From Active Young Explorers to Passive Young Consumers: The Commercialization of Canada's OWL Magazine

This article provides a content analysis of OWL magazine, a popular Canadian children's periodical published initially by a non-profit organization and, after 1997, by a for-profit corporation. Researchers examined issues of OWL from 1982, 1992, and 2002 to assess changes in the magazine in response to commercial ownership. Quantitative and qualitative methodologies were used to show how OWL has shifted from a primarily science and animal-themed magazine to a general interest “consumer” magazine for children with features like video game reviews. This shift from 1982 to 2002 is discussed within larger changes in Canadian children's commercial media and marketing. Canadian and American children's commercial media “boomed” during the 1980s and 1990s, placing additional pressure on OWL to incorporate content that met advertisers' interests and emerging consumerist outlook of Canadian children. We conclude by discussing how this research informs ongoing theoretical debates about the commercialization of childhood.     

Revisiting Old Friends: The Production,Distribution and Use of Peterborough Ware in Britain

Peterborough Ware is now recognized as the dominant ceramic tradition of the middle Neolithic in southern Britain during the period 3400–2800 BC, part of a wider north European family of Impressed Wares. Drawing on an extensive inventory of 600 recorded assemblages constructed by enriching previous lists with the results of development‐driven research carried out over the last 20 years or so, this paper reviews the production, distribution and use of Peterborough Ware. Support is found for the traditional sub‐division of the Peterborough Ware series into three sub‐styles: Ebbsfleet, Mortlake and Fengate Wares on the basis of the materials used, forms, and the decorative schemes preferred in each. The overall distribution of Peterborough Ware focuses on south‐eastern Britain although there are important assemblages from areas to the west and north, especially those composed of Mortlake Ware. The range of contexts in which Peterborough Ware was deposited is wide, but suggests a backward‐looking attitude in which the users of this style of pottery were trying to connect with their past.