Journal articles on the topic 'Winsor McCay'

La actuación real combinada con la animación proyectada es algo muy nuevo, con avances en el mapeo de proyección y sensores de movimiento, y a la vez muy antiguo, retrotrayéndonos a las sesiones de proyección pre-cinematográfica, los espectáculos de linterna mágica y a las actuaciones de vaudeville de Winsor McCay con su dinosaurio animado, Gertie. Dos artistas contemporáneas crean y coreografían actuaciones no sólo mediante sus propios cuerpos, sino también mediante diversas figuras, formas y diseños animados. Kathy Rose comenzó como animadora, y más tarde intervino en sus proyecciones. Miwa Matreyek utiliza su propia figura como una silueta en sus actuaciones, y crea imágenes extraordinarias con dos proyectores y una pantalla. En sus trabajos creativos se proyectan a sí mismas como personajes en sus actuaciones animadas, y hacen referencia a la magia, el sueño y la mitología en su obra y sus imágenes. Coreografían sus movimientos para sincronizarse con sus imágenes animadas. Ambas mujeres juegan un papel detrás de la cámara, y delante de la pantalla, y juegan con la naturaleza dual de creador/director y sujeto/ejecutante.

Max Hirsh, Airport Urbanism: Infrastructure and Mobility in Asia (Minneapolis: University of Minnesota Press, 2016), 216 pp., 80 black-and-white illustrations, 20 color plates, $25 (paperback), $87.50 (hardback)Laura Bang Lindegaard, Congestion: Rationalising Automobility in the Face of Climate Change (Frankfurt: Peter Lang, 2015), 214 pp., $54.95 (hardback)Neriko Musha Doerr and Hannah Davis Taïeb, eds., The Romance of Crossing Borders: Studying and Volunteering Abroad (New York: Berghahn Books, 2017), 302 pp., $90 (hardback)Ehren Helmut Pflugfelder, Communicating Mobility and Technology: A Material Rhetoric for Persuasive Transportation (London: Routledge, 2017), 178 pp., 19 illustrations, $149.95 (hardback), $54.95 (ebook)Christo Sims, Disruptive Fixation: School Reform and the Pitfalls of Techno- Idealism (Princeton, NJ: Princeton University Press, 2017), 232 pp., $27.95 (paperback), $80 (hardback)Charlotte Mathieson, ed., Sea Narratives: Cultural Responses to the Sea, 1600– Present (London: Palgrave Macmillan, 2016), 281 pp., 5 illustrations, €93.59 (hardback), €74.96 (ebook)Till Mostowlansky, Azan on the Moon: Entangling Modernity along Tajikistan’s Pamir Highway (Pittsburgh, PA: University of Pittsburgh Press, 2017), 240 pp., 25 black-and-white illustrations, $26.95 (paperback)Steff en Köhn, Mediating Mobility: Visual Anthropology in the Age of Migration (New York: Columbia University Press, 2016), 208 pp., $30 (paperback)Margaret Guroff, The Mechanical Horse: How the Bicycle Reshaped American Life (Austin: University of Texas Press, 2016), 295 pp., 10 black-and-white photographs, 5 black-and-white illustrations, $17.95 (paperback)Melody L. Hoffmann, Bike Lanes Are White Lanes: Bicycle Advocacy and Urban Planning (Lincoln: University of Nebraska Press, 2016), 210 pp., $40 (paperback)Alexander Braun, ed., Winsor McCay: The Airship Adventures of Little Nemo (Cologne: Taschen, 2017), 288 pp., $15 (hardback)

O presente trabalho visa apresentar a questão da produção e do consumo nas histórias em quadrinhos desde sua gênese até a criação dos syndicates norte-americanos. Para tanto, recorremos a uma criteriosa análise bibliográfica, refazendo os caminhos da chamada Nona Arte e sua proliferação enquanto mídia de massa. Nesta pesquisa bibliográfica, iniciamos com a origem moderna desta arte, com o pedagogo suíço Rodolphe Töpffer que em 1933 desenvolveu seus primeiros trabalhos, e já destacava o hibridismo inerente da mídia: nem apenas desenho, nem apenas texto, e sim uma fusão de ambos. Esta e mais algumas características das histórias em quadrinhos são contempladas neste artigo, que pretende alinhavar a história deste tipo de produção midiática ao mesmo tempo em que procura contemplar as relações de produção e consumo instrínsecas já desde o princípio. O artigo encerra-se com a criação dos syndicates norte-americanos. Portanto, passamos por autores como o já citado Töppfer, Wilhelm Busch, Christophe, Rudolph Dirks, Ângelo Agostini, Richard Felton Outcault, Winsor McCay, George Herriman, Hergé, Mort Walker, Charlie Schulz, Quino e Maurício de Sousa. Cada um desses autores, motivados pelo sistema de produção e consumo, modificou a linguagem dos quadrinhos ao mesmo tempo em que tinha suas personagens modificadas pela cultura e pela sociedade em que estavam inseridas. Os principais autores de teoria das histórias em quadrinhos que norteiam este trabalho são Ian Gordon, Waldomiro Vergueiro, Moacy Cirne, Antônio Luiz Cagnin, entre outros. Para nos auxiliar em relação à História e à sociologia em nossa análise, temos Umberto Eco, Peter Burke, Nestor Garcia Canclini e Nicolau Sevcenko. Ao fim e ao cabo, chegamos à conclusão que as histórias em quadrinhos são fruto intrínseco do binômio produção/consumo. Há formas e maneiras de se fazer, analisar ou ler, mas todas estão ligadas à produção e ao consumo da sociedade circundante.

This article explores the transmedial seriality of Winsor McCay‘s newspaper comic strip Dream of the Rarebit Fiend (1904–24), tracking the narratives evolution from comic to trick film (Edwin S. Porter‘s The Dream of a Rarebit Fiend, 1906) and animation (McCays own Bug Vaudeville, 1921). In contrast to large parts of the critical response to McCay‘s work, this article does not fore ground the subversive and disruptive dimension of the Rarebit narratives. Instead, it reads both the graphic and filmic narratives as integral parts of the larger serialised culture of modernity, and as attempts to chart this reality, in order to make it navigable.

The paper proposes a model of reading comics that combines the perspectives of postclassical narratology and comics studies. A few prominent narratology scholars, such as David Herman, have used comics as a basis for revisions of their theories of narration as a cognitive construct. However, they tend to overlook the formal and medium- -specifi c aspect of graphical narration. On the other hand, comics studies scholars tend to focus on the formal elements of comics systems and overlook the infl uence of those elements on storytelling. The article tries to connect these perspectives through a reference to Kari Kukkonen’s and Charles Hatfi eld’s critical approaches to comics. Hatfi eld’s description of the reading of comics as an interplay of tensions on different semantic levels of the medium leads to Kukkonen’s observation that constructing narration in comics is based on the cognitive process of inference and the creation of hypotheses that are constantly verifi ed by readers who then construct mental images of the storyworlds. The model proposed in the article describes the act of reading comics as a constant oscillation between medium-specifi c formal elements, such as juxtapositions of images, construction of panels, tensions between text and image, and narration as such. Illustrations of the thesis come primarily from Little Nemo in Slumberland by Windsor McCay

The paper proposes a model of reading comics that combines the perspectives of postclassical narratology and comics studies. A few prominent narratology scholars, such as David Herman, have used comics as a basis for revisions of their theories of narration as a cognitive construct. However, they tend to overlook the formal and medium-specifi c aspect of graphical narration. On the other hand, comics studies scholars tend to focus on the formal elements of comics systems and overlook the infl uence of those elements on storytelling. The article tries to connect these perspectives through a reference to Kari Kukkonen’s and Charles Hatfi eld’s critical approaches to comics. Hatfi eld’s description of the reading of comics as an interplay of tensions on different semantic levels of the medium leads to Kukkonen’s observation that constructing narration in comics is based on the cognitive process of inference and the creation of hypotheses that are constantly verifi ed by readers who then construct mental images of the storyworlds. The model proposed in the article describes the act of reading comics as a constant oscillation between medium-specifi c formal elements, such as juxtapositions of images, construction of panels, tensions between text and image, and narration as such. Illustrations of the thesis come primarily from Little Nemo in Slumberland by Windsor McCay.

Knowledge about clean and healthy life in children needs to be given early to shape behavior in everyday life. Knowledge about healthy living can be provided at school through various learning programs. This study aims to find the effectiveness of health promotion programs (JUMSIH) to increase children's knowledge about clean and healthy living. The research method is a pre-experimental one-shot case study design. The respondents of this study were 68 students aged 7-8 years. The results showed that the JUMSIH program can help children have knowledge about healthy living. Based on data analysis, n = 15 generally obtained scores above 2.6. It was concluded that healthy living skills are often performed by students such as hand washing, bathing, and toothbrush behavior which are basic skills for children to be able to live healthy lives. Suggestions for further research which is the development of various programs to increase awareness of clean and healthy living from an early age. Keywords: Clean and healthy life Knowledge, Early Childhood, Health Promotion Program (JUMSIH) References: Akçay, N. O. (2016). Implementation of Cooperative Learning Model in Preschool. Journal of Education and Learning, 5(3), 83–93. https://doi.org/10.5539/jel.v5n3p83 Allport, B. S., Johnson, S., Aqil, A., Labrique, A. B., Nelson, T., KC, A., … Marcell, A. V. (2018). Promoting Father Involvement for Child and Family Health. Academic Pediatrics, 18(7), 746–753. https://doi.org/10.1016/j.acap.2018.03.011 Bonuck, K. A., Schwartz, B., & Schechter, C. (2016). Sleep health literacy in head start families and staff: Exploratory study of knowledge, motivation, and competencies to promote healthy sleep. Sleep Health, 2(1), 19–24. https://doi.org/10.1016/j.sleh.2015.12.002 Considerations, P., & Framework, N. Q. (2010). Health , Hygiene and Infection Control Strategies for Policy Implementation :2010(Vic). Conti, G., Heckman, J. J., & Pinto, R. (2016). The Effects of Two Influential Early Childhood Interventions on Health and Healthy Behaviour. Economic Journal, 126(596), F28–F65. https://doi.org/10.1111/ecoj.12420 Creswell, J. W. (2012). Educational Research Planning, Conducting, and Evaluating Quantitative and Qualitative Research(4th ed.; P. A. Smith, Ed.). Boston: Pearson. Duxbury, T., Bradshaw, K., Khamanga, S., Tandlich, R., & Srinivas, S. (2019). Environmental health promotion at a National Science Festival: An experiential-education based approach. Applied Environmental Education and Communication, 0(0), 1–16. https://doi.org/10.1080/1533015X.2019.1567406 Fernandez-Jimenez, R., Al-Kazaz, M., Jaslow, R., Carvajal, I., & Fuster, V. (2018). Children Present a Window of Opportunity for Promoting Health: JACC Review Topic of the Week. Journal of the American College of Cardiology, 72(25), 3310–3319. https://doi.org/10.1016/j.jacc.2018.10.031 Fung, C., Kuhle, S., Lu, C., et al. (2012). From “best practice” to “next practice”: the effectiveness of school-based health promotion in improving healthy eating and physical activity and preventing childhood obesity. Int. J. Behav. Nutr. Phys. Act., 9, 27. Gall, M. D., Gall, J. P., & Borg, W. R. (2007). Educational Research: An Introduction (4th ed.). New York: Longman Inc. Goldfeld, S., O’Connor, E., O’Connor, M., Sayers, M., Moore, T., Kvalsvig, A., & Brinkman, S. (2016). The role of preschool in promoting children’s healthy development: Evidence from an Australian population cohort. Early Childhood Research Quarterly, 35, 40–48. https://doi.org/10.1016/j.ecresq.2015.11.001 Hawe, P., Potvin, L. (2009). What is population health intervention research. Can. J. Public Health, 100 (Suppl I8–14). Julianti, R., Nasirun, M., & Wembrayarli. (2018). Pelaksanaan Perilaku Hidup Bersih dan Sehat (PHBS) di Lingkungan Sekolah. Jurnal Ilmiah Potensia, 3(1), 11–17. Kasnodihardjo, K. (2010). Metode pelembagaan perilaku hidup sehat kaitannya dengan kesehatan lingkungan dan hygiene perorangan pada keluarga di Subang Jabar. Keshavarz, N., Nutbeam, D., Rowling, L., Khavarpour, F. (2010). Schools as social complex adaptive systems: a new way to understand the challenges of introducing the health promoting schools concept. Soc. Sci. Med., (70), 1467–1474. Kobel, S., Wartha, O., Wirt, T., Dreyhaupt, J., Lämmle, C., Friedemann, E. M., … Steinacker, J. M. (2017). Design, implementation, and study protocol of a kindergarten-based health promotion intervention. BioMed Research International, 2017. https://doi.org/10.1155/2017/4347675 Langford, R., Bonell, C.P., Jones, H. E. (2014). The WHO health promoting school framework for improving the health and well-being of students and their academic achievement. Cochrane Database Syst, Rev. 4, CD008958. Manning, M. L., & Lucking, R. (1991). The what, why, and how of cooperative learning. The Clearing House. 64(3), 152–156. Marlina, R. L. (2011). Analisis Manajemen Promosi Kesehatan Dalam Penerapan Perilaku Hidup Bersih dan Sehat (PHBS) Tatanan Rumah Tangga di Kota Padang Tahun 2011. Padang: Universitas Andalas. Maryunani, A. (2013). Perilaku Hidup Bersih dan Sehat. Jakarta: Trans Info Media. McClure, M., Tarr, P., Thompson, C. M., & Eckhoff, A. (2017). Defining quality in visual art education for young children: Building on the position statement of the early childhood art educators. Arts Education Policy Review, 118(3), 154–163. https://doi.org/10.1080/10632913.2016.1245167 Mcisaac, J. D., Sim, S. M., Penney, T. L., & Kirk, S. F. L. (2012). School Health Promotion Policy in Nova Scotia: A Case Study. Revue PhénEPS / PHEnex Journal, 4(2). McIsaac, J. L. D., Penney, T. L., Ata, N., Munro-Sigfridson, L., Cunningham, J., Veugelers, P. J., … Kuhle, S. (2017). Evaluation of a health promoting schools program in a school board in Nova Scotia, Canada. 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To improve online learning pedagogy within the field of paralegal education, this study investigated how paralegal students and paralegal instructors perceived the effectiveness of synchronous and asynchronous online paralegal courses. This study intended to inform paralegal instructors and course developers how to better design, deliver, and evaluate effective online course instruction in the field of paralegal studies.Survey results were analyzed using independent samples t-test and correlational analysis, and indicated that overall, paralegal students and paralegal instructors positively perceived synchronous and asynchronous online paralegal courses. Paralegal instructors reported statistically significant higher perceptions than paralegal students: (1) of instructional design and course content in synchronous online paralegal courses; and (2) of technical assistance, communication, and course content in asynchronous online paralegal courses. Instructors also reported higher perceptions of the effectiveness of universal design, online instructional design, and course content in synchronous online paralegal courses than in asynchronous online paralegal courses. Paralegal students reported higher perceptions of asynchronous online paralegal course effectiveness regarding universal design than paralegal instructors. No statistically significant differences existed between paralegal students’ perceptions of the effectiveness of synchronous and asynchronous online paralegal courses. A strong, negative relationship existed between paralegal students’ age and their perceptions of effective synchronous paralegal courses, which were statistically and practically significant. Lastly, this study provided practical applicability and opportunities for future research. Akyol, Z., & Garrison, D. R. (2008). The development of a community of inquiry over time in an online course: Understanding the progression and integration of social, cognitive and teaching presence. Journal of Asynchronous Learning Networks, 12, 3-22. Retrieved from https://files.eric.ed.gov/fulltext/EJ837483.pdf Akyol, Z., Garrison, D. R., & Ozden, M. Y. (2009). Online and blended communities of inquiry: Exploring the developmental and perceptional differences. The International Review of Research in Open and Distributed Learning, 10(6), 65-83. Retrieved from http://www.irrodl.org/index.php/irrodl/article/view/765/1436 Allen, I. E., & Seaman, J. (2014). Grade change: Tracking online education in the United States. Babson Park, MA: Babson Survey Research Group and Quahog Research Group, LLC. Retrieved from https://www.utc.edu/learn/pdfs/online/sloanc-report-2014.pdf Alreck, P. L., & Settle, R. B. (2004). The Survey Research Handbook (3rd ed.) New York, NY: McGraw-Hill Irwin. 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Marketing Education Review, 20, 29-34. doi:10.2753/MER1052-8008200105 Stoel, L., & Hye Lee, K. (2003). Modeling the effect of experience on student acceptance of web-based courseware. Internet Research, 13(5), 364-374. http://www.emeraldinsight.com/loi/intr Taggart, G., & Bodle, J. H. (2003). Example of assessment of student outcomes data from on-line paralegal courses: Lessons learned. Journal of Paralegal Education & Practice, 19, 29-36. Tanner, J. R., Noser, T. C., & Totaro, M. W. (2009). Business faculty and undergraduate students' perceptions of online learning: A comparative study. Journal of Information Systems Education, 20, 29-40. http://jise.org/ Tung, C.K. (2007). Perceptions of students and instructors of online and web-enhanced course effectiveness in community colleges (Doctoral dissertation). Retrieved from ProQuest Dissertations and Theses database (Publication No. AAT 3284232). Vodanovich, S. J. & Piotrowski, C., & (2000). Are the reported barriers to Internet-based instruction warranted? A synthesis of recent research. Education, 121(1), 48-53. http://www.projectinnovation.com/education.html Ward, M. E., Peters, G., & Shelley, K. (2010). Student and faculty perceptions of the quality of online learning experiences. The International Review of Research in Open and Distributed Learning, 11, 57-77. Retrieved from http://www.irrodl.org/index.php/irrodl/article/view/867/1610? Wilkes, R. B., Simon, J. C., & Brooks, L. D. (2006). A comparison of faculty and undergraduate students' perceptions of online courses and degree programs. Journal of Information Systems Education, 17, 131-140. http://jise.org/

Cochlear implants electrically stimulate surviving auditory neurons in the cochlea to provide severely or profoundly deaf people with access to hearing. Signal processing strategies derive frequency-specific information from the acoustic signal and code amplitude changes in frequency bands onto amplitude changes of current pulses emitted by the tonotopically arranged intracochlear electrodes. This article first describes how parameters of the electrical stimulation influence the loudness evoked and then summarizes two different phenomenological models developed by McKay and colleagues that have been used to explain psychophysical effects of stimulus parameters on loudness, detection, and modulation detection. The Temporal Model is applied to single-electrode stimuli and integrates cochlear neural excitation using a central temporal integration window analogous to that used in models of normal hearing. Perceptual decisions are made using decision criteria applied to the output of the integrator. By fitting the model parameters to a variety of psychophysical data, inferences can be made about how electrical stimulus parameters influence neural excitation in the cochlea. The Detailed Model is applied to multi-electrode stimuli, and includes effects of electrode interaction at a cochlear level and a transform between integrated excitation and specific loudness. The Practical Method of loudness estimation is a simplification of the Detailed Model and can be used to estimate the relative loudness of any multi-electrode pulsatile stimuli without the need to model excitation at the cochlear level. Clinical applications of these models to novel sound processing strategies are described.

News and AnnouncementsAs we move into the so-called “summer reading” mode (although reading is obviously not a seasonal thing for many people), here is a “summery” (pardon the pun) of some recent Canadian book awards and shortlists.To see the plethora of Forest of Reading ® tree awards from the Ontario Library Association, go to https://www.accessola.org/WEB/OLAWEB/Forest_of_Reading/About_the_Forest.aspx. IBBY Canada (the Canadian national section of the International Board on Books for Young People) announced that the Claude Aubry Award for distinguished service in the field of children’s literature will be presented to Judith Saltman and Jacques Payette. Both winners will receive their awards in conjunction with a special event for children's literature in the coming year. http://www.ibby-canada.org/ibby-canadas-aubry-award-presented-2015/IBBY Canada also awarded the 2015 Elizabeth Mrazik-Cleaver Picture Book Award to Pierre Pratt, illustrator of Stop, Thief!. http://www.ibby-canada.org/awards/elizabeth-mrazik-cleaver-award/The annual reading programme known as First Nation Communities Read (FNCR) and the Periodical Marketers of Canada (PMC) jointly announced Peace Pipe Dreams: The Truth about Lies about Indians by Darrell Dennis (Douglas & McIntyre) as the FNCR 2015-2016 title as well as winner of PMC’s $5000 Aboriginal Literature Award. A jury of librarians from First Nations public libraries in Ontario, with coordination support from Southern Ontario Library Service, selected Peace Pipe Dreams from more than 19 titles submitted by Canadian publishers. “In arriving at its selection decision, the jury agreed that the book is an important one that dispels myths and untruths about Aboriginal people in Canada today and sets the record straight. The author tackles such complicated issues such as religion, treaties, and residential schools with knowledge, tact and humour, leaving readers with a greater understanding of our complex Canadian history.” http://www.sols.org/index.php/links/fn-communities-readCharis Cotter, author of The Swallow: A Ghost Story, has been awarded The National Chapter of Canada IODE Violet Downey Book Award for 2015. Published by Tundra Books, the novel is suggested for children ages nine to 12. http://www.iode.ca/2015-iode-violet-downey-book-award.htmlThe 2015 winners of the Ruth and Sylvia Schwartz Children’s Book Awards were selected by two juries of young readers from Toronto’s Alexander Muir / Gladstone Avenue Junior and Senior Public School. A jury of grade 3 and 4 students selected the recipient of the Children’s Picture Book Award, and a jury of grade 7 and 8 students selected the recipient of the Young Adult / Middle Reader Award. Each student read the books individually and then worked together with their group to reach consensus and decide on a winner. This process makes it a unique literary award in Canada.The Magician of Auschwitz by Kathy Kacer and illustrated by Gillian Newland (Second Story Press) won the Children’s Picture Book Category.The winner for the Young Adult/Middle Reader Category was The Boundless by Kenneth Oppel (HarperCollins Publishers).http://www.ontarioartsfoundation.on.ca/pages/ruth-sylvia-schwartz-awardsFrom the Canadian Library Association:The Night Gardener by Jonathan Auxier (Penguin Canada) was awarded CLA’s 2015 Book of the Year for Children Award.Any Questions?, written and illustrated by Marie-Louise Gay (Groundwood Books) won the 2015 Amelia Frances Howard-Gibbon Award.This One Summer by Mariko & Jillian Tamaki (Groundwood) was awarded the 2015 Young Adult Book Award.http://www.cla.ca/AM/Template.cfm?Section=Book_Awards&Template=/CM/HTMLDisplay.cfm&ContentID=16132The 2015 Winner of the Crime Writers of Canada’s Arthur Ellis Awards for Best Juvenile/YA Book was Sigmund Brouwer’s Dead Man's Switch (Harvest House). http://crimewriterscanada.com/Regional awards:Alberta’s Ross Annett Award for Children’s Literature 2015:Little You by Richard Van Camp (Orca Book Publishers) http://www.bookcentre.ca/awards/r_ross_annett_award_childrens_literatureRocky Mountain Book Award 2015:Last Train: A Holocaust Story by Rona Arato. (Owl Kids, 2013) http://www.rmba.info/last-train-holocaust-storyAtlantic Book Awards 2015 from the Atlantic Book Awards SocietyAnn Connor Brimer Award for Children’s Literature: The End of the Line by Sharon E. McKay (Annick Press).Lillian Shepherd Award for Excellence in Illustration: Music is for Everyone illustrated by Sydney Smith and written by Jill Barber (Nimbus Publishing) http://atlanticbookawards.ca/awards/Hackmatack Children’s Choice Book Award 2015:English fiction: Scare Scape by Sam Fisher.English non-fiction: WeirdZone: Sports by Maria Birmingham.French fiction: Toxique by Amy Lachapelle.French non-fiction: Au labo, les Débrouillards! by Yannick Bergeron. http://hackmatack.ca/en/index.htmlFrom the 2015 BC Book Prizes for authors and/or illustrators living in British Columbia or the Yukon:The Christie Harris Illustrated Children's Literature Prize was awarded to Dolphin SOS by Roy Miki and Slavia Miki with illustrations by Julie Flett (Tradewind).The Sheila A. Egoff Children's Literature Prize for “novels, including chapter books, and non-fiction books, including biography, aimed at juveniles and young adults, which have not been highly illustrated” went to Maggie de Vries for Rabbit Ears (HarperCollins). http://www.bcbookprizes.ca/winners/2015The 2015 Manitoba Young Readers’ Choice Award (MYRCA) was awarded to Ultra by David Carroll. http://www.myrca.ca/Camp Outlook by Brenda Baker (Second Story Press) was the 2015 winner of the SaskEnergy Young Adult Literature Award. http://www.bookawards.sk.ca/awards/awards-nominees/2015-awards-and-nominees/category/saskenergy-young-adult-literature-awardFor more information on Canadian children’s book awards check out http://www.canadianauthors.net/awards/. Please note that not all regional awards are included in this list; if you are so inclined, perhaps send their webmaster a note regarding an award that you think should be included.Happy reading and exploring.Yours in stories (in all seasons and shapes and sizes)Gail de VosGail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and commic books and graphic novels at the School of Library and Information Studies (SLIS) at 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.

News and Announcements1) Canadian Children's Book News, Spring 2015 IssueIn recognition of the TD Canadian Children's Book Week and its theme "Hear Our Stories: Celebrating First Nations, Métis and Inuit Literature," this issue explores several facets of this vibrant part of children's literature. It includes a profile of author David Alexander Robertson and a look at the publishers and market for First Nations, Métis, and Inuit stories.2) TD Canadian Children's Book Week (May 2- May 9, 2015) is the single most important national event celebrating Canadian children’s books and the importance of reading. More than 28,000 children, teens, and adults participate in activities held in every province and territory across the country. Hundreds of schools, public libraries, bookstores, and community centres host events as part of this major literary festival. It is organized by the Canadian Children’s Book Centre, in partnership with the Storytellers of Canada/Conteurs du Canada.3) Free Comic Book Day (May 2, 2015) takes place annually on the first Saturday in May. It is a single day when participating comic book specialty shops and public libraries across North America and around the world give away comic books absolutely free to anyone who comes into their shops! For more information: http://www.freecomicbookday.com/Home/1/1/27/9924) Canadian Authors for Indies Day (May 2, 2015)Authors across Canada support independent bookstores by volunteering as guest book sellers. To see who may be in your local indie book store, go to http://www.authorsforindies.com/5) Storytellers of Canada/Conteurs du Canada conference: Where Languages Meet (July 2-5, 2015). This year’s conference is in Lévis, Quebec where a rich storytelling tradition awaits. La Maison Natale Louis Fréchette – birthplace of one of Quebec’s most celebrated poets – hosts the SC-CC conference which proudly brings a range of vibrant programming in both official languages storytellers and listeners. http://www.storytellers-conteurs.ca/en/conference/storytellers-conference-2015.html6) Words in 3 Dimensions Conference 2015: Intersections (May 22 to 24, 2015)Held at the Chateau Lacombe Hotel in Edmonton for this second edition, the conference connects writers, editors, publishers, and agents from across Canada. This weekend focuses on how and where a writer’s work with words intersects with other disciplines. http://www.wordsin3d.com/7) The 2015 Storytelling World Resource Awards (storytellingworld.com/2015/) includes the following Canadian titles :Stories for Pre-Adolescent Listeners: Not My Girl: the True Sotry of a Daughter's Cultural Adjustmentsby Christy Jordan-Fenton and Margaret Pokiak-Fenton (Annick Press)Stories for Adolescent Listeners: Hope Springs: a Story of Complassion and understanding by Eric Walters (Tundra Books)8) IBBY Canada (International Board on Books for Young People, Canadian section). Stop, Thief!, illustrated by Pierre Pratt and written by Heather Tekavec (Kids Can Press, 2014), is the winner of the Elizabeth Mrazik-Cleaver Canadian Picture Book Award. Pierre was also nominated [again] by IBBY Canada for the prestigious Hans Christian Andersen Award.” www.ibby-canada.org/elizabeth-mrazik-cleaver-pratt/And now, a plethora of shortlist announcements:1) The 2015 Alberta Literary Awards ShortlistWinners will be announced and awards presented at the Alberta Literary Awards Gala on Saturday, May 23, 2015. The celebration will take place at the Chateau Lacombe Hotel (10111 Bellamy Hill Road) in Edmonton alongside the 2015 Words in 3 Dimensions Conference: Intersections (see above).A full list of award categories and nominees can be found at http://writersguild.ca/2015-alberta-literary-awards-shortlist/2) R. Ross Annett Award for Children's Literature (www.bookcentre.ca/awards/r_ross_annett_award_childrens_literature) Victor Lethbridge– You're Just Right (Tatanka Books)Leanne Shirtliffe– The Change Your Name Store (Sky Pony Press)Richard Van Camp– Little You (Orca Book Publishers) 3) 2014 Science in Society Book Awards Shortlists. Two annual book awards honour outstanding contributions to science writing. One is for books intended for children ages 8-12; the other for book aimed at the general public. Winners will be announced on Canada Book Day, April 23, 2015. http://sciencewriters.ca/awards/book-awards/Zoobots by Helaine Becker, Kids Can Press.Starting from Scratch by Sarah Elton, Owl Kids Books.It’s Catching by Jennifer Gardy, Owl Kids Books.The Fly by Elise Gravel, Penguin Random House.If by David J. Smith, Kids Can Press.4) 2015 Atlantic Book Awards ShortlistThe full shortlist for the eight different book prizes comprising the 2015 Atlantic Book Awards can be found www.atlanticbookawards.ca. Below are the nominees for the Ann Connor Brimer Award for Children’s Literature and the Lillian Shepherd Award for Excellence in Illustration. Winners will be announced Thursday, May 14, 2015.Ann Connor Brimer Award for Children’s LiteratureJack, the King of Ashes by Andy Jones (Running Goat Books & Broadsides)Flame and Ashes: The Great Fire Diary of Triffie Winsor (Dear Canada series) by Janet McNaughton (Scholastic Canada Ltd.)The End of the Line by Sharon E. McKay (Annick Press Ltd.)Lillian Sheperd Award for Excellence in IllustrationSydney Smith (nominee) Music is for Everyone by Jill Barber (Nimbus Publishing)Michael Pittman (nominee) Wow Wow and Haw Haw by George Murray(Breakwater Books)Nancy Rose (nominee) The Secret Life of Squirrels by Nancy Rose (Penguin Canada)5) Newfoundland and Labrador Book Award shortlist.During even-numbered years, these awards honour fiction and children’s/young adult fiction books; odd-numbered years recognise poetry and non-fiction. The winners will be announced May 27, 2015. This year’s list of finalists for the Newfoundland and Labrador Non-fiction Award are all first-time authors (http://wanl.ca/literary_awards)Alan Doyle for Where I Belong: From Small Town to Great Big Sea (Doubleday Canada)Janet Merlo for No One to Tell: Breaking My Silence on Life in the RCMP (Breakwater Books)Andrew Peacock for Creatures of the Rock (Doubleday Canada)Three acclaimed Newfoundland poets are shortlisted for the E.J. Pratt Poetry Award:Michael Crummey for Under the Keel(House of Anansi Press)Mary Dalton for Hooking (Véhicule Press)Carmelita McGrath for Escape Velocity (Goose Lane Editions)6) 2015 Information Book Award Shortlist announced by the Children’s Literature Roundtables of Canada. Voting Deadline: Saturday October 31, 2015.Any Questions? by Marie-Louise Gay.(Groundwood Books). A Brush Full of Colour: The World of Ted Harrison. by Margriet Ruurs & Katherine Gibson (Pajama Press).Do You Know Komodo Dragons? by Alain M. Bergeron, Michel Quintin, and Sampar. Illustrations by Sampar. Translated by Solange Messier (Fitzhenry & Whiteside).Dreaming in Indian: Contemporary Native American Voices. edited by Lisa Charleyboy and Mary Beth Leatherdale (Annick Press). Not My Girl. by Christy Jordan-Fenton and Margaret Pokiak-Fenton. Illustrated by Gabrielle Grimard (Annick Press). The Rat. by Elise Gravel (Tundra Books). Shapes in Math, Science and Nature: Squares, Triangles and Circles. by Catherine Sheldrick Ross. Illustrated by Bill Slavin (Kids Can Press). Take Shelter: At Home Around the World. by Nikki Tate and Dani Tate-Stratton (Orca Books). Tastes Like Music: 17 Quirks of the Brain and Body. by Maria Birmingham. Illustrated by Monika Melnychuk (Owl Kids). We All Count: A Book of Cree Numbers. by Julie Flett (Native Northwest).For more information about voting and submissions please contact the Information Book Award Chair, Kay Weisman at weismankay@gmail.com7) IBBY Canada (International Board on Books for Young People, Canadian section).Stop, Thief! illustrated by Pierre Pratt and written by Heather Tedavec (Kids Can Press, 2014) is the winner of the Elizabeth Mrazik-Cleaver Canadian Picture Book Award. Pierre was also nominated [again] by IBBY Canada for the prestigious ans Chrisitan Andersen Award. (www.ibby-canada.org/elizabeth-mrazik-cleaver-pratt/)-----Presented by Gail de Vos. Gail is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and commic books and graphic novels at the School of Library and Information Studies (SLIS) at 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.

Elizabeth Wilmot, Countess of Rochester, is best known to most modern readers as the woman John Wilmot, Earl of Rochester, abducted and later wed. As Samuel Pepys memorably records in his diary entry for 28 May 1665:Thence to my Lady Sandwich’s, where, to my shame, I had not been a great while before. Here, upon my telling her a story of my Lord Rochester’s running away on Friday night last with Mrs Mallet, the great beauty and fortune of the North, who had supped at Whitehall with Mrs Stewart, and was going home to her lodgings with her grandfather, my Lord Haly, by coach; and was at Charing Cross seized on by both horse and footmen, and forcibly taken from him, and put into a coach with six horses, and two women provided to receive her, and carried away. Upon immediate pursuit, my Lord of Rochester (for whom the King had spoke to the lady often, but with no success) was taken at Uxbridge; but the lady is not yet heard of, and the King mighty angry and the Lord sent to the Tower. (http://www.pepysdiary.com/)Here Pepys provides an anecdote that offers what Helen Deutsch has described in another context as “the elusive possibility of truth embodied by ‘things in themselves,’ by the things, that is, preserved in anecdotal form” (28). Pepys’s diary entry yields up an “elusive possibility” of embodied truth; his version of Wilmot’s abduction solidifies what he perceives to be the most notable features of her identity: her beauty, her wealth, and her sexual trajectory.Pepys’s conclusion that “the lady is not yet heard of” complicates this idea of anecdotal preservation, for he neatly ties up his story of Wilmot’s body by erasing her from it: she is removed, voiceless and disembodied, from even this anecdote of her own abduction. Pepys’s double maneuver demonstrates the complex set of interactions surrounding the preservation of early modern women’s sexual and textual selves. Written into Pepys’s diary and writing in conversation with her husband, Wilmot has generally been treated as a subordinate historical and literary figure—a character rather than an agent or an author. The richness of Wilmot’s own writing has been largely ignored; her manuscript poetry has been treated as an artefact and a source of autobiographical material, whereas Rochester’s poetry—itself teeming with autobiographical details, references to material culture, and ephemera—is recognised and esteemed as literary. Rochester’s work provides a tremendous resource, a window through which we can read and re-read his wife’s work in ways that enlighten and open up readings rather than closing them down, and her works similarly complicate his writings.By looking at Wilmot as a case study, I would like to draw attention to some of the continued dilemmas that scholars face when we attempt to recover early modern women’s writing. With this study, I will focus on distinct features of Wilmot’s sexual and textual identity. I will consider assumptions about female docility; the politics and poetics of erotic espionage; and Wilmot’s construction of fugitive desires in her poetry. Like the writings of many early modern women, Wilmot’s manuscript poetry challenges assumptions about the intersections of gender, sexuality, and authorship. Early Modern Women’s Docile Bodies?As the entry from Pepys’s diary suggests, Wilmot has been constructed as a docile female body—she is rendered “ideal” according to a set of gendered practices by which “inferior status has been inscribed” on her body (Bartky 139). Contrasting Pepys’s references to Wilmot’s beauty and marriageability with Wilmot’s own vivid descriptions of sexual desire highlights Wilmot’s tactical awareness and deployment of her inscribed form. In one of her manuscript poems, she writes:Nothing ades to Loves fond fireMore than scorn and cold disdainI to cherish your desirekindness used but twas in vainyou insulted on your SlaveTo be mine you soon refusedHope hope not then the power to haveWhich ingloriously you used. (230)This poem yields up a wealth of autobiographical information and provides glimpses into Wilmot’s psychology. Rochester spent much of his married life having affairs with women and men, and Wilmot represents herself as embodying her devotion to her husband even as he rejects her. In a recent blog entry about Wilmot’s poetry, Ellen Moody suggests that Wilmot “must maintain her invulnerable guard or will be hurt; the mores damn her whatever she does.” Interpretations of Wilmot’s verse typically overlay such sentiments on her words: she is damned by social mores, forced to configure her body and desire according to rigorous social codes that expect women to be pure and inviolable yet also accessible to their lovers and “invulnerable” to the pain produced by infidelity. Such interpretations, however, deny Wilmot the textual and sexual agency accorded to Rochester, begging the question of whether or not we have moved beyond reading women’s writing as essential, natural, and embodied. Thus while these lines might in fact yield up insights into Wilmot’s psychosocial and sexual identities, we continue to marginalise her writing and by extension her author-self if we insist on taking her words at face value. Compare, for example, Wilmot’s verse to the following song by her contemporary Aphra Behn:Love in Fantastique Triumph satt,Whilst Bleeding Hearts a round him flow’d,For whom Fresh paines he did Create,And strange Tyranick power he show’d;From thy Bright Eyes he took his fire,Which round about, in sports he hurl’d;But ’twas from mine, he took desire,Enough to undo the Amorous World. (53) This poem, which first appeared in Behn’s tragedy Abdelazer (1677) and was later printed in Poems upon Several Occasions (1684), was one of Behn’s most popular lyric verses. In the 1920s and 1930s Ernest Bernbaum, Montague Summers, Edmund Gosse, and others mined Behn’s works for autobiographical details and suggested that such historical details were all that her works offered—a trend that continued, disturbingly, into the later half of the twentieth century. Since the 1980s, Paula R. Backscheider, Ros Ballaster, Catherine Gallagher, Robert Markley, Paul Salzman, Jane Spencer, and Janet Todd have shown that Behn’s works are not simple autobiographical documents; they are the carefully crafted productions of a literary professional. Even though Behn’s song evokes a masochistic relationship between lover and beloved much like Wilmot’s song, critics treat “Love Arm’d” as a literary work rather than a literal transcription of female desire. Of course there are material differences between Wilmot’s song and Behn’s “Love Arm’d,” the most notable of which involves Behn’s self-conscious professionalism and her poem’s entrenchment in the structures of performance and print culture. But as scholars including Kathryn King and Margaret J. M. Ezell have begun to suggest, print publication was not the only way for writers to produce and circulate literary texts. King has demonstrated the ways in which female authors of manuscripts were producing social texts (563), and Ezell has shown that “collapsing ‘public’ into ‘publication’” leads modern readers to “overlook the importance of the social function of literature for women as well as men” (39). Wilmot’s poems did not go through the same material, ideological, and commercial processes as Behn’s poems did, but they participated in a social and cultural network of exchange that operated according to its own rules and that, significantly, was the same network that Rochester himself used for the circulation of his verses. Wilmot’s writings constitute about half of the manuscript Portland PwV 31, held by Hallward Library, University of Nottingham—a manuscript catalogued in the Perdita Project but lacking a description and biographical note. Teresa D. Kemp has discussed the impact of the Perdita Project on the study of early modern women’s writing in Feminist Teacher, and Jill Seal Millman and Elizabeth Clarke (both of whom are involved with the project) have also written articles about the usability of the database. Like many of the women writers catalogued by the Perdita Project, Wilmot lacks her own entry in the Dictionary of National Biography and is instead relegated to the periphery in Rochester’s entry.The nineteen-page folio includes poems by both Rochester and Wilmot. The first eight poems are autograph manuscript poems by Rochester, and a scene from a manuscript play ‘Scaene 1st, Mr. Daynty’s chamber’ is also included. The remaining poems, excluding one without attribution, are by Wilmot and are identified on the finding aid as follows:Autograph MS poem, entitled ‘Song’, by Elizabeth WilmotAutograph MS poem, entitled ‘Song’, by Elizabeth WilmotAutograph MS poem, entitled ‘Song’, by Elizabeth WilmotMS poem, untitled, not ascribed Autograph MS poem, entitled ‘Song’, by Elizabeth WilmotAutograph MS poem, untitled, by Elizabeth WilmotAutograph MS poem, untitled, by Elizabeth WilmotAutograph MS poem, untitled, by Elizabeth Wilmot Autograph MS poem, untitled, by Elizabeth WilmotTwo of the songs (including the lyric quoted above) have been published in Kissing the Rod with the disclaimer that marks of revision reveal that “Lady Rochester was not serving as an amanuensis for her husband” yet the editors maintain that “some sort of literary collaboration cannot be ruled out” (230), implying that Rochester helped his wife write her poetry. Establishing a non-hierarchical strategy for reading women’s collaborative manuscript writing here seems necessary. Unlike Behn, who produced works in manuscript and in print and whose maximization of the slippages between these modes has recently been analyzed by Anne Russell, Wilmot and Rochester both wrote primarily in manuscript. Yet only Rochester’s writings have been accorded literary status by historians of the book and of manuscript theory such as Harold Love and Arthur Marotti. Even though John Wilders notes that Rochester’s earliest poems were dialogues written with his wife, the literariness of her contributions is often undercut. Wilders offers a helpful suggestion that the dialogues set up by these poems helps “hint … at further complexities in the other” (51), but the complexities are identified as sexual rather than textual. Further, the poems are treated as responses to Rochester rather than conversations with him. Readers like Moody, moreover, draw reflections of marital psychology from Wilmot’s poems instead of considering their polysemic qualities and other literary traits. Instead of approaching the lines quoted above from Wilmot’s song as indications of her erotic and conjugal desire for her husband, we can consider her confident deployment of metaphysical conceits, her careful rhymes, and her visceral imagery. Furthermore, we can locate ways in which Wilmot and Rochester use the device of the answer poem to build a complex dialogue rather than a hierarchical relationship in which one voice dominates the other. The poems comprising Portland PwV 31 are written in two hands and two voices; they complement one another, but neither contains or controls the other. Despite the fact that David Farley-Hills dismissively calls this an “‘answer’ to this poem written in Lady Rochester’s handwriting” (29), the verses coexist in playful exchange textually as well as sexually. Erotic Exchange, Erotic EspionageBut does a reorientation of literary criticism away from Wilmot’s body and towards her body of verse necessarily entail a loss of her sexual and artefactual identity? Along with the account from Pepys’s diary mentioned at the outset of this study, letters from Rochester to his wife survive that provide a prosaic account of the couple’s married life. For instance, Rochester writes to her: “I love not myself as much as you do” (quoted in Green 159). Letters from Rochester to his wife typically showcase his playfulness, wit, and ribaldry (in one letter, he berates the artist responsible for two miniatures of Wilmot in strokes that are humorous yet also charged with a satire that borders on invective). The couple’s relationship was beleaguered by the doubts, infidelities, and sexual double standards that an autobiographical reading of Wilmot’s songs yields up, therefore it seems as counterproductive for feminist literary theory, criticism, and recovery work to entirely dispense with the autobiographical readings as it seems reductive to entirely rely on them. When approaching works like these manuscript poems, then, I propose using a model of erotic exchange and erotic espionage in tandem with more text-bound modes of literary criticism. To make this maneuver, we might begin by considering Gayle Rubin’s proposition that “If women are the gifts, then it is men who are the exchange partners. And it is the partners, not the presents, upon whom reciprocal exchange confers its quasi-mystical power of social linkage” (398). Wilmot’s poetry relentlessly unsettles the binary set up between partner and present, thereby demanding a more pluralistic identification of sexual and textual economies. Wilmot constructs Rochester as absent (“Thats caused by absence norished by despaire”), which is an explicit inversion of the gendered terms stereotypically deployed in poetry (the absent woman in works by Rochester as well as later satirists like Jonathan Swift and Alexander Pope often catalyzes sexual desire) that also registers Wilmot’s autobiographical contexts. She was, during most of her married life, living with his mother, her own mother, and Rochester’s nieces in his house at Adderbury while he stayed in London. The desire in Wilmot’s poetry is textualised as much as it is sexualised; weaving this doublebraid of desires and designs together ultimately provides the most complete interpretation of the verses. I read the verses as offering a literary form of erotic espionage in which Wilmot serves simultaneously as erotic object and author. That is, she both is and is not the Cloris of her (and Rochester’s) poetry, capable of looking on and authorizing her desired and desiring body. The lyric in which Wilmot writes “He would return the fugitive with Shame” provides the clearest example of the interpretive tactic that I am proposing. The line, from Wilmot’s song “Cloris misfortunes that can be exprest,” refers to the deity of Love in its complete context:Such conquering charmes contribute to my chainAnd ade fresh torments to my lingering painThat could blind Love juge of my faithful flameHe would return the fugitive with ShameFor having bin insenceable to loveThat does by constancy it merritt prove. (232)The speaker of the poem invokes Cupid and calls on “blind Love” to judge “my faithful flame.” The beloved would then be returned “fugitive with Shame” because “blind Love” would have weighed the lover’s passion and the beloved’s insensibility. Interestingly, the gender of the beloved and the lover are not marked in this poem. Only Cupid is marked as male. Although the lover is hypothetically associated with femaleness in the final stanza (“She that calls not reason to her aid / Deserves the punishmentt”), the ascription could as easily be gendering the trait of irrationality as gendering the subject/author of the poem. Desire, complaint, and power circulate in the song in a manner that lacks clear reference; the reader receives glimpses into an erotic world that is far more ornately literary than it is material. That is, reading the poem makes one aware of tropes of power and desire, whereas actual bodies recede into the margins of the text—identifiable because of the author’s handwriting, not a uniquely female perspective on sexuality or (contrary to Moody’s interpretation) a specifically feminine acquiescence to gender norms. Strategies for Reading a Body of VerseWilmot’s poetry participates in what might be described as two distinct poetic and political modes. On one hand, her writing reproduces textual expectations about Restoration answer poems, songs and lyrics, and romantic verses. She crafts poetry that corresponds to the same textual conventions that men like Rochester, John Dryden, Abraham Cowley, and William Cavendish utilised when they wrote in manuscript. For Wilmot, as for her male contemporaries, such manuscript writing would have been socially circulated; at the same time, the manuscript documents had a fluidity that was less common in print texts. Dryden and Behn’s published writings, for instance, often had a more literary context (“Love Arm’d” refers to Abdelazer, not to Behn’s sexual identity), whereas manuscript writing often referred to coteries of readers and writers, friends and lovers.As part of the volatile world of manuscript writing, Wilmot’s poetry also highlights her embodied erotic relationships. But over-reading—or only reading—the poetry as depicting a conjugal erotics limits our ability to recover Wilmot as an author and an agent. Feminist recovery work has opened many new tactics for incorporating women’s writing into existing literary canons; it has also helped us imagine ways of including female domestic work, sexuality, and other embodied forms into our understanding of early modern culture. By drawing together literary recovery work with a more material interest in recuperating women’s sexual bodies, we should begin to recuperate women like Wilmot not simply as authors or bodies but as both. 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