Relevant bibliographies by topics / Young adult audiences

Academic literature on the topic 'Young adult audiences'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Young adult audiences"

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Omasta, Matt. "Adult Stakeholder Perspectives on Social Issues in Theatre for Young Audiences." Youth Theatre Journal 29, no. 1 (January 2, 2015): 73–86. http://dx.doi.org/10.1080/08929092.2015.1018470.

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Joosen, Vanessa. "Writing when Young: Bart Moeyaert as a Young Adult Author." European Journal of Life Writing 10 (December 6, 2021): BB65—BB83. http://dx.doi.org/10.21827/ejlw.10.38163.

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Duet met valse noten (1983) started as a diary when Bart Moeyaert was twelve years old. After it was disclosed by an older brother, Moeyaert rewrote it during his teenage years as a novel about first love. This article studies the genesis and early reception of Moeyaert’s novel to reflect on young authors who fictionalize real-life experiences and desires. On the one hand, they are credited for being experts on youth and said to have a particular appeal to young audiences for that reason. On the other hand, when texts by young authors are published, they are often edited and mediated by adult professionals. For some scholars, such adult intervention compromises the authenticity of the young author’s voice, while others argue that having your work revised is an inherent part of being published. The genesis of Duet met valse noten displays a complex interaction involving several actors, including young voices. The deletion of controversial passages (a toilet scene, the longing for cigarettes and sexual scenes) illustrates this complexity: the decision to adapt them was only in part governed by adults, and while the young Moeyaert was dissatisfied with some revisions, they also contributed to his aesthetics as a poetic rather than explicit writer.
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Evans, Tania. "Full Moon Masculinities: Masculine Werewolves, Emotional Repression, and Violence in Young Adult Paranormal Romance Fiction." Gothic Studies 21, no. 1 (May 2019): 28–39. http://dx.doi.org/10.3366/gothic.2019.0005.

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Gothic monsters have recently experienced a period of focused scholarly analysis, although few studies have engaged with the werewolf in terms of its overt alignment with masculinity. Yet the werewolves of young adult fantasy fiction both support and subvert dominant masculine discourses through their complex negotiation with emotional repression and violence. These performative masculine practices are the focus of this article, which analyses how hegemonic masculine ideals are reinforced or rejected in a corpus of young adult fantasy texts, including Cassandra Clare's young adult series The Mortal Instruments (2007–2014) and Stephenie Meyer's Twilight Saga (2005–2010). Both texts feature masculine characters whose lycanthropic experiences implicitly comment upon gender norms, which may shape young adult audiences' understanding of their own and others' gender identities.
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Cronshaw, Darren. "Beyond Divisive Categorization in Young Adult Fiction: Lessons from Divergent." International Journal of Public Theology 15, no. 3 (October 27, 2021): 426–45. http://dx.doi.org/10.1163/15697320-01530008.

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Abstract Veronica Roth’s Divergent is a young adult fiction and movie franchise that addresses issues of political power, social inequity, border control, politics of fear, gender, ethnicity, violence, surveillance, personal authenticity and mind control. It is possible a large part of the popularity of the series is its attention to these issues which young Western audiences are concerned about. The narrative makes heroes of protagonists who become activists for justice and struggle against oppressive social-political systems. What follows is a literary analysis of Divergent, evaluating its treatment of public theology and social justice themes, and discussing implications for Christian activism, especially for youth and young adults. It affirms the ethos in the books of resisting oppression, and questions assumptions about gender and abuse, violence and imperial control, personal authenticity and categorization, and difference and sameness.
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Gubar, Marah. "On Not Defining Children's Literature." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 209–16. http://dx.doi.org/10.1632/pmla.2011.126.1.209.

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As Roger Sale has wryly observed, “everyone knows what children's literature is until asked to define it” (1). The Reasons WHY this unruly subject is so hard to delimit have been well canvassed. If we define it as literature read by young people, any text could potentially count as children's literature, including Dickens novels and pornography. That seems too broad, just as defining children's literature as anything that appears on a publisher-designated children's or “young adult” list seems too narrow, since it would exclude titles that appeared before eighteenth-century booksellers such as John Newbery set up shop, including the Aesopica, chapbooks, and conduct books. As numerous critics have noted, we cannot simply say that children's literature consists of literature written for children, since many famous examples—Huckleberry Finn, Peter Pan, The Little Prince—aimed to attract mixed audiences. And, in any case, “children's literature is always written for both children and adults; to be published it needs to please at least some adults” (Clark 96). We might say that children's literature comprises texts addressed to children (among others) by authors who conceptualize young people as a distinct audience, one that requires a form of literature different in kind from that aimed at adults. Yet basing a definition on authorial intention seems problematic. Many famous children's writers have explicitly rejected the idea that they were writing for a particular age group, and many books that were not written with young people in mind have nevertheless had their status as children's or young adult literature thrust upon them, either by publishers or by readers (or both).
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Stone, Albert E. "Children, Literature, and the Bomb." Prospects 19 (October 1994): 189–223. http://dx.doi.org/10.1017/s036123330000510x.

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If hiroshima as fact and metaphor marks a turning point of modern secular and spiritual history, what has this fact meant to American children and youth? The thinkable event with the unthinkable implications has, for four decades and more, offered unique challenges and opportunities to all sorts of writers working in popular and esoteric forms with adult audiences. One of the least esoteric but most neglected of these literary forms is children's books, written and illustrated, for the very young and for adolescents. As with works for adults, writings for children are rich sources of cultural information on and attitudes about the nuclear age. They create, vicariously but affectively, informative and imaginative encounters with earthshaking events and their aftershocks long antedating young consciousnesses but present in children's lives as adult conversations, media messsages, and significant silences. Such books often build early imaginal memories on which adult thought and feeling about the Bomb are deeply based.
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Šimić, Mirna Leko, and Ana Pap. "Insights into Classic Theatre Market Segments." Naše gospodarstvo/Our economy 66, no. 4 (December 1, 2020): 50–62. http://dx.doi.org/10.2478/ngoe-2020-0023.

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Abstract Marketing segmentation is one of the key strategic elements in marketing planning that helps identifying key consumer groups and their characteristics and enables the adaptation of marketing strategies to different target consumers. The aim of this paper is paper aims to segment classic theatre audiences based on their attendance frequency and identify major socio-demographic characteristics of each segment. A self-completion questionnaire was developed upon analysis of previous studies and was distributed to the population in an area of about 50 km around Osijek. The research was conducted on a convenient sample, using an in-person method in two different intervals: in the first interval, research was conducted on young respondents (18-34), and in the second interval, research was conducted on adult respondents (age 35+). Altogether 1315 participants took part in the research. Statistical techniques of univariate analysis (frequency distribution and central tendency measures), ANOVA, and two-step cluster analysis were used. The results of the study have identified six classic theatre segments: young theatre friends, young theatre acquaintances, young theatre strangers, adult theatre friends, adult theatre acquaintances, adult theatre strangers. Each segment is described in detail by their geographic (distance from the venue), demographic (age, income, marital status, education, employment) and psychographic characteristics (social activities, free time spending, and informing gathering about classic theatre offer) characteristics. The research results emphasized the differences in classic theatre audiences, which calls for continuous market segmentation in order to ensure timely recognition of consumer trends and changes in preferences. This would enable theatre management to adapt and implement adequate marketing initiatives and strategies.
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Campo, Shelly, Natoshia M. Askelson, Knute D. Carter, and Mary Losch. "Segmenting Audiences and Tailoring Messages." Social Marketing Quarterly 18, no. 2 (June 2012): 98–111. http://dx.doi.org/10.1177/1524500412450490.

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Half of all pregnancies in young adult women are unintended, but few interventions have been successful in encouraging contraceptive use. The group heterogeneity likely contributes to the lack of success. Segmenting based on theories that provide meaningful information may improve tailoring and targeting of behavioral interventions. Previous research has indicated that threat, efficacy, and fear were important factors in influencing intentions to use contraceptives; therefore, the extended parallel process model (EPPM) was used for this cluster analysis. A telephone survey of randomly selected 18- to 30-year-old women in Iowa was conducted ( N = 401). The constructs of EPPM and age were used for conducting a K means cluster analysis with four clusters. The cluster analysis pointed to the importance of fear, perceived susceptibility, and age. All of the clusters had varying degrees of ambivalence about the severity of a pregnancy. Cluster 1 (27.8%) had high susceptibility, with little fear. Cluster 2 (23.8%) had high efficacy and higher fear. The third cluster (34.7%) was not fearful and had low susceptibility. The final cluster (13.8%) was younger than the other groups and had the lowest efficacy. Additional analyses were conducted to explore how the clusters varied on other variables. The clusters help campaign developers prioritize audiences and tailor messages.
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Dearn, Lucy K., and Stephanie E. Pitts. "(Un)popular music and young audiences: Exploring the classical chamber music concert from the perspective of young adult listeners." Journal of Popular Music Education 1, no. 1 (March 1, 2017): 43–62. http://dx.doi.org/10.1386/jpme.1.1.43_1.

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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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Dissertations / Theses on the topic "Young adult audiences"

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Abramson, Joel D. "Radio| Reaching young adult audiences, what are the challenges and opportunities for radio programmers in cultivating young adult audiences in the current media environment?" Thesis, San Jose State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1567975.

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As young adults have adopted the use of digital new media technologies, previous scholarly research has predicted a lack of interest by young adults in traditional media, including radio. This waining interest in traditional media by young adults has also been reported in the popular press. An abandonment of radio by young adults could bring about an eventual decline in audience, resulting in adverse economic effects to the broadcast radio industry and related industries, including a decrease in radio revenues, the deflation in the value of radio properties, and potential job loss. This research examined the challenges radio programmers and marketers feel they are having in reaching out to and growing young adult audiences in the face of competition from new media and new media technologies as well as new opportunities for programming and marketing that these new media present. This research surveyed websites and interviewed radio broadcasters in the San Francisco Bay Area who demonstrated success in marketing to young adults in an attempt to ascertain the challenges and new opportunities in reaching and cultivating radio listeners is presented by new media. It was found that these San Francisco Bay Area radio stations are using new media tools to market and program to young adult listeners, and that these tools are key in keeping the radio medium robust.

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Badali, Melanie. "Experimenter audience effects on young adults' facial expressions during pain." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/785.

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Facial expression has been used as a measure of pain in clinical and experimental studies. The Sociocommunications Model of Pain (T. Hadjistavropoulos, K. Craig, & S. Fuchs-Lacelle, 2004) characterizes facial movements during pain as both expressions of inner experience and communications to other people that must be considered in the social contexts in which they occur. While research demonstrates that specific facial movements may be outward manifestations of pain states, less attention has been paid to the extent to which contextual factors influence facial movements during pain. Experimenters are an inevitable feature of research studies on facial expression during pain and study of their social impact is merited. The purpose of the present study was to investigate the effect of experimenter presence on participants’ facial expressions during pain. Healthy young adults (60 males, 60 females) underwent painful stimulation induced by a cold pressor in three social contexts: alone; alone with knowledge of an experimenter watching through a one-way mirror; and face-to-face with an experimenter. Participants provided verbal self-report ratings of pain. Facial behaviours during pain were coded with the Facial Action Coding System (P. Ekman, W. Friesen, & J. Hager, 2002) and rated by naïve judges. Participants’ facial expressions of pain varied with the context of the pain experience condition but not with verbally self-reported levels of pain. Participants who were alone were more likely to display facial actions typically associated with pain than participants who were being observed by an experimenter who was in another room or sitting across from them. Naïve judges appeared to be influenced by these facial expressions as, on average, they rated the participants who were alone as experiencing more pain than those who were observed. Facial expressions shown by people experiencing pain can communicate the fact that they are feeling pain. However, facial expressions can be influenced by factors in the social context such as the presence of an experimenter. The results suggest that facial expressions during pain made by adults should be viewed at least in part as communications, subject to intrapersonal and interpersonal influences, rather than direct read-outs of experience.
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Patchen, Amie K. "Among the Authentic Audience: Young Adults’ Perceptions and Responses to Youth as Scientists." Thesis, Boston College, 2017. http://hdl.handle.net/2345/bc-ir:107615.

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Thesis advisor: George M. Barnett
Lifelong science learning is important for making informed decisions on science topics, and there is a need to engage broader and more diverse audiences with science. One opportunity for engagement occurs when students share science topics with a public audience. Research indicates this interaction can have benefits for students, but little is known about the impact it may have on audience members’ thoughts about science. Youth are different from typical sources of science information, and may elicit different reactions. This dissertation examines the impact youth sources may have on adults’ perceptions of and responses to science topics. Young adults (N = 399) were randomly assigned to one of two scenarios. Both scenarios stated two individuals would describe research they had done about local air quality on the news. One scenario identified the individuals as local high school students, and the other as research scientists from a local institution. Dependent variables included perceptions of the warmth and competence of the presenters, expectations of the quality of the information they would share, willingness to take action based on that information, and general trust in scientists. A subset of participants (N=22) was selected for cognitive interviews and asked to explain the thoughts that influenced their survey responses. Results showed multiple reactions to the scenario. Three groups were identified in the perceptions data: one expressed trust in the presenters, one expressed skepticism, and one based their perceptions on personal experiences doing science. Participants said intertwined thoughts about trust in scientists and assumptions about the presenters’ intentions influenced perceptions, with an overall assumption that youth would have good intentions while adults might not. Participants did not appear to separate their expectations of the information from the people who would share it. However, their willingness to take action was related to the action, not the presenter or information. Findings suggest youth may be an avenue for engaging individuals who have lower trust in typical science information sources. Implications for science education and communication are discussed
Thesis (PhD) — Boston College, 2017
Submitted to: Boston College. Lynch School of Education
Discipline: Teacher Education, Special Education, Curriculum and Instruction
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Peckham, Renne Ruth. "Audience interpersonal identification with the television series Friends as it is reflected in avid viewers within the Twixter life stage /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.

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Montaña, Blasco Mireia. "Els joves adults com a consumidors i target dels mitjans publicitaris." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/108038.

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Avui dia, el món publicitari està vivint una sèrie de canvis trascendentals. Aquests vénen donats, principalment, per dos motius: l’auge de les noves tecnologies i la greu crisi econòmica que estem patint a nivell mundial. Aquesta recerca té com a objectiu conèixer els Joves Adults (JA) com a target publicitari, de la planificació de mitjans i com a consumidors de béns i serveis. Hem volgut centrar la tesi en els JA en general i veure quines diferències i similituds hi ha entre els JA urbans i aquells que viuen en ciutats de menys de 50.000 habitants (JAR). Trobem necessària fer aquesta distinció, ja que hem pogut constatar que la majoria d’estudis recents sobre publicitat i/o mitjans es centren massa en les grans ciutats o capitals. Creiem que estudiar com són aquest JA de ciutats més petites, individus que representen gairebé la meitat (47%) dels JA espanyols, és indispensable per tal de comprendre el col•lectiu de la manera més completa possible. Per fer l’estudi del cas, contraposem les dades quantitatives extretes d’AIMC Marcas per ambdós targets, els JAU i els JAR de i les complementem amb un estudi qualitatiu. Aquest es basa en entrevistes en profunditat entre els JA, així com un panell Delphi per tal d'aprofundir en les opinions de diferents professionals de la planificació de mitjans de les principals agències de l'estat.
Hoy en día, el mundo publicitario está viviendo una serie de cambios trascendentales. Estos vienen dados, principalmente, por dos motivos: el auge de las nuevas tecnologías y la grave crisis económica que estamos sufriendo a nivel mundial. Esta investigación tiene como objetivo conocer los Jóvenes Adultos (JA) como target publicitario, de la planificación de medios y como consumidores de bienes y servicios. Hemos querido centrar la tesis en los JA en general y ver qué diferencias y similitudes hay entre los JA urbanos y aquellos que viven en ciudades de menos de 50.000 habitantes (JAR). Encontramos necesaria hacer esta distinción, ya que hemos podido constatar que la mayoría de estudios recientes sobre publicidad y/o medios se centran demasiado en las grandes ciudades o capitales. Creemos que estudiar cómo son estos JA de ciudades más pequeñas, individuos que representan casi la mitad (47%) de los JA españoles, es indispensable para comprender el colectivo de la manera más completa posible. Para hacer el estudio del caso, contraponemos los datos cuantitativos extraídos de AIMC Marcas para ambos targets, los JAU y los JAR y los complementamos con un estudio cualitativo. Este se basa en entrevistas en profundidad entre los JA, así como un panel Delphi para profundizar en las opiniones de diferentes profesionales de la planificación de medios de las principales agencias del estado.
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Willers, Annika. "Snacking on different views : The potential of tagesschau.de in offering multiple perspectives in news overview elements to a young adult audience." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77623.

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In this paper a news site’s potential of meeting conflicting needs is considered. Snacking - hencereading news in a quick selective style - is one trend among young readers which seems to be inconflict with assessing the credibility of news, which in turn depends on receiving multipleperspectives or viewpoints among the issues read. As young audiences neither want to beforced to put more effort into news reading, nor want to receive news in a single-layered way,satisfaction with the news is hampered. Therefore, the aim of this study is to investigate acurrent news site’s potential in complying with both needs: snacking on the one hand andreceiving multiple perspectives on the other. As research case, the German public service newssite tagesschau.de is investigated in two methodological approaches. In a content analysis thepotential of the news site is assessed by analyzing ways of presenting perspectives in snacknews element. In a reception study this potential is reassessed by a young audience sample. Itwas found that perspectives indeed are presented in snack news elements in direct or indirectforms, often represented by different sources than the journalist’s. However, it shows that thesepresentations of perspectives not always reach the audience. Members of the audience leaveout many elements that could be snacked on, and stick to headlines for the main part. Thisimplies that they miss multiple perspectives offered in elements suitable for snacking, such ashyperlinks. In order to offer multiple perspectives to snacking news readers, more controversyshould be indicated in headlines, comparisons of perspectives should be made easier and linksshould be more relevant by leaving out aspects perceived as unnecessary and by representingsources in a better balance.
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Murray, Caitlin. "Do You Fit the Alloy Mold? The Homogenization of Structure and Audience in the Television Adaptations of 'Gossip Girl,' 'Pretty Little Liars,' and 'The Vampire Diaries'." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3064.

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This thesis explores the ways in which the television adaptations of Gossip Girl, Pretty Little Liars, and The Vampire Diaries become more homogenized during the adaptation process, thus contributing to an implied exclusivity from which Alloy, Inc.—the media and marketing company that owns these products—might benefit. This paper points out the ways in which the three products become structurally similar to one another during the adaptation process through the implementation of soap opera conventions. An exploration of consumption and class in each of the three works reveals an emphasis on class-based exclusivity in the adaptation process. Finally, a focus on portrayals of race within the source texts and their respective adaptations reveals the ways in which African American characters are presented as invisible, outsiders, or antagonists, thus creating products that become more exclusive on a race basis.
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Stanke, Maria Helena. "Boktrailern : varför marknadsföra text med ljud och bild?" Thesis, University West, Department of Economics and IT, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-2607.

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Syftet med den här uppsatsen är att introducera boktrailern som fenomen och marknadsföringsmetod. Likheter mellan boktrailern, bokomslaget och filmtrailern undersöks för att ge en bild av hur en "typisk" boktrailer ser ut och vilka funktioner den kan tänkas ha. Uppsatsen utforskar även boktrailerns möjligheter att nå ut till olika målgrupper i olika åldrar, samt pekar på svårigheter med att definiera en målgrupp. Ungdomslitteratur och fantasygenren kopplas samman med boktrailern och exempel ges på hur författare och förlag kan skapa relationer till läsare via Internet. Generella riktlinjer ges för vad som bör tänkas på för att tilltala flest potentiella läsare när en boktrailer används eller utformas. Boktrailerns förmåga att nå ut till unga, motvilliga läsare, som slutat läsa till fördel för bildbaserade berättarformer såsom filmer och datorspel, utforskas. Slutsatsen framhåller fördelarna med att marknadsföra böcker med ljud och bild.


The purpose of this paper is to introduce the book trailer as a phenomenon and method of marketing. Similarities between the book trailer, the book cover and the movie trailer are examined to show how a "typical" book trailer looks and what functions it possibly has. The paper also explores the book trailer’s prospects of reaching different audiences in different age groups. It also points to difficulties in defining an audience. Young adult literature and the fantasy genre are linked to the book trailer and examples are given on how authors and publishers can establish relationships with readers through the Internet. General guidelines are given for what should be considered to appeal to as many potential readers as possible when a book trailer is being used or designed. The book trailer's ability to reach young, reluctant readers, who have given up on reading to the benefit of image based storytelling like movies and computer games, are explored. The conclusion highlights the advantages of promoting books with audio and video.

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Bugaeva, Evgeniya. "Translating Françoize Boucher’s Le Livre Qui t’Explique Enfin Tout sur les Parents for US Audiences: Playing with Words and Images." 2015. https://scholarworks.umass.edu/masters_theses_2/139.

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The focus of this thesis is my translation of Le livre qui t'explique enfin tout sur les parents by Françoize Boucher from French into English. Chapter one begins with a brief history and definition of children’s literature, as well as children’s literature in translation. I discuss the subgenre of informational picturebooks—its objectives, characteristics, and current trends. What follows is a short biographic and bibliographic sketch of Françoize Boucher. Then, I discuss the content, format, style, and illustrations of Le livre qui t'explique as well as examine the work’s audience, aims, and values. Finally, I discuss my English translation of the work—providing an overview of the translation strategies and methodologies that I used. Chapter two focuses on specific challenges encountered during the translation process. The chapter begins with the challenge of translating culturally significant topics such as French cultural references, brands, slang, and metric measurements. Then, I discuss the translation of linguistically bound terms such as wordplay, the use of English in a French text, and onomatopoeia. Finally, I discuss the translation of taboo subjects. Chapter three is my complete English-language translation: The Book That Finally Explains About Your Parents.
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Oliveira, Menezes Natassja. "Le développement du public jeune universitaire pour la musique classique à Montréal." Thèse, 2015. http://hdl.handle.net/1866/14046.

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Des recherches au Québec (Garon, 2009), en France (Donnat, 2011) et aux États-Unis (Kolb, 2001) confirment un état de fait général: le vieillissement du public de la musique classique. Si le public du répertoire est reconnu pour posséder un haut niveau d’études, pourquoi les étudiants universitaires de nos jours ne sont-ils pas plus présents dans les salles de concert ? Cette étude explore cette problématique d’abord par une recherche historique et par des entrevues auprès de certains des organismes de musique classique à Montréal, et ce afin de comprendre leurs stratégies de développement des publics concernés de 2004 à 2014. Ensuite, par un sondage auprès de 555 étudiants universitaires de la ville, pour faire un portrait de leur relation avec la musique à l’heure actuelle. Notre analyse, appuyée par une bibliographie en sociomusicologie et en sociologie des pratiques culturelles, confirme des tendances comme celle de l’«omnivorisme culturel» et l’éclectisme musical des jeunes universitaires. Elle nous montre aussi une réception positive des œuvres classiques, quoiqu’incompatible avec les critères esthétiques des genres musicaux favoris. À partir de ce paradoxe, nous étudions la force des motivations extramusicales qui les amènent aux concerts, leurs formats préférés, l’impact de l’éducation musicale, l’influence des parents, de l’internet, des nouvelles technologies. Finalement, nous constatons le nombre peu élevé d’initiatives des organismes musicaux dans le milieu universitaire à Montréal qui, pourtant, se montre un bassin au grand potentiel pour le renouvellement des publics de la musique classique.
Research conducted in Quebec (Garon, 2009), France (Donnat, 2011) and the United States (Kolb, 2001) confirm a general phenomenon: the classical music audience is aging. If such audiences are mainly known for having a high level of education, then why aren’t university students nowadays more present in classical music concert halls? This study explores the issue firstly by historical research and interviews with classical music organizations in Montreal in order to understand their audience development strategies from 2004 to 2014. Secondly, we explore it through a survey with 555 university students in the city to document their relationship with music. Our analysis, supported by a bibliography of Sociomusicology and Sociology of Cultural Practices, confirms trends such as the “cultural omnivorism” and the musical eclecticism of young academics. It also shows us a positive reception of classical works, although incompatible with the aesthetic criteria used to describe their favorite music genres. From this paradox, we study the strength of extra-musical motivations that lead them to go to live concerts. We also examine their favorite concert formats, as well as the impact of music education on their tastes, the influence of the parents, the internet and the new technologies. Finally, we confirm the low investment in activities among university students by the classical music organizations in Montreal, even though young academics represent a great potential for the renewing of classical music audiences.
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Books on the topic "Young adult audiences"

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Ellis, Roger, 1943 May 18-, ed. New international plays for young audiences: Plays of cultural conflict. Colorado Springs, Colo: Meriwether Pub., 2002.

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Bush, Max. Plays for young audiences: Featuring The emerald circle and other plays. 2nd ed. Colorado Springs, CO: Meriwether Pub., 2006.

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Bush, Max. Plays for young audiences: Featuring The emerald circle and other plays. Colorado Springs: Meriwether Pub., 1995.

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Ellis, Roger, 1943 May 18-, ed. International plays for young audiences: Contemporary works from leading playwrights. Colorado Springs, CO: Meriwether Pub., 2000.

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Bush, Max. Plays for young audiences: Featuring The emerald circle and other plays. 2nd ed. Colorado Springs, CO: Meriwether Pub., 2006.

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1933-, Jennings Coleman A., ed. Nine plays by José Cruz González: Magical realism and mature themes in theatre for young audiences. Austin: University of Texas Press, 2008.

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Surface, Mary Hall. Most valuable player and four other all-star plays for middle and high school audiences. Lyme, NH: Smith and Kraus, 1999.

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Bennett, Cherie. Anne Frank & me: A new play for multigenerational audiences. Woodstock, Ill: Dramatic Pub., 1997.

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Gottesfeld, Jeff. 10 by 10: Ten ten-minute plays by ten leading playwrights for young audiences, each inspired by one of the Ten Commandments. Woodstock, Ill: Dramatic Pub., 2004.

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Signifying female adolescence: Film representations and fans, 1920-1950. Westport, CT: Praeger, 2000.

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Book chapters on the topic "Young adult audiences"

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Mills, Brett. "‘Shoved Online’: BBC Three, British Television and the Marginalisation of Young Adult Audiences." In Media, Margins and Popular Culture, 219–31. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137512819_15.

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Mathijssen, Jolanda, Sandra Kuiper, and Meriam Janssen. "Young Adults and Alcohol: An Explorative Audience Segmentation Analysis." In Segmentation in Social Marketing, 161–77. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-1835-0_11.

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van de Water, Manon. "The Representation of “Troubled Youth” in US Theatre for Young Adults: Gay and Lesbian Theatre for Young Audiences." In Theatre, Youth, and Culture, 81–100. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137056658_5.

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Augusto Bordini, Rogério, and Oliver Korn. "Gamification and Mobile Apps: Allies in Reducing Loneliness Among Young Adults." In Mental Health | Atmospheres | Video Games, 87–102. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-009.

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The isolation measures adopted during the COVID-19 pandemic brought light to discussions related to the importance of meaningful social relationships as a basic need to human well-being. But even before the pandemic outbreak in the years 2020 and 2021, organizations and scholars were already drawing attention to the growing numbers related to lonely people in the world (World Economic Forum, 2019). Loneliness is an emotional distress caused by the lack of meaningful social connections, which affects people worldwide across all age groups, mainly young adults (Rook, 1984). The use of digital technologies has gained prominence as a means of alleviating the distress. As an example, studies have shown the benefits of using digital games both to stimulate social interactions (Steinfield, Ellison & Lampe, 2008) and to enhance the effects of digital interventions for mental health treatments, through gamification (Fleming et al., 2017). It is with these aspects in mind that the gamified app Noneliness was designed with the intention of reducing loneliness rates among young students at a German university. In addition to sharing the related works that supported the application development, this chapter also presents the aspects considered for the resource's design, its main functionalities, and the preliminary results related to the reduction of loneliness in the target audience.
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Duke, Jennifer C., Youn O. Lee, Annice E. Kim, Kimberly A. Watson, Kristin Y. Arnold, James M. Nonnemaker, and Lauren Porter. "Exposure to Electronic Cigarette Television Advertisements Among Youth and Young Adults." In eCigarettes, 133–40. American Academy of Pediatrics, 2017. http://dx.doi.org/10.1542/9781610022743-exposure.

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BACKGROUND AND OBJECTIVE Currently, the US Food and Drug Administration does not regulate electronic cigarette (e-cigarette) marketing unless it is advertised as a smoking cessation aid. To date, the extent to which youth and young adults are exposed to e-cigarette television advertisements is unknown. The objective of this study was to analyze trends in youth and young adult exposure to e-cigarette television advertisements in the United States. METHODS Nielsen data on television household audiences’ exposure to e-cigarette advertising across US markets were examined by calendar quarter, year, and sponsor. RESULTS Youth exposure to television e-cigarette advertisements, measured by target rating points, increased 256% from 2011 to 2013. Young adult exposure increased 321% over the same period. More than 76% of all youth e-cigarette advertising exposure occurred on cable networks and was driven primarily by an advertising campaign for 1 e-cigarette brand. CONCLUSIONS E-cigarette companies currently advertise their products to a broad audience that includes 24 million youth. The dramatic increase in youth and young adult television exposure between 2011 and 2013 was driven primarily by a large advertising campaign on national cable networks. In the absence of evidencebased public health messaging, the current e-cigarette television advertising may be promoting beliefs and behaviors that pose harm to the public health. If current trends in e-cigarette television advertising continue, awareness and use of e-cigarettes are likely to increase among youth and young adults.
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Mason, Derritt. "Not Getting Better: Sex and Self-Harm in It Gets Better / Glee Fanfiction." In Queer Anxieties of Young Adult Literature and Culture, 153–70. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830982.003.0008.

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This chapter explores how fanfiction writers deploy characters from the television show Glee in the context of the It Gets Better anti-bullying YouTube project to imagine scenarios where the project’s teleological narrative fails to describe the lived experiences of queer youth. Glee reached peak popularity in 2010–2011, the year that It Gets Better was launched and queer YA began undergoing a publishing boom. In fanfiction that combines Glee with It Gets Better, fans repurpose It Gets Better to bring critical elements to the YouTube project that are missing from its official stories: sexual pleasure, and the possibility that it doesn’t always get better. These traces in material culture of young people writing back to It Gets Better, Mason concludes, illustrate problems with Jacqueline Rose’s argument about the untouched “middle space” between adult authors of children’s literature and the genre’s young audiences.
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Mason, Derritt. "Horror and Camp: Monsters and Wizards and Ghosts (Oh My!) in Big Mouth." In Queer Anxieties of Young Adult Literature and Culture, 105–34. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830982.003.0006.

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This chapter moves readers from Andrew Smith’s adolescence-as-dystopia to the popular animated Netflix series Big Mouth, which represents adolescence as a horror show. Like Grasshopper Jungle, Big Mouth provides audiences with monstrous avatars for the storm and stress of adolescence. Instead of horny, rampaging mutant mantises, however, Big Mouth offers viewers Hormone Monsters, haunted houses, ghosts, and other Gothic tropes as embodiments of those anxieties that surround puberty and its horrifying humiliations. Unlike Grasshopper Jungle, Big Mouth universalizes queerness, celebrates the polymorphous perversity of childhood, and uses camp to defuse many of the anxieties that attend other representations of adolescent sexuality. Big Mouth offers us a kind of camp with strong ties to shame—what Kathryn Bond Stockton calls “dark camp”—and illustrates how shame and debasement can function as a powerful model of relationality, one that unites the show’s young protagonists through shared queer feelings.
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Hoffman, A. Robin. "“A Wonderful Horrid Thing”." In Reading in the Dark. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806444.003.0003.

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A. Robin Hoffman considers the sinister books designed by Edward Gorey (many of which she claims were intended for a young audience) in relation to influences such as Hoffman’s Struwwelpeter and Dickens’s The Old Curiosity Shop andBleak House. Hoffman argues that Gorey, by appropriating and reconceptualizing these texts’ modes of representation, manages to provide an “anaesthetizing historical distance” between his modern readers and the representations of childhood death popular among Victorian audiences. Through a careful examination of his books’ production methods, concentrating on their calculated appeal toward younger audiences, as well as his insistence on presenting childhood death as a subject of dark comedy, Hoffman asserts that what Gorey produces is at once an homage to Dickens’s work and a perversion of Dickens’s sentimentalized stories, mainly because of Gorey’s more unequivocal representations of violence and his eradication of Christian symbolism that offered the promise of moral redemption in favor of a critique of mid-twentieth-century American representations of childhood. In the end, Hoffman recognizes Gorey’s disruptive potential as he offers up, for both child and adult readers, a novel representation of childhood death, one that disempowers the mythologizing of textual children’s demises as a means of conveying a particular social, philosophical, or political agenda. She also suggests that Gorey’s portrayals of childhood death in his books serve as both a precursor to and an influence on the modern turn toward the comic gothic in many children’s and young adult horror texts. In doing so, she provides us with a useful model for thinking about the methods of portraying and thinking about death and violence against children within the space of horror novels, films, or television shows targeted toward young audiences.
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Gieni, Justine. "Punishing the Abject Child." In Reading in the Dark. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806444.003.0002.

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Justine Gieni examines the language and illustrations of Heinrich Hoffman’s 1845 picturebook Struwwelpeter, a seminal text in the genre that, on the surface at least, makes explicit use of horrifying methods of childhood death and dismemberment as a means of cautioning young readers to behave according to the strictures of its era. In her essay, however, Gieni zeroes in on the transgressive nature of Hoffman’s tales, concentrating specifically on the role of body horror in the text. Entering the debate about the book’s appropriateness for child audiences, Gieni focuses especially on the violence committed against the child’s body in the book, arguing that, through the “powers of horror,” Hoffman satirizes the pedagogical didacticism of nineteenth-century German culture and empowers young readers, allowing them to experience the thrill of derisive laughter in the face of brutal authoritarianism. She also illuminatingly considers the publication, relevance, and reception of Struwwelpeter today, discussing how it has been rebranded as a text for “knowing” adult audiences with an emphasis more on its horror than its humor, as well as the implications of such a shift in the text’s purported readership and thematic intentions.
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Serrato, Erika V. "Writing Amerindian Ayiti." In Narrating History, Home, and Dyaspora, 71–84. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496839879.003.0006.

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Edwidge Danticat weaves Amerindian origin stories into larger Haitian histories and experiences into her work. Anacaona, Golden Flower (2006), as a text meant for young audiences, inculcates the reader into Haiti’s history and foundational myths regarding Hispaniola’s autochthonous populations. The book centers on the eponymous cacica’s coming of age. This analysis brings into relief Danticat’s didactic praxis of writing Amerindian and Afro-creole histories and mythologies in children and young adult literature. Additionally, the author gives a glimpse into the extent to which Danticat’s awareness and mindfulness of Haiti’s complete history necessarily entails Amerindian influences via a brief look into two non-fiction texts: After the Dance (2002) and “We are ugly, but we are here” (1996), which comprise both Arawak and African histories and past celebrations into today’s cultural landscape, compellingly relaying a palimpsestic view of Haiti’s cultural narrative.
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Conference papers on the topic "Young adult audiences"

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Mariz, Fabiana Nunes de Carvalho, Luiza de Lima Pereir, Pâmela Araújo da Silva, Izabela Junqueira Magalhães, Cristhiane Campos Marques de Oliveira, Marihá Thaís Trombetta, Daniel Martins Borges, Alvaro Macedo de Carvalho, and Carla Nunes de Araújo. "Priority populations on Brazilian HIV/AIDS prevention campaigns." In XIII Congresso da Sociedade Brasileira de DST - IX Congresso Brasileiro de AIDS - IV Congresso Latino Americano de IST/HIV/AIDS. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/dst-2177-8264-202133p125.

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Introduction: According to the Brazilian Ministry of Health, priority populations are composed of adolescents and young adults, people of color, homeless people, and indigenous communities and fragile groups that are more vulnerable to HIV/AIDS. Contrary to the global downward trend in the number of new HIV cases, the Brazilian priority groups show increasing rates. Therefore, the importance of HIV/AIDS prevention and informational campaigns focused on these groups is important. Objective: This study aims to perform a documental research on the national HIV/AIDS prevention campaigns to determine which ones focused on priority populations. Methods: This analysis was based on data from publicity pieces of HIV/AIDS prevention campaigns from 1998 to 2020. The search and examination of these campaigns were conducted on the Brazilian Department of Chronic Conditions Diseases and Sexually Transmitted Infections of the Ministry of Health website. Results: From a total of 85 promoted campaigns in the period, only 9 had the adolescent and young adult population as the target audience, despite the increase in AIDS detection rate in these groups. Furthermore, none of them focused on the other priority groups nor presented information about combination HIV prevention. Conclusion: The data evidence the need for elaborating more HIV/ AIDS prevention campaigns to reach priority populations. Actions aiming to inform and protect these groups, as well as making prevention and treatment methods easily accessible, are key for fighting HIV/AIDS spread and ensuring a healthy future.
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Kurbanova, Lida, Salambek Sulumov, Nasrudi Yarychev, and Zarina Ahmadova. "Narrative analysis to the problem of information extremism in the student environment." In East – West: Practical Approaches to Countering Terrorism and Preventing Violent Extremism. Dela Press Publishing House, 2022. http://dx.doi.org/10.56199/dpcshss.reul6227.

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The article analyzes students’ narratives by the method of focus groups on the problem of attitudes towards young women who left for Syria. The authors attempted to reconstruct the girls’ everyday discourse of “talking to a stranger on the Internet and going to Syria through interviews and focus-group communication”. In the context of narrative analysis, the authors see two levels of the problem: the micro-level – the ability to identify the degree of sensitivity to the ideology of Islamic fundamentalism through attitudes to the practical actions of specific girls who have already gone to Syria. Macro-level – “intergenerational conflict” or “intergenerational rift”. The result of intergenerational conflict in North Caucasus societies is often a religiously-extremist way of behaving to adults who do not share their “excessive immersion in Islam” to the detriment of traditional normative values. The analysis of youth narratives concerning the “departed” can also serve as an explanatory model for the response to a broader problem, namely the development of intergenerational dynamics in the context of a clash of values between the traditional culture of local societies and Islamic fundamentalism. In this two-level perspective, we see the prospect of further research into the problem of extremism in North Caucasian societies. In this article, we have designated the macro level as the “background site”. In our reconstruction of the everyday discourse of university students on the problem of “girls leaving for Syria”, we came to the following conclusions. The evaluations revealed the admissibility of sharing the spouse’s fate as an attributive understanding of marital duty within the framework of Islamic ideology. In the opinion of female students, the loneliness of girls, domestic violence, and the search for a “real man” can also serve as a possible decision for young women to communicate online with a stranger. The relevance of the problem of analyzing narratives is the need to comprehend the palette of opinions of a part of the youth audience, which is not considered to be young people in the “risk zone”.
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Reports on the topic "Young adult audiences"

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Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.

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This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.
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