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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Kozlovic, Anton Karl. "DeMille-the-Businessman and the Mini-Me Mirroring of Samson in Young Saul within Samson and Delilah." Journal of Religion and Popular Culture 32, no. 3 (January 1, 2021): 183–203. http://dx.doi.org/10.3138/jrpc.2019-0011.
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Legendary producer-director Cecil B. DeMille was a master of the American biblical epic and a devout Hollywood businessman whose films inspired numerous extra-cinematic products plus screen characters designed to match market demographics whilst promoting public piety. For example, his main biblical protagonists within his family-friendly Samson and Delilah were crafted to appeal to adult audiences, but it is argued that DeMille also meticulously crafted young Saul (Russell Tamblyn) as a mini-me mirror of Samson (Victor Mature) to directly appeal to his youthful audiences, thereby assisting box office sales and helping shape US Christian culture. DeMille’s filmmaker status, businessman background, and ten Samson-Saul parallels are explicated here, guided methodologically by humanist film criticism plus a selective review of the critical literature. This original investigation reveals that DeMille was a far more insightful, creative, and business-savvy filmmaker than previously acknowledged. Further research into DeMille studies, biblical epics, and the emerging interdisciplinary field of religion and film is recommended.
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Antunovic, Dunja, Patrick Parsons, and Tanner R. Cooke. "‘Checking’ and googling: Stages of news consumption among young adults." Journalism 19, no. 5 (August 8, 2016): 632–48. http://dx.doi.org/10.1177/1464884916663625.
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In the changing news environment, young adult audiences, often dubbed ‘the Internet generation’, have increasingly gravitated toward online sources of news and information, raising questions about the nature and amount of news consumed. This study joins many others in looking at the emerging processes of news consumption among, in this case, college students, using focus group interviews to further examine how they go about obtaining news. Drawing upon literature in the areas of news consumption, media habits, generational change and news repertoire, this study identifies an emerging three-stage process of consumption that includes the following: routine surveillance, incidental consumption, and directed consumption, each conditioned by various forms of new media use. It suggests continued research in the interaction of a changing media ecology with generational adoption of news habits and the implications of this interaction for news and news engagement.
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Miller, David H. "Modernist Music for Children." Journal of Musicology 37, no. 4 (2020): 488–517. http://dx.doi.org/10.1525/jm.2020.37.4.488.
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On several occasions in the midcentury United States, the music of Anton Webern was reimagined as music for children. In 1936 conductor and musicologist Nicolas Slonimsky published the score of Webern’s op. 10/4 on the children’s page of the Christian Science Monitor. In 1958 Webern’s op. 6/3 was featured in a New York Philharmonic Young People’s Concert, the first conducted by Leonard Bernstein. Eight years later, Webern’s Kinderstück (Children’s Piece) received its posthumous premiere at Lincoln Center, performed by a nine-year-old pianist. In each case children served as a marker of accessibility, meant to render Webern’s music more palatable to adult audiences; thus was Webern’s music subsumed within the middlebrow circulation of classical music. Although recent scholarship has considered the intersections between modernist music and middlebrow culture, Webern’s music has remained absent from these discussions. Indeed, Webern’s terse, abstract, and severe compositions might at first appear ill suited to middlebrow contexts. Yet, as these three historical moments make clear, children served as a potent rhetorical force that could be used to market even this music to a broad audience of adults.
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Sind-Prunier, Paula. "This Pin I Wear: Telling the Story of the Human Factors/Ergonomics Profession." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 42, no. 7 (October 1998): 616–18. http://dx.doi.org/10.1177/154193129804200704.
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Professional outreach is an important responsibility of every member of the Human Factors & Ergonomics Society (HFES). By communicating information about our profession to outsiders, we increase visibility of the field, foster better understanding and hence increased cooperation from allied disciplines, promote sensitivity to user concerns, educate users to demand effectively designed products and services, and also, provide for continued recruitment of new generations into this discipline. This presentation focuses on the latter purpose, presentations intended to increase awareness of our profession among middle-, high school, and undergraduate college students. It uses a simple three-point framework to guide human factors professionals in preparing a clear, dynamic, relevant, and convincing presentation that can be delivered extemporaneously. The template is customized by the presenter who integrates his/her own experiences, and tailors it to the age group of the audience. This approach capitalizes upon the presenter's experience-based credibility and familiarity with personal examples, to ensure a presentation that is well received by young adult audiences.
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Conrad, Rachel. "“We Are Masters at Childhood”: Time and Agency in Poetry by, for, and about Children." Jeunesse: Young People, Texts, Cultures 5, no. 2 (December 2013): 124–50. http://dx.doi.org/10.3138/jeunesse.5.2.124.
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This essay considers a selection of poetry by, for, and about children in order to explore representations of time and agency. Reading poems across contexts of writers’ age-related social positions and audiences can illuminate poets’ strategies for representing children’s agency in and over time, since representations of time are infused with adult-child power relations. Only poems written by young people conveyed a conception of temporal agency that encompassed characters’ experiences of time as children. The essay concludes by proposing a notion of children’s temporal standpoints that incorporates agency at the levels of action and social role.
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Jones, Dianne. "Half the Story? Olympic Women on ABC News Online." Media International Australia 110, no. 1 (February 2004): 132–46. http://dx.doi.org/10.1177/1329878x0411000114.
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A content analysis of the ABC News Online website during the 2000 Olympic Games reveals a select few female role models were available to young audiences. One female athlete was ‘news-privileged’. Cathy Freeman's exposure came at the expense of her Australian team mates, especially those women who won medals in team sports. While the results indicate an improvement in both the extent of women's sports coverage and the range of sports covered, stereotypical descriptions often characterised adult females as emotionally vulnerable, dependent adolescents. Male athletes were never infantilised and were far less likely to be described in emotive terms.
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Theorell, Töres, and Eva Bojner Horwitz. "Emotional Effects of Live and Recorded Music in Various Audiences and Listening Situations." Medicines 6, no. 1 (January 22, 2019): 16. http://dx.doi.org/10.3390/medicines6010016.
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Background: We assume that the emotional response to music would correspond to increased levels of arousal, and that the valence of the music exemplified by sad or joyful music would be reflected in the listener, and that calming music would reduce anxiety. This study attempts to characterize the emotional responses to different kinds of listening. Methods: Three experiments were conducted: (1) School children were exposed to live chamber music, (2) two adult audiences who were accustomed to classical music as a genre listened to chamber music, and (3) elderly listeners were exposed to recorded classical music of a sad character with and without words. Participants were asked to fill in visual analogue 10-cm scales along dimensions of: tiredness-arousal, sadness-joy, and anxiety-calmness. Ratings before exposure were compared with ratings after exposure. Results: The strongest positive emotional responses were observed in the live performances for listeners accustomed to classical music. School children tended to become tired during the concert, particularly the youngest children. There was a calming effect among school children, but in the oldest category increased joy was reported. Conclusions: The findings indicate that emotional response to music varies by type of audience (young, old, experience of classical music), and live or recorded music.
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Doona, Joanna. "Political comedy engagement: Identity and community construction." European Journal of Cultural Studies 23, no. 4 (December 1, 2018): 531–47. http://dx.doi.org/10.1177/1367549418810081.
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This article uses the concept of cultural citizenship to understand engagement in political comedy. The concept stresses popular culture’s value for identity and community construction, as well as the importance of learning about and respecting others. Using empirical work on Swedish young adult political comedy audiences in the form of data from in-depth interviews and focus groups, the article argues for analysis of engagement in various discursive forms, in studies of media and citizenship. More specifically, the article answers the question: which citizenship values are defended by political comedy engagement? In order to identify such values, the study focuses on the ways in which audience members construct identity and community, in relation to their political comedy engagement. Four themes of community construction are found: lacking social contexts, ideology and strong emotions, knowledge and education, and irony as a discursive mode and disposition. From these, the values of playful and emotional modes of engagement are conceptualized. The final parts of the article argue for those modes’ legitimacy and significance – both in relation to engagement in, and through, political comedy.
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Bulfin, Ailise. "‘I'll touch whatever I want’: Representing Child Sexual Abuse in Contemporary Children's and Young Adult Gothic." Gothic Studies 23, no. 1 (March 2021): 21–42. http://dx.doi.org/10.3366/gothic.2021.0076.
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This article investigates the metaphorical representation of child sexual abuse (CSA) in contemporary children's and young adult gothic works, focusing on the popular Series of Unfortunate Events and Miss Peregrine's Peculiar Children series. It argues that because of the upsetting nature of the issue and the numerous myths surrounding it, cultural production often uses the gothic figure of the monster who preys on children to address CSA indirectly, and identifies this strategy in the above series. It reveals a distinctly sexual charge to the monsters' victimisation of the children in both sets of narratives and explores their tendency to perpetuate CSA myths such as that of the perpetrator as a monstrous stranger. In conclusion, it considers how these narratives also challenge CSA myths and offer models of resilient child survivors, and it draws on cognitive cultural theory to theorise potential reader/viewer responses. Through its metaphorical imbrication of real-world brutality and dark fantasy, the Gothic is ultimately theorised as potentially affording more scope than realist treatments for touching on issues of transgression for wider and younger audiences, and sometimes in affirmative ways that move beyond merely recirculating myths and panic.
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Mages, Wendy K. "Educational drama and theatre pedagogy: An integral part of training English-as-a-Foreign-Language teachers." Scenario: A Journal for Performative Teaching, Learning, Research XIV, no. 1 (July 3, 2020): 11–23. http://dx.doi.org/10.33178/scenario.14.1.2.
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This mixed-methods research documents the integration of educational drama and theatre into a teacher-preparation program for Austrian teachers-in-training who plan to teach English-as-a-foreign-language to Austrian school children. Observations were conducted of the plays developed and performed in English by two cohorts of Austrian teachers-in-training who participated in the teacher-preparation program. Observations were also conducted of the second cohort’s process developing a script based on an English young adult novel, as well as their process of producing and performing the play in English for middle-school and adult audiences. In addition, a survey of participants’ perceptions of the program was conducted. This study investigates how the teachers-in-training responded to the process of creating and performing a play in English, and their perceptions of its benefits and challenges for themselves, as well as for their future students.
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Haff, Tonya M., and Robert D. Magrath. "To call or not to call: parents assess the vulnerability of their young before warning them about predators." Biology Letters 9, no. 6 (December 23, 2013): 20130745. http://dx.doi.org/10.1098/rsbl.2013.0745.
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Communication about predators can reveal the effects of both conspecific and heterospecific audiences on signalling strategy, providing insight into signal function and animal cognition. In species that alarm call to their young, parents face a fundamental dilemma: calling can silence noisy offspring and so make them less likely to be overheard, but can also alert predators that young are nearby. Parents could resolve this dilemma by being sensitive to the current vulnerability of offspring, and calling only when young are most at risk. Testing whether offspring vulnerability affects parental strategy has proved difficult, however, because more vulnerable broods are often also more valuable. We tested experimentally whether parent white-browed scrubwren, Sericornis frontalis , assessed brood noisiness when alarm calling near nests . When a model predator was nearby, parents gave more alarm calls when playbacks simulated noisy broods, yet brood noisiness did not affect adult calling when only a control model was present. Parents were therefore sensitive to the tradeoff between silencing young and alerting predators to the presence of nests. Our study demonstrates that receiver vulnerability can affect signalling decisions in species other than primates.
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Wylie, Caitlin Donahue. "Teaching nature study on the blackboard in late nineteenth- and early twentieth-century England." Archives of Natural History 39, no. 1 (April 2012): 59–76. http://dx.doi.org/10.3366/anh.2012.0062.
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England's Education Acts in the late nineteenth century made school free and mandatory for all children, filling schools with more and younger students. Visual teaching methods such as blackboard drawing were used to catch young students’ eyes and engage their interest. At the same time, there was high public engagement with natural history and popular science lectures, which built the perception of science as accessible, interesting and useful for people of all social classes. This “science for all” trend along with the new universal education paved the way for nature study, a new school subject based on experiential learning through observation of plants and animals, similar to the popular nineteenth-century pedagogy of object lessons. The many manuals about nature study that were published for teachers in England in the early twentieth century reveal the content, pedagogy, and portrayal of science communicated to young students. Analysis of one manual, Nature teaching on the blackboard (1910), sheds light on typical nature study lessons, including suggested images for teachers to draw on the blackboard. Visual methods of teaching science were not limited to schoolchildren: university lecturers as well as popularizers of science used object lessons and blackboard drawing to educate and entertain their adult audiences. Comparing blackboard teaching of nature study with other educational images and audiences for science explores how multisensory learning and the blackboard brought information about the natural world and engagement with science to the public.
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Lindsay, Samuel, and Antonia C. Lyons. "“Pour It Up, Drink It Up, Live It Up, Give It Up”." Men and Masculinities 21, no. 5 (March 13, 2017): 624–44. http://dx.doi.org/10.1177/1097184x17696189.
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Music videos are popular, frequently aimed at young adult audiences, and easily accessible through online platforms. They often portray specific versions of masculinities and femininities and are increasingly linked to the alcohol industry. This research explored how masculinity, femininity, and alcohol consumption are constructed within four mainstream popular music videos. Critical multimodal discourse analysis was employed to systematically examine dominant meanings across various modes of the videos (lyrics, sound, video, and editing). Two major discourses were identified, namely, extreme consumption and freedom, and together these created “playboy” and “woman-as-object” subject positions. These positions are discussed with reference to hegemonic masculinity, postfeminist culture, and capitalist consumerism and considered in terms of the complex ways in which influential postfeminist and hegemonic discourses obscure the operations of power.
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Farace, Biasino, Andrea Apicella, and Angela Tarabella. "The sustainability in alcohol consumption: the “drink responsibly” frontier." British Food Journal 122, no. 5 (April 7, 2020): 1593–610. http://dx.doi.org/10.1108/bfj-07-2019-0563.
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PurposeThe excessive consumption of alcohol in numerous countries in the world, combined with the progressively younger age of the consumers, made it necessary for companies to use instruments of communication aimed at the development of consumption responsibility, so as to prevent reckless behaviour and the health risks thereto associated. The purpose of this paper is to assess the visibility and effectiveness of responsible consumption messages used for the sale of the product “beer” (on packaging and in advertisements); the study used a sample audience made up of teenagers and young adults from southern Italy.Design/methodology/approachThe methodology used was that of the focus group. Three interview sessions were conducted, one dedicated to teenagers, age 16–17 years, and two dedicated to young adult panels, age 20–24 years. A ten-question questionnaire was designed prior to the conduction of the focus groups, and it was used in all the sessions.FindingsThe study shows the weak efficacy of the “drink responsibly” communication campaigns carried out by beer manufacturers. The totality of the interviewees failed to remember the existence of the “drink responsibly” messages and, even after supplementary visual stimulation, they were mostly disinterested, defining the fact that companies from the alcoholic drinks industry carry out consumption awareness campaigns as an out-and-out nonsensical contradiction.Originality/valueThe survey draws attention to the perception by young audiences of the more recent “drink responsibly” communication campaigns carried out by beer manufacturers, aiming at encouraging a more responsible attitude to alcohol consumption. There still are not many such inquests aimed at determining the response of young people to the use of slogans and commercials connected to responsible drinking in the literature; therefore, this study aimed at filling this gap. In fact, the authors believe this study is important for assessing the effectiveness of such instruments for achieving greater responsibility in the use of alcoholic drinks, so as to develop better awareness in the ranks of youths. Among the new communication strategies that were proposed to the participants, there were video commercials containing responsible consumption messages and the new prohibition marks placed directly on the product labels.
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Long, Thomas G. "THE FIRST COMMANDMENT WITH A PROMISE: RECENT AMERICAN PREACHING ON “HONOR YOUR FATHER AND YOUR MOTHER”." Journal of Law and Religion 31, no. 2 (June 13, 2016): 169–82. http://dx.doi.org/10.1017/jlr.2016.14.
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AbstractChristian sermons characteristically result from the interaction of a biblical text and the social and cultural contexts in which the sermon is created and into which it is spoken. In this regard, biblical texts are understood not as containers of unchanging truth but as fields of meaning capable of yielding different insights in each new context, and sermons constitute oral performances of these insights. As a test case, American Christian sermons based upon the so-called fifth commandment (“Honor your father and your mother …”) were examined from two time periods: 1960–1980 and 2000–present. In the earlier period, a time of anxiety about changing norms of social authority, the sermons typically presented the fifth commandment as addressed to young children, calling them to obey their parents. In the later period, a time when the large baby boomer generation is increasingly assuming care for aging parents, the sermons typically presented the fifth commandment as addressed not to youth but rather to adults charged with the responsibility to care for the elderly. While understanding the fifth commandment as addressed to adult children is probably closer to the original meaning of the text, both audiences for the commandment (adult children and youthful children) are within the field of meaning of the text and, indeed, both understandings find expression elsewhere in scripture.
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Giambastiani, Verbena. "Children’s Literature and the Holocaust." Genealogy 4, no. 1 (March 6, 2020): 24. http://dx.doi.org/10.3390/genealogy4010024.
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The aim of my paper is to examine children’s literature written in Italy and centred on the Holocaust. It is quite common for people to deem the subject matter inappropriate for young audiences, whilst it is also considered disrespectful to write inventive literature for children about the death camps. Nevertheless, it seems necessary to inform children about such a major historical event. Moreover, the stories written on this subject aim to introduce children to themes like prejudice, discrimination and racism. My research focuses on the recurrent patterns that occur frequently in these books. In these books, the focus lies on the victims rather than the perpetrators. They deal with the story of a Jewish family and frequently feature a child as the protagonist. These books will undoubtedly provoke questions by young readers, but they are most likely best read with an adult who can answer any questions appropriately and deepen the historical frame. These narratives are important because educators have a responsibility to teach others and read about the Holocaust.
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Herrera, Luz Yadira. "Voices of Resistance." Educational Renaissance 7, no. 1 (December 17, 2018): 36–38. http://dx.doi.org/10.33499/edren.v7i1.121.
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Voices of resistance: Interdisciplinary approaches to Chican@ children's literature gathers a wide range of experts from diverse academic fields in the analysis of Chicanx children’s and young adult (YA) literature. The editors convincingly make the case for the urgency of using multicultural children’s literature as a means for empowerment and social justice. The book provides a solid framework that is useful to multiple audiences–from caregivers, teachers, school leaders, community members, to teacher educators, and beyond. The book highlights the Chicanx history of resistance, as indicated in its title, situated in the various US socio-political contexts that have negatively impacted people of color since the country’s formation. The book reminds us of the important role that literature has on the lives of children; and its potential to either affirm an asset-based perspective connected to their lives, cultural identities, gender constructions, and home language practices of Chicanx children and youth, or to perpetuate harmful deficit views. Furthermore, the book reminds us that powerful children’s and YA literature can help raise Chicanx children’s consciousness, even from a young age, towards sustaining self-love in the uplifting of Chicanx identity, culture, and linguistic practices. (Rowman & Littlefield, 2018)
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Klimova, Olga. "Reading Other People’s Letters in the 1970s: Reconstructing Soviet Spectatorship in Il’i͡a Averbakh’s Other People’s Letters (1975)." Soviet and Post-Soviet Review 40, no. 1 (2013): 3–37. http://dx.doi.org/10.1163/18763324-04001001.
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This paper studies audiences’ responses, published in the Soviet press of the 1970s, to Il’i͡a Averbakh’s 1975 film Other People’s Letters. Averbakh’s film was made in the context of a stiffening ideological situation in the country, on the one hand, and the commercialization of Soviet cinema, on the other hand. Young and adult viewers reacted to the film differently and recreated their own messages, in accordance to their position in the power structure. As it is evident from the analysis of film reviews and letters to the editors, regarding Other People’s Letters, the prevailing spectatorial position during the Brezhnev years was “negotiating,” thus continuing the tradition of the Thaw culture. It allowed Soviet viewers to discuss some unconventional questions, while still limiting their ability to openly talk about some other taboo topics. The negotiating position was challenged and manipulated by viewers who were associated with authoritative, official discourse.
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Storer, Heather L., and Katyayani R. Strohl. "A Primer for Preventing Teen Dating Violence? The Representation of Teen Dating Violence in Young Adult Literature and Its Implications for Prevention." Violence Against Women 23, no. 14 (September 18, 2016): 1730–51. http://dx.doi.org/10.1177/1077801216666725.
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Teen dating violence (TDV) is a significant public health issue. Preventing TDV requires attention to risk and protective factors across ecological system levels. The media is one of the primary cultural drivers of societal-level social scripts about the causes of TDV. Framing theory asserts that the media’s portrayal of social issues, including what contextual information is included and/or excluded, affects individual-level attitudes about TDV and potential policy responses. This study investigates the representation of TDV in young adult (YA) literature, a media genre that is marketed to adolescent audiences. Data include all YA novels ( N = 8) that have a primary focus on TDV. Texts were analyzed systematically using thematic content analysis methods. Results indicate that the antecedents of TDV were portrayed as being related to victim personal characteristics such as inexperience in relationships and low self-esteem. Rather than underscoring how societal-level factors contribute to TDV, perpetration was seen as stemming from family dysfunction and mental health issues. These results underscore how the structural determinants of TDV have been overshadowed in the media’s portrayal of TDV, in favor of narrow portrayals of victimization and perpetration. Implications for TDV prevention programs including the importance of media literacy are discussed.
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Crookston, Shara. ""Hot-for-Teacher"." Girlhood Studies 13, no. 1 (March 1, 2020): 101–16. http://dx.doi.org/10.3167/ghs.2020.130108.
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In this article I explore the highly problematic but wildly acclaimed romantic relationship between Aria Montgomery, a high school junior, and her English teacher Ezra Fitz in the television series Pretty Little Liars. This partnership normalizes gendered power imbalances often common to heterosexual partnerships, yet fervent fans have supported the duo enthusiastically, dubbing the couple #Ezria in blogs and social media. As we know, much research shows that along with unintended pregnancy, young girls who are victims of child sexual abuse by adult males suffer from depression. These outcomes are not shown in Pretty Little Liars: the series ends with Aria marrying her teacher in an example of a happily-ever- after ending, thereby reinforcing postfeminist ideas that Aria’s self-efficacy has never been compromised. I argue that in the era of #Metoo, the exploration of power in heterosexual romantic relationships on television shows aimed at adolescent girl audiences is a site for critical analysis.
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Nikolajeva, Maria. "Recent Trends in Children's Literature Research: Return to the Body." International Research in Children's Literature 9, no. 2 (December 2016): 132–45. http://dx.doi.org/10.3366/ircl.2016.0198.
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Twenty-first-century children's literature research has witnessed a material turn in strong response to the 1990s perception of childhood and the fictional child as social constructions. Cultural theories have generated fruitful approaches to children's fiction through the lenses of gender, class, race and sexual orientation, and psychoanalytically oriented theories have explored ways of representing childhood as a projection of (adult) interiority, but the physical existence of children as represented in their fictional worlds has been obscured by constructed social and psychological hierarchies. Recent directions in literary studies, such as ecocriticism, posthumanism, disability studies and cognitive criticism, are refocusing scholarly attention on the physicality of children's bodies and the environment. This trend does not signal a return to essentialism but reflects the complexity, plurality and ambiguity of our understanding of childhood and its representation in fiction for young audiences. This article examines some current trends in international children's literature research with a particular focus on materiality.
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Solovieva, T. "MARIE-AUDE MURAIL: INVOLVING THE OTHER." Voprosy literatury, no. 1 (September 30, 2018): 136–48. http://dx.doi.org/10.31425/0042-8795-2018-1-136-148.
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The most thorough analysis in Russian to date, this article is devoted to the works of the contemporary French author M.- A. Murail, who specializes in young adult literature, and who is idolized by her audiences in France and holds numerous literary awards. In Russia, her books were ‘discovered’ by the Samokat publishing house. All brought out by Samokat, her four books translated into Russian each target a different reader group, from 6 to 18-year-olds. Murail’s appeal is in her ability to find the right themes, plots, and narration method for each readership, and that she never shies away from modernity’s most uncomfortable topics, but interprets those in an easily comprehensible manner and language. Murail’s work is examined through its main topics: family relationships, the conflict between traditional and new societies, and the problem of the other. Also analyzed are the stylistic features that define this kind of prose as dynamic, easy to understand and filled with irony.
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Pogorelaya, E. A. "A humanized human. Evgenia Nekrasova." Voprosy literatury, no. 4 (August 28, 2020): 78–90. http://dx.doi.org/10.31425/0042-8795-2020-4-78-90.
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The article is devoted to E. Nekrasova, a contemporary writer, whose school novel Kalechina-malechina was short-listed for The Big Book Prize and The National Bestseller Award in 2019. Kalechina-malechina is analyzed as a specimen of the contemporary Russian crossover novel (which targets both adult and young audiences), highly popular in the West, but having trouble taking root in Russia – perhaps, because the genre suggests a polyphony not only in terms of the plot, but also psychology, whereas Russian literature of the 2000s – 2010s is predominantly monologic. Nekrasova, on the other hand, in her Kalechina-malechina and Sestromam, a collection of short stories, embraces the principle of the diversity of voices. Comparing Nekrasova’s work with another example of contemporary school prose, provided by B. Khanov’s Inconstants [Nepostoyannye velichiny], the author decides that the integrity of a text today is defined by its polyphonic quality, by the ability to hear a different opinion: the ability that some modern authors and even critics are badly lacking.
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Soep, Elisabeth. "Critique: Assessment and the Production of Learning." Teachers College Record: The Voice of Scholarship in Education 108, no. 4 (April 2006): 748–77. http://dx.doi.org/10.1177/016146810610800401.
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Education researchers and classroom teachers have argued that the constant pressure to measure and rank students makes it difficult to shape assessment as an episode of learning. Yet we know little about how learning moves in and through assessment of any kind. Building on two national multisited studies, the research reported here uses ethnographic techniques to examine learning within critique. Critique is a form of assessment through which young people jointly judge their own work and that of their peers. The article focuses on episodes of critique within two nonschool sites for collaborative production involving ethnically and economically diverse groups of youth—a community-based video project and an organization in which young people create radio stories for local and national broadcast. Learning environments such as these draw voluntary youth participation and are organized around sustained projects released to outside audiences. Findings indicate that critique manifests itself as an episode of learning by engaging young people in joint assessment events that are improvisational, reciprocal, and oriented toward the future of the work under review. Intra- and cross-site comparisons suggest that critique is likely to arise within specific conditions: when stakes are intense, metastandards are subjected to review, accountability is mutual and interactively sustained, and interdisciplinary practice is mandatory. The article reviews various ways to conceptualize learning and argues in the end for a theory of learning as production, a way of making. Implications include new ideas for research methodologies and new understandings of youth-adult collaborations in learning and production.
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Elliott, Elizabeth. "Restorying Arthurian Legend: Space, Place and Time in Once & Future and Legendborn ." Journal of the International Arthurian Society 10, no. 1 (September 1, 2022): 73–93. http://dx.doi.org/10.1515/jias-2022-0006.
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Abstract In ‘Notes toward a Black fantastic’, Ebony Elizabeth Thomas argues that breaking the cycle of violence to which Black girl characters are subject in both fiction and life ‘requires rethinking our assumptions about magical child and teen characters. It requires reimaging who deserves magic in stories, and rethinking the treasure maps we’ve had for the past few centuries’. Developing from this insight, and drawing on Katherine McKittrick’s analysis of Black feminist geographies, this article considers how reimaginings of the Arthurian legend for young adult audiences engage with the history of a tradition co-opted in service of white supremacist and colonialist ideologies, remapping this territory to establish spaces for the experiences of marginalised subjects. In addressing the role of Arthurian myth as the site of an ongoing negotiation of how the past matters to the present, of whose pasts and whose narratives matter, texts such as Tracy Deonn’s Legendborn, A. R. Capetta and Cory McCarthy’s Once & Future construct new ways of understanding space, place, and time.
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Green, Dani, and Angel Daniel Matos. "Right to Read: Reframing Critique: Young Adult Fiction and the Politics of Literary Censorship in Ireland." ALAN Review 44, no. 3 (June 21, 2017): 54–60. http://dx.doi.org/10.21061/alan.v44i3.a.6.
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If you briefly peruse the American Library Association’s annual compilation of the “Top Ten Most Frequently Challenged Books,” it would not be farfetched for you to assume that censorship is an act that is nearly exclusive to children’s and young adult (YA) literature. The complex and close relationship between informational suppression and YA fiction should come as no surprise—authority figures and institutions often want to “protect” children and adolescents from ideas and depictions of realities that they consider harmful. At times, these parental and institutional forces outright question teenagers’ competence when it comes to comprehending and thinking through difficult social and literary issues. While YA literature is often susceptible to acts of censorship, is it possible that the very literary traits of this genre might provide us with the critical tools needed to counteract the suppression of information and ideas? To what extent do YA novels articulate ideas and critiques that other genres of literature refuse (or are unable) to discuss? This issue of The ALAN Review is particularly invested in expanding our understanding of YA literature by exploring the stories that can or cannot be told in different contexts, communities, and locations. While an understanding of the acts of censorship that occur in a US context offers us a glimpse into the tensions that arise between ideas, publishers, and target audiences, an examination of censorship in non-US contexts allows us to further understand the historical and cultural foundations that lead to the institutional suppression of knowledge. Additionally, a more global understanding of these issues could push us to understand the ways in which YA fiction thwarts censorship in surprising, unexpected ways. To nuance our understanding of censorship by adopting a more global perspective, I have collaborated with my friend and colleague Dani Green, who offers us an account of contemporary acts of censorship in Ireland and the ways in which Irish YA literature is particularly suited to express ideas that are deemed unspeakable and unprintable. Dani is a scholar of 19th-century British and Irish literature with an interest in issues of modernity, space, and narrative. As an academic who specializes in both historicist and poststructuralist study, Dani is particularly suited to think through the fraught historical and literary situation of contemporary Ireland and the ways in which YA fiction escapes (and perhaps challenges) the pressures of nationalistic censorship and self-censorship. In the following column, she provides us with a brief overview of the past and present state of censorship in Ireland, focusing particularly on how contemporary Irish writers steer away from offering critiques of Ireland’s economic growth during the mid-1990s to the early 2000s. After sharing this historical context, Dani conducts a case study in which she focuses on how Kate Thompson’sYA novel The New Policeman (2005) blends elements from fantasy and Irish mythology to both communicate and critique Ireland’s economic boom. By taking advantage of elements commonly found in YA texts, she argues that Thompson’s The New Policeman enables a cultural critique that is often impossible to achieve in other forms of Irish literature. Dani ultimately highlights the potential of YA fiction to turn censorship on its head through its characteristic implementation of genre-bending, formal experimentation, and disruption of the familiar.
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Milutin, Otilia. "Shōjo Murasaki, Seinen Genji: Sexual Violence and Textual Violence in Yamato Waki’s Fleeting Dreams and Egawa Tatsuya’s Tale of Genji Manga." Japanese Language and Literature 55, no. 1 (April 21, 2021): 275–305. http://dx.doi.org/10.5195/jll.2021.159.
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This paper examines how two manga versions of the Heian classic Tale of Genji, belonging to two different genres and targeting different readership, engage with and interpret the tale’s episodes depicting sexual encounters, which may be read as problematic in the original text. The shojo version, Yamato Waki’s Asaki yumemishi, published between 1980 and 1993, and targeting predominantly female audiences, how two distinct approaches in its treatment of certain potentially uncomfortable episodes: some episodes which verge too close to a reading of sexual violence, are outright erased from the manga versions. Others, whose presence is invaluable to the narrative, are remarkably faithful to the original text, while at the same time contextualizing and domesticating all threats of sexual violence that might have marred the original text. By contrast, Egawa Tatsuya’s seinen version of Genji monogatari, marketed towards a young male adult readership, takes the extreme approach of depicting all sexual encounters in the tale as consensual, pleasurable and highly explicit. The ambiguity of the original text is simply done away with by juxtaposing said text and its fairly accurate rendition into modern Japanese with quasi-pornographic, shunga-evoking scenes of sex.
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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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Conacher, Jean E. "Transformation and Education in GDR Youth Literature: A Script Theory Approach." International Research in Children's Literature 9, no. 1 (July 2016): 65–82. http://dx.doi.org/10.3366/ircl.2016.0183.
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Youth literature within the German Democratic Republic (GDR) officially enjoyed equal status with adult literature, with authors often writing for both audiences. Such parity of esteem pre-supposed that youth literature would also adopt the cultural–political frameworks designed to nurture the establishment of socialism on German soil. In their quest to forge a legitimate national literature capable of transforming the population, politicians and writers drew repeatedly upon the cultural heritage of Weimar classicism and the Bildungsroman, Humboldtian educational traditions and Soviet-inspired models of socialist realism. Adopting a script theory approach inspired by Jean Matter Mandler, this article explores how directive cultural policies lead to the emergence of multiple scripts which inform the nature and narrative of individual works. Three broad ideological scripts within GDR youth literature are identified which underpin four distinct narrative scripts employed by individual writers to support, challenge and ultimately subvert the primacy of the Bildungsroman genre. A close reading of works by Strittmatter, Pludra, Görlich, Tetzner and Saalmann reveals further how conceptual blending with classical and fairy-tale scripts is exploited to legitimise and at times mask critique of transformation and education inside and outside the classroom and to offer young protagonists a voice often denied their readers.
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Marshall, Andrea. "Our stories, our selves: Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 277–88. http://dx.doi.org/10.1386/jfs_00024_1.
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Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind), franchises that previously had existed solely on television (Star Trek: The Motion Picture) and musical theatre (The Rocky Horror Picture Show). Cinematic audiences became increasingly accustomed to science fiction tropes and themes in film; audience participation in the theatre (e.g. The Rocky Horror Picture Show) expanded to print zines (often with fanfiction) for multiple franchises as well as fan conventions. Fanfiction’s beginnings as an analogue culture dramatically changed with the advent of the internet and the evolution of fandoms as digital cultures. Web-based platforms such as FanFiction.net and Archive of Our Own (AO3) host sundry fan communities’ creative outputs including podcasts, art and, most frequently, fanfiction stories. The release of Star Wars: The Force Awakens in 2015 immediately captured the fandom’s imagination; the animosity and tension between the new villain Kylo Ren (Ben Solo) and protagonist Rey of Jakku particularly fascinated the young adult fans who were lately converted to the Star Wars fandom due to this pairing (known as Reylo within the fandom and within cinematic circles). The newest generations of fans were acclimated to audience participation and paratextual interactions due to their positions as digital natives. The Reylo fan phenomenon particularly erupted into fanfictions as critical data artefacts, even predicting Reylo as a romantic pairing years before the second and third films in the franchise trilogy Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker. The Reylo pairing is just one example of how online Star Wars fanfiction communities expand audience participation to autonomous collective identity formation. This article examines feminist fanfictions in the Star Wars fandom as gendered critical data artefacts, as collaborative communities of practice, and as counterpublic discourses that apply feminist critiques to conventional gender roles within the most recent film trilogy and the fandom itself.
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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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Morton, Kathryn, Anne-Sophie Emma Darlington, and L. V. Marino. "Protocol for a multicentre longitudinal mixed-methods study: feeding and survivorship outcomes in previously healthy young paediatric Intensive care survivors (the PIES Study)." BMJ Open 10, no. 12 (December 2020): e041234. http://dx.doi.org/10.1136/bmjopen-2020-041234.
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IntroductionAn admission to paediatric intensive care unit (PICU) is associated with multiple physical and environmental stressors, often involving many negative and painful oral experiences. Evidence from children with complex medical conditions suggests that feeding difficulties post-PICU stay are common, causing significant parental anxiety. Adult intensive care unit (ICU) survivor studies suggest feeding issues lasting up to 3 months post-discharge from ICU. There is, however, a paucity of evidence regarding feeding outcomes for previously healthy children following a PICU admission and whether painful oral experiences during an admission contribute to feeding difficulties post-discharge, negatively impacting on parental/caregiver anxiety.Methods and analysisThis longitudinal mixed-methods study will explore the impact of feeding difficulties, identifying any clinical risk factors during the first 6 months of PICU discharge in previously healthy young children (≤4 years). Parents/caregivers of children will be asked to complete questionnaires relating to: feeding difficulties, parental/caregiver stress, and child and parental/caregivers’ feeding behaviours at the point of PICU discharge, 1, 3 and 6 months post-discharge. Parents/caregivers will be invited to participate in qualitative semistructured interviews at 3 and 6 months post-PICU discharge exploring parental/caregiver experiences of feeding their child after PICU. Statistical analysis of the survey data will consist of descriptive and inferential statistics, plus qualitative analysis of any free text comments using thematic analysis.Ethics and disseminationThis study will provide an insight and increase our understanding of the prevalence of feeding difficulties in previously healthy children admitted to PICU and parental/caregiver experiences. Multiple methods will be used to ensure that the findings are effectively disseminated to service users, clinicians, policy and academic audiences. The study has full ethical approval from the National Health Service Research Ethics Committee (Ref: 20/YH/0160) and full governance clearance.
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Ouzaa, Ibtissem, and Faiza Senouci Meberbeche. "De-Dehumanising the Autistic Other: Between the Image of “Beast” and “Being” in J. K. Rowling’s ‘Fantastic Beasts and Where to Find Them’ - Screenplay and Book." Academicus International Scientific Journal 27 (January 2023): 20–41. http://dx.doi.org/10.7336/academicus.2023.27.02.
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The representation of autism in literature is a novelty of a delicate sense for what impact it can have on readers. Autism shows more frequently in the lines of Young-Adult fiction (YA), a genre known for its large audiences, which makes contemplating the image of an autistic person, as an actual character or a theme, either a means of access or a block to public awareness of the spectrum, respectively. The selected YA fiction works for this paper are Fantastic Beasts and Where to Find Them, as screenplay (2018) and book (2001). The screenplay is not an adaptation of the book, but a background to the times when a character wrote his study book on the beasts that surrounds his environment. In the works, the use of terms like “monster” and “beast” seems to refer to a dehumanised image of the represented, which raises questions on why the writer would allude readers to relate autism to monstrosity; is she maintaining the habit of using illness as a narrative thematic tool or does she suggest otherwise? In order to formulate a ground for these inquiries, we will visit the text in relation to Lacan and Derrida’s thoughts on “Subjectivity” and how it defines fellowship from alterity and monstrosity. The objective of this research is to investigate the representation of autism in Rowling’s screenplay while backing up with examples from the book to see how far it meets the real or contrastingly contributes to reinforcing another stereotypical other.
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Karavodin, Katerina. "Transforming and queering identity: The influence of magical girl anime on queer-inclusive western animation." Queer Studies in Media & Popular Culture 7, no. 1-2 (June 1, 2022): 95–108. http://dx.doi.org/10.1386/qsmpc_00071_1.
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Following the success of Cartoon Network’s Steven Universe there has been an explosion of openly queer representation in US children’s animated television through programmes such as She-Ra and the Princesses of Power and The Owl House (2020–present), among others. The majority of these programmes follow trends seen in Steven Universe. These queer-inclusive children’s programmes tend to exist within the sci-fi/fantasy genre, visually reference Japanese anime, focus on female queer identity and attract adult fan bases in addition to young audiences. These factors can be accounted for, at least in part, by the direct influence of the mahō shōjo or magical girl genre of Japanese anime and manga or its indirect influence through Steven Universe. Scholarship has already commented upon the queer tropes common in magical girl programmes, both open and subtextual, and the direct influence of this genre on Steven Universe is well established. However, while the influence of the magical girl genre is obvious in programmes like Steven Universe and She-Ra that are closely patterned on the magical girl, it can also account for the aforementioned similarities in a majority of seemingly different recent queer-inclusive programmes such as The Owl House, Kipo and the Age of Wonderbeasts and others. The anime influenced visuals of these programmes are partially a result of borrowing from aspects of the magical girl genre, such as the iconic transformation or henshin sequence. It is the sci-fi/fantasy nature of magic and transformation, just as in magical girl programmes, that allows young women to access magical power and agency through explorations of identity. These similarities make for an accessible language of transformation and exploration through which queer narratives can be expressed. By tracing the influence of the magical girl genre and its focus on the power of self and interpersonal exploration, we can begin to see why modern, queer-inclusive children’s animation exists in the form it currently does and begin to question what this means for queer representation and messages in contemporary US children’s animation.
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Friedrich, Jacek. "Modernist Architecture in Illustrative Art for Children and Teenagers in the People’s Republic of Poland." Ikonotheka 28 (August 6, 2019): 199–231. http://dx.doi.org/10.5604/01.3001.0013.3379.
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Books and periodicals for children and teenagers constituted an important instrument of education and also social persuasion in the People’s Republic of Poland. In such publications, illustrations played a crucial role. Printed in several dozen or even several hundred thousand copies, such publications circulated among great numbers of young readers, therefore becoming a very effective medium for disseminating certain desired views. There can be no doubt that the messages directed at the youth largely reflected the opinions held by the adult section of the society: the authors and the people ordering and authorising the publication. The numerous topics presented in a form suitable for young readers included architecture. The nature of architecture-related themes was varied indeed; at times architecture (historical or contemporary) appeared in the foreground, but most often depictions of buildings served only as a visual backdrop for the narrated story. However, even presented in the background, the forms of architecture chosen by illustrators were not received indifferently by the readers, since they conveyed a certain model imagery of houses, flats, housing estates, or entire cities. Since such images were published by the thousand, a thorough analysis of the issue would not fit the spatial constraints of a single article. The aim of the text is, therefore, restricted to identifying the possibility for expanding the source material for studies on architectural culture; it focuses on a single theme, namely the methods in which publications for children and young readers issued in communist Poland presented, and often even propagated, modernist architecture. Due to the choice of the subject matter, the article mainly concentrates on the period of the post-Stalinist Thaw when modern forms gained a true monopoly in Polish architecture. The tendencies observable in architectural theory and practice at the time were reflected with considerable fidelity in publications for young audiences. Popular images included the vision of a modern metropolis with heavy pedestrian and automobile traffic, full of high-rise buildings, lit by lamps and neon lights after dark. Depictions of modernist housing estates with blocks of flats, as well as modern schools or playgrounds were equally common. The message conveyed by such imagery may easily be summarised by the title of one of the children’s rhymes analysed above, namely Nasz dom [Our home]. Both the texts and the visual depictions of the day constructed a vision in which modernist architecture became the natural habitat of contemporary people. The present article describes numerous depictions which corroborate such an interpretation of the phenomenon under analysis.
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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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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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Benedict, Catherine, Alexandria L. Hahn, Michael A. Diefenbach, and Jennifer S. Ford. "Recruitment via social media: advantages and potential biases." DIGITAL HEALTH 5 (January 2019): 205520761986722. http://dx.doi.org/10.1177/2055207619867223.
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Background Adolescent and young adult (AYA) cancer survivors are under-represented in research. Social media is increasingly used for recruitment given its ability to reach large audiences. Differences in participant characteristics and potential biases due to recruitment source are not well understood. Purpose This study aimed to: (a) compare recruitment strategies (hospital-based v. social media) in enrollment metrics, and (b) among enrolled participants, evaluate group differences in patient characteristics and patient reported outcomes (PROs). Methods Preliminary data from a cancer and fertility study with female AYAs were evaluated. Hospital-based recruitment used electronic medical records (EMR) to identify eligible patients. Social media recruitment involved posting on partner organizations’ social media outlets. PROs included validated measures related to the parent study. Descriptive statistics evaluated recruitment metrics. Independent samples t-tests and chi-square identified differences in participant characteristics and PROs based on recruitment. Results Social media yielded a higher enrollment rate (37%; n = 54/146) compared with hospital-based recruitment (7%; n = 21/289) and required fewer study resources. Compared with hospital-based recruitment, participants from social media were more likely to be White ( p = 0.01), with a longer time since treatment ( p = 0.03); and reported higher levels of reproductive concern ( p = 0.004) and negative mood ( p = 0.02), and more negative illness perceptions ( ps < 0.05). Conclusion Recruitment via social media may be a more effective and efficient strategy compared with hospital-based methods. However, group differences were identified that could bias findings and limit generalizability. Advantages of social media should be considered with an understanding of how methodology may impact enrollment and results.
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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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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