All of my stem submasters run Limiters - something quick-response, transparent, and can take a beating like Maxim or L2007. Maximizers like the L1 or MV2 are too colorized for my liking and they let too much through.
And then a run a PT MasterFader (but with NO limiters) just to monitor meters on the overall stem summing - because you can have no peaking on individual stems, but they CAN still sum to create a clip peak overall. That said, My limiters are quick attack and slight release, a very hard ratio and they kick in at a threshold of about -6 to -3 usually. But with mix level being -20dBFS = 85 SPL, we're not up there all that often. So I run my limiters just as a fail-safe to make sure nothing peaks past QC. My rule of thumb with these limiters and the parameters I use on them, just likewhen I use a compressor for DX, is that I'm mixing INTO the limiter/compressor, not the other way around. So very rarely with the case of these limiters are they ever engaged.
No sometimes I do like to, as mentioned, us dynamics processors for artistic purposes. I happen to like the character and vibrancy and warmth that the Waves HComp provides on FX. Even then though, I still have my transparent limiters always at the very end of the chain. Because this is a case where one dynamics processor is used for creative/nuiance purposes, but I still need the utilitarian limiter just to ensure QC is met when all is said and done.
The reason you're likely not finding much info on that exact topic is that it's not an exact science. Everyone has their own tastes and aesthetic choice, so as long as you're (a) properly calibrated and (b) know what level output is required on your delivery specs, there are many 'right' ways of doing things. It's a matter of developing your own ear for what you think sounds good, but also translates.