Journal articles: 'Adult audience'

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Deterding, Sebastian. "Alibis for Adult Play." Games and Culture 13, no. 3 (July 25, 2017): 260–79. http://dx.doi.org/10.1177/1555412017721086.

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The social meanings of play sit at odds with norms of responsible and productive adult conduct. To be “caught” playing as an adult therefore risks embarrassment. Still, many designers want to create enjoyable, nonembarrassing play experiences for adults. To address this need, this article reads instances of spontaneous adult play through the lens of Erving Goffman’s theory of the interaction order to unpack conditions and strategies for nonembarrassing adult play. It identifies established frames, segregated audiences, scripts supporting smooth performance, managing audience awareness, role distancing, and, particularly, alibis for play: Adults routinely provide alternative, adult-appropriate motives to account for their play, such as child care, professional duties, creative expression, or health. Once legitimized, the norms and rules of play themselves then provide an alibi for behavior that would risk being embarrassing outside play.

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Johnson, Linda. "Young Adult Drama: Characters, Actors, Audience." English Journal 76, no. 5 (September 1987): 61. http://dx.doi.org/10.2307/818786.

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Shryock, S. K., and S. Meeks. "SOCIAL RELATIONSHIPS AMONG ADULT THEATER AUDIENCE MEMBERS." Innovation in Aging 1, suppl_1 (June 30, 2017): 1179–80. http://dx.doi.org/10.1093/geroni/igx004.4298.

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Bannerman, Marian White. "TYA in Canada: Navigating the Paradoxes." Canadian Theatre Review 133 (March 2008): 53–61. http://dx.doi.org/10.3138/ctr.133.008.

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In Donald Barthelme’s hilarious and provocative short story, “Me and Miss Mandible,” a thirty-five-year-old man who has “misread” important cultural signs as an adult finds himself back in grade six, for re-education. This time around, it is clear, he must learn to read the subtext, the messages implied, as opposed to those overtly stated, by his culture. Remembering a surreal but formative experience, the protagonist takes an important first step in this complex decoding: “I kept wondering why. Then something happened that proposed a new question…. I wondered: Who decides?” (60). In many ways, these two questions — Why? Who decides? — are key to understanding the unique culture of Theatre for Young Audiences (TYA) in Canada. Young theatre audiences, in turn, may be key to an accurate picture of the country itself. As Leslee Silverman, artistic director of Manitoba Theatre for Young People, points out, young audiences have replaced adult audiences as the true cross-section of Canada (Personal interview). Because it tours to all parts of the country, plays to young people and their caregivers and is primarily performed in and for schools whose students are drawn from a wide range of economic, social, geographic, linguistic, religious, ethnic, intellectual, physical and family backgrounds, TYA boasts not only one of the largest but also the most diverse and representative audience in the country. This audience is important. But why is theatre important for this audience?

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Hunt, Caroline C. "Counterparts: Identity Exchange and the Young Adult Audience." Children's Literature Association Quarterly 11, no. 3 (1986): 109–13. http://dx.doi.org/10.1353/chq.0.0320.

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Arksey, Marieka, Marcia Peterson, and Greg Pierce. "Targeting Your Audience." Advances in Archaeological Practice 8, no. 4 (September 24, 2020): 409–19. http://dx.doi.org/10.1017/aap.2020.34.

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ABSTRACTThe Office of the Wyoming State Archaeologist has as one of its main objectives to actively engage the population of Wyoming in archaeological stewardship. To achieve this goal, in the past five years, we have launched the youth-oriented Summer Ventures program and the adult-oriented Wyoming Avocational Archaeology Training Program. Both programs were inspired by existing programs in other parts of the country and were launched following research and target audience surveys on how to best adapt them to Wyoming. Despite this preliminary research, our in-field experiences over the past few years have shown some patterns that are causing us to rethink both programs. This article discusses these initial in-field testing years, the issues we have encountered, and the ways we are redesigning both programs to better target the appropriate audiences in light of the different lifestyles of populations, particularly those of youths, in a rural state.

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Kļaviņa, Ilze. "Dramaturģijas komunikatīvie aspekti jaunākajās izrādēs bērnu auditorijai Latvijas un Baltijas teātru festivālos." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 41–48. http://dx.doi.org/10.37384/aplkp.2023.28.041.

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The question of the meaning of text and acting is becoming increasingly important in modern theatre practice when the expressive possibilities of stage works seem to have no limits. The processes show that the number of performances staging the texts of previously written pieces is decreasing, instead co-creation, improvisation, or performance is becoming the organising principle of the stage. The principles of a playwright’s work change, and the emphasis on the functions of the drama changes. One of the points of reference is the viewer and the interaction between the stage and the audience. The article uses a method developed by a group of Norwegian researchers to characterise different levels of interaction. Performances for young audiences were analysed, where the communication element is of particular importance, since the perceptions and cultural experiences of adult professionals and child audiences differ significantly. The typology of openness – the proximity of dramaturgy allows to describe the specifics of the actors’/performers’ activities and the level of audience participation. From a semiotic point of view, the accent shifts from the sender to the receiver, from the professional adult to the childlike viewer. From a performative point of view, open dramaturgy emphasises communication with the audience and the temporal dimension of the event, bringing the performance closer to the concept of a cultural event.

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Gwóźdź-Szewczenko, Ilona. "Powieść o formowaniu czy formująca? „Bildungsroman” w gorsecie czechosłowackiej normalizacji." Slavica Wratislaviensia 176 (September 1, 2022): 53–64. http://dx.doi.org/10.19195/0137-1150.176.4.

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The article discusses the variety of Bildungsroman novels for children and young adults in the context of Czech literature in the period of normalisation in the 1970s and 1980s. At the genesis of literature for an adult audience (understood as an autotelic creation) are the audience’s expectations, motives and attitudes. The construction of the literary character also corresponds to this. In the case of works for the non-adult audience, the social functions of literature are somewhat reversed. From its inception, literature for children and young people has been closely connected to its educational function — it has therefore fulfilled utilitarian functions. The author aims to show how the Bildungsroman, by its character, i.e., as a novel about the formation of a character, was quickly adopted by writers of this type of prose. Based on its schema, a variant of the late Socialist Realist Bildungsroman developed, not so much showing the formation of the main character as (on the basis of the protagonist) normalising some ideals for the young viewer. The normalising Bildungsroman also brought about a new type of character, whom — in his (now forgotten) article — Jaroslav Voráček called “the sanitary character.”

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Swartz, Larry. "Quality Theatre for Young Audiences, Featuring an Interview with Playwright David Craig." Canadian Theatre Review 133 (March 2008): 47–52. http://dx.doi.org/10.3138/ctr.133.007.

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Theatre for Young Audiences (TYA) is a special art form, different from adult theatre, with its own dynamic and rewards. Unlike books, television, DVDs and CDs, which help shape the cultural development of young people, theatre-going is a special event mainly because it is a live, “in the moment” experience. Since it is adults, for the most part, who are responsible for bringing theatre and child together, this responsibility challenges grown-ups to consider the quality of the play they are inviting the young people in their lives to experience. Our chance to invite children to enjoy the art form, and the art form’s ability to affect children, are limited and so we need to make careful choices. This is not to suggest that a quality production ensures a quality experience for the full range of audience members, both children and adults. Quality for an adult may be different than quality for children. So what plays will we select?

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Zlatnar Moe, Marija, and Tanja Žigon. "When the audience changes." Translation and Interpreting Studies 15, no. 2 (April 8, 2020): 242–60. http://dx.doi.org/10.1075/tis.20015.zla.

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Abstract Much is expected to change when a work of fiction is translated from one language and culture to another, but the intended reader is not. This paper deals with the issue of the change of the intended reader from adult to child/adolescent in translations of fiction from English into Slovene. The intended reader is most likely to change in translations of comics/cartoons, fantasy, and realistic fiction with child or animal protagonists. The reasons for the change can be both textual and extra-textual: on the one hand, books are categorized as children’s books by libraries, award boards and marketers, as well as by the publisher’s choice of translator, while, on the other hand, individual translation decisions on the microlevel can help move a book from one category to another.

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Thurner, Mira. "Adult Audience Engagement: Learning in the Public Exhibition Space." International Journal of the Inclusive Museum 10, no. 3 (2017): 1–11. http://dx.doi.org/10.18848/1835-2014/cgp/v10i03/1-11.

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Dragulin, Stela. "MEASURING THE EFFECTS OF MOZART’S MUSIC ON ADULT AUDIENCE." Journal of the American Romanian Academy of Arts and Sciences 1, no. 1 (August 15, 2017): 80–83. http://dx.doi.org/10.14510/araj.2017.4112.

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Sutanto, Marisa Rianti, and Marcella Melly Kosasih. "“Gundala” an Indonesian Superhero Film and Its Influence on Audiences’ National Identity." Humaniora 14, no. 3 (September 8, 2023): 223–32. http://dx.doi.org/10.21512/humaniora.v14i3.9808.

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The research aimed to find out and prove the impact of the film Gundala on its audience’s sense of national identity. The research was conducted by using the method of audience reception. The target audience of the survey was people who belong to the young adult category called Generation Z. The survey was conducted through the distribution of a seven-question questionnaire, and data were obtained from 53 respondents. The questions were designed according to the expression of four aspects reflected in the film plot: character, accessories, ethnoscape, and community. The results of the questionnaire data are presented through frequency distribution tables, measured according to Likert scale positive statements. Based on the survey results, the Generation Z audience has an awareness of national identity reflected in the film “Gundala”. The results of the qualitative analysis of the questionnaire data show that the film “Gundala” has a minor but discernible impact on the audience’s sense of national identity.

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Stahl, Stephen M., and Richard L. Davis. "Applying the Principles of Adult Learning to the Teaching of Psychopharmacology: Audience Response Systems." CNS Spectrums 14, no. 8 (August 2009): 412–14. http://dx.doi.org/10.1017/s109285290002037x.

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Medical presentations can be enhanced by systematically collecting audience feedback. This is readily accomplished with polling systems, called audience response systems. Several systems are now available that are small, inexpensive, and can be readily integrated into standard powerpoint presentations without the need for a technician. Use of audience response systems has several advantages. These include improving attentiveness, increasing learning, polling anonymously, tracking individual and group responses, gauging audience understanding, adding interactivity and fun, and evaluating both participant learning and instructor teaching. Tips for how to write questions for audience response systems are also included.

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Starks, Donna. "Audience in Language Teaching and Learning." TESL Canada Journal 13, no. 2 (June 26, 1996): 26. http://dx.doi.org/10.18806/tesl.v13i2.669.

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This article reports on a case study of a technique aimed to increase the pragmatic competence of adult learners of English as a foreign or second language. In this study students are exposed to real audiences in authentic settings. The results show that students learned the subtle effect cultural and social factors can have on a speech event in a way that is difficult to recreate in a classroom setting.

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Mukti, Odilia Firsti Wida, and Nuzulul Kusuma Putri. "Social Media Analytics: Instagram Utilization for Delivering Health Education Messages to Young Adult in Indonesia." Jurnal PROMKES 9, no. 1 (March 30, 2021): 36. http://dx.doi.org/10.20473/jpk.v9.i1.2021.36-43.

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Background: Social media marketing has become one of the most widely used forms of digital marketing in social marketing. Organizations that drive change in young people, such as the Center for Indonesia's Strategic Development Initiatives (CISDI), rely heavily on social media marketing in communicating various health issues to the public. However, only a few studies have used social media related data to understand the effectiveness of this media in the delivery of health issues. Objective: This study aims to analyze the utilization of social media marketing conducted by CISDI for delivering health messages and its impact to young adult in Indonesia using social media analytics. Methods: Real-time data were obtained through Keyhole as a social media analytics tool and audience insight of online and offline classes used for social analytic in this study. This research monitored the use of CISDI’s social media by using audience metrics and individual post metrics collected from April 2019 to April 2020. Online and offline class audience data were obtained from the CISDI engagement database which was used as a complement to audience metrics information. Analysis of metrics was used to describe the audience that had been reached by the Center for Indonesia's Strategic Development Initiatives, how health messages could engage with the groups of audience, and how social media marketing can move the audience. Results: The result of this study shows that social media utilization for delivering health messages brought impact on audience participation. Currently trending issues, such as sex education (average engagement rate = 14,43%). By promoting through social media, CISDI has engaged 10266 audience to participate in their classes. Conclusion: Social media utilization benefit CISDI in engaging audience and move them to participate in their cause.

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Schattman, Rachel E., Marjorie Kaplan, Hannah M. Aitken, and Jennifer Helminski. "Climate change curricula for adult audiences in agriculture and forestry: A review." Journal of Adult and Continuing Education 25, no. 1 (May 2019): 131–51. http://dx.doi.org/10.1177/1477971419840670.

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Agricultural and forestry advisers and other technical service providers play an important role in supporting farmers and foresters to adapt to climate change. However, not all agricultural and forestry advisers are comfortable talking about climate change with land managers. While there is a demonstrated interest related to climate-related professional development, few examples of curricula developed with the express purpose of serving this audience and a systematic review of these curricula has not been conducted. To address this gap, we reviewed 12 curricula which were developed and implemented between 2001 and 2017. The goal of this review is to apply the lessons learned from a range of climate change-focused curricula to new, regionally or sector-specific educational programs targeting both agricultural advisers and innovative farmers. Our findings suggest that developers of future educational programs consider the following: (a) the specific needs of their audience, including topical interests and learning needs; (b) the use of interdisciplinary teams for curricula development; (c) trade-offs associated with inclusivity and depth of course content; and (d) the advantages of project-based education approaches suited for adult learning audiences. By applying these concepts to future curricula, these curricula are likely to have the greatest level of impact.

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Briandana, Rizki, Nindyta Aisyah Dwityas, and Putri Calista Mayde. "Audience reception of acculturation in parenting style on Indonesian-Korean YouTube channel." International Journal of Communication and Society 5, no. 2 (December 31, 2023): 1–12. http://dx.doi.org/10.31763/ijcs.v5i2.991.

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The aim of this study is to investigate the audience reception of acculturation in parenting style on the Indonesian-Korean YouTube channel "Kimbab Family". Parenting is an activity aimed at helping children to meet challenges from the environment as well as developing. This study focuses on the interpretations of young adult audiences on the YouTube channel. Thirty-six informants were selected as primary data using FGD techniques. From the results obtained by the researchers through FGDs with the informants, it was shown that the audiences reception on the YouTube channel is diverse and influential. By combining Indonesian and Korean parenting styles, the Kimbab Family has become a source of inspiration and a role model for effective parenting. This research highlights the need for further exploration of the role of media platforms in shaping audience perceptions and expectations, as well as the potential benefits and challenges of incorporating diverse cultural influences in parenting practices.

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AlZain, Al Zain. "Theories in Adult Learning and Education." International Journal of Multidisciplinary Perspectives in Higher Education 4, no. 1 (December 26, 2019): 139–42. http://dx.doi.org/10.32674/jimphe.v4i1.1689.

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Theories in adult learning and education is a book written in a form of study guide. The author divides the book into two parts. Part one describes the theories of learning; its definitions and its implications on adult learning and teaching. Part two focuses on the global trends of adults' participation in learning. The audience of the book are educators who involved in adult teaching and learning at secondary and post-secondary settings. Unlike traditional chapter books, this study guide challenges the reader by providing exercises and tasks. The purpose of the exercises and tasks is to invite the readers to reflect on their reading of the study guide and to facilitate the comprehension of the book. The book is a great reference in adult teaching and learning.

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Forest, Christopher P. "The Effect of Audience Response Systems on Adult Learning: Evidence-Based Rationale and Audience Response Systems Implementation Guide." Journal of Physician Assistant Education 23, no. 1 (2012): 54–59. http://dx.doi.org/10.1097/01367895-201223010-00009.

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Wydaswari, Paramitha, Susanne Dida, FX Ari Agung Prastowo, and Heru Ryanto. "Digital Marketing as a Repositioning Strategy for Radio Broadcasting Agent in Bandung - A Descriptive Study of OZ Radio’s Repositioning Through Instagram." KnE Social Sciences 2, no. 4 (June 13, 2017): 101. http://dx.doi.org/10.18502/kss.v2i4.874.

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OZ Radio Bandung chooses Instagram as a one of their platform for its marketing that helps them promote their repositioning strategy, whichthey initiated on September 2015. OZ Radio Bandung promotes itself as a radio for young people only. By the end of 2015, OZ Radio Bandung set up a plan to reposition its audience segmentation from young people to young-adult. This paper describes OZ Radio Bandung’s usage of Instagram as a platform to reposition itself to its young-adult audience.

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Rosin, Mark S., Martin Storksdieck, Kari O’Connell, Brianna Keys, Kelly Hoke, and Bruce V. Lewenstein. "Broadening participation in science through arts-facilitated experiences at a cultural festival." PLOS ONE 18, no. 5 (May 8, 2023): e0284432. http://dx.doi.org/10.1371/journal.pone.0284432.

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A key broadening participation challenge for science communication is to reach non-traditional audiences beyond those already interested in science. In this study we test a “Guerilla Science” approach that blends elements of access, by removing barriers to participation, with those of inclusion, by designing participant-centered activities, for reaching an art-interested adult audience at the FIGMENT art festival in New York City. Our results show that participants at Guerilla Science were similar to festival goers overall in their connection to and interest in science, indicating the effectiveness of the approach for engaging non-traditional audiences and those who might not self-select into science activities.

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Lee, Gabriela. "Past Selves, Future Worlds: Folklore and Futurisms in Science Fiction: Filipino Fiction for Young Adults." Comparative Critical Studies 19, no. 3 (October 2022): 417–28. http://dx.doi.org/10.3366/ccs.2022.0456.

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Science fiction written specifically for young readers has had difficulty in establishing itself as a separate genre from fantasy, especially since there is a blurred notion of what constitutes fantasy vis-a-vis science fiction in children’s literature. This difficulty is reflected in the stumbling development of children’s and YA science fiction compared to the relatively clear development of children’s and YA fantasy. As such, trying to define what science fiction for young readers is takes on a malleable, inconsistent quality compared to the more established megatexts of science fiction for adult readers. It is through these unstable definitions of science fiction for adolescents that this essay examines how selected stories from the 2016 anthology Science Fiction: Filipino Fiction for Young Adults, the first anthology of Philippine sf writing that caters directly for a young adult audience, negotiate the genre definitions of ‘science fiction’ and ‘young adult’ for a non-Western audience. Studying how these imagined futures represent the experiences of young non-Western readers who have otherwise been excluded from YA science fiction reveals how the genre can widen and expand its parameters.

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Salminen, Jenniliisa. "Kuka tarvitsee ketä? Lasten ja aikuisten välinen suhde Vladislav Krapivinin monimutkaisissa maailmoissa." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 3 (October 2, 2016): 56–71. http://dx.doi.org/10.30665/av.66164.

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Who Needs Whom? The Relationship between Children and Adults in Vladislav Krapivin’s Complicated Worlds The article discusses how the structure of the worlds in Vladislav Krapivin’s children’s fantasy novels written in the 1980s and early 1990s is connected to the central theme of the works, the complicated relationship between children and adults. The novel Deti sinego amingo (1981) is based on a two-world structure that supports a description of a binary relationship: children are seen as essentially good and adults as their oppressors. Krapivin’s pentalogy V glubine Velikogo Kristalla (1988–91) is situated in a complex multiverse described as a crystal: every facet of the crystal is a complete world of its own. Likewise, the relationships between adult and child characters in the series are complicated. Children are often seen from the viewpoint of adult characters, and children and adults are presented as mutually dependent on each other. The article also investigates the audience of Krapivin’s novels. Despite their status as children’s literature, the texts address a dual audience consisting of both children and adults. The texts are seen in the context of Soviet perestroika literature. In the spirit of perestroika, also children’s authors were able to write about topics that were not accepted before and thus it was possible for Krapivin to discuss the problematic relations between children and adults.

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Narayanan, Bhavish Khanna, Rajasekhara Babu M, Sharon Moses J, and Nirmala M. "Adult content filtering: Restricting minor audience from accessing inappropriate internet content." Education and Information Technologies 23, no. 6 (May 30, 2018): 2719–35. http://dx.doi.org/10.1007/s10639-018-9738-y.

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Mihály, Vilma-Irén. "Trends in Young Adult Literature. A Glance at American and British Fantasy with an Eye on the Transylvanian Variant." Acta Universitatis Sapientiae, Philologica 14, no. 1 (December 1, 2022): 58–69. http://dx.doi.org/10.2478/ausp-2022-0005.

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Abstract The present paper looks at the main contemporary trends in writing literature for young adult readers The theoretical part focuses on possible definitions and characteristics of young adult literature by distinguishing it from children’s literature and adult fiction, as well as by establishing the different age groups these novels are written for The practical part of the paper gives examples of different types of novels written for this particular audience, such as J K Rowling’s prominent Harry Potter series, but also Lois Lowry’s The Giver or Meg Cabot’s Abandon trilogy At the end, the study also presents a Transylvanian author who has recently started writing fantasy for young adults, namely Balázs Zágoni, and his Black Light series

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Kirkland, Ewan. "Contextualizing the bronies: Cult, quality, subculture and the contradictions of contemporary fandom." Journal of Popular Television 8, no. 1 (March 1, 2020): 87–104. http://dx.doi.org/10.1386/jptv_00012_1.

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This article critically situates My Little Pony: Friendship Is Magic (2010‐19) and the ‘brony’ following it has attracted in terms of age and fandom, discourses of quality television, cult media and interactions between fandoms and cultural producers. Far from unprecedented, the show’s unexpected male audience reflects adults’ historic appreciation of media for children, the increased mainstreaming of animation, and the already infantilized persona of media fans. Aspects of the reimagined series reproduce characteristics of ‘quality television’ concerning characterization, genre, authorship and political intentionality. Simultaneously the show corresponds with overlapping aspects of cult television and cult cinema, crucially affording both cultural and subcultural value. Finally, examples of the series deliberately courting adult fan audiences are presented as reflecting reciprocal relationships between show producers and its mature viewers. The brony following consequently reflects changes in contemporary fandom dynamics, and the increasing mobility of twenty-first-century television viewing.

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Wagoner, Kimberly G., David M. Reboussin, Jessica L. King, Elizabeth Orlan, Jennifer Cornacchione Ross, and Erin L. Sutfin. "Who Is Exposed to E-Cigarette Advertising and Where? Differences between Adolescents, Young Adults and Older Adults." International Journal of Environmental Research and Public Health 16, no. 14 (July 16, 2019): 2533. http://dx.doi.org/10.3390/ijerph16142533.

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Little is known about differences between adolescents’ and adults’ exposure to e-cigarette advertising in various media channels, such as retail establishments, print, television, radio, and digital marketing. We examined the exposure to e-cigarette advertising in these channels amongst adolescents (13–17), young adults (18–25), and older adults (26+). Adolescents (N = 1124), young adults (N = 809), and adults (N = 4186) were recruited through two nationally representative phone surveys from 2014–2015. Lifetime e-cigarette advertising exposure was prevalent (84.5%). Overall, older adult males and older adult cigarette smokers reported the highest exposure to e-cigarette advertising (p < 0.001). Television was the largest source of exposure for all age groups. Adolescents and young adults had higher odds than older adults of exposure through television and digital marketing. However, adolescents had lower odds than young adults and older adults of exposure through retailers and print media. Although e-cigarette advertising appears to be reaching the intended audience of adult smokers, vulnerable populations are being exposed at high rates via television and digital marketing. Regulations aimed at curbing exposure through these media channels are needed, as are counter advertising and prevention campaigns.

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Marriott, S. "The audience of one: adult chat television and the architecture of participation." Screen 50, no. 1 (March 1, 2009): 25–34. http://dx.doi.org/10.1093/screen/hjn085.

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Mares, Marie-Louise, and Emory H. Woodard. "In Search of the Older Audience: Adult Age Differences in Television Viewing." Journal of Broadcasting & Electronic Media 50, no. 4 (December 2006): 595–614. http://dx.doi.org/10.1207/s15506878jobem5004_2.

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Bock, M. A., K. Rodgers, J. Harris, G. Munday, A. Uy, M. B. Galangco, B. Dotson, and R. Chavez. "Development of CD-Rom based modules for an adult audience: Lessons learned." Journal of the American Dietetic Association 101, no. 9 (September 2001): A—91. http://dx.doi.org/10.1016/s0002-8223(01)80305-9.

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Burkitt, Esther, Dawn Watling, and Lucy Murray. "Children's drawings of significant figures for a peer or an adult audience." Infant and Child Development 20, no. 6 (June 14, 2011): 466–73. http://dx.doi.org/10.1002/icd.735.

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Gregg, Noel, Susan A. Sigalas, Cheri Hoy, Joseph Wisenbaker, and Carolyn McKinley. "Sense of audience and the adult writer: A study across competence levels." Reading and Writing 8, no. 1 (February 1996): 121–37. http://dx.doi.org/10.1007/bf00423929.

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Ferreira, Victor S. "A Mechanistic Framework for Explaining Audience Design in Language Production." Annual Review of Psychology 70, no. 1 (January 4, 2019): 29–51. http://dx.doi.org/10.1146/annurev-psych-122216-011653.

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Audience design refers to the situation in which speakers fashion their utterances so as to cater to the needs of their addressees. In this article, a range of audience design effects are reviewed, organized by a novel cognitive framework for understanding audience design effects. Within this framework, feedforward (or one-shot) production is responsible for feedforward audience design effects, or effects based on already known properties of the addressee (e.g., child versus adult status) or the message (e.g., that it includes meanings that might be confusable). Then, a forward modeling approach is described, whereby speakers independently generate communicatively relevant features to predict potential communicative effects. This can explain recurrent processing audience design effects, or effects based on features of the produced utterance itself or on idiosyncratic features of the addressee or communicative situation. Predictions from the framework are delineated.

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Hedid, Souheila. "La didactique de l’orthographe en question : étude expérimentale avec un public adulte." Traduction et Langues 16, no. 1 (August 31, 2017): 27–35. http://dx.doi.org/10.52919/translang.v16i1.621.

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The didactics of spelling in question: experimental study with an adult audience Writing in all its forms guarantees the survival and persistence of human thought, which is how it is transmitted from generation to generation. At the heart of this practice, which is both social and individual, we see the emergence of the need to improve one's learning of spelling, the most obvious component of writing. In fact, with the emergence of Internet and the new means of communication, learning to spell is becoming more and more important. This study questions the dimension of this learning in an adult audience, it aims to identify what this teaching has as specific when it comes to the transmission of a foreign language to adults. The reflection initiated here refers to experimental research. The results of this didactic survey are analyzed with a qualitative methodology that allows the data to be interpreted according to several paradigms. The study of the FLE method used and the learning context gives us multiple analytical leads, the choice of a given approach depends on the characteristic elements of the corpus studied.

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Shchepilova, Galina, and Liudmila Kruglova. "Video Content on the Internet: Features of Audience Consumption." Theoretical and Practical Issues of Journalism 8, no. 2 (May 24, 2019): 342–54. http://dx.doi.org/10.17150/2308-6203.2019.8(2).342-354.

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The article presents the results of a study of the modern consumption of video content in the digital media environment by the Russian audience. The study was conducted in May-September 2018 and set itself the task of identifying the main preferences of the audience to the subject of video content, duration of viewing, attitudes to advertising, opportunities and willingness to pay for the watched video. The three-stage level of research using various methods made it possible to analyze the psychological and motivational features of video consumption by different age groups living in different populated areas; identify the degree of influence of technological factors. The level of video consumption in the Russian sector of the Internet is developing dynamically. This is especially true of the young audience, which is active in non-linear video viewing even without taking into account the geography of residence and the size of the settlement. This group uses the capabilities of the mobile Internet, which allow one to access the network anytime and anywhere. Consumption of video on the Internet by a more adult audience differs both within different age groups and in different Russian territories. There remains an open question about the possibilities of modifying and specifying the models for monetizing web-based content, taking into account the audience’s reaction to advertising and not explicitly indicated by the desire of the audience to pay for the content viewed. The solution to this problem seems to be particularly relevant due to the fact that the increase in the volume of the audience that turns to the Internet for video will undoubtedly increase. This is due to systemic trends in changing media consumption and is confirmed by an analysis of the dynamics of auditory behaviour in recent years.

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Bovitz, Laura. "Connecting and Communicating Effectively with Teens – An Online Survey of Teen Communication Styles." Journal of Youth Development 5, no. 2 (June 1, 2010): 83–89. http://dx.doi.org/10.5195/jyd.2010.223.

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The lives of most teens are rapidly changing and involve methods of communication that are unfamiliar to many adults. An online teen communication survey was developed to assess how and why teens communicate in order to assist adult educators in developing more effective methods of communication with this audience. The survey was completed by 148 teens ranging in age from 13 to 19. The results of the survey provide insight into teen viewpoints on their preferred methods of communication and provides valuable lessons for adults who work with this age group.

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Vintere, Anna, and Inese Ozola. "REVISITING GROUP WORK METHOD IN THE CONTEXT OF NON-FORMAL EDUCATION." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 313. http://dx.doi.org/10.17770/sie2020vol5.5020.

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The use of group work in non-formal education has been practiced for many years. Researchers mention that group work may be mutually beneficial for learners in terms of the acquired knowledge, however, group work participants might be carried away by dealing with relationships within the group. In recent years, various international projects of training courses for youth and adult educators choose learner-centred group work or workshop format instead of traditional teacher-centred lecturing style. Also, generation of millennials who are digital residents and are more accustomed to technologies and telephones than face-to-face interaction requires more detailed preparing of the activities of the group work. Young adults prefer to work with facilitators who are approachable, supportive, good communicators, and good motivators. According to the previous research results, during the work group learners develop critical thinking skills, time management skills, team work and presentation skills, tolerance and other skills. The present paper is an attempt to research the strengths and weaknesses of the group work method in non-formal education in the framework of two international project activities: Nordplus adult education project “Design thinking method for creative tackling unemployment” and international youth training of Erasmus+ project "You(th)r Culture". The conclusion gives the summary of the findings of the research, focusing on the benefits of using of the group work method for the multinational audience of adult educators and youth, as well as identifying the main differences in its implementation for the relevant audiences.

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Kazakova, Elena. "THE ENLIGHTENING HERO AND CHANGING MODELS OF KNOWLEDGE TRANSFER IN SOVIET CHILDREN’S NONFICTION LITERATURE OF THE 1920S." Children's Readings: Studies in Children's Literature 24 (2023): 408–27. http://dx.doi.org/10.31860/2304-5817-2023-2-24-408-427.

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This article examines the texts of children’s popular science literature, actively published in the first decades of the Soviet Union, the structure of which includes educational plots — situations of teaching, instruction, transfer of knowledge from one character to another. The image of an educator character with expert knowledge is highlighted, and a typology of such characters by age and source of expertise is proposed. The “young educator” is defined as a representative of the new Soviet society with a scientific consciousness, the source of expertise of which is study, and the “old educator” is defined as a person who is experienced rather than educated. The audience of educators can be represented by children and adults separately, or be mixed. Its differentiating characteristics are also determined by age: children are described through emphasizing their curiosity and receptivity to new knowledge, and adults, on the contrary, through resistance to enlightenment. It is shown that educational intentions can come from both an adult educator addressed to a children’s audience, and from a young educator addressed to an older audience. The relationship between the educator and the enlightened in a parent/child pair and in an uncle/nephew pair is also examined; it is revealed that the second type is portrayed in the literature as a more successful educational tandem due to the absence of subordination relations. The relationship between an adult and a child is conceptualized through the prism of the theory of cultural exchange and the theory of child agency. The significance of the role of the educator in a changing social context and the role of the agentic child, who is instructed not only to become an enlightened and active person of a new type, but also to engage in education in his immediate environment, is summarized.

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Clough, Sharice, Caitlin Hilverman, Sarah Brown-Schmidt, and Melissa C. Duff. "Evidence of Audience Design in Amnesia: Adaptation in Gesture but Not Speech." Brain Sciences 12, no. 8 (August 16, 2022): 1082. http://dx.doi.org/10.3390/brainsci12081082.

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Speakers design communication for their audience, providing more information in both speech and gesture when their listener is naïve to the topic. We test whether the hippocampal declarative memory system contributes to multimodal audience design. The hippocampus, while traditionally linked to episodic and relational memory, has also been linked to the ability to imagine the mental states of others and use language flexibly. We examined the speech and gesture use of four patients with hippocampal amnesia when describing how to complete everyday tasks (e.g., how to tie a shoe) to an imagined child listener and an adult listener. Although patients with amnesia did not increase their total number of words and instructional steps for the child listener, they did produce representational gestures at significantly higher rates for the imagined child compared to the adult listener. They also gestured at similar frequencies to neurotypical peers, suggesting that hand gesture can be a meaningful communicative resource, even in the case of severe declarative memory impairment. We discuss the contributions of multiple memory systems to multimodal audience design and the potential of gesture to act as a window into the social cognitive processes of individuals with neurologic disorders.

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Katona, Eszter. "La importancia del guiñol dentro del mundo lorquiano." Acta Hispanica 17 (January 1, 2012): 71–78. http://dx.doi.org/10.14232/actahisp.2012.17.71-78.

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Federico García Lorca was a versatile artist, known as a musiáan, poet, dramatist, essaywriter, and the director and actor of the Barraca Troupe, to mention only some important moments of his short but outstanding artistic career. Since his poems and dramas are well known amongst the Hungarian audience, instead of repeating clichés, this study selected a segment of Lorca's life work that is still considered a foster child among literary genres. This genre is the puppet-theatre, which always played a significant role in Lorca's life. The roots of this enthusiasm must be sought in his childhood, while as an adult ljorca consciously tried to search and pass on his knowledge of the tradition ofpuppet-shows and also lullabies. With the revival of such folk-rooted, andent cultural treasures, the Andalusian artist wanted to guide his audience back to childhood innocence untouched by riviligation. Avant-garde movements from the beginning of the century were also familiar with the genre of puppet-theatre. Several Spanish litterateurs (Jarinto Benavente, Valle In clan, Rafael Alberti, Jacinto Grau) wrote plays especially for puppets, mostly —and surprisingly differing from our contemporary perception of puppet shows— for adult audiences. Lorca's life work includes four surviving works written for puppet-theatre (Cristobícal, Ta tragicomedia de Don Cristóbal y la seña Rosita, La niña que riega la albahacay el príncipe preguntón, Retablillo de Don Cristóbal), this study willfocus on presenting these plays.

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Rozema, Robert. "The Book Report, Version 2.0: Podcasting on Young Adult Novels." English Journal 97, no. 1 (September 1, 2007): 31–36. http://dx.doi.org/10.58680/ej20076219.

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Rozema promotes the educational potential of the student-produced podcast—a genre with an authentic audience and out-of-school applicability. Podcasting allows students to cultivate creative, efficient writing when delving into literary works. Students write, revise, collaborate on, and produce book-talk podcasts about young adult novels such as Feed by M. T. Anderson.

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Chen, Shaopeng. "How narrative techniques attract young parents: The refiguration of Logger Vick in the Chinese 3D animated film, Boonie Bears: To the Rescue." Journal of Screenwriting 12, no. 1 (March 1, 2021): 75–94. http://dx.doi.org/10.1386/josc_00049_1.

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This article analyses the screenwriting of Boonie Bears: To the Rescue (2014), a film version of the Chinese 3D animated adventure TV series, Boonie Bears. The child-oriented principle of storytelling is one of the most distinctive features of full-length Chinese animated films, especially those produced over the past decade. Within this context, Boonie Bears: To the Rescue epitomizes how Chinese animators are striving to expand the scope of their target audience from children to parent–child groups through the development of narrative competence. This article explores how the arrangement of narrative techniques helps to attract young parents (in their late 20s and early 30s) to cinemas while also retaining the child audience. These endeavours are primarily represented by the refiguration of Logger Vick, the main antagonist in the Boonie Bears animated TV series, who is transformed from a thoroughly wicked villain to a living, ordinary person who could be considered to be the ‘spokesperson’ for young Chinese adults. In this way, the screenwriting techniques in the film strike a responsive chord in the hearts of its adult viewers, thereby broadening the range of its original (TV series) target audience.

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Mosher, Stephen D. "Fielding Our Dreams: Rounding Third in Dyersville." Sociology of Sport Journal 8, no. 3 (September 1991): 272–80. http://dx.doi.org/10.1123/ssj.8.3.272.

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While contemporary American sport films seem to be targeting the adolescent audience for a message of empowerment, a smaller group of sport films seems to have reached out to the adult audience with the “preposterous” claim that sport allows us opportunities for personal redemption. Through interviews conducted at the Dyersville, Iowa, site of Fields of Dreams, a critical examination of several contemporary adult baseball films, and analysis of the Pete Rose saga, I hope to show that the opportunity for personal redemption is not only possible but in fact is a primary function of all sport. When asked in Field of Dreams by Shoeless Joe Jackson, “Is this heaven?” Ray Kinsella responds, “No, it’s Iowa.” I maintain that the predominant mythos in contemporary sport is that, indeed, it is heaven.

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Adepoju, Tunji. "Personal and Environmental Variables as Predictors of Adult Audience’ Attitude Towards Broadcast News." Pakistan Journal of Social Sciences 7, no. 2 (February 1, 2010): 81–84. http://dx.doi.org/10.3923/pjssci.2010.81.84.

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Brunner, Marie-Louise. "‘You’ll need help from your adult assistant’: Readership accommodation in children’s recipes." Text & Talk 39, no. 4 (July 26, 2019): 441–63. http://dx.doi.org/10.1515/text-2019-2035.

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Abstract This article investigates how children’s recipes are adapted structurally and linguistically for their young readership. It is based on comparative data, using 24 children’s and 24 adults’ versions of the same recipes, and additional online and printed children’s recipes as reference. Even though recipes have been researched extensively, research on recipes for children in particular is rare. Based on general research on facilitation methods in recipe writing, the article analyzes how children, as the target readership, are accommodated in the analyzed recipes and how they differ from recipes intended for adults. Findings suggest that children’s recipes often have an appealing title, are more detailed and clearer, and use visual support. There is a tendency to reduce presuppositions and include additional advice. However, they seem less consistent than adult recipes and, in contrast to the general trend for accommodation, often use technical terminology without further explanations. The request for an adult helper distinguishes children’s from adults’ recipes and serves as a differentiating feature. These findings indicate that children’s recipes are adapted to the particular context and needs of a young and inexperienced audience.

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Kania, Agnieszka. "Smak zielonych pomarańczy. O książce Małgorzaty Chrobak Bohater literatury dziecięcej i młodzieżowej z okresu PRL-u. Między kreacją a recepcją, Kraków 2019." Paidia i Literatura, no. 3 (December 31, 2021): 1–8. http://dx.doi.org/10.31261/pil.2021.03.19.

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The article discusses the content of the book by Małgorzata Chrobak, The Hero of Polish Children’s and Young Adult Literature from the PRL Period. Between Creation and Reception, valuable for a diverse audience, including young researchers of literature. The author of the review emphasizes the cognitive value of the first chapter of the monograph, which contains a description of the customs of the PRL period, thanks to the analysis of contemporary works for a young audience set in socialist Poland. Next, the content of the second chapter of the book, which deals with the definition of young adult literature from various perspectives, is presented. The third chapter, entitled “The Hero of Young Adult Literature in the Face of Initiation”, written in the spirit of cultural poetics, is a successful analysis of the creation of several heroes from novels from the PRL period. In the last, fourth chapter of the book, Agnieszka Kania notices a certain lack of examples in an interestingly thought-out and presented clash of the heroes with various aspects of the reality of the People’s Republic of Poland.

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Voćkić Avdagić, Jelenka. "Medijsko obrazovanje odraslih." Obrazovanje odraslih/Adult Education, no. 2 2015 (2016): 11–24. http://dx.doi.org/10.53617/issn2744-2047.2015.15.2.11.

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Education in the field of method and form of communication is the basis of social understanding and an important part of the answer to the question of the possibilities and ways of (self)protection of citizen from the constant flow of new information, commercial interests and, in general, huge amount of „unfiltered” information, whose value they must evaluate themselves. That is why media education should be perceived as a part of the basic rights of every citizen and the media literacy, which is in our country mainly depending on donations and often comes down to the formalization of some of its aspects (industry, messages, media communication, audience, influence...). Furthermore, it must be a part of public policy, despite the fact that the political and economic elite are not interested in changing anything essential in that field.

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Voino-Danchyshyna, O. "Adult Education: Organizational Approaches Under Uncertainty." New Collegium 2, no. 104 (April 1, 2021): 67–73. http://dx.doi.org/10.30837/nc.2021.2.67.

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Education, undoubtedly, is recognized as determining the social configuration of each state. Most countries of the world are intensively developing and improving the adult education system as an important element of lifelong learning that ensures the development of society. The concept of lifelong education is viewed as a system of the future, which should become the basis for sustainable development, ensuring stability in society, socialization of a person in a changing social environment. Globalization world processes also have a significant impact on education. At the same time, individual education systems should take into account national and cultural characteristics when developing adult education programs so that universalization is combined with existing diversity. The article analyzes the main directions of adult education such as obtaining a second higher education, business education and training for people of the third age. The specifics of the adult audience, the specifics of the work of teachers, the content of curricula and teaching methods are considered. When writing the article, the experience of working with adults, accumulated at the People's Ukrainian Academy, which is a complex of continuous education, in which the adult education system is logically inscribed, was used and generalized. The need to improve the national system of postgraduate education is expressed. We are talking about creating a unified regulatory framework for adult education, changing sectoral legislation, optimizing the structure of additional postgraduate education.

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Brügger, R. K., T. Kappeler-Schmalzriedt, and J. M. Burkart. "Reverse audience effects on helping in cooperatively breeding marmoset monkeys." Biology Letters 14, no. 3 (March 2018): 20180030. http://dx.doi.org/10.1098/rsbl.2018.0030.

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Cooperatively breeding common marmosets show substantial variation in the amount of help they provide. Pay-to-stay and social prestige models of helping attribute this variation to audience effects, i.e. that individuals help more if group members can witness their interactions with immatures, whereas models of kin selection, group augmentation or those stressing the need to gain parenting experience do not predict any audience effects. We quantified the readiness of adult marmosets to share food in the presence or absence of other group members. Contrary to both predictions, we found a reverse audience effect on food-sharing behaviour: marmosets would systematically share more food with immatures when no audience was present. Thus, helping in common marmosets, at least in related family groups, does not support the pay-to-stay or the social prestige model, and helpers do not take advantage of the opportunity to engage in reputation management. Rather, the results appear to reflect a genuine concern for the immatures' well-being, which seems particularly strong when solely responsible for the immatures.

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Journal articles on the topic 'Adult audience'

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