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Books on the topic 'Children’s audience'

Author: Grafiati

Published: 30 May 2022

Last updated: 31 July 2025

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1

Alilio, Martin. Multi-media audience research study. The Fund, 1998.

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2

Stone, Jon. the Monster at the end of this Book: Starring Lovable, Furry Old Grover. CTW Books, 2000.

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3

Stone, Jon. the Monster at the end of this book. Western Publishing Company, 1993.

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4

Stone, Jon. The Monster at the End of This Book. Golden Books Publishing Company, 1997.

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5

Stone, Jon. The monster at the end of this book. Random House, 2004.

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6

Marisa, Smith, ed. Seattle Children's Theatre: Six plays for young audiences. Smith and Kraus, 1997.

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7

Brian, Kral, Smith Charles 1955-, and Tunström Göran 1937-, eds. Plays for young audiences II. Theatre Communications Group, 1988.

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8

Tony, Kushner, Lysander Per, and Smith Evan, eds. Three plays for young audiences. Theatre Communications Group, 1987.

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9

Walters, Reece. The younger audience: Children and broadcasting in New Zealand. Dunmore Press, 2001.

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10

Sprafkin, Joyde. Television and the exceptional child: A forgotten audience. L. Erlbaum Associates, 1992.

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11

Redvall, Eva Novrup. Writing and Producing for Children and Young Audiences. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-67073-2.

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12

1953-, Beckett Sandra L., ed. Transcending boundaries: Writing for a dual audience of children and adults. Garland, 1999.

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13

Biddle, Steve. Amazing Origami for Children. Cresset Press, 1992.

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14

1933-, Jennings Coleman A., ed. Theatre for young audiences: 20 great plays for children. St. Martin's Press, 1998.

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15

D, Gadow Kenneth, and Abelman Robert, eds. Television and the exceptional child: A forgotten audience. L. Erlbaum Associates, 1992.

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16

Cary, Bazalgette, Buckingham David 1954-, and British Film Institute, eds. In front of the children: Screen entertainment and young audiences. British Film Institute, 1995.

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17

Pfeffinger, Eric R. Lost and foundling: A play for young audiences. Dramatic Publishing, 2007.

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18

McCusker, Paul. The ultimate youth drama book: Everything you need! (except stage, cast, audience, etc.). Gazelle, 2000.

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19

Pervova, Galina, R. M. Kulichenko, and O. A. Rudeleva. Classics of Russian literature in children's reading. INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1818759.

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The textbook is a significant addition to G.M. Pervova's textbook "Children's Literature", published in INFRA-M in 2021.  The textbook analyzes the range of reading works by Russian classical writers for a children's audience. The author chooses for consideration the work of those writers who did not write specifically for children, so you will not find in the manual the famous surnames of K.I. Chukovsky, N.N. Nosov and many others. The manual raises the problem of expanding the circle of children's reading, emphasizes the importance of the creativity of Russian classics as carriers of t

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20

Lowell, Swortzell, ed. Around the world in 21 plays: Theatre for young audiences. Applause, 1997.

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21

1932-, Greenberg Barbara L., and National Theatre (Great Britain), eds. Jeremy and the thinking machine: A musical for young audiences. Barrington Stoke, 2004.

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22

Kraus, Joanna Halpert. Kimchi kid: A two-act play for young audiences. New Plays Incorporated, 1985.

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23

Milne, A. A. Walt Disney's Winnie the Pooh and Tigger Too. Grolier Books, 1996.

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24

Shirley, Barrie, and Sher Emil 1959-, eds. Prepare to embark: Six theatrical voyages for young audiences. Playwrights Canada Press, 2002.

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25

Milne, A. A. Winnie-the-Pooh: The house at Pooh Corner : the complete collection of stories. Egmont, 2002.

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26

Miller, Peggy J., and Grace E. Cho. Child-Affirming Artifacts. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199959723.003.0007.

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Chapter 7, “Child-Affirming Artifacts,” uses ideas from Vygotskian theory to describe the child-affirming artifacts that populated children’s homes. Some artifacts were widely distributed consumer products. Children interacted with toys and electronic games that dispensed praise. Children’s books and TV shows, marketed as promoting children’s self-esteem, featured characters who were celebrated for their achievements, individuality, inherent worth, and potential. Several children loved Blue’s Clues, a show whose star constantly praised its characters and audience. These consumer products insta

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27

Joosen, Vanessa, ed. Connecting Childhood and Old Age in Popular Media. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496815163.001.0001.

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Media narratives in popular culture often ascribe interchangeable characteristics to childhood and old age. In the manner of George Lakoff and Mark Johnson’s Metaphors We Live By, the authors in this volume envision the presumed semblance between children and the elderly as a root metaphor that finds succinct articulation in the idea that “children are like old people” and vice versa. The volume explores the recurrent use of this root metaphor in literature and media from the mid-nineteenth century to the present. The authors demonstrate how it shapes and is reinforced by a spectrum of media p

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28

Murray, Shannon. Bunyan for Children. Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.41.

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Bunyan had a profound if largely accidental influence on English children’s literature. He wrote a collection of poems for children, but it was The Pilgrim’s Progress (1678; 1684) that became a staple of the nursery shelf, adopted by children who seem to have read it more for the adventure than for the theology. Editions aimed specifically for that audience followed, and these often radically adapted Bunyan’s language, theology, and subject matter. So ubiquitous was The Pilgrim’s Progress that children’s writers such as Louisa May Alcott, Francis Hodgson Burnett, and L. M. Montgomery could ass

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29

McNeil, Heather. Bringing Heart and Mind into Storytime. Libraries Unlimited, 2022. http://dx.doi.org/10.5040/9798400621444.

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Learn how to use children’s books during storytime to approach sensitive topics and increase children’s social-emotional wellness—and how to create storytimes that are engaging, participative, and FUN! The emotional challenges many children experience consume the time of teachers, exhaust parents, and sometimes lead children toward behaviors that prohibit social and academic success. Storytime to the rescue! Library storytimes prepare children for kindergarten; storytimes at home and in preschools allow teachers, parents, and children to think and talk about empathy and the importance of honor

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30

The Lively Audience. Unwin Hyman, 1987.

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31

Kriesberg, Daniel A. Think Green, Take Action. ABC-CLIO, LLC, 2010. http://dx.doi.org/10.5040/9798216025504.

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"This book provides an annotated bibliography of age-appropriate literature and activities, showing children the importance of environmental issues and teaching them the skills to take action. In past years, teaching children about conservation and environmental issues might have been an optional side topic to complement an earth science curriculum, but in today’s educational climate, ""being green"" is a subject with great relevance and importance. This book combines a wide variety of techniques to help students understand environmental issues and gain the skills needed to take action. The ch

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32

Dixon, Franklin W. Witchmaster's Key (The Hardy Boys). Armada, 1991.

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33

Dixon, Franklin W. Witchmaster's Key (The Hardy Boys). Armada, 1991.

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34

Reason, Matthew. Young Audience: Exploring and Enhancing Children's Experiences of Theatre. Institute of Education Press (IOE Press), 2010.

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35

Phillips, Angus. Trade Publishing. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199574797.003.0012.

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Trade publishing at Oxford University Press included those titles aimed at a broader audience, including general non-fiction, illustrated histories and encyclopedias, World’s Classics, and children’s books. Originally a separate operation of the London Business, overseas trade publishing later devolved to the branches while domestic trade titles were amalgamated into the Oxford academic lists. Trade titles involved a higher level of risk, deeper discounts to booksellers, larger author royalty payments, and investment in marketing and sales. The Press gradually minimized these risks by introduc

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36

The Young Audience: Exploring and Enhancing Children's Experiences of Theatre. Trentham Books, 2010.

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37

Derrick, Stephanie L. The Fame of C. S. Lewis. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819448.001.0001.

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This book considers the history of British literary scholar, author and Christian apologist C. S. Lewis’s fame from the 1940s through the present and compares his contrasting patterns of reception in Britain and America. Lewis was both an esteemed literary figure and a divisive personality among his colleagues at Oxford and Cambridge Universities, who recognized his penchant for projecting a persona. It took the outbreak of the Second World War and invitations from Christian leaders to draw Lewis into crafting popular Christian apologetics. Yet Lewis’s reasons for writing books that were acces

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38

Taibah, Nadia Jameel, and Margaret Read MacDonald. Folktales from the Arabian Peninsula. ABC-CLIO, LLC, 2015. http://dx.doi.org/10.5040/9798400652165.

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This unique and diverse selection of traditional folktales from the countries of the Arabian Peninsula appeals to a broad audience, ranging from storytellers and educators to folklorists and scholars. A unique compilation of stories, Folktales from the Arabian Peninsula includes tales from seven countries: Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, the United Arab Emirates, and Yemen. Coauthored by a renowned folklorist and a professor of education who recalls some of these poignant tales from her own childhood, the book opens with a discussion of the Arabian Peninsula that introduces each co

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39

Beckett, Sandra. Transcending Boundaries: Writing for a Dual Audience of Children and Adults (Children's Literature and Culture). Routledge, 1999.

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40

Swortzell, Lowell. Theatre for Young Audiences. Applause Theatre Book Publishers,U.S., 1999.

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41

Plays for young audiences III. Theatre Communications Group, 1989.

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42

Stone, Jon. The Monster at the End of this Book (Big Little Golden Book). Golden Books, 2004.

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43

Stone, Jon. The Monster at the End of This Book. CTW Books, 2000.

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44

Stone, Jon. The Monster at the End of This Book. Golden Books, 2003.

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45

Stone, Jon. The Monster at the End of this Book (Big Little Golden Book). Golden Books, 2004.

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46

Judy, Blume, Ludwig Bemelmans, Dahl Roald, and Ernest H. Shepard. The Book of Children's Classics. Dutton Children's Books, 1997.

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47

The Book of Children's Classics. Dutton Children's Books, 1997.

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48

Frockt, Deborah Lynn. Seattle Children's Theatre: Six Plays for Young Audiences. Smith & Kraus, 2000.

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49

Isaacs, Dee. The Rime of the Ancient Mariner. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450177.

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The BASCA-nominated Rime of the Ancient Mariner is a 3-act site-specific opera for large ensemble, SATB choir, and children’s chorus involving multi-staged performance and video projection, performed in the University of Edinburgh’s Old College Quad and Playfair Library.A collaborative project by composer Dee Isaacs, writer Gerda Stevenson, theatre director John Bett, and film-maker Ian Dodds, the project was conceived and produced as part of the University of Edinburgh’s Music in the Community programme in collaboration with teachers and pupils of Leith Walk Primary School and two professiona

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50

The lively audience: A study of children around the TV set. Allen & Unwin, 1986.

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