particular, constructivism—shape a pedagogical approach centered in inquiry-based learning. She stories her move from being structured and teacher-directed in her pedagogical approach to embracing an emergent curriculum and a student-centered pedagogy.

Abstract. There are many things to consider in translating children’s stories: behavioral influence on children, level of language difficulty, and suitability to the target culture. A child has limitations in their social interactions and communications. This article analyzes the translation of pronouns and repetitions in a children’s story with Google Translate. As an online application, Google Translate is considered to have the ability to translate words, phrases, clauses, sentences, and even paragraphs. This study aims to reveal the ability of google translate to translate children's stories, especially Indonesian pronouns and repetitions into French. This study used data from the translation of an Indonesian children's story titled “Petualangan Si Kancil” (literal translation: “The Adventures of the Mouse Deer”) by means of Google Translate, adopting descriptive and comparative methods. The results of data analysis show that Google Translate only translates word for word or sentence for sentence, and has not considered the cultural context. In detail, the results are as follow: (i) pronoun translation cannot sufficiently reflect both the writing style and the cultural context of the source text, (ii) translation of repetitions is avoided and replaced with lexical equivalence.Keywords: Children’s Story; Google Translate; Pronouns; Repetitions

Promoting support for Allied Forces was a central theme of contemporary children’s literature in the eve of and during World War II; the body of work captures a surprisingly complex and conflicted view of armed conflict and nationhood.Amid the expected imperatives that American children scavenge scrap metal for war bonds and cozy stories of English children evacuated to safety in North America, there is nostalgia for pastoral Russia and an unabashed celebration of the Soviet collective effort. In one of the most charged depictions, a pair of dachshunds forced to wear Nazi uniforms outwit their master. An Austrian refugee, the creation of a refugee writer, pointedly informs a naïve French peasant boy: “There are a great many Germans who hated the Nazis, didn’t you know that?”1 before revealing his father was a prisoner at Dachau.

Previous studies of narrative development based on wordless picture stories indicate that before 7–8 years most children provide descriptive narratives with little inferential content such as explanations and attribution of mental states to the story characters. These components find greater expression in studies where children participated in conversations focused on the causes of the events. In the present study, 84 French-speaking children, from kindergarten to second grade, narrated the Stone story (a wordless five-picture story whose plot is based on a misunderstanding between two characters) before and after a short conversational intervention (SCI) focused on the causes of the events, as well as one week later when they also narrated a new story. Thirty additional children served as the Control group: instead of the SCI they played a Memory game with a set of cards containing the pictures of the Stone story. Children in the SCI group increased the inferential content of the narrative produced after the SCI, thus confirming with a larger sample findings obtained in previous studies. Moreover, results provide new evidence that the immediate improvements in inferential content were still present after a week’s delay and could also be applied to a new story. All narratives produced after the SCI were also longer and contained more markers of causality. The effect was stronger in first and second graders than in kindergarten children. By contrast, no significant improvements were found in the children of the Control group on any of the measures. Such results highlight the effectiveness of the SCI in promoting children’s narrative skills, its usefulness in their assessment, and have important implications for a better understanding of narrative development.

A geopolitical clash between Russia and other European powers, the Crimean War (1854–1856) witnessed the first mediatized armed conflict in modern history. During the war, the young Lev Tolstoy wrote and published three Sevastopol Sketches, based on his wartime experiences in the besieged port of Sevastopol. Upon publication, the first of the stories was translated into French and published within a fortnight. Une journée à Sévastopol en décembre 1854 featured in Le Nord, a Brussels newspaper covertly operated by the Russian government. An in-depth analysis of the translation shows that the text was abridged and carefully groomed to serve Russia’s interests and Tolstoy’s patriotism made way for an appeal to the target audience, designated as ‘happy children of peace.’ Elaborating on the origins of the translation and its publishing context, I argue that this particular translation needs to be read both as an act of soft power and as an act of diplomacy. If the target text is considered as a historical document among other sources, empirical historical research can prove beneficial to the discipline and move forward the debate on Translation Studies’ approach to highly ideological contexts, in particular translations in periodicals.

How is historical knowledge transmitted across generations? What is the role of schooling in that transmission? The authors address these questions by reporting on a thirty-month longitudinal study into how home, school, and larger society served as contexts for the development of historical consciousness among adolescents. Fifteen families drawn from three different school communities participated. By adopting an intergenerational approach, the authors sought to understand how the defining moments of one generation—its “lived history”—becomes the “available history” to the next. In this article, the authors focus on what parents and children shared about one of the most formative historical events in parents’ lives: the Vietnam War. Drawing on notions of collective memory, as articulated by the French sociologist Maurice Halbwachs, the authors sought to understand which stories, archived in historical memory and available to the disciplinary community, are remembered and used by those beyond its borders. In contrast, which stories are no longer widely shared, eclipsed by time’s passage and unable to cross the bridge separating generation from generation? The authors conclude by discussing the forces that act to historicize today’s youth and suggest how educators might marshal these forces—rather than spurning or simply ignoring them—to advance young people’s historical understanding.

This article focuses on the issue of La Littérature Internationale, a French version of the multilingual Soviet journal Internatsionalnaya Literatura, which embodied one of the declarations of the First Congress of the Soviet writers on the key role of didacticism in the new literature. The second issue of La Littérature Internationale in 1934 contained a selection of works about children by authors from the USSR, France, United States, and Germany. The aim of this article is to analyze this selection of texts and to determine its function in the literary journal for adults. The author shows the connection of the plot schemes in the selection with the preceding folklore and literary tradition (a folk fairytale and literary Christmas tale, Victorian educational novel, romantic heroic novel). The classic storyline of these works allows us to introduce new themes and plots: re-education and correction, the story of working at the factory and at the mine, shown through the eyes of children as well as the resistance to Hitler’s regime in Germany. The conclusion shows that in this issue, the children’s selection forms a socialist realist model of world literature of a kind. Together with the stories for adults, it sets a pattern for the new universal literature whose plot schemes reflect the main trends in the literature of socialist realism and the anti-fascist literature of the 1930s–1940s.

The study deals with children's use of the connective and to end a story. One hundred and ninety-one children (aged 7;0 to 11;0) who were native speakers of French told two-character comic strip stories with no text to a same-age peer. In the consecutive-display condition, the comic strip was in booklet format with one frame per page, whereas in the simultaneous-display condition, all frames were on the same page. In the arbitrary-sequence condition, the events in each comic strip, although presented as a sequence, could have occurred in any order, whereas in the ordered-sequence condition, the order of the events could not be changed. In the maintained-topic condition, the materials were designed to induce a thematic subject right after the first frame (by the repeated presence of the same character in every picture, up to and including the last one), whereas in the changed-topic condition, the other character appeared alone in the last frame.The analysis focused on cases where the children began the narration of the last frame using and to change the text pattern established so far. The results showed that and was often used in this way (35·2% of the productions), especially in the experimental conditions that facilitated event interconnection (simultaneous display, ordered sequence, maintained topic). The ordered-sequence condition showed that the nine-year-olds in simultaneous display employed and in co-occurrence with another connective, whereas the eleven-year-olds mainly used and more specifically: when the topic changed. The discussion deals with the specialization during development of the use of and within a speaker's discourse.

Abstract Theory-of- mind-related abilities present a long development characterized by both vertical and horizontal décalages. A vertical type of décalage can be seen in children’s abilities to take into account, on a practical level, others’ intentional and mental states and use internal state terms to talk about them before they are able to succeed, at the dominant representational level of functioning, in false belief tasks. Several horizontal décalages can also be observed. It is only after success in FB tasks that children can talk about the mental states of characters in fictional stories. Moreover, ToM-related and other inferential elements are expressed earlier and more frequently in conversationally-constructed than in monologically-produced narratives. This paper examines in particular this type of horizontal décalage by comparing the types of explanations produced by eighty 6- and 7-year-old French-speaking children during a short conversational intervention (SCI) focused on the causes of the story events to those expressed in monological narratives, about the same wordless picture story, produced immediately after or before the SCI. The results confirm that children expressed more ToM-related and other inferential elements during the SCI than in the two monologically-produced narratives. However, the comparison between explanations produced during the SCI and in the immediately following monological narrative also reveals complex relations among understanding, knowing and expressing this knowledge. The reasons and the significance of the horizontal décalages found in the study are discussed.

Among the numerous Malay writers of our time Shahnon Ahmad stands as one of the most famous. Several points can be mentioned in that respect. First, he has published fourteen novels in twenty-five years apart from dozens of short stories. One of his novels, Ranjau Sepanjang Jalan (translated into English under the title “No harvest but a thorn”) is a household name in Malaysia as it has been for years a textbook for secondary school children. He has been awarded numerous literary distinctions such as Hadiah Sastera for his novel Srengenge (the sun) in 1973, Hadiah Pejuang Sastera (Prize for Literary Fighters) in 1976 and, finally in 1982, he was awarded the most prestigious literary award in Malaysia, i.e. Anugerah Sasterawan Negara which is the Writer Laureate Award and he was among the very first Malaysians to receive it. His most famous novel, Ranjau Sepanjang Jalan has been translated into several languages such as English, French, Dutch, Russian, Japanese and Danish. Dozens of articles have been written about him not only by Malaysian critics but also by foreigners. Finally several theses have been written on Shahnon Ahmad. So it appears that this writer is probably the most talked about author in Malaysia at present.

The article is a review of the childhood memories' book by Leonid Andreev's granddaughter O. Andreeva-Carlisle — the novella “An Island for Life,” first translated (by L. Shenderova-Fock) into Russian from English and French, the languages of the first publications. In the novel, the author recreates the five-year period (1939–1945) of her family's stay on the island of Oleron, occupied by the Nazis, reconstructs the “Russian world” of the diaspora, created by reading books, socializing with compatriots (G. Fedotov, M. Tsvetaeva, A. Remizov, etc.), and ardent interest in Russia. The review analyzes the genre of the book, which combines fidelity to fact with fictionalization of documentary material in the spirit of a girly story; it also reveals the “book code,” allowing the author to romanticize the narrative and present the events of the Resistance, in which the family was included, in an adventurous manner. It is demonstrated that the depicted events and the atmosphere in the village of Saint-Denis on the ocean coast are associated in the book with the artistic world of E.A. Poe, read aloud to the children by their father, Vadim, who lived as a child in Finland in a house on the Black River. The image of the author’s famous grandfather, the Russian writer Leonid Andreev, recreated from the stories, also merges with the notion of the American romantic Poe. The portrait of Leonid Andreev in the book appears mythologized, refracted by the prism of perception of his son Vadim and determined by the literary reputation of the writer himself.

The purpose of the article is revealing the great variety of relationships between humans and animals in the traditional Lithuanian folktales in order to understand the meaning of the animal motives in this folklore genre. Analysis of the ethical, pedagogical and psychological aspects of the tales rests on the printed and archived materials from the 19th – 20th century. The author discusses the instances of clashing and matching perspectives between the folklore-centered, psychological, and culture-oriented views on the traditional narratives and on the worldview that these narratives reflect. Representations of both the wild animals, birds and reptiles, and the domesticated ones in the Lithuanian fairy tales and animal tales are symbolical rather than realistic, thus encouraging to view these narratives as essentially meant for upbringing or psychotherapy rather than natural education. According to the emotional, ethical and pedagogical value of relationships between the protagonist and the animals, the folktale motives fall into several groups:a. relations based on fear (folktales prohibiting to hurt the totemic animals);b. overcoming of fear and hostility (folktales describing marriage with animals);c. empathy (folktales describing people saving and caring for the animals, and therefore experiencing great success);d. acquiring protection (folktales describing animals sacrificing themselves for the benefit of the protagonist);e. animals endowed with authority in the eyes of the humans (folktales revealing special powers and capacities of the animals, which alone enable the humans to achieve their aims; these tales reveal dependence of people on nature);f. narratives enhancing emotional consciousness (tales of animals and formula tales dedicated to the youngest children and teaching them strategies of safe behavior as well as encouraging their emotional self-awareness);g. hostility (stories derived from the medieval animal epos);h. pragmatism and economical attitude (folktales describing animals as sources of profit rather than self-contained characters).In conclusion, the author assumes that literary tradition must have had minimum impact on the ancient Lithuanian folktales and their worldview in particular, since they do not antagonize the natural and the human world. Contrary to the view expressed by the French cultural historian Robert Darnton maintaining that French tales essentially have been harsh and cynical, the majority of the Lithuanian tales merit recognition for their positive view of the world, for bringing up educational examples, for pedagogical intentions and the general concept that rightful behavior deserves an appropriate reward. Having discussed the psychoanalytic interpretations of folktales, the author assumes that animals in the oldest versions of the Lithuanian folktales play the role of the superego rather than id. This allows to maintain that respectful attitude towards animals was inherent in the culture of the ancient peoples, particularly the peasants, being “discovered” in the literary tradition as late as the end of the 19th century.

Food packaging marketing techniques which appeal to children (such as cartoon characters and brand mascots) affect children’s choices, preferences, and eating habits. Several studies have assessed the nutritional quality of food intended to children in various countries and concluded that most were high in fat, salt, and sugar (HFSS) and ultra-processed foods. The aim of this study is to analyse products intended for children over the age of 3 (foods and beverages with relevant marketing elements on the packaging) available on the French market as regards: (1) nutritional quality, based on the Nutri-Score labelling system, (2) compliance with expected nutritional profile suitable for children, according to the criteria of the WHO Europe Nutrient Profile Model, and (3) degree of processing, as defined by the NOVA classification, from packaging collected in 20 stores (hyper/supermarkets, hard-discount retail chains, and organic food stores). The marketing strategies most often used on children’s products are cartoons (97.22%; n = 1120) and mascots (77.78%; n = 896). A total of 1155 products were included in the study, most of which were sugary foods: almost a quarter of the products in the sample (23.81%; n = 275) list a sweetener as the first ingredient, and most of them (89.52%; n = 1034) contain free sugars according to the WHO definition. All the products included in our study feature marketing elements targeting on the packaging, yet 94.88% do not meet the criteria of the WHO Europe Nutrient Profile Model. Most (58.68%; n = 676) belong to Nutri-Score groups D and E, with the highest proportion in group D (39.32%; n = 453) and are ultra-processed (87.97%; n = 1016), especially through the use of flavourings and ultra-processed sugars. Using the Nutri-Score, the WHO Europe Nutrient Profile Model, and the NOVA classification, this study suggests that a significant share of pre-packaged foods marketed to children do not have an adequate nutritional profile. As such, measures are needed to regulate what marketing elements aimed at children can be included on packaging, based on these criteria.

Purpose The purpose of this paper is to explore children’s responses to store atmosphere, and the role of parent-child interaction in these responses. Design/methodology/approach The authors used a qualitative study within two French stores and employed a grounded-theory approach to analyse data. Data were collected from 41 in-store observations and 20 in-depth interviews with children aged 7-11. Findings This research reveals that the impact of store atmospherics on children’s responses to store environment and on their behaviour in-store is a complex phenomenon. Children passively and actively respond to store atmosphere. They appropriate and re-appropriate store environment for their own goal of play. Store atmospherics may lead to positive outcomes in the form of children’s exploration of the store, desire to stay longer and intention to revisit. However, store atmosphere can also become the source of conflicts between parents and children, and therefore have a negative impact on children’s behaviour in-store. Research limitations/implications The study deepens the understanding of children’s responses to store atmosphere by taking account of parent-child interaction. It extends research on the effects of store atmosphere on children’s behaviour by suggesting the moderating effect of parent-child conflict. Nevertheless, the number of stores selected limits the findings. Practical implications The findings of this study enable retailers to improve the atmosphere of their stores by making it fun and creative in order to attract children to play there. Furthermore, the study provides interesting findings for retailers on how to overcome the challenge of inappropriate store atmosphere creating or aggravating parent-child conflict during shopping trips. Social implications The authors suggest solving conflicts between children and parents through common activities within the store or through interactive technologies that favour communication and enable children to learn through play. Originality/value The originality of this paper lies in its focus on the role of parent-child interaction in children’s responses to store atmosphere. The authors intend to reveal the complicated relationship between store atmosphere, children’s responses and parent-child interaction in-store.

Although the characteristics of the Korean are weak in terms of language and culture, Koryoin have a strong consciousness as a Korean(Julia Lim, 2007), and have special characteristics in migrating and settling in Korea as their ancestral hometown (Jinsil Kim, 2021). Koryoin living in Korea experience language problems, food, cultural differences and conflicts, and discrimination. Food in childhood is an important foundation for the holistic development of children who grow rapidly, and it is the basis of children's dietary habits such as eating habits, food preferences, eating etiquette, and hygiene habits (Shin Se-ni and Cho Hee-sook, 2012). In particular, balanced nutrition supply in elementary school is necessary to create the foundation for growth and development and to improve intellectual, social, and emotional abilities, and for this purpose, it is very important to form desirable eating habits (Eunju Lee, 2018). This study aimed to inspire social interest in Koryoin children and suggest implications for the direction and content of teacher education by examining the eating habits and food consumption patterns of Koryoin children residing in Korea. In this study, a total of 13 in-depth interviews were conducted from the 3rd week of June to the 2nd week of November 2022 with 7 Koryoin children attending S Elementary School in Ansan-si to examine the eating habits and consumption patterns of Koryoin children residing in Korea. During the interview process, children's language expressions were supplemented and pictures were drawn on the interview contents to prevent children from getting bored. A qualitative analysis was conducted focusing on the collected interview data, children's drawings and explanatory data. All collected data was transcribed and qualitative analysis was conducted. The results of the study were as follows: First, Koryoin children ate rice, bread, sandwiches, and cereals, and showed a preference for simple cooked rice such as (triangular) gimbap, rice and seaweed, and flops. In addition, it was found that they liked dumplings, guksi, ramen, and spaghetti, and often ate them at home. Second, Koryoin children enjoyed and preferred meat food from their hometown, such as chicken and shashlik, and some children liked Korean bulgogi. In addition, seaweed soup, chicken soup, yukgaejang, gamjatang, and borscht were enjoyed and preferred. In addition, Goryeoin children's preference and consumption of kimchi showed mixed patterns. They showed a preference for vegetables such as broccoli, paprika, and carrots, which are often used as ingredients in their hometown cuisine. And they showed a preference for watermelon, strawberry, banana, and dried persimmon. Third, Koryoin children consumed French fries, peanuts, snacks, pizza, hamburgers, pepperoni, corn, popcorn, ice cream, tteokbokki, chicken, sweet pumpkin, milk, and cheese as snacks. He showed a preference for yogurt, cola, and red bean shaved ice and enjoyed it often. On the other hand, Koryoin children were often seen eating French fries, ramen snacks, and fish snacks at convenience stores and stationery stores after school. Based on the results of this study above, suggestions for dietary life and nutritional support for Koryoin children and suggestions for follow-up studies were conducted.

In sub-Saharan Africa, oral health is a real epidemiological challenge. Mobile applications represent a hope for the learning of oral hygiene in children and the fight against oral diseases. This study overviews and assesses the quality of mobile applications linked to oral hygiene for children currently featured on the iOS and Android stores in sub-Saharan Africa. Ten oral health professionals (OHP) used the French Mobile App Rating Scale (MARS-F) to rate 15 selected applications. The highest MARS-F scores for overall quality were reported for Bonne nuit Caillou (3.89 ± 0.74), Mon Raccoon (3.63 ± 0.95), and Chomper Chums (3.54 ± 0.54) while the lowest MARS-F scores for overall quality were achieved by Brushing time (2.31 ± 0.61), De belles dents (2.55 ± 0.55) and Brushing Hero (2.77 ± 0.53). The subjective quality scores ranged from 1.50 ± 0.68 for Brushing time to 3.25 ± 0.97 for Bonne nuit Caillou. Specificity scores ranged from 1.95 ± 0.88 (Brushing time) to 3.75 ± 0.84 (Bonne nuit Caillou). Thus, OHP rated positively the quality of the majority of mobile applications linked to oral hygiene for children, their effect on users’ knowledge, attitudes, and intentions to change, and the probability of effective oral hygiene behavior modification. They stated that they would recommend their use to their patients who need them. However, studies analyzing the change in oral hygiene behavior of children using these apps need to be conducted.

Purpose – This research aims to evaluate young consumers’ knowledge of everyday product prices. Despite a large body of research on the child as consumer, few studies examine price. Design/methodology/approach – The study employs a quantitative methodology and administered questionnaires that target a sample of 224 primary school French children. Findings – The various employed measures help shed light on the pricing aspect of children’s consumption processes. In particular, the results show that although price recall is relatively weak, children become familiar with the order of price magnitudes and classify products according to their price level. Research limitations/implications – A future research could integrate that the children should be affected by internal reference price in the various tasks. Future studies could introduce other variables in the tests, such as children’s commercial experience and their experience with the stores they know. Practical implications – Firms should adapt their pricing strategies to the expectations of children, not only adults or parents, both for the products that directly pertain to them and for those they might recommend. This research offers managers additional insights into how to communicate about prices, taking into account current customer heterogeneity. Originality/value – Realized measurements reflect children’s capacities to react to the prices of mass-consumed goods and clarify whether the child is able to identify or reduce his consideration set among some alternatives of choice according to his price knowledge level.

IntroductionIndian Literature with its multiplicity of languages and the plurality of cultures dates back to 3000 years ago, comprising Vedas, Upanishads, Puranas and Epics like Ramayana and Mahabharata. India has a strong literary tradition in various Indian regional languages like Sanskrit, Prakrit, Pali, Hindi, Marathi, Bengali, Oriya, Tamil, Kannada, Telugu, Malayalam and so on. Indian writers share oral tradition, indigenous experiences and reflect on the history, culture and society in regional languages as well as in English. The first Indian novel in English is Bankim Chandra Chatterjee’s Rajmohan’s Wife (1864). Indian Writing in English can be viewed in three phases - Imitative, First and Second poets’ phases. The 20th century marks the matrix of indigenous novels. The novels such as Mulk Raj Anand’s Untouchable (1935), Anita Nair’s Ladies Coupé (2001), and Khuswant Singh’s Memories of Madness: Stories of 1947 (2002) depict social issues, vices and crises (discrimination, injustice, violence against women) in India. Indian writers, and their contribution to world literature, are popular in India and abroad.Researchers are keen on analysing the works of Indian writers from historical, cultural, social perspectives and on literary theories (Post-Colonialism, Postmodernity, Cultural Studies). The enormity of the cultural diversity in India is reflected in Indian novels, plays, dramas, short stories and poems. This collection of articles attempts to capture the diversity of the Indian land/culture/landscape. It focuses on the history of India, partition, women’s voices, culture and society, and science and technology in Indian narratives, documentaries and movies.Special Issue: An Overview“Whatever has happened, has happened for goodWhatever is happening, is also for goodWhatever will happen, shall also be good.”- The Bhagavad-Gita.In the Mahabharata’s Kurukshetra battlefield, Lord Krishna counsels Arjuna on how everything that happens, regardless of whether it is good or bad, happens for a reason.Indian Literature: Past, Present and Future portrays the glorious/not-so-glorious times in history, the ever-changing crisis/peace of contemporary and hope for an unpredictable future through India’s literary and visual narratives. It focuses on comparison across cultures, technological advancements and diverse perspectives or approaches through the work of art produced in/on India. It projects India’s flora, fauna, historical monuments and rich cultural heritage. It illustrates how certain beliefs and practices come into existence – origin, evolution and present structure from a historical perspective. Indian Literature: Past, Present and Future gives a moment to recall, rectify and raise to make a promising future. This collection attempts to interpret various literary and visual narratives which are relevant at present.The Epics Reinterpreted: Highlighting Feminist Issues While Sustaining Deep Motif, examines the Women characters in the Epics – Ramayana and Mahabharata. It links the present setting to the violence against women described in the Epics Carl Jung’s archetypes are highlighted in a few chosen characters (Sita, Amba, Draupati). On one note, it emphasises the need for women to rise and fight for their rights.Fictive Testimony and Genre Tension: A Study of ‘Functionality’ of Genre in Manto’s Toba Tek Singh, analyses the story as a testimony and Manto as a witness. It discusses the ‘Testimony and Fictive Testimony’ in Literature. It explains how the works are segregated into a particular genre. The authors conclude that the testimony is to be used to understand or identify with the terror.Tangible Heritage and Intangible Memory: (Coping) Precarity in the select Partition writings by Muslim Women, explores the predicament of women during the Partition of India through Mumtaz Shah Nawaz’s The Heart Divided (1990) and Attia Hosain’s Sunlight on a Broken Column (2009). It addresses ‘Feminist Geography’ to escape precarity. It depicts a woman who is cut off from her own ethnic or religious group and tries to conjure up her memories as a means of coping with loneliness and insecurity.Nation Building Media Narratives and its Anti-Ecological Roots: An Eco-Aesthetic Analysis of Khushwant Singh’s Train to Pakistan, analyses the post-Partition trauma in the fictional village, Mano Majra. It illustrates the cultural and spiritual bond between Mano Majrans — the inhabitants of Mano Majra — and nature (the land and river). It demonstrates how the media constructs broad myths about culture, religion, and nation. According to the authors, Mano Majrans place a high value on the environment, whilst the other boundaries are more concerned with nationalism and religion.Pain and Hopelessness among Indian Farmers: An Analysis of Deepa Bhatia’s Nero’s Guests documents the farmers’ suicides in India as a result of debt and decreased crop yield. The travels of Sainath and his encounters with the relatives of missing farmers have been chronicled in the documentary Nero’s Guests. It uses the Three Step Theory developed by David Klonsky and Alexis May and discusses suicide as a significant social issue. The authors conclude that farmers are the foundation of the Indian economy and that without them, India’s economy would collapse. It is therefore everyone’s responsibility—the people and the government—to give farmers hope so that they can overcome suicidal thoughts.The link between animals and children in various cultures is discussed in The New Sociology of Childhood: Animal Representations in Leslie Marmon Silko’s Garden in the Dunes, Amazon’s Oh My Dog, and Netflix’s Mughizh: A Cross-Cultural Analysis. It examines the chosen works from the perspectives of cross-cultural psychology and the New Sociology of Childhood. It emphasises kids as self-sufficient, engaged, and future members of society. It emphasises universal traits that apply to all people, regardless of culture. It acknowledges anthropomorphized cartoons create a bond between kids and animals.Life in Hiding: Censorship Challenges faced by Salman Rushdie and Perumal Murugan, explores the issues sparked by their writings. It draws attention to the aggression and concerns that were forced on them by the particular sect of society. It explains the writers’ experiences with the fatwa, court case, exile, and trauma.Female Body as the ‘Other’: Rituals and Biotechnical Approach using Perumal Murugan’s One Part Woman and Matrubhoomi: A Nation Without Women, questions the society that limits female bodies for procreation and objectification. It talks about how men and women are regarded differently, as well as the cultural ideals that apply to women. It explains infertility, which is attributed to women, as well as people’s ignorance and refusal to seek medical help in favour of adhering to traditional customs and engaging in numerous rituals for procreation.Life and (non) Living: Technological and Human Conglomeration in Android Kunjappan Version 5.25, explores how cyborgs and people will inevitably interact in the Malayalam film Android Kunjappan Version 5.25. It demonstrates the advantages, adaptability, and drawbacks of cyborgs in daily life. It emphasises how the cyborg absorbs cultural and religious notions. The authors argue that cyborgs are an inevitable development in the world and that until the flaws are fixed, humans must approach cyborgs with caution. The Challenges of Using Machine Translation While Translating Polysemous Words, discusses the difficulty of using machine translation to translate polysemous words from French to English (Google Translate). It serves as an example of how the machine chooses the formal or often-used meaning rather than the pragmatic meaning and applies it in every situation. It demonstrates how Machine Translation is unable to understand the pragmatic meaning of Polysemous terms because it is ignorant of the cultures of the source and target languages. It implies that Machine Translation will become extremely beneficial and user-friendly if the flaws are fixed.This collection of articles progresses through the literary and visual narratives of India that range from historical events to contemporary situations. It aims to record the stories that are silenced and untold through writing, film, and other forms of art. India’s artistic output was influenced by factors such as independence, partition, the Kashmir crisis, the Northeast Insurgency, marginalisation, religious disputes, environmental awareness, technical breakthroughs, Bollywood, and the Indian film industry. India now reflects a multitude of cultures and customs as a result of these occurrences. As we examine the Indian narratives produced to date, we can draw the conclusion that India has a vast array of tales to share with the rest of the world.Guest Editorial BoardGuest Editor-in-ChiefDr. Bhuvaneswari R, Associate Professor, School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. She has pursued her master’s at the University of Madras, Chennai and doctoral research at HNB Central University, Srinagar. Her research areas of interest are ELT, Children/Young Adult Literature, Canadian writings, Indian literature, and Contemporary Fiction. She is passionate about environmental humanities. She has authored and co-authored articles in National and International Journals.Guest EditorsCynthiya Rose J S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. Her research interests are Children’s Literature, Indian Literature and Graphic Novels.Maria Baptist S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. His research interests include Crime/Detective fiction and Indian Literature.MembersDr. Sufina K, School of Science and Humanities, Sathyabama Institute of Science and Technology, Chennai, IndiaDr. Narendiran S, Department of Science and Humanities, St. Joseph’s Institute of Technology, Chennai, India

Abstract BACKGROUND: Asthma is the most common chronic respiratory disease in Canada, with highest prevalence in children 5-17 years of age. The use of effective apps for asthma management for children and adolescents may decrease the significant morbidity of this disease. A wide range of apps designed to assist in the home management of asthma are available online. However, there are no published data assessing the quality and content of asthma apps for children and families in Canada. OBJECTIVES: To evaluate apps targeted at children or parents for the active management of asthma based on quality, accuracy of content and presence of advertising. DESIGN/METHODS: The iOS and Google Play stores were searched using the key terms “asthma”, “reactive airways”, “puffer”, and “wheeze”. Apps that were available in English or French, were interactive, were targeted at children or their families, and addressed the medical management of asthma were included. Apps were examined using a detailed data collection tool to assess usability and content. Quality criteria was based on a published, validated tool. Content was evaluated based on the Canadian Thoracic Society asthma guidelines. RESULTS: A total of 95 apps were screened, and 11 met the inclusion criteria. Average app quality score was 3.65 (range 2.63 – 4.38) out of 5. One app used 7 out of 7 CTS criteria in assessing asthma control, one used 6, six used 5, and three used 4. 10 out of 11 apps had the capacity to track symptoms, which was linked to level of asthma control based on CTS/CPS criteria. 8 out of 11 apps had the capacity to record medication doses in a journal format and provided daily medication reminders. 6 apps had the capacity to create and save a personalized asthma action plan. All apps used medications available in Canada. The most functional app based on these criteria was asthmamd, followed by AsthmaSense. One app was funded but a pharmaceutical company and had industry logo, but no significant brand bias. No other apps had specific industry advertising. None were specifically designed for use by children or adolescents. CONCLUSION: 11 relatively high-quality apps are available for asthma management for Canadian families. Of these apps, the ones that best match quality, adherence to CTS guidelines, and lack of marketing/branding are asthmamd and AsthmaSense. There exists a gap to create apps that are specifically targeted at children and adolescents with high functionality for managing asthma.

That was the year that was! 2021 seemingly arrived just yesterday and now we are shortly to bid it farewell. I hailed its predecessor as heralding the hope for a new clarity of vision – the start of a new decade which promised much. However, I have become reminded that perfect 20/20 vision in the present may not necessarily lead to reliable predictions for the future. Further I have immediately been taken back to my undergraduate days and the unforgettable words of the great poet T. S Eliot in his poem Burnt Norton – the first of the four Quartets Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present They are words that seem to ring particularly true not only to anyone contemplating their remorselessly advancing years and reflecting on a career nearing completion, but they also seem particularly apposite for the experiences of the last two years. The pandemic started by destroying our expectations and predictions for what lay ahead. It ensured that our best laid plans for our immediate futures would remain unfulfilled and thus unredeemable. Subsequently during the year, we were left to speculate as to our future pathways - not only with regard to our professional activities, but also concerning our personal and family relationships – with a whole world of separation between ourselves and those of our kith and kin domiciled in distant lands. Though for some it may have been no more than a regional border! Such forced isolation caused many of us to think backwards as well, reflecting on our past trajectories and recalling both mistakes and successes alike. Yet for many it became a time to substitute the incessant demands of work and its associated travel and busy-ness with former and forgotten pleasures. Leisurely walks with friends and family, the rediscovering of rhythms and tempos unimpeded by the daily demands of our diaries and other extraneous demands on our time that had required us to respond immediately and forgo the immediate needs of the surroundings and people closest to us. Above all, with the future in limbo and the past re-emerging in our minds, it reinforced the realisation that the present is what we really have, and it contains what is most important. For a time, the incessant chatter and noise of the media retained our attention, just as it had dominated our attention at the end of 2019. Yet, somehow during the year, the hype and frenzied reporting seems to have diminished in impact. This was nowhere more evident than in the responses to COP26 – the 26th United Nations Climate Change Conference in Glasgow, UK. Items in the press came thick and fast leading up to the event: predictions of planetary doom; political conflicts were highlighted as world leaders met or didn’t meet on the conference stage; appearances by the celebrities of the world; demonstrations aplenty. All of this breathless activity faded imperceptibly out of our consciousness as the serious (but more boring?) negotiations between nations started to take place, with much of the brilliance of the limelight now exhausted. The anticlimactic conclusion was judged by Boris Johnson, the chair and among the most optimistic of politicians, as achieving a 6 out of 10. Several positive outcomes were identified such as: commitments to end deforestation; a global methane pledge; a socalled ‘Breakthrough Agenda’, which committed countries to work together to accelerate the clean energy transition. Yet predictably, this was labelled by the critics and activists as too little too late. Although there are many who would see climate crisis as the major crisis that faces us – there are many other current crises of even more pressing and immediate concern to very many of us. The most urgent of which, would depend upon your own circumstances and where you might find yourself in the world. Examples from recent media would include: the loss of previously taken for granted freedoms in Hong Kong; increased fears for personal safety and the prospect of hunger and poverty in Afghanistan; the loss of political freedoms and the prospects of war in Belarus and the Ukraine; the prospect of secession leading to renewed civil war in Serbia; another military coup in Sudan; civil unrest in Cuba, etc etc.. On a global scale the movement of people leaving failed states and war-torn areas looking for the chance to make a better future, has continued to increase on a scale that the world is quite unable to manage. Sadly, even in the countries that are eagerly sought as destinies, there seem to be endless stories of strife, anxiety and anger to be told. The Economist provides the example of France, the ninth largest economy in the world with the 20th largest population of 67+ million. This pillar of Europe is facing a presidential election. Far from rejoicing in its prosperity, stability and proud history – the mood is sombre. Tune in to any French prime time talk show this autumn, and discussion rages over the country’s wretched decline. France is losing its factories and jobs, squeezing incomes and small businesses, destroying its landscapes and language, neglecting its borders and squandering its global stature. Its people are fractious and divided, if not on the verge of a civil war, as a public letter from retired army officers suggested earlier this year. At the second presidential primary debate for the centre-right Republicans party, on November 14th, the five candidates competed with each other to chronicle French disaster. Listen to the hard right, and it is “the death of France as we know it”. The anxiety is widespread. In a recent poll 75% agreed that France is “in decline”. When asked to sum up their mood in another survey, the French favoured three words: uncertainty, worry and fatigue. So, we are entitled to ask, what is happening in the world as we contemplate the path out of Covid? Should we not be expecting some feeling of optimism and gratitude that modern medicine has provided a way forward out of the pandemic through vaccination and new medical treatments? We should be putting the trials and tribulations of the pandemic behind us, embracing the lessons we have learnt and anticipating the benefits of the reassessments and recalibrations we have undergone over the last two years. Yet instead, we seem to be facing re-entry into a world of strife and dissension. It is a view that that would seem to encourage retreat into the comfort of a limited and familiar space, rather than striking out confidently and optimistically. So, to return to Eliot – perhaps we need to be reminded that the present is all we have. We will only be able to experience our future when we arrive there. Therefore, the pathway we choose to it, should be as smooth, rich and rewarding as possible. It should not be characterised by hedonism but rather by enhancing rather than diminishing the future. Every moment spent devaluing either our future or our past, is a moment that further undermines our present. This last point is particularly true when we fail to see our present in the context of both our past and future. One of the major contributions to this current angst within our societies, appears to be the cultural wars being waged by the warriors of WOKE. Passing judgements on figures from a previous time, without a clear understanding of the context in which they operated makes absolutely no sense. It is akin to a capital punishment abolitionist vilifying the heroes of the French Revolution for allowing Madame Guillotine to be the agent of their retribution against the aristocracy. So, it is with defacing statues of those who lived and acted in far different times and were the product of the dominant values and beliefs of that time. It is indeed an act of vandalism. If we remove all evidence of the history to which such people belonged, how can we expect to learn from that time and ensure that the world does indeed move forward? Although we are talking about the context provided by time – this is equally true of all the contexts in which we currently find ourselves. It is impossible to understand human behaviour without knowing and understanding the context in which it occurs. This is a key principle of the science of human behaviour. Alas it is a principle that has been neglected in the sport sciences in recent years. Whereas research into the physiology, psychology and biomechanics of sport has flourished, too often it is reported in a way that fails to adequately take account of the context in which it occurs. It is why so many findings are ungeneralisable and remain in the laboratory rather than making the journey out onto the playing field of life. Understanding the history and the social context within which sport is practised is essential if scientists and professionals are going to be able to make comparisons between findings gained in different settings. Comparative studies in sport and physical education play an important role in enabling knowledge and understanding about these institutions to be widely shared. Our journal therefore has an important role to play in the development and sharing of knowledge and understanding between scientists and professionals in different settings. This is a role that has been filled by our journal over the last forty-three years. I am pleased to be able to report that the society (ISCPES), following a break of four years in activity, will be meeting again at the end of this year. The meeting which can be attended online will be hosted by Lakshmibai National College of Physical Education in India. Details are provided in this edition, and I commend this important meeting to you. That there is an interest and demand in comparative and international studies is clear from the number of submissions we have been receiving for our journal. The chance to meet with fellow researchers and colleagues in real time, if not actually face to face, is to be welcomed. It is my fervent hope that this will lead to continuing growth in interest in our multidiscipline and internationally focused field. I congratulate the organisers for their initiative. I would also like to pay tribute to former president Dr Walter Ho of the University of Macau, for his role in this as well as for his continuing support of our journal. So, I come to commend to you the contributions of this latest volume. They come from four different continents and as such provide a representative cross section of our readership. The topics about which they write give an example of the range of understanding and practices that can usefully be shared amongst us. In our first paper Croteau, Eduljee and Murphy report on the health, lifestyle behaviours and well-being of international Masters field hockey athletes. The Masters sport movement provides an important example of why sport represents a solid investment in assisting individuals to commit to health supporting physical activity across the lifespan. The study is particularly interesting, as it provides evidence of the broader sense of wellbeing to be gained by ongoing participation and also the fact that this benefit seems to apply even in the geographic and culturally different environments provided by life in Europe, North America and, Asia and the Pacific. Our second paper by Kubayi, Coopoo and Toriola addresses a familiar problem – the breakdown in communication between researchers and scientists in sport and the coaches who work with the athletes. The context for this study is provided by elite performance level sport in South Africa and the sports of soccer, athletics, hockey and netball. It is concluded that the sports scientists and academics need to be encouraged to make their work more available by presenting it more frequently face to face during coaching workshops, seminars, clinics and conferences. However, the caveat is that this needs to be done in a way that is understandable, applicable and relevant to helping the coach make effective decisions and solve problems in a way that benefits the athletes as the end product. A team of medical and pedagogical scientists from Gadjah Mada University in Indonesia provide the Asian input to this volume. They raise a concern over the issue of safety and risk in physical education and how well specialists in the subject are prepared in the area of sport injury management. Hidayat, Sakti, Putro, Triannga, Farkhan, Rahayu and Magetsari collaborated in a survey of 191 physical education teachers. They concluded that there was a need for better and more sustained teacher education on this important topic. PE teacher training should not only upgrade teachers’ knowledge but also increase their self-perceptions of competence. PE teachers should be provided with enhanced training on sports injuries and Basic Life Support (BLS) skills, in order to improve the safety and maximize the benefits of PE classes. It is a finding that could usefully be compared with current practices in other countries and settings, given the common focus in the PE lesson on children performing challenging tasks in widely varying contexts. Our final paper by Rojo, Ribeiro and Starepravo takes a very much broader perspective. Sport migration is a relatively new, specialised but expanding field in sports studies. This paper is however significant not for what it can tell us about current knowledge in sport migration, but rather in what it tells us about the way knowledge is gathered and disseminated in a specialist area such as this. Building on the ideas of Bourdieu, they demonstrate how the field of knowledge is shaped by the key actors in the process and how these key actors serve to gather and use their academic capital in that process. As such fields of knowledge can become artificially constricted in both the spaces and cultures in which they develop. The authors highlight a very real problem in the generation and transmission of academic knowledge, and it is one that International Sports Studies is well positioned to address. In conclusion, may I encourage you in sharing with these papers to actively engage in reflecting on the importance of the varying contexts these authors bring and how sensitivity to this can enlarge and deepen our own practices and understanding. John Saunders Brisbane, November 2021

In January 1918, Teddy Brown from Fairbanks, Alaska, was coming home. As he entered the house, the ten-year-old boy slammed the door shut, stormed into the living room, and demanded that his parents put on their coats. Teddy solemnly proclaimed that he had heard harrowing stories about French children's sufferings and wanted to contribute a weekly donation of seventy-five cents in order to help “a brother” in France. After listening to his pleas, Teddy's parents eventually came to endorse his chosen mission. The family left the house, venturing out into the sub-zero temperatures, and headed to the local committee of the Fatherless Children of France Society (FCFS). By the time Teddy made his commitment, thousands of other American children had already “adopted” orphans in France.

Purpose: Children are assumed to acquire orthographic representations during autonomous reading by decoding new written words. The present study investigates how deaf and hard of hearing (DHH) children build new orthographic representations compared to typically hearing (TH) children. Method: Twenty-nine DHH children, from 7.8 to 13.5 years old, with moderate-to-profound hearing loss, matched for reading level and chronological age to TH controls, were exposed to 10 pseudowords (novel words) in written stories. Then, they performed a spelling task and an orthographic recognition task on these new words. Results: In the spelling task, we found no difference in accuracy, but a difference in errors emerged between the two groups: Phonologically plausible errors were less common in DHH children than in TH children. In the recognition task, DHH children were better than TH children at recognizing target pseudowords. Phonological strategies seemed to be used less by DHH than by TH children who very often chose phonological distractors. Conclusions: Both groups created sufficiently detailed orthographic representations to complete the tasks, which support the self-teaching hypothesis. DHH children used phonological information in both tasks but could use more orthographic cues than TH children to build up orthographic representations. Using the combination of a spelling task and a recognition task, as well as analyzing the nature of errors, in this study, provides a methodological implication for further understanding of underlying cognitive processes.

Dear Readers,I had lunch the other day with a colleague who told me of her interest in doing research about an obscure and forgotten author from long ago who wrote and published a novel at the age of twelve. How fascinating, I thought, that this young girl was inspired and determined to submit her manuscript to a publisher in the 1920s, a time when few children could call themselves published authors.But what kind of support exists today for young scribblers? Perhaps not surprisingly, it all begins with you, whether you are a parent, aunt, uncle, teacher, librarian, or adult friend of a child, all of you can make a difference by encouraging children to read and write. You can also let children know about online resources devoted to helping young authors develop their writing and illustration skills. For example, I discovered Scribblitt.com, which is a terrific website where kids can use free online tools to write and illustrate their own stories; they also have the option of collaborating with other kids and writers using cloud-based technology. Furthermore, you can help children to develop their writing skills by proofreading their stories and offering them helpful advice about spelling, character development, narrative structure, and so on.Another way for children to get inspired about reading and writing is to check the websites of their favourite authors, which are generally chock-full of activities and information about children’s writers and illustrators. To wit, I had the great pleasure of recently meeting and interviewing Jill Bryant, a Canadian writer who specializes in children’s nonfiction, when she was visiting the University of Alberta and meeting with numerous groups of children, inspiring them to read and write. Her website, Jillbryant.ca, has some excellent teacher resources that encourage students in grades four to eight to write about their role models, using her books about real entrepreneurs, athletes, and designers for inspiration. When you begin looking at author websites and other online resources (e.g., directories, readers’ advisory services, webcasts, etc.) for information about writing children’s books, it becomes readily apparent that there is a plethora of writing support tools for budding young authors.Enjoy the summer issue, and please take note that we have also included a review in French of a French language book for children. We are delighted to announce that the Deakin Review will continue to review books in French as our resources permit.Happy reading!Robert DesmaraisManaging EditorClick here to watch the interview with Jill Bryant.

Dear Readers,The New York Times recently published a fascinating article about a cylindrical kiosk that spits out short stories on strips of paper of varying length determined by your preferred reading time (one, three, or five minutes). The Short Story Dispenser was conceived and created by a French start-up publisher called Short Édition whose aim is “to adapt literature to the modern world by combining short literature, the community and technology.” Short Édition has more information on its website for anyone wanting to learn how the dispenser can “bring literature to unexpected places”. I was delighted to learn that the stories are offered free of charge and the publisher has already collected more than 100,000 submissions. The good news is that authors receive royalty payments each time their work is accessed via the dispenser. The machines have an attractive design and they have already been installed in over 150 international locations, including airports, cafes, hospitals, universities, and libraries. In fact, I was thrilled to discover that my local airport installed a dispenser last January to provide passengers with access to short stories written by local writers. According to the Times article, the dispenser is available for $9,200 (US) plus an additional content fee of $190 per month. The publisher offers a variety of literary genres, so owners of dispensers can easily tailor their content offerings to different audiences. It would therefore be straightforward to offer free stories specifically for young readers. I sincerely hope that the dispenser continues to proliferate in locations where young people gather, such as libraries and schools. Perhaps this article will inspire some of you to advocate for a dispenser in your community. And perhaps others will consider writing receipt-sized stories for children that could be made available by Short Édition. Whatever you do, let’s take a moment to celebrate a new and innovative way of sharing stories with children and readers of all ages.Happy reading!Robert DesmaraisManaging Editor

Abstract Climate change exerts a profound and far-reaching toll on mental health, resulting in mental illness, diminished wellbeing, and strained social relations, with the severity of these impacts anticipated to intensify under future climate change. News coverage of climate-mental health issues can shape public perceptions and responses, and therefore understanding this coverage is vital for creating and implementing strategies to lessen climate-mental health risks. We systematically examined the extent, nature, and range of news articles from Canada and the United States that covered climate-mental health impacts. Five electronic databases were searched. Articles were included if they were print or online news stories that covered climate-mental health impacts and were published in English or French by sources in Canada or the United States between 2016 and 2020. A total of 1,085 articles (642 unique stories) met the inclusion criteria and underwent data extraction and analysis using descriptive statistics and thematic analysis. Coverage of climate-mental health outcomes increased in both Canada and the United States from 2016 to 2019. There was, however, a substantial decrease in coverage by Canadian news outlets from 2019 to 2020. Further, although 468 different news outlets published at least one story on the topic, repeat coverage by any one news outlet was infrequent. Most opinion pieces presented climate-mental health impacts as legitimate or expressed support for people experiencing these issues. Roughly half of the included stories identified populations that are vulnerable to climate-mental health impacts, particularly children and young people. Additionally, approximately half of the included stories identified potential interventions or coping strategies to protect mental health, most often involving changes to individual lifestyles or behaviour. More sustained coverage that focuses on protective factors, interventions, and coping strategies is needed, as this could help foster public understanding and drive action to reduce climate-mental health risks.

Thousands of so-called occupation children were born to Allied soldiers and Austrian women in sexual relations after the end of the Second World War. Their experiences correspond to the experiences of occupation children in Germany and, more general, to the experiences of Children Born of War, i.e., children born after sexual contact between local women and foreign/enemy soldiers in conflict and post-conflict situations, regardless of the time of birth and the geopolitical context. Now, more than 75 years after the end of the war, we have studied the changes in the social and political handling of occupation children in Austria over the past decades, using official sources such as newspaper reports, and including biographical interviews conducted with British occupation children in the 2010s. Three phases were identified into which the handling of occupation children can be divided: The post-war years, in which these children were perceived as an (economic) burden; the phase of occupation children growing up and becoming adults, in which they were hardly addressed in public; and the period since the 1990s, in which they have experienced increased media, family, and public interest, which can be attributed to their efforts to make their life stories heard, to the academic research into their living and socialization conditions, and to the formation of networks. The study complements other research on occupation children in Germany and Austria, highlighting the significant differences in the discourse on U.S. American, British, Soviet, and French occupation children, especially between white and Black occupation children, and addressing the differences in Austria compared to Germany. The article argues that challenges and opportunities in the integration of these children have been tied to changes in social values and morals as well as to collective processes of coming to terms with the war and post-war period.

Johanson, Sarah Margaret. I Can Brush My Teeth. Montreal: Chouette Publishing, 2013. Print board book.For almost 25 years, preschoolers have been delighted by stories of four-year old Caillou. The French Canadian series was initiated by author Christine L’Heureux in an effort to illustrate everyday experiences in a child’s life and how to cope under various circumstances. Child psychologists have typically been consulted in the development of the stories and this book is no exception, drawing on the expertise of child psychologist Francine Nadeau. Pediatric dentist Dr. Hélène Buithieu was also consulted to ensure accurate representation of proper oral health practices.If the average toddler is anything like my three-year old niece, they will love this book! We read it six times over the course of a day. Caillou is growing up and wants to brush his teeth on his own without help from his parents. The story instructs the child to brush in little circles all around the mouth. While the story is a bit repetitive for an adult, this does not appear to be an issue with children and reinforces proper technique as recommended by dentists.Children familiar with the Caillou television program might question why the parents look quite different from the same characters as presented on the show. My niece also astutely observed, “Where’s Rosie?” since the two-year old sister does not make an appearance. The story is simple, the illustrations colourful, and will hopefully encourage children to have fun brushing their teeth by themselves. However, you may have to buy your child sparkly toothpaste so they can brush like Caillou!Recommended: 3 out of 4 stars Reviewer: Trish ChatterleyTrish is a Public Services Librarian for the John W. Scott Health Sciences Library at the University of Alberta. In her free time she enjoys dancing, gardening, and reading books of all types.

Michaels, Anne. The Adventures of Miss Petitfour, illustrated by Emma Block. Tundra Books, 2015. The winner of numerous awards, Anne Michaels has earned her place among Canada’s most talented wordsmiths. Long a respected Canadian poet, her brilliant debut novel—Fugitive Pieces (1996)—brought her international acclaim. The Adventures of Miss Petitfour is Michaels’ first book for children. Emma Block is a young freelance illustrator who has already established a reputation for delicately feminine and delightfully quirky illustrations. Her work can be seen in children’s books, Hallmark products, and in tableware. This book represents a nearly perfect partnership between the author and the illustrator.Among other things, this is a book about the stories we like to tell and read. The books in the village bookshop near Miss Petitfour’s house are divided into two sections: ho-hum and hum. The former are books in which nothing ever happens, but are “full of interesting facts that would never come in useful” and the latter are adventure books.This charming little book is certainly not ho-hum, but neither does it offer grand adventures. The adventures of the unconventional Miss Petitfour and her sixteen fun-loving cats—all of whom go everywhere with her, quite literally wherever the wind takes them—are adventures of "just the right size—fitting into a single, magical day." These little adventures demonstrate that sometimes “the best things happen” when “things work out differently than you expect.”Young bookworms and aspiring writers will be delighted to find that Michaels offers them a peak behind the curtain, one that reveals some of the key elements in the construction of a story, and explains how these elements function with clarity and wit. For example, in the midst of a major digression in a story about a trip to buy marmalade, we are told that a digression is “when the story wanders off the point and gets lost” and that it can be the best part of a story. Several digressions follow naturally and are clearly marked as such. In another story, we are told that a coincidence “is something that happens at just the right moment,” and that stories use them “to fix up tricky tangles”, following which, coincidentally, the story—about a confetti factory explosion—cleverly and humorously demonstrates the technique several times in rapid succession.The name of the main character—Miss Petitfour—is somewhat unexpected, but the delicate and ornate nature of the French pastry known as a petitfour makes it a suitable metaphor at the heart of a little book that celebrates little everyday adventures, decorative language, and fanciful illustrations in a way that is light and sweet and fun. This book is very highly recommended for children of all ages and is well suited for reading aloud.Highly recommended: four stars out of fourReviewer: Linda QuirkLinda taught courses in Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become a teaching librarian at University of Alberta’s Bruce Peel Special Collections. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have long been forgotten by history.

I want to argue here that the use of terms like “disabled” has very concrete and practical consequences; such language choices are significant and constitutive, not simply the abstract subject of a theoretical debate or a “politically correct” storm in a teacup. In this paper I want to examine some significant moments of conflict over and resistance to definitions of “disability” in an arts project, “In the Picture”, run by one of the UK’s largest disability charities, Scope. In the words of its webpages, this project “aims to encourage publishers, illustrators and writers to embrace diversity - so that disabled children are included alongside others in illustrations and story lines in books for young readers” (http://www.childreninthepicture.org.uk/aboutus.htm). It sought to raise awareness of “ableism” in the book world and through its webpage, offer practical advice and examples of how to include disabled children in illustrated children’s books. From 2005 to 2007, I tracked the progress of the project’s Stories strand, which sought to generate exemplary inclusive narratives by drawing on the experiences of disabled people and families of disabled children. My research drew on participant observation and interviews, but also creative audience research — a process where, in the words of David Gauntlett, “participants are asked to create media or artistic artefacts themselves.” Consequently, when I’m talking here about definitions of “disability’, I am discussing not just the ways people talk about what the word “disabled” might mean, but also the ways in which such identities might appear in images. These definitions made a real difference to those participating in various parts of the project and the types of inclusive stories they produced. Scope has been subject to substantial critique from the disability movement in the past (Benjamin; Carvel; Shakespeare, "Sweet Charity"). “In the Picture” was part of an attempt to resituate the charity as a campaigning organization (Benjamin; O’Hara), with the campaign’s new slogan “Time to get Equal” appearing prominently at the top of each page of the project’s website. As a consequence the project espoused the social model of disability, with its shift in focus from individual peoples’ bodily differences, towards the exclusionary and unequal society that systematically makes those differences meaningful. This shift in focus generates, some have argued, a performative account of disability as an identity (Sandhal; Breivik). It’s not simply that non-normative embodiment or impairment can be (and often is) acquired later in life, meaning that non-disabled people are perhaps best referred to as TABs — the “temporarily able bodied” (Duncan, Goggin and Newell). More significantly, what counts as a “disabled person” is constituted in particular social, physical and economic environments. Changing that environment can, in essence, create a disabled person, or make a person cease to be dis-abled. I will argue that, within the “In the Picture” project, this radically constructionist vision of disablement often rubbed against more conventional understandings of the term “disabled people”. In the US, the term “people with disabilities” is favoured as a label, because of its “people first” emphasis, as well as its identification of an oppressed minority group (Haller, Dorries and Rahn, 63; Shakespeare, Disability Rights). In contrast, those espousing the social model of disability in the UK tend to use the phrase “disabled people”. This latter term can flag the fact that disability is not something emanating from individuals’ bodily differences, but a social process by which inaccessible environments disable particular people (Oliver, Politics). From this point of view the phrase “people with disabilities” might appear to ascribe the disability to the individual rather than the society — it suggests that it is the people who “have” the disability, not the society which disables. As Helen Meekosha has pointed out, Australian disability studies draws on both US civil rights languages and the social model as understood in the UK. While I’ve chosen to adopt the British turn of phrase here, the broader concept from an Australian point of view, is that the use of particular sets of languages is no simple key to the perspectives adopted by individual speakers. My observations suggest that the key phrase used in the project — “ disabled people” — is one that, we might say, “passes”. To someone informed by the social model it clearly highlights a disabling society. However, it is a phrase that can be used without obvious miscommunication to talk to people who have not been exposed to the social model. Someone who subscribes to a view of “disability” as impairment, as a medical condition belonging to an individual, might readily use the term “disabled people”. The potentially radical implications of this phrase are in some ways hidden, unlike rival terms like “differently abled”, which might be greeted with mockery in some quarters (eg. Purvis; Parris). This “passing” phrase did important work for the “In the Picture” project. As many disability activists have pointed out, “charity” and “concern” for disabled people is a widely espoused value, playing a range of important psychic roles in an ableist society (eg. Longmore; Hevey). All the more evocative is a call to support disabled children, a favoured object of the kinds of telethons and other charitable events which Longmore discusses. In the words of Rosemarie Garland Thomson, the sentimentality often used in charity advertising featuring children “contains disability’s threat in the sympathetic, helpless child for whom the viewer is empowered to act” (Garland Thomson, 63). In calling for publishers to produce picture books which included disabled children, the project had invested in this broad appeal — who could argue against such an agenda? The project has been successful, for example, in recruiting support from many well known children’s authors and illustrators, including Quentin Blake and Dame Jackie Wilson. The phrase “disabled children”, I would argue, smoothed the way for such successes by enabling the project to graft progressive ideas —about the need for adequate representation of a marginalized group — onto existing conceptions of an imagined recipient needing help from an already constituted group of willing givers. So what were the implications of using the phrase “disabled children” for the way the project unfolded? The capacity of this phrase to refer to both a social model account of disability and more conventional understandings had an impact on the recruitment of participants for writing workshops. Participants were solicited via a range of routes. Some were contacted through the charity’s integrated pre-school and the networks of the social workers working beside it. The workshops were also advertised via a local radio show, through events run by the charity for families of disabled people, through a notice in the Disabled Parents site, and announcements on the local disability arts e- newsletter. I am interested in the way that those who heard about the workshops might have been hailed by —or resisted the lure of — those labels “disabled person” or “parent of a disabled child” or at least the meaning of those labels when used by a large disability charity. For example, despite a workshop appearing on the programme of Northwest Disability Arts’ Deaf and Disability Arts Festival, no Deaf participants became involved in the writing workshops. Some politicised Deaf communities frame their identities as an oppressed linguistic minority of sign language users, rather than as disabled people (Corker; Ladd). As such, I would suggest that they are not hailed by the call to “disabled people” with which the project was framed, despite the real absence of children’s books drawing on Deaf culture and its rich tradition of visual communication (Saunders; Conlon and Napier). Most of those who attended were (non-disabled) parents or grandparents of disabled children, rather than disabled people, a fact critiqued by some participants. It’s only possible to speculate about the reasons for this imbalance. Was it the reputation of this charity or charities in general (see Shakespeare, "Sweet Charity") amongst politicised disabled people that discouraged attendance? A shared perspective with those within the British disabled peoples’ movement who emphasise the overwhelming importance of material changes in employment, education, transport rather than change in the realm of “attitudes” (eg Oliver, Politics)? Or was it the association of disabled people undertaking creative activities with a patronising therapeutic agenda (eg Hevey, 26)? The “pulling power” of a term even favoured by the British disability movement, it seems, might be heavily dependent on who was using it. Nonetheless, this term did clearly speak to some people. In conversation it emerged that most of those who attended the workshops either had young family members who were disabled or were imbricated in educational and social welfare networks that identified them as “disabled” — for example, by having access to Disability Living Allowance. While most of the disabled children in participants’ families were in mainstream education, most also had an educational “statement” enabling them to access extra resources, or were a part of early intervention programmes. These social and educational institutions had thus already hailed them as “families of disabled children” and as such they recognised themselves in the project’s invitation. Here we can see the social and institutional shaping of what counts as “disabled children” in action. One participant who came via an unusual route into the workshops provides an interesting reflection of the impact of an address to “disabled people”. This man had heard about the workshop because the local charity he ran had offices adjacent to the venue of one of the workshops. He started talking to the workshop facilitator, and as he said in an interview, became interested because “well … she mentioned that it was about disabilities and I’m interested in people’s disabilities – I want to improve conditions for them obviously”. I probed him about the relationship between his interest and his own experiences as a person with dyslexia. While he taught himself to read in his thirties, he described his reading difficulties as having ongoing impacts on his working life. He responded: first of all it wasn’t because I have dyslexia, it was because I’m interested in improving people’s lives in general. So, I mean particularly people who are disabled need more care than most of us don’t they? …. and I’d always help whenever I can, you know what I mean. And then thinking that I had a disability myself! The dramatic double-take at the end of this comment points to the way this respondent positions himself throughout as outside of the category of “disabled”. This self- identification points towards the stigma often attached to the category “disabled”. It also indicates the way in which this category is, at least in part, socially organised, such that people can be in various circumstances located both inside and outside it. In this writer’s account “people who are disabled” are “them” needing “more care than most of us”. Here, rather than identifying as a disabled person, imagined as a recipient of support, he draws upon the powerful discourses of charity in a way that positions him giving to and supporting others. The project appealed to him as a charity worker and as a campaigner, and indeed a number of other participants (both “disabled” and “non-disabled”) framed themselves in this way, looking to use their writing as a fundraising tool, for example, or as a means of promoting more effective inclusive education. The permeability of the category of “disabled” presented some challenges in the attempt to solicit “disabled peoples’” voices within the project. This was evident when completed stories came to be illustrated by design, illustration and multimedia students at four British universities: Liverpool John Moores University, the University of Wolverhampton, the University of Teeside and the North East Wales Institute. Students attending an initial briefing on the project completed a questionnaire which included an item asking whether they considered themselves to be disabled. While around eight of the eighty respondents answered “yes” to this question, the answers of these students and some others were by no means clear cut. A number of students identified themselves as dyslexic, but contested the idea that this diagnosis meant that they were disabled. One respondent commented along similar lines: “My boyfriend was very upset that the university considers him to be disabled because he is dyslexic”. How can we make sense of these responses? We could note again that the identity of “disabled” is highly stigmatised. Many disabled students believe that they are seen as lazy, demanding excessive resources, or even in the case of some students with non- visible impairments, lying (Kleege; Olney and Brockman). So we could view such responses as identity management work. From this point of view, an indicator of the success of the project in shifting some of the stigma attached to the label of “disabled” might be the fact that at least one of the students participants “came out” as dyslexic to her tutors in the course of her participation in the project. The pattern of answers on questionnaire returns suggests that particular teaching strategies and administrative languages shape how students imagine and describe themselves. Liverpool John Moores University, one of the four art schools participating in the project, had a high profile programme seeking to make dyslexic students aware of the technical and writing support available to them if they could present appropriate medical certification (Lowy). Questionnaires from LJMU included the largest number of respondents identifying themselves as both disabled and dyslexic, and featured no comment on any mismatch between these labels. In the interests of obtaining appropriate academic support and drawing on a view of dyslexia not as a deficit but as a learning style offering significant advantages, it might be argued, students with dyslexia at this institution had been taught to recognise themselves through the label “disabled”. This acknowledgement that people sharing some similar experiences might describe themselves in very different ways depending on their context suggests another way of interpreting some students’ equivocal relationship to labels like “dyslexia” and “disabled”. The university as an environment demanding the production of very formal styles of writing and rapid assimilation of a high volume of written texts, is one where particular learning strategies of people with dyslexia come to be disabling. In many peoples’ day to day lives – and perhaps particularly in the day to day lives of visual artists – less conventional ways of processing written information simply may not be disabling. As such, students’ responses might be seen less as resistance to a stigmatised identity and more an acknowledgement of the contingent nature of disablement. Or perhaps we might understand these student responses as a complex mix of both of these perspectives. Disability studies has pointed to the coexistence of contradictory discourses around disability within popular culture (eg, Garland-Thomson; Haller, Dorries and Rahn). Similarly, the friezes, interactive games, animations, illustrated books and stand-alone images which came out of this arts project sometimes incorporate rival conceptions of disability side by side. A number of narratives, for example, include pairs of characters, one of which embodies conventional narratives of disability (for example, being diagnostically labelled or ‘cured’), while the other articulates alternative accounts (celebrating diversity and enabling environments). Both students and staff reported that participation in the project prompted critical thinking about accessible design and inclusive representation. Some commented in interviews that their work on the project had changed their professional practice in ways they thought might have longer term impact on the visual arts. However, it is clear that in student work, just as in the project itself, alternative conceptions of what “disability” might mean were at play, even as reframing such conceptions are explicitly the aim of the enterprise. Such contradictions point towards the difficulties of easily labelling individual stories or indeed the wider project “progressive” or otherwise. Some illustrated narratives and animations created by students were understood by the project management to embody the definitions of “disabled children” within the project’s ten principles. This work was mounted on the website to serve as exemplars for the publishing industry (http://www.childreninthepicture.org.uk/stories.htm). Such decisions were not unreflective, however. There was a good deal of discussion by students and project management about how to make “disabled children” visible without labelling or pathologising. For example, one of the project’s principles is that “images of disabled children should be used casually or incidentally, so that disabled children are portrayed playing and doing things alongside their non- disabled peers” (see also Bookmark). Illustrator Jane Ray commented wryly in an article on the website on her experience of including disabled characters in a such a casual way in her published work that no-one notices it! (Ray). As I’ve discussed in more detail elsewhere (Matthews, forthcoming), the social model, espoused by the project, with its primary focus on barriers to equality rather than individual impaired bodies, presented some challenges to such aims. While both fairytales and, increasingly, contemporary books for young people, do sometimes engage with violence, marginalisation and social conflict (Saunders), there is a powerful imperative to avoid such themes in books for very young children. In trying to re-narrativise disabled children outside conventional paradigms of “bravery overcoming adversity”, the project may have also pushed writers and illustrators away from engaging with barriers to equality. The project manager commented in an interview: “probably in the purest form the social model would show in stories the barriers facing disabled children, whereas we want to show what barriers have been knocked down and turn it round into a more positive thing”. While a handful of the 23 stories emerging from the writing workshops included narratives around bullying and or barriers to equal access, many of the stories chose to envisage more utopian, integrated environments. If it is barriers to inequality that, at least in part, create “disabled people”, then how is it possible to identify disabled children with little reference to such barriers? The shorthand used by many student illustrators, and frequently too in the “images for inspiration” part of the project’s website, has been the inclusion of enabling technologies. A white cane, a wheelchair or assistive and augmentative communication technologies can be included in an image without making a “special” point of these technologies in the written text. The downside to this shorthand, however, is the way that the presence of these technologies can serve to naturalise the category of “disabled children”. Rather than being seen as a group identity constituted by shared experiences of discrimination and exclusion, the use of such “clues” to which characters “are disabled” might suggest that disabled people are a known group, independent of particular social and environmental settings. Using this arts project as a case study, I have traced here some of the ways people are recognised or recognise themselves as “disabled”. I’ve also suggested that within this project other conceptions of what “disabled” might mean existed in the shadows of the social constructionist account to which it declared its allegiances. Given the critiques of the social model which have emerged within disability studies over the last fifteen years (e.g. Crowe; Shakespeare, Disability Rights), this need not be a damning observation. The manager of this arts project, along with writer Mike Oliver ("If I Had"), has suggested that the social model might be used strategically as a means of social transformation rather than a complete account of disabled peoples’ lives. However, my analysis here has suggested that we can not only imagine different ways that “disabled people” might be conceptualised in the future. Rather we can see significant consequences of the different ways that the label “disabled” is mobilised here and now. Its inclusion and exclusions, what it makes it easy to say or difficult to imagine needs careful thinking through. References Benjamin, Alison. “Going Undercover.” The Guardian, Society, April 2004: 8. Bookmark. Quentin Blake Award Project Report: Making Exclusion a Thing of the Past. The Roald Dahl Foundation, 2006. Breivik, Jan Kare. “Deaf Identities: Visible Culture, Hidden Dilemmas and Scattered Belonging.” In H.G. Sicakkan and Y.G. Lithman, eds. What Happens When a Society Is Diverse: Exploring Multidimensional Identities. Lewiston, New York: Edwin Mellen Press, 2006. 75-104. Carvel, John. “Demonstrators Rattle Scope.” The Guardian, Society section, 6 Oct. 2004: 4. Conlon, Caroline, and Jemina Napier. “Developing Auslan Educational Resources: A Process of Effective Translation of Children’s Books.” Deaf Worlds 20.2. (2004): 141-161. Corker, Mairian. Deaf and Disabled or Deafness Disabled. Buckingham: Open University Press, 1998. Crow, Liz. “Including All of Our Lives: Renewing the Social Model of Disability.” In Jenny Morris, ed. Encounters with Strangers: Feminism and Disability. Women’s Press, 1996. 206-227. Davis, John, and Nick Watson. “Countering Stereotypes of Disability: Disabled Children and Resistance.” In Mairian Corker and Tom Shakespeare, eds. Disability/Postmodernity: Embodying Disability Theory. London: Continuum, 2002. 159-174. Duncan, Kath, Gerard Goggin, and Christopher Newell. “Don’t Talk about Me… like I’m Not Here: Disability in Australian National Cinema.” Metro Magazine 146-147 (2005): 152-159. Garland Thomson, Rosemarie. “The Politics of Staring: Visual Rhetorics of Disability in Popular Photography.” In Sharon L. Snyder, Brenda Jo Bruggemann, and Rosemarie Garland Thomson, eds. Disability Studies: Enabling the Humanities. New York: MLAA, 2002. 56-75. Gauntlett, David. “Using Creative Visual Research Methods to Understand Media Audiences.” MedienPädagogik 4.1 (2005). Haller, Beth, Bruce Dorries, and Jessica Rahn. “Media Labeling versus the US Disability Community Identity: A Study of Shifting Cultural Language.” In Disability & Society 21.1 (2006): 61-75. Hevey, David. The Creatures Time Forgot: Photography and Disability Imagery. London: Routledge, 1992. 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Abstract Background Climate change in combination with other social, economic, and political factors, can result in population displacement, relocation or migration, which may be forced or may be a voluntary adaptation strategy. For some, however, moving is not an option due to a lack of access to resources, capacity and power. These experiences have implications for health. Our objective was to develop an educational resource to raise awareness about climate change and their impacts on human movement and health. Methods This project was an initiative of the Quebec Population Health Research Network, in Quebec, Canada. A survey was distributed to 28 network members who have diverse expertise, including migration, climate change, environmental sciences, law, ethics, and public health, to identify key themes and messages to convey, and to gather supporting references and materials. A workshop was subsequently held with 10 survey participants to brainstorm ideas for the content, approach and format. A core working group then developed CLIMIGRANT in consultation and collaboration with a number of experts. Results Two illustrated stories (for a general public, including children) and an online course (for students, frontline workers, researchers and other stakeholders) were developed in English and French (available at Climigrant.org). Each provides an overview of how climate induced disasters or environment changes can result in inequitable and complex situations regarding migration/relocation. They also highlight the number of health consequences, both physical and psychological, and challenges related to addressing these. Solutions for prevention and adaptation are presented as well. The resource illustrates how anyone can be affected by climate change, regardless of where they live and conveys a message of solidarity and collective responsibility. Conclusions CLIMIGRANT can be used to inform and educate a broad population on climate change, human movement and health. Key messages • A diversity of methods can be used to raise awareness about climate change, human movements and health. • Anyone, anywhere can be impacted and displaced by climate change and we all have a role to play in addressing climate change and its impacts.

Bouchard, David. Rainbow Crow – Nagweyaabi-Aandeg. Markham, ON: Red Deer Press, 2012 Print and CD-ROM.David Bouchard is a best-selling Métis author who has received literary awards and the Order of Canada. This volume is a retelling of the Lenape myth of how crows became black and acquired their raspy voices. The story is printed in English and Ojibwe. The accompanying CD-ROM is read in English, French (Bouchard) and Ojibwe (Jason Jones) with background music by the Paris-based Ecuadorian group, Manantial. The recordings are high quality and the readings clear and easy to understand. In the English reading, Bouchard incorporates some dramatic reading and changes of voice for different animals.Bouchard opens the book with a description of the appropriate protocol for storytelling. He asks listeners to sit in a circle, on the earth or floor. The story comes from a time before people, when the winters were very cold and the animals thought that they might perish. They send little Crow, a small bird with rainbow-coloured feathers and a beautiful song, to visit the Creator to get help. The Creator gives her a burning branch to take back, and on the return trip she is burned. The Creator rewards her bravery and sacrifices with beautiful black feathers that shine with the colours of the rainbow, a strong family and burnt-tasting flesh so that no one will want to hunt her.In the story, traditional values emerge. We see the Council at work, deciding how to solve the problem and agreeing on who should go to the Creator. We see the exchange of gifts as a method of maintaining relationships and bravery and sacrifice for the community being honoured and rewarded. Throughout, the story is illustrated by the paintings of Toronto artist David Jean, done on traditional drums. The images take up one full page and spill over onto the facing text page. The whole book is grounded in a brown and beige colour palette that incorporates the natural colour variations of the skin on a drum. Highlight colours are used, for example in the crow’s rainbow feathers, but the colours are muted. Overall this is fine book from a master story teller, with the added bonus of the audio-CD. Because traditional stories contain lessons for the whole community, this book is of interest to all ages and the CD makes it accessible to all ages. Rainbow Crow is also available in French and is a wonderful addition to school and public libraries. Highly recommended: 4 stars out of 4 Reviewer: Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.

Máté Nászai had been at the first course when he had started his experiments on a mini biogas power plant fed with bacteria that would be able to provide energy for his school (Miklós Radnóti Secondary Grammar School in Szeged). Ten years ago when, at the age of 15 and the second year of the school, his work was presented in a newspaper article (Hargitai, 2009), his current research challenge was to jump from the ten-litre size to one cubic metre. And although he was giventheoretical support and microorganisms by the relevant department of the University of Szeged, the work he carried on together with his teachers and peers, which was aimed at the development of new biotechnological know-how, must be considered an independent applied research project. 1 Let us see an example from the world of basic researches, too. The youngest author of the gravity centre of scientific publication products, the Nature, fifteen-year-old Neil Ibata contributed to the theory of galaxy evolution when, some years ago, his simulation proved of the dwarf galaxies rotating around the Andromeda that their motion is not chaotic; they form a huge but systematicallymoving structure through 1 million light-years (Ibata, 2014). 2We could go on telling several similar stories from each part of the world. It was always clear that after a certain age, some students’ performance might reach or even exceed that of the qualified members of the scientific community – or at least can be compared to that in some respects. It was not questioned in the pedagogical tradition either that the contribution of school environment might help child prodigies (wunderkind) create full-value scientific results by “adding” to the “brought” family, cultural and socialization elements. 3 This was clear already at the beginning of the 20th century – in Hungary, too, where it was not only young mathematicians and chemists but “literaryhistorians” and “ethnographers”, as well, who approached reviews and editing publications directly from the school bench. István Hajnal conceived it that although medieval “French universities hadno notes about their students, based on the biographies we can highlight several examples of students younger than ten years old but attending university lessons; contemporaries often spoke of prodigy children who recited Latin authors by heart already at this young age” (Hajnal, 2008: 99).

Bouchard, David. Voices from the Wild: An Animal Sensagoria. Paintings by Ron Parker. Markham, ON: Fitzhenry & Whiteside, 2013. Print.This gorgeous book brings together two extraordinarily-talented individuals. David Bouchard is a former teacher, a former president of the Metis Nation of Greater Victoria, a recipient of the Order of Canada, and the author of many books. His popular books use poetry, prose, and visual elements to explore Aboriginal and Métis culture and traditions in both French and English. Ron Parker is one of Canada’s best wildlife artists. His career took off in the 1990s when his realistic portraits of animals in their natural habitats stood alongside those of Robert Bateman and helped to create a very hot market for signed limited edition prints. The publisher is to be applauded for thinking of bringing together Parker’s glorious paintings and Bouchard’s inspiring poetry. It was a wonderful idea, but, unfortunately, it was not well executed. It is most unfortunate that Parker’s beautiful images were not packaged in a fresher and more contemporary book design, one that would appeal to today’s young people. The author says that he “wrote this book with young people in mind” and certainly he has organized his poetry into a familiar scheme for a children’s book—sections which explore the five senses (sight, hearing, touch, smell, and taste)—but unfortunately, the scheme is too childish for young adults while the poetry is too sophisticated for small children. There is great value and power in this poetry, in which the reader is asked to see the world through the senses and perspectives of numerous animals, but, just who is the intended audience?As it is, this volume does a disservice to both the author and the artist. The design may be appealing to parents or teachers of a certain age—who may feel a nostalgic affection for its familiar, if outdated, style, and who will be undaunted by the poetry—but the publisher has made a mistake in marketing this title as a children’s book. As it is, this book stands outside of normal publishing categories. Although too small to be classified as a coffee table book, both the design and the content seem more aligned with that category than any other. Although there is a great deal to applaud here, I cannot recommend this as a children’s book.Not recommended: one star out of fourReviewer: Linda QuirkLinda taught courses in Multicultural Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become the Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have been forgotten by history.

Introduction Where children’s television once ruled supreme as a vehicle for sales of kids’ brands, the marketing of children’s toys now often hinges on having the right social media influencer, many of them children themselves (Verdon). As Forbes reported in 2021, the pandemic saw an increase in children spending more time online, many following their favourite influencers on YouTube, TikTok, and Instagram. The importance of tapping into partnering with the right influencer grew, as did sales in toys for children isolated at home. We detail, through a case study approach and visual narrative analysis of two Australian influencer siblings’ Instagram accounts, the nature of toy marketing to children in 2023. Findings point to the continued gendered nature of toys and the concurrent promotion of aspirational adult ‘toys’ (for example, cars, high-end cosmetics) and leisure pursuits that blur the line between what we considered to be children’s playthings and adult objects of desire. To Market, to Market Toys are a huge business worldwide. In 2021, the global toys market was projected to grow from $141.08 billion to $230.64 billion by 2028. During COVID-19, toy sales increased (Fortune Business Insights). The rise of the Internet alongside media and digital technologies has given toy marketers new opportunities to reach children directly, as well as producing new forms of digitally enabled play, with marketers potentially having access to children 24/7, way beyond the previous limits of children’s programming on television (Hains and Jennings). Children’s digital content has also extended to digital games alongside digital devices and Internet-connected toys. Children’s personal tablet ownership rose from less than 1 per cent in 2011 to 42 per cent in 2017 (Rideout), and continues to grow. Children’s value for brands and marketers has increased over time (Cunningham). The nexus between physical toys and the entertainment industry has grown stronger, first with the Disney company and then with the stand-out success of the Star Wars franchise (now owned by Disney) from the late 1970s (Hains and Jennings). The concept of transmedia storytelling and selling, with toys as the vehicle for children to play out the stories they saw on television, in comics, books, movies, and online, proved to be a lucrative one for the entertainment company franchises and the toy manufacturers (Bainbridge). All major toy brands now recognise the power of linking toy brands and entertaining transmedia children’s texts, including online content, with Disney, LEGO and Barbie being obvious examples. Gender and Toys: Boys and Girls Come Out to Play Alongside the growth of the children’s market, the gendering of children’s toys has also continued and increased, with concerns that traditional gender roles are still strongly promoted via children’s toys (Fine and Rush). Research shows that girls’ toys are socialising them for caring roles, shopping, and concern with beauty, while toys aimed at boys (including transportation and construction toys, action figures, and weapons) may promote physicality, aggression, construction, and action (Fine and Rush). As Blakemore and Center (632) suggested, then, if children learn from toy-play “by playing with strongly stereotyped toys, girls can be expected to learn that appearance and attractiveness are central to their worth, and that nurturance and domestic skills are important to be developed. Boys can be expected to learn that aggression, violence, and competition are fun, and that their toys are exciting and risky”. Recently there has been some pushback by consumers, and some toy brands have responded, with LEGO committing to less gendered toy marketing (Russell). YouTube: The World’s Most Popular Babysitter? One business executive has described YouTube as the most popular babysitter in the world (Capitalism.com). The use of children as influencers on YouTube to market toys through toy review videos is now a common practice (Feller and Burroughs; De Veirman et al.). These ‘reviews’ are not critical in the traditional sense of reviews in an institutional or legacy media context. Instead, the genre is a mash-up, which blurs the lines between three major genres: review, branded content, and entertainment (Jaakkola). Concerns have been raised about advertising disguised as entertainment for children, and calls have been made for nuanced regulatory approaches (Craig and Cunningham). The most popular toy review channels have millions of subscribers, and their hosts constitute some of YouTube’s top earners (Hunting). Toy review videos have become an important force in children’s media – in terms of economics, culture, and for brands (Hunting). Concurrently, surprise toys have risen as a popular type of toy, thanks in part to the popularity of the unboxing toy review genre (Nicoll and Nansen). Ryan’s World is probably the best-known in this genre, with conservative estimates putting 10-year-old Ryan Kanji’s family earnings at $25 million annually (Kang). Ryan’s World, formerly Ryan’s Toy Review, now has 10 YouTube channels and the star has his own show on Nic Junior as well as across other media, including books and video games (Capitalism.com). Marsh, through her case study of one child, showed the way children interact with online content, including unboxing videos, as ‘cyberflaneurs’. YouTube is the medium of choice for most children (now more so than television; Auxier et al.). However, Instagram is also a site where a significant number of children and teens spend time. Australian data from the e-Safety Commission in 2018 showed that while YouTube was the most popular platform, with 80 per cent of children 8-12 and 86 per cent of teens using the site, 24 per cent of children used Instagram, and 70 per cent of teens 13-17 (e-Safety Commissioner). Given the rise in social media, phone, and tablet use in the last five years, including among younger children, these statistics are now likely to be higher. A report from US-based Business Insider in 2021 stated that 40 per cent of children under 13 already use Instagram (Canales). This is despite the platform ostensibly only being for people aged 13 and over. Ofcom (the UK’s regulator for communications services) has discussed the rise of ‘Tik-Tots’ – young children defying age restrictions to be on social media – and the increase of young people consuming rather than sharing on social media (Ofcom). Insta-Kidfluencers on the Rise Marketers are now tapping into the selling power of children as social media influencers (or kidfluencers) to promote children’s toys, and in some cases, parents are happy to act as their children’s agents and managers for these pint-size prosumers. Abidin ("Micromicrocelebrity") was the first to discuss what she termed ‘micro-microcelebrities’, children of social media influencers (usually mothers) who have become, through their parents’ mediation, paid social media influencers themselves, often through Instagram. As Abidin noted: “their digital presence is deliberately commercial, framed and staged by Influencer mothers in order to maximize their advertorial potential, and are often postured to market even non-baby/parenting products such as fast food and vehicles”. Since that time, and with children now a growing audience on Instagram, some micro-microcelebrities have begun to promote toys alongside other brands which appeal to both children and adults. While initially these human ‘brand extensions’ of their mothers (Archer) appealed to adults, their sponsored content has evolved as they have aged, and their audience has grown and broadened to include children. Given the rise of Instagram as a site for the marketing of toys to children, through children themselves as social media influencers, and the lack of academic research on this phenomenon, our research looks at a case study of prominent child social media influencers on Instagram in Australia, who are managed by their mother, and who regularly promote toys. Within the case study, visual narrative analysis is used, to analyse the Instagram accounts of two high-profile child social media influencers, eleven-year-old Australian Pixie Curtis and her eight-year-old brother, Hunter Curtis, both of whom are managed by their entrepreneur and ‘PR queen’ mother, Roxy Jacenko. We analysed the posts from each child from March to July 2022 inclusive. Posts were recorded in a spreadsheet, with the content described, hashtags or handles recorded, and any brand or toy mentions noted. We used related media reports to supplement the analysis. We have considered ethical implications of our research and have made the decision to identify both children, as their accounts are public, with large follower numbers, promote commercial interests, and have the blue Instagram ‘tick’ that identifies their accounts as verified and ‘celebrity’ or brand accounts, and the children are regularly featured in mainstream media. The children’s mother, Jacenko, often discusses the children on television and has discussed using Pixie’s parties as events to gain publicity for the toy business. We have followed the lead of Abidin and Leaver, considered experts in the field, who have identified children and families in ethnographic research when the children or families have large numbers of followers (see Abidin, "#Familygoals"; Leaver and Abidin). We do acknowledge that other researchers have chosen not to identify influencer children (e.g., Ågren) with smaller numbers of followers. The research questions are as follows: RQ1: What are the toys featured on the two social media influencer children’s sites? RQ2: Are the toys traditionally gendered and if so, what are the main gender-based toys? RQ3: Do the children promote products that are traditionally aimed at adults? If so, how are these ‘toys’ presented, and what are they? Analysis The two child influencers and toy promoters, sister and brother Pixie (11) and Hunter (8) Curtis, are the children of celebrity, entrepreneur and public relations ‘maven’, Roxy Jacenko. Jacenko’s first business was a public relations firm, Sweaty Betty, one she ran successfully but has recently closed to focus on her influencer talent agency business, the Ministry of Talent, and the two businesses related to her children, Pixie’s Pix (an online toy store named after her daughter) and Pixie’s Bows, a line of fashion bows aimed at girls (Madigan). Pixie Curtis grew up with her own Instagram account, with her first Instagram post on 18 June 2013, before turning two, and featuring a promotion of an online subscription service for toys, with the hashtag #babblebox. At time of writing, Pixie has 120,000 Instagram followers; her ‘bio’ describes her account as ‘shopping and retail’ and as managed by Jacenko. Pixie is also described as the ‘founder of Pixie’s Pix Toy Store’. Her brother Hunter’s account began on 6 May 2015, with the first post to celebrate his first birthday. Hunter’s page has 20,000 followers with his profile stating that it is managed by his mother and her talent and influencer agency. RQ1: What are the toys featured on the two children’s Instagram sites? The two children feature toy promotions regularly, mostly from Pixie’s online toy shop, with the site tagged @pixiespixonline. These toys are often demonstrated by Pixie and Hunter in short video format, following the now-established genre of the toy unboxing or toy review. Toys that are shown on Pixie’s site (tagged to her toy store) include air-clay (clay designed to be used to create clay sculptures); a Scruff-a-Luv soft toy that mimics a rescue pet that needs to be bathed in water, dried, and groomed to become a ‘lovable’ soft toy pet; toy slime; kinetic sand; Hatchimals (flying fairy/pixie dolls that come out of plastic eggs); LOL OMG dolls and Mermaze (both with accentuated female/made up features). LOL OMG (short for Outrageous Millennial Girls) are described as “fierce, fashionable, fabulous” and their name taps into common language used to communicate while texting. Mermaze are also fashion and hair styling dolls, with a mermaid’s tail that changes colour in water. While predominantly promoting toys on Pixie’s Pix, Pixie posts promotions of other items on her Website aimed at children. This includes practical items such as lunch boxes, but also beauty products including a skin care headband and scented body scrubs. Toys shown on Hunter’s Instagram site are often promotions of his sister’s toy store offerings, but generally fall into the traditional ‘boys’ toys’ categories. The posts that tag the Pixie’s Pix store feature photos or video demonstrations by Hunter of toys, including trucks, slime, ‘Splat balls’ (squish balls), Pokémon cards, Zuru toys’ ‘Smashers’ (dinosaur eggs that are smashed to reveal a dinosaur toy), a Bubblegum simulator for Roblox (a social media platform and game), Needoh Stickums, water bombs, and Hot Wheels. RQ2: Are the toys traditionally gendered and if so, what are the main gender-based toys? Although both children promote gender-neutral sensory toys such as slime and splat balls, they do promote strongly gendered toys from Pixie’s Pix. Hunter also promotes gendered toys that are not tagged to Pixie’s Pix, including Jurassic World dinosaur toys (tying into the film release). One post by Hunter features a (paid) cross-promotion of PlayStation 5 themed Donut King donuts (with a competition to win a PlayStation 5 by buying the donuts). In contrast, Pixie posts a paid promotion of a high-tea event to promote My Little Ponies. Hunter’s posts of toys and leisure items that do not tag Pixie’s toyshop include him on a go-kart, buying rugby gear, and with an ‘airtasker’ (paid assistant) helping him sort his Nerf gun collection. There are posts of both children playing and doing ‘regular’ children’s activities, including sport (Pixie plays netball, Hunter rugby), with their dog, ice-skating, and swimming (albeit often at expensive resorts), while Hunter and Pixie both wear, unbox, and tag some high-end children’s clothes brands such as Balmain and promote department store Myer. RQ3: Do the children promote products that are traditionally aimed at adults? If so, how are these ‘toys’ presented, and what are they? The Cambridge dictionary provides the following two definitions of toys, with one showing that ‘toys’ may also be considered as objects of pleasure for adults. A toy is “an object for children to play with” while it can also be “an object that is used by an adult for pleasure rather than for serious use”. The very meaning of the word toys shows the crossover between the adult and children’s world. The more ‘adult’ products promoted by Pixie are highly gendered, with expensive bags, clothes, make-up, and skin care regularly featured on her account. These are arguably toys but also teen or adult objects of aspiration, with Pixie’s collection of handbags featured and the brand tagged. The bag collection includes brightly coloured bags by Australian designer Poppy Lissiman. Other female-focussed brands include a hairdryer brand, with photos and videos posted of Pixie ‘playing’ at dressing up and ‘getting ready’, using skincare, make-up, and hair products. These toys cater to age demographics older than Pixie. Hunter is pictured in posts on a jet-ski, and in others with a mobile and tablet, or washing a Tesla car and with a helicopter. The gendered tropes of girls being concerned with their appearance, and boys interested in vehicles, action, and competitive (video) games appear to be borne out in the posts from the two children. Discussion and Conclusion As an entrepreneur, Jacenko has capitalised on her daughter’s and son’s personal brands that she has co-created by launching and promoting a toyshop named after her daughter, following the success of her children’s promotion of toys for other companies and Pixie’s successful hairbow line. The toy shop arose out of Pixie promoting sales of fidget spinners during the pandemic lockdowns where toy sales rose sharply across the world. The children are also now on TikTok, and while they have a toy review channel on YouTube it has not been posted on for three years. Therefore, it is safe to assume that Instagram is one of the main channels for the children to promote the toyshop. In an online newspaper article describing the success of Pixie’s toyshop and the purchase of an expensive Mercedes car, Jacenko said that the children work hard, and the car was their “reward” (Scanlan). “The help both her brother and her [Pixie] give me on the buying (every night we work on new style selections and argue over it), the packing, the restocking, goes well beyond their years”, Jacenko is quoted as saying. “We’ve made a pact, we must keep going, work harder. Next, it’s a Rolls Royce.” Analysis of the children’s Instagram pages shows highly gendered promotion of toys. The children also promote a variety of high-end, aspirational tween, teen, and adult ‘toys’, including clothes, make-up, and skincare (Pixie) and expensive cars (Hunter and Pixie). Gender stereotyping has been found in adult influencer content (see, for example, Jorge et al.) and researchers have also pointed to sexualisation of young girl influencers on Instagram (Llovet et al.). Our research potentially echoes these findings. Posts from the children regularly include aspirational commodities that blur the lines between adult and child items of desire. Concerns have been raised in other academic articles (and in government reports) regarding the possible exploitation of children’s labour by parents and marketers to promote brands, including toys, on social media (see, for example, Ågren; De Veirman et al.; House of Commons; Masterson). The French government is believed to be the only government to have moved to regulate regarding the labour of children as social media influencers, and the same government at time of writing was debating laws to enshrine children’s right to privacy on social media, to stop the practice of ‘sharenting’ or parents sharing their children’s images and other content on social media without their children’s consent (Rieffel). Mainstream media including Teen Vogue (Fortesa), and some influencers themselves, have also started to raise issues relevant to ‘kidfluencers’. In the state of Utah, USA, the government has introduced laws to stop children under 18 having access to social media without parents’ consent, although some view this as potentially having some negative impacts (Singer). The ethics and impact of toy advertorials on children by social media influencers, with little or no disclosure of the posts being advertisements, have also been discussed elsewhere (see, for example, House of Commons; Jaakkola), with Rahali and Livingstone offering suggestions aimed key stakeholders. It has been found that beyond the marketing of toys and adult ‘luxuries’ to kids, other products that potentially harm children (for example, junk food and e-cigarettes) are also commonly seen in sponsored content on Instagram and YouTube aimed at children (Fleming‐Milici, Phaneuf, and Harris; Smith et al.). Indeed, it could be argued that e-cigarettes have been positioned as playthings and are appealing to children. While we may bemoan the loss of innocence of children, with the children in this analysis posed by their entrepreneurial mother as purveyors of material goods including toys, it is useful to remember that perhaps it has always been a conundrum, given the purpose of toy marketing is to make commercial sales. Children’s toys have always reflected and shaped society’s culture, often with surprisingly sinister and adult overtones, including the origins of Barbie as a male ‘sex’ toy (Bainbridge) and the blatant promotion of guns and other weapons to boys (for example the famous Mattel ‘burp’ gun of the 50s and 60s), through advertising and sponsorship of television (Hains and Jennings). Recently, fashion house Balenciaga promoted its range of adult bags using children as models via Instagram – the bags are teddy bears dressed in bondage outfits and the marketing stunt caused considerable backlash, with the sexually dressed bears and use of children raising outrage (Deguara). Were these teddy bags framed as children’s toys for adults or adult toys for children? The line was blurred. This research has limitations as it is focussed on a case study in one country (but with global reach through Instagram). However, the current analysis is believed to be one of the first to focus on children’s promotion of toys through Instagram, by two children’s influencers, a relatively new marketing approach aimed at children. As the article was being finalised, the children’s mother announced that as Pixie was transitioning into high school and wanted to focus on her studies rather than running a business, the toy business would conclude but Pixie’s Bows would continue (Madigan). In the UK, recent research by Livingstone et al. for the Digital Futures Commission potentially offers a way forward related to this phenomenon, when viewed alongside the analysis of our case study. Their final report (following research with children) suggests a Playful by Design Tool that would be useful for designers and brands, but also children, parents, regulators, and other stakeholders. Principles such as adopting ethical commercial models, being age-appropriate and ensuring safety, make sense when applied to kidfluencers and those that stand to benefit from their playbour. It appears that governments, society, some academics, and the media are starting to question the current generally unrestricted frameworks related to social media in general (see, for example, the ACCC’s ongoing enquiry) and toy and other marketing by kids to kids on social media specifically (House of Commons). We argue that more frameworks, and potentially laws, are required in this mostly unregulated space. Through our case study we have highlighted key areas of concern on one of the world’s most popular platforms for children and teens, including privacy issues, commodification, and gendered and ‘stealth’ marketing of toys through ‘advertorials’. We also acknowledge that children do gain playful and social benefits and entertainment from seeing influencers online. Given that it has been shown that gendered marketing of toys (and increased focus on appearance for girls through Instagram) could be potentially harmful to children’s self-esteem, and with related concerns on the continued commodification of childhood, further research is also needed to discover the responses and views of children to these advertorials masquerading as cute content. References Abidin, Crystal. "Micromicrocelebrity: Branding Babies on the Internet." M/C Journal 18.5 (2015). <https://doi.org/10.5204/mcj.1022>. ———. "#Familygoals: Family Influencers, Calibrated Amateurism, and Justifying Young Digital Labor." Social Media + Society 3.2 (2017). ACCC. "Digital Platform Services Inquiry Interim Report Number 5 – Regulatory Reform." Australian Competition and Consumer Commission 2022. <https://www.accc.gov.au/system/files/Digital%20platform%20services%20inquiry%20-%20September%202022%20interim%20report.pdf>. Ågren, Ylva. "Branded Childhood: Infants as Digital Capital on Instagram." Childhood (2022). Archer, Catherine. "Pre-Schooler as Brand Extension: A Tale of Pixie’s Bows and Birthdays." Digitising Early Childhood. Eds. Lelia Green et al. Newcastle, UK: Cambridge Scholars, 2019. 58-73. Auxier, Brooke, et al. "Parental Views about YouTube." Pew Research Centre, 28 July 2020. <https://www.pewresearch.org/internet/2020/07/28/parental-views-about-youtube/>. Bainbridge, Jason. "Fully Articulated: The Rise of the Action Figure and the Changing Face of ‘Children's’ Entertainment." Entertainment Industries. Routledge, 2014. 31-44. Blakemore, Judith E. Owen, and Renee E. Centers. "Characteristics of Boys' and Girls' Toys." Sex Roles 53 (2005): 619-33. Canales, Kate. "40% of Kids under 13 Already Use Instagram and Some Are Experiencing Abuse and Sexual Solicitation, a Report Finds, as the Tech Giant Considers Building an Instagram App for Kids." Business Insider 2021. <https://www.businessinsider.com/kids-under-13-use-facebook-instagram-2021-5>. Capitalism.com. "Ryan Kaji: Charismatic Kid Youtuber Played His Way to a Multi-Million Dollar Fortune." 26 Sep. 2022. <https://www.capitalism.com/ryan-kaji/>. Craig, et al. "Toy Unboxing: Living in an (Unregulated) Material World." Media International Australia 163.1 (2017): 77-86. Cunningham, Hugh. Children and Childhood in Western Society since 1500. Routledge, 2020. Deguara, Brittney. "Everything You Need to Know about Balenciaga's 'Disturbing' Ad Campaign." Kidspot 29 Nov. 2022. <https://www.kidspot.com.au/news/everything-you-need-to-know-about-balenciagas-disturbing-ad-campaign/news-story/cf89133794a3cc7fc20a70fdd68911f6>. De Veirman, Marijke, Liselot Hudders, and Michelle R. Nelson. "What Is Influencer Marketing and How Does It Target Children? A Review and Direction for Future Research." Frontiers in Psychology 10 (2019): 2685. E-Safety Commissioner. "Young People and Social Media Usage." 2018. <https://www.esafety.gov.au/research/youth-digital-dangers/social-media-usage>. Feller, Gavin, and Benjamin Burroughs. "Branding Kidfluencers: Regulating Content and Advertising on YouTube." Television & New Media 23.6 2022: 575-92. Fine, Cordelia, and Emma Rush. "'Why Does All the Girls Have to Buy Pink Stuff?' The Ethics and Science of the Gendered Toy Marketing Debate." Journal of Business Ethics 149 (2018): 769-84. Fleming‐Milici, Frances et al. "Prevalence of Food and Beverage Brands in 'Made‐for‐Kids' Child‐Influencer YouTube Videos: 2019–2020." Pediatric Obesity 2023: e13008. Fortune Business Insights. “Toys Market Size, Share & COVID-19 Impact Analysis, by Product Type (Dolls, Outdoor and Sports Toys, Building and Construction Set, Infant and Preschool Toys, Games & Puzzles, and Others), by Age Group (0-3 Years, 3-5 Years, 5-12 Years, 12-18 Years, and 18+ Years), by Distribution Channel (Online and Offline), and Regional Forecast, 2021-2028.” 2021. <https://www.fortunebusinessinsights.com/toys-market-104699>. Hains, Rebecca C., and Nancy A. Jennings. "Critiquing Children's Consumer Culture: An Introduction to the Marketing of Children's Toys." The Marketing of Children's Toys: Critical Perspectives on Children's Consumer Culture. Eds. Rebecca C. Hains and Nancy A. Jennings. Cham, Switzerland: Palgrave Macmillan, 2021. 1-20. House of Commons Digital, Culture, Media and Sport Committee UK. "Influencer Culture: Lights, Camera, Inaction?" 2022. <https://committees.parliament.uk/publications/28742/documents/173531/default/>. Hunting, Kyra. "Unwrapping Toy TV: Ryan’s World and the Toy Review Genre’s Impact on Children’s Culture." The Marketing of Children’s Toys: Critical Perspectives on Children’s Consumer Culture. Eds. Rebecca C. Hains and Nancy A. Jennings. Cham: Springer International, 2021. 105-24. Jaakkola, Maarit. "From Vernacularized Commercialism to Kidbait: Toy Review Videos on Youtube and the Problematics of the Mash-Up Genre." Journal of Children and Media 14.2 (2020): 237-54. Jorge, Ana, et al. "Parenting on Celebrities’ and Influencers’ Social Media: Revamping Traditional Gender Portrayals." Journalism and Media 4.1 (2023): 105-17. Kang, Jay Caspian. "The Boy King of YouTube." The New York Times Magazine 2022. <https://www.nytimes.com/2022/01/05/magazine/ryan-kaji-youtube.html>. Latifi, Fortesa. "Influencer Parents and the Kids Who Had Their Childhood Made into Content." Teen Vogue, 10 Mar. 2023. <https://www.teenvogue.com/story/influencer-parents-children-social-media-impact>. Leaver, Tama, and Crystal Abidin. "From YouTube to TV, and Back Again: Viral Video Child Stars and Media Flows in the Era of Social Media." Selected Papers of Internet Research (2018). Livingstone, Sonia, et al. "Digital Futures Commission – Final Report." 2023. <https://digitalfuturescommission.org.uk/wp-content/uploads/2023/03/DFC_report-online.pdf>. Llovet, Carmen, et al. "Are Girls Sexualized on Social Networking Sites? An Analysis of Comments on Instagram of Kristina Pimenova." Beyond the Stereotypes? Images of Boys and Girls, and Their Consequences. Eds. Dafna Lemish and Maya Götz. Göteborg: Nordicom, 2017. Madigan, Mary. “B&T Exclusive: Roxy Jacenko to Close Sweaty Betty by Month's End.” B&T 4 Nov. 2022. <https://www.bandt.com.au/bt-exclusive-roxy-jacenko-to-close-sweaty-betty-at-months-end/>. ———. "Roxy Jacenko’s Daughter Pixie Curtis Has Announced a Huge Life Change before Her 12th Birthday." News.com.au 21 Feb. 2023. <https://www.news.com.au/lifestyle/parenting/kids/roxy-jacenkos-daughter-pixie-curtis-has-announced-a-huge-life-change-before-her-12th-birthday/news-story/ff6fda8895d4a682eb0f1b9fd6c3311c>. Marsh, Jackie. "‘Unboxing’ Videos: Co-Construction of the Child as Cyberflâneur." Discourse: Studies in the Cultural Politics of Education 37.3 (2016): 369-80. Masterson, Marina A. "When Play Becomes Work: Child Labor Laws in the Era of ‘Kidfluencers’." University of Pa. Law Review 169 (2020): 577. Nicoll, Benjamin, and Bjorn Nansen. "Mimetic Production in Youtube Toy Unboxing Videos." Social Media + Society 4.3 (2018). Ofcom. "Living Our Lives Online – Top Trends from Ofcom’s Latest Research." 2022. <https://www.ofcom.org.uk/news-centre/2022/living-our-lives-online>. Rahali, Miriam, and Sonia Livingstone. "#SponsoredAds: Monitoring Influencer Marketing to Young Audiences." Media Policy Brief 23. London: Department of Media and Communications, London School of Economics and Political Sciences, 2022. <https://eprints.lse.ac.uk/113644/7/Sponsoredads_policy_brief.pdf>. Rieffel, Ysé. "French MPs Examine Bill on Children's Right to Privacy on Social Media." Le Monde 5 Mar. 2023. <https://www.lemonde.fr/en/france/article/2023/03/05/french-mp-proposes-bill-to-protect-children-s-privacy-on-social-media_6018268_7.html> Rideout, Victoria. "The Commonsense Census: Media Use by Kids Zero to Eight." 2017. <https://www.commonsensemedia.org/sites/default/files/research/report/csm_zerotoeight_fullreport_release_2.pdf>. Russell, Helen. "Lego to Remove Gender Bias from Its Toys after Findings of Child Survey." The Guardian 11 Oct. 2021. <https://www.theguardian.com/lifeandstyle/2021/oct/11/lego-to-remove-gender-bias-after-survey-shows-impact-on-children-stereotypes>. Scanlan, Rebekah. "Roxy Jacenko Buys Daughter, 9, $270,000 Car as Toy Business Booms." News.com.au 3 Aug. 2021. <https://www.news.com.au/lifestyle/real-life/news-life/roxy-jacenko-buys-daughter-9-270000-car-as-toy-business-booms/news-story/14bd181e6a24235f85276f16596d359a>. Singer, Natasha. "A Sweeping Plan to Protect Kids from Social Media." New York Times The Daily Podcast. Ed. Michael Barbaro. 2023. <https://www.nytimes.com/2023/03/27/podcasts/the-daily/social-media-instagram-tiktok-utah-ban.html>. Smith, Marissa J., et al. "User-Generated Content and Influencer Marketing Involving E-Cigarettes on Social Media: A Scoping Review and Content Analysis of YouTube and Instagram." BMC Public Health 23.1 (2023): 530. Verdon, Joan. "Santa’s Top Toy Sellers This Year Are Influencers." Forbes 14 Nov. 2021. <https://www.forbes.com/sites/joanverdon/2021/11/14/santas-top-toy-sellers-this-year-are-influencers/?sh=67621a7b1235>.

“Fast food is a food which is speedily available as well as provides, frequently at eating places as well as seasonally related with not so much cost and nutritional things like hamburgers, French fries, and soda.” The teenagers of today will be the future of tomorrow; therefore, concentrating on today's adolescents and educating them on how to modify their behaviours toward healthy eating patterns is critical. The dietary issue is one of the most serious health issues confronting millions of children of all ages. There are lots of effects of fast food on the health of adolescents. Because of peer pressure, shortage of time, attractive packages and tastes they become closer to take fast food. Fast foods are at large quantity obtain in educational institutions through various stores. Canteens are available in educational institutions to offer soda water, soft drink, cracks and lots of other foods of less nutritious rate(value). There are many ill impacts and effects of fast food and persons are not aware of its dangerous effects. It can cause many harmful disorders. Prolonged use of fast food is the reason for medical issues, chubbiness means obesity, GI Tract problem and increased fat. Excessive intake of fast foods may reduce appetite and eliminate the chance for nutrients in foods. These quick meals are rich in fat, salt, and sugar, and they are the root cause of chronic illnesses such as obesity, diabetes, and cancer in later years of life. This review focuses on what is fast food and its effect on adolescents and the evidence of its effects on mortality, morbidity and quality of life.

There existed a fascinating means of collecting fairy tales in the nineteenth and early twentieth centuries that has hitherto remained unexplored: the collection of chromolithographs or “chromos,” used as a marketing tool by French department stores like Le Bon Marché and by chocolate producers like Poulain. Scholars such as Emily Cormack, Laura Kalba, and Pearl Michel have carried out essential research on the deployment of chromos in the rise of consumer society, but this is the first study with a specific focus on chromos that feature fairy tales. In mid-century, Victor-Auguste Poulain, a French chocolatier from Blois, found the means to mass produce chocolate and sought to transform the nineteenth-century conception of chocolate from being an elite privilege or a medicinal product to being a plearurable food accessible to the middle classes. It was under the direction of Victor-Auguste's son Albert that chromos, including fairy-tale themed chromos, became an important marketing tool for the company in the 1880s. Children in particular were encouraged to purchase the mass-produced chocolate by the insertion into the packaging of fragments of tales like “The White Cat,” “The Doe in the Woods,” and “Beauty with the Golden Hair.” Each chocolate bar would include a beautiful color chromo of the tale on the recto, with the narrative fragment on the verso. This marketing strategy becomes a desire-generating machine: the desire for more story fuels the desire to purchase more chocolate, which subsequently fuels the desire for more story. In effect, as I hope to show through this case study of Poulain's use of tales by d’Aulnoy, narrative desire gets converted into consumer desire through Poulain's marketing campaign.

Amy’s Marathon of Reading continues westward. Her Marathon of Hope project was mentioned in this column before but as it continues to gather momentum and as it relevant to the topic of this special issue, I thought it pertinent to mention it again. From her website: “ Inspired by Terry Fox’s and Rick Hansen’s Canadian journeys, Amy Mathers decided to honour her passion for reading and Canadian teen literature while working around her physical limitations through a Marathon of Books. Realising that Terry Fox could run a kilometre in six minutes during his Marathon of Hope, she figured out that she could read ten pages in the same amount of time. Thus, on her journey, ten pages will represent one kilometre travelled across Canada. Amy will be reading teen fiction books from every province and territory, exploring Canada and promoting Canadian teen authors and books by finishing a book a day for each day of 2014. She will write a review for each book she reads, and invites people to share their thoughts on the books she reads too.” For more information and to see how far Amy’s marathon has taken her so far, go to http://amysmarathonofbooks.ca/Upcoming events and exhibitsKAMLOOPS WRITERS FESTIVAL, Nov. 7-9, 2014, Old Courthouse Cultural Centre. Guest authors include children’s author Lois Peterson.WORKSHOP: Reading Challenges and Options for Young People with Disabilities. Friday, November 14, 2014; 11:30 am to 1:00 pm. REGISTRATION and more information: https://www.microspec.com/tix123/eTic.cfm?code=BOOKFAIR14 International and Canadian experts will discuss reading challenges and options for children and teens with disabilities, with examples from the IBBY Collection of Books for Young People with Disabilities. This outstanding international collection, formerly in Norway and now housed at North York Central Library, encompasses 3,000 books in traditional formats and accessible formats including sign language, tactile, Braille, and Picture Communication Symbols.There are two major opportunities to hear award winning author Kit Pearson in Toronto and Vancouver in the upcoming months. Kit will be presenting “The Sanctuary of Story” for the 8th Annual Sybille Pantazzi Memorial Lecture on Thursday November 13, 8 p.m., in the Community room, Lillian H. Smith branch of the Toronto Public Library.Kit Pearson will also be the guest speaker at A Celebration of Award Winning BC Authors and Illustrators of 2014 at A Wine and Cheese event from 7 – 9 p.m. at January 21, 2015. (Event venue still to be confirmed. Please check www.vclr.ca for updates.) The event celebrates many other BC winners and finalists of the Governor General’s Literary Awards, the BC Book Prizes, the VCLR Information Book Award, and several other important awards.For those of you in the Toronto area be sure to check out the exhibit Lest We Forget: War in Books for Young Readers, September 15 – December 6, 2014, at the Osborne Collection. In commemoration of the 100th anniversary of the beginning of the First World War.Do not forget to Celebrate Freedom to Read Week, February 22-28, 2015, the annual event that encourages Canadians to think about and reaffirm their commitment to intellectual freedom, which is guaranteed them under the Charter of Rights and Freedoms.Serendipity 2015 promises to be a tantalizing affair. An Edgy, Eerie, Exceptional Serendipity 2015 (Saturday March 7, 2015) with Holly Black, Andrew Smith, Mariko Tamaki, Molly Idle, and Kelli Chipponeri will have captivating discussions ranging from haunted dolls and worlds of nightmare, to the raw emotion and exceptional beauty of growing up. The event, a members-only event, includes breakfast, lunch, and snacks. [This may be a very good incentive to become a member!] More information at http://vclr.ca/serendipity-2015/Call for papers and presentationsYALSA is currently seeking program proposals and paper presentations for its 2015 Young Adult Services Symposium, Bringing it All Together: Connecting Libraries, Teens & Communities, to be held Nov. 6-8, 2015, in Portland, Ore. The theme addresses the key role of connection that librarians have for the teens in their community. YALSA invites interested parties to propose 90-minute programs centering on the theme, as well as paper presentations offering new, unpublished research relating to the theme. Applications for all proposals can be found http://www.ala.org/yalsa/yasymposium . Proposals for programs and paper presentations must be completed online by Dec. 1, 2014. Applicants will be notified of their proposals’ status by Feb. 1, 2015.Book Award newsThe 2014 Information Book Award Finalists. The winner and honor title, voted by members of the Children’s Literature Roundtables, will be announced November 17, 2014 in Vancouver.Before the World Was Ready: Stories of Daring Genius in Science by Claire Eamer. Annick Press. Follow Your Money by Kevin Sylvester and Michael Hlinka. Annick Press.Looks Like Daylight: Voices of Indigenous Kids by Deborah Ellis. Groundwood Books. Pay It Forward Kids: Small Acts, Big Change by Nancy Runstedler. Fitzhenry & Whiteside.Pedal It! How Bicycles are Changing the World by Michelle Mulder. Orca Book Publishers.The list of nominees for the 2015 Astrid Lindgren Memorial Award (ALMA) includes 50 first-time nominees among a total of 197 candidates from 61 countries. Canadian nominees include The Canadian Children’s Book Centre (Organisation, nominated by IBBY Canada) and authors Sarah Ellis and Marie-Francine Hébert. Full list available at http://www.alma.se/en/Nominations/Candidates/2015/The winners of the 2014 Governor General’s Literary Award will be announced November 18, 2014. The nominated titles for children’s literature (English text) are:Jonathan Auxier, (Pittsburgh, Pa.) – The Night Gardener (Penguin Canada)Lesley Choyce, (East Laurencetown, N.S.) – Jeremy Stone (Red Deer Press)Rachel and Sean Qitsualik-Tinsley – Skraelings (Inhabit Media Inc.)Raziel Reid, (Vancouver) – When Everything Feels like the Movies (Arsenal Pulp Press)Mariko Tamaki, (Oakland, Calif.) – This One Summer (Groundwood Books/House of Anansi Press)Nominations for illustration in (English) children’s literature are:Marie-Louise Gay, (Montreal) – Any Questions?, text by Marie-Louise Gay (Groundwood Books/House of Anansi Press)Qin Leng, (Toronto) – Hana Hashimoto, Sixth Violin, text by Chieri Uegaki (Kids Can Press)Renata Liwska, (Calgary) – Once Upon a Memory, text by Nina Laden (Little, Brown and Company)Julie Morstad, (Vancouver) – Julia, Child, text by Kyo Maclear (Tundra Books)Jillian Tamaki, (Brooklyn, N.Y.) – This One Summer, text by Mariko Tamaki (Groundwood Books/House of Anansi Press)Nominations for (French) children’s literature (text) are:Linda Amyot, (St-Charles-Borromée, Que.) – Le jardin d'Amsterdam (Leméac Éditeur)India Desjardins, (Montreal) – Le Noël de Marguerite (Les Éditions de la Pastèque)Patrick Isabelle, (Montreal) – Eux (Leméac Éditeur)Jean-François Sénéchal, (Saint-Lambert, Que.) – Feu (Leméac Éditeur)Mélanie Tellier, (Montreal) – Fiona (Marchand de feuilles)Nominations for (French) children’s literature (illustration):Pascal Blanchet, (Trois-Rivières, Que.) – Le Noël de Marguerite, text by India Desjardins (Les Éditions de la Pastèque)Marianne Dubuc, (Montreal) – Le lion et l'oiseau, text by Marianne Dubuc (Les Éditions de la Pastèque)Manon Gauthier, (Montreal) – Grand-mère, elle et moi…, text by Yves Nadon (Éditions Les 400 coups)Isabelle Malenfant, (Montreal) – Pablo trouve un trésor, text by Andrée Poulin (Éditions Les 400 coups)Pierre Pratt, (Montreal) – Gustave, text by Rémy Simard (Les Éditions de la Pastèque)Online resources:Welcome to the Teachers' Book Bank! This database of Canadian historical fiction and non-fiction books is brought to you by the Canadian Children's Book Centre with Historica Canada, and funded by the Government of Canada. These titles may be used by teachers to introduce topics and themes in Canadian history and by students carrying out research projects. Many of the books also offer opportunities for cross-curricular connections in language arts, geography, the arts, science and other subjects. In most cases, publishers have indicated specific grade levels and age ranges to guide selection. For lesson plans to go with these books, visit Historica Canada's Canadian Encyclopedia. http://bookbank.bookcentre.ca/index.php?r=site/CCBCChairing Stories on Facebook Created in response to requests from former students of Gail de Vos’s online courses on Canadian Children’s Literature and Graphic Novels and comic books, this page celebrates books, their creators, and their audiences. Postings for current students too! Check it out at https://www.facebook.com/ChairingStoriesPresented by Gail de VosGail de Vos, an adjunct instructor, teaches courses on Canadian children's literature, Young Adult Literature and Comic Books and Graphic Novels at the School of Library and Information Studies for the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades