The study of children's illustrated books is located within the broad histories of print culture, publishing, the book trade, and concepts of childhood. An interdisciplinary history, Picturing Canada provides a critical understanding of the changing geographical, historical, and cultural aspects of Canadian identity, as seen through the lens of children's publishing over two centuries. Gail Edwards and Judith Saltman illuminate the connection between children's publishing and Canadian nationalism, analyse the gendered history of children's librarianship, identify changes and continuities in narrative themes and artistic styles, and explore recent changes in the creation and consumption of children's illustrated books. Over 130 interviews with Canadian authors, illustrators, editors, librarians, booksellers, critics, and other contributors to Canadian children's book publishing, document the experiences of those who worked in the industry. An important and wholly original work, Picturing Canada is fundamental to our understanding of publishing history and the history of childhood itself in Canada.

This important reference volume covers developments in almost every aspect of British library and information work during the ten-year period 1991-2000. The book provides a comprehensive record of what took place in library and information management during a decade of considerable change and challenges.

In this epoch of disastrous neoliberal globalisation, E. San Juan's critique seizes the crisis in neo-colonial Philippines as a point of intervention. As current Philippine President Duterte's timely war on drugs and corruption rages, San Juan foregrounds the facticity that Filipinos are once more confronted with the barbaric legacy of U.S. domination, legitimised today as civilising humanitarianism. This wide-ranging discourse by a Filipino radical scholar interrogates the apologetic use of postcolonial dogmas, Saussurean semiology versus Peircean semiotics, Kafka's allegory on torture, Edward Said's use of Gramsci, and the post-conceptual view of photography. The author also diagnoses the symptoms of nihilistic neoliberal ideology found in media discourses on diaspora, terrorism, and globalisation. His critique of academic postcolonial studies sums up the arguments elaborated in his previous books, Beyond Postcolonial Theory (St Martins Press), After Post-Colonialism (Rowman & Littlefield), and especially US Imperialism and Revolution in the Philippines (Palgrave Macmillan). Overall, San Juan seeks to deploy a historical-materialist perspective in elucidating the dialectical interplay of contradictory forces symbolised in art and diverse cultural texts. In the process, he delineates the contexts of events and encounters generating revolutionary transformations in this transitional Asian-Pacific islands that, with its subjugation in the Filipino-American War of 1899-1913, marked the fateful advent of U.S. imperial hegemony on the planet.