How can children grow to realize their inherent human rights and respect the rights of others? This book explores this question through children's literature from 'Peter Rabbit' to 'Horton Hears a Who!' to Harry Potter. The authors investigate children's rights under international law - identity and family rights, the right to be heard, the right to be free from discrimination, and other civil, political, economic, social and cultural rights - and consider the way in which those rights are embedded in children's literature.
How can children grow to realize their inherent human rights and respect the rights of others? This book explores this question through children's literature from 'Peter Rabbit' to 'Horton Hears a Who!' to Harry Potter.
This book provides a critical evaluation and assessment of children's rights law, including the CRC.
Presents a collection of twentieth-century American leftist children's literature, including contributions from such well-known writers as Dr. Seuss and Julius Lester, and many from less familiar figures.
and advocates from the left, including Betty Bacon, who was the juvenile editor at McBride, who started a line of juvenile books at International Publishers, and who reviewed children's books for New Masses. Bacon imagined science books ...
The lessons they recall are inspiring, instructive, and illuminating. And the books they remember resonate as influential reading choices for families.
Poetry of the sixteen winners of the ePals Human Rights Writing Contest reflects the U.N. Universal Declaration of Human Rights.
This volume explores the relationship between representation, affect, and emotion in texts for children and young adults.
Review of Peter H. Schuck and Rogers M. Smith, Citizenship Without Consent: Illegal Aliens in the American Polity (New Haven: Yale University Press, 1985) in Gerald L. Neuman, “Back to Dred Scott,” 24 San Diego Law Review 485, ...
This volume constitutes a comprehensive treatment of critical perspectives concerning children’s rights in their various forms.
But once this linguistic separation is established, the poem blends the voices, allowing the blues to come through the educated voice of the speaker. While blues songs might be sung alone, the blues performance actually creates ...