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Journal articles on the topic 'Children’s audience'

Author: Grafiati

Published: 30 May 2022

Last updated: 31 July 2025

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1

Pandya, Jessica Zacher, and David E. Low. "Theorizing the Addressive Audience in Children’s Digital Video Production." Written Communication 37, no. 1 (2019): 41–68. http://dx.doi.org/10.1177/0741088319880509.

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In this article, we examine how children ages 8 to 10 characterized the audiences of digital videos they made in school. Children’s perceptions of their viewers reflected, and in many cases complicated, current theorizing about the vast potential audiences of digital texts. Our analysis of videos and interview data surfaces several findings pertaining to how children characterized their audiences. Children discussed their desire to inform viewers, their deliberate choices about language use vis-à-vis their viewers, ways they predicted and steered audience emotions, and the affective dimensions

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2

Gana, Emmanuel Tsadu. "Cyberformance and Children’s Theatre: a Contextual Examination of the Janelle and Joella Paradigm." Journal of Society and Media 8, no. 2 (2024): 570–87. http://dx.doi.org/10.26740/jsm.v8n2.p570-587.

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This article identifies cyberspace as an alternate theatre environment for audiences to see performances. There is no doubt that the internet has had a tremendous influence on human society; the interconnectedness and easy access to information and resources which it enables is a testament to this. Theatre artists have recently tapped into cyberspace to create content for an expanding online audience. This article explores how performance can enhance children's theatre in this digital space. It examines the concept of children’s theatre and defines children-centered online content as performan

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O’Connell, Eithne. "What Dubbers of Children’s Television Programmes Can Learn from Translators of Children’s Books?" Meta 48, no. 1-2 (2003): 222–32. http://dx.doi.org/10.7202/006969ar.

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Abstract Technical difficulties associated with dubbing, together with the collaborative nature of the dubbing process, explain why traditionally the linguistic challenges of dubbing translation for specific audiences such as children have not been studied very closely. As new developments in sound recording improve the technical quality of dubbing, it is time for the remaining textual translation issues to be addressed in more detail. Due to the many common characteristics of different text types aimed at children, dubbers of children’s audiovisual material can learn a considerable amount fro

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Leontieva, Tetiana. "Social Networks as Emblematic of Children’s Communication Interaction." Scientific notes of the Institute of Journalism, no. 1 (82) (2023): 87–96. http://dx.doi.org/10.17721/2522-1272.2023.82.7.

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In this article, the key attention is paid to the problem of the potential dependence of the children‘s audience on participation in social networks. Having defined as the purpose of the article the need to specify the elements of communication dependence of children on participation in social networks, a significant material of specific studies of the interests of the children‘s audience in social networks of both theoretical and applied nature, conducted by Ukrainian and foreign scientists, was elaborated. It is emphasized that the Internet and such a significant factor in its functioning as

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Ramolete, Amihan Bonifacio, and Sir Anril Pineda Tiatco. "Awakening Philippine Cultural Consciousness in the Youth through Amelia Lapeña-Bonifacio’s Papet Pasyon." Harmonia: Journal of Arts Research and Education 24, no. 1 (2024): 88–104. http://dx.doi.org/10.15294/harmonia.v24i1.46462.

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This article aims to explore how the staging of Papet Pasyon, a children’s play by Amelia Lapeña-Bonifacio, a Philippine National Artist, impart and continues to communicate to the local younger audience an understanding of culture and an appreciation of the art of puppetry. This is then followed by the conceptualization of the actual staging of the play vis-à-vis her vision of a children’s theatre. Afterward, Papet Pasyon is asserted as a pedagogy for younger audiences. Results of the study show (1) how the pre-show conversation prepares the audience for the performance and how it provides an

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Hryciv, Nataliya, and Roksolana Syndeha. "PECULIARITIES OF TRANSLATING CHILDREN’S LITERATURE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 11(79) (2021): 64–67. http://dx.doi.org/10.25264/2519-2558-2021-11(79)-64-67.

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The article focuses on the analysis of children’s literature translation. The definition of children’s literature is researched in the article, taking into account its purpose, audience and content, which makes it an interesting subject for studying. The function of the translated text in the target culture may also differ from the one intended by the author. The current study will take into account all of the mentioned factors (purpose, audience and content), taking a functionalist approach to the analysis. While translating children’s literature, the translator is not only the mediator betwe

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Louiyapong, Kamjohn. "Children’s Films: Children’s Matters are No Childish Matters." MANUSYA 19, no. 2 (2016): 17–48. http://dx.doi.org/10.1163/26659077-01902002.

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This paper studies Thai children’s films produced in the appropriately five decades since the decade of B.E. 2510 (1967). The study reveals that, in this time, there have been more than fifty Thai films in rich diversity both produced “for” children and “about” them, and that of these two groups, the first is more likely to be intended primarily for a young audience. Thai children’s films can be divided into five periods from a historical point of view, and categorized into three groups, namely, children and their inner lives, children and the family and, children and society.

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Abisola Precious Popoola. "Optimizing communication strategies for nonprofits in Missouri: A case study on united 4 children’s messaging and audience engagement." World Journal of Advanced Research and Reviews 24, no. 3 (2024): 2728–32. https://doi.org/10.30574/wjarr.2024.24.3.3991.

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Nonprofit organizations operate in complex environments that demand tailored communication strategies to engage diverse audiences effectively. This study presents an analysis of United 4 Children’s (U4C) communication approach, utilizing data-driven insights to enhance their messaging strategies. Employing demographic segmentation, audience persona development, and analysis of communication channel preferences, this research identifies actionable recommendations for optimizing outreach. Key findings emphasize the importance of a hybrid marketing strategy, prioritizing social media, leveraging

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Penchuk, I. "Дитячі телестудії в системі інтегрованих ЗМІ". State and Regions. Series: Social Communications, № 3(43) (18 лютого 2021): 100. http://dx.doi.org/10.32840/cpu2219-8741/2020.3(43).15.

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<p><strong><em>The purpose of the article: </em></strong><em>to consider the experience of media education work with children in Ukraine; to classify the models of organization of mass media education of children, in particular children’s television, to substantiate the need to systematize the mass media as an institution for the formation of media competence of children’s audience.</em></p><p><strong><em>Research methodology.</em></strong><strong><em> </em></strong><em>To solve the set

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Thomas, Colin, John Lazarus, Maristella Roca, Paula Adele Wing, and Joel Greenberg. "Two Weeks, Twice a Year, YP Three: Three Plays from Young People’s Theatre." Canadian Theatre Review 84 (September 1995): 82–83. http://dx.doi.org/10.3138/ctr.84.018.

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This quartet of plays for young audiences provides a valuable overview of the current state of children’s theatre writing. The four plays have received major productions as well as glowing critical and audience response. Three of the four have also won prestigious awards. How fortunate, then, that Scirocco Drama (Two Weeks, Twice a Year) and Playwrights Canada Press (YP Three)have seen fit to publish these works

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Asztalos, Bence. "Audience Education, Concert Pedagogy – Hans Krása’s Children’s Opera: Brundibár." Képzés és gyakorlat 15, no. 3 (2017): 85–92. http://dx.doi.org/10.17165/tp.2017.3.7.

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

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

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Kwon, Min Hyeong, Jongyun Kim, Changwan Seo, Chiwon W. Lee, Eu Jean Jang, and Woo-Kyun Lee. "Education Programs in Public Children’s Gardens in the United States." HortTechnology 26, no. 1 (2016): 70–82. http://dx.doi.org/10.21273/horttech.26.1.70.

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This study examines the current status, implementation, and foci of children’s education programs as a subset of general audience-targeted public education programs offered by public children’s gardens in the United States. Children were a major target audience of the examined public gardens, followed by adults, families, and youth. Public children’s gardens tended to offer more programs overall compared with public gardens without children’s gardens. In addition, there was a greater diversity of children’s education programs offered (classified into 10 topics and 11 activities) in public chil

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Silkiluwasha, Mpale. "A Counter Reading of Globalised Children’s Literature in Mollel’s Books." Umma The Journal of Contemporary Literature and Creative Art 10, no. 1 (2023): 73–98. http://dx.doi.org/10.56279/ummaj.v10i1.4.

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This article analyses the perceptions of an African audience of books written on Africa published but mostly sold in the West, based on the assumption that these books primarily target a Western audience. Drawing insights from postcolonial and children’s literature scholars, the study sought to bring into the conversation the voice of the otherwise marginalised population—African (Tanzanian) audience—who are represented in these texts. Based on ethnographic studies conducted in Dar es Salaam amongst primary school students, students and staff from the University of Dar es Salaam, and some staf

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Zubarkina, E. S. "SPECIFICS OF MODERN CHILDREN'S RADIO DISCOURSE: AUDIENCE, TYPOLOGY, PROGRAM FUNCTIONS." Memoirs of NovSU, no. 1 (2024): 51–60. http://dx.doi.org/10.34680/2411-7951.2024.1(52).51-60.

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Children's radio broadcasting has undergone significant changes since the beginning of the digitalization era. On one hand, new technologies have made it more accessible, interactive, and interesting for the audience. On the other hand, in the process of media consumption by minors, radio is inferior to Internet media, video hosting, etc. To resolve contradictions and determine the role of radio and its potential in personality formation, the researcher turns to a broad empirical base, the analysis of which allows us to conclude that the owners of FM frequencies do not seek to exclude children

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Annisah, Tania. "GLOBAL ALGORITHMS, LOCAL CULTURES." SANGKéP: Jurnal Kajian Sosial Keagamaan 8, no. 1 (2025): 130–49. https://doi.org/10.20414/sangkep.v8i1.12400.

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This study investigates the legibility of children’s content on YouTube, examining how it is presented, created, and consumed within the context of participatory parenting and Youtube algorithm. Using Jürgen Habermas' public sphere framework, the research explores how digital platforms like YouTube shape participatory media practices, particularly in producing accessible and developmentally appropriate content for young audiences. The study adopts a purposive sampling method, by selecting videos based on YouTube’s algorithmic recommendations to simulate the user experience and exploring how th

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Gras, Isabelle. "Dual Audience Literature: The Child’s Gaze in The Comical Tragedy or Tragical Comedy of Mr . Punch by Neil Gaiman and Dave McKean." Leaves, no. 2 (April 29, 2016): 37–51. https://doi.org/10.46608/leaves.vi2.212.

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The child’s point of view is what children’s literature has been progressively trying to understand, and then to express, since the second half of the 19th century. Perhaps inherited from the tradition of tales and fables, which were originally written for adults but were read to children as well, dual audience literature addresses both children and adults. As children’s literature developed, and became more diversified, following the cultural, artistic and literary evolution of society, dual audience literature seemed to recede in an indeterminate area. After defining the concept of dual audi

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Nicholson, Helen. "The young audience: Exploring and enhancing children’s experiences of theatre." English in Education 45, no. 1 (2011): 102–3. http://dx.doi.org/10.1111/j.1754-8845.2010.01085.x.

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Luchkina, Olga. "CHRONICLE OF THE MEETINGS OF THE “CHILDREN’S SEMINAR” AS A MIRROR OF CHILDREN’S LITERATURE RESEARCH." Children's Readings: Studies in Children's Literature 26, no. 2 (2024): 319–44. https://doi.org/10.31860/2304-5817-2024-2-26-319-344.

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The research “Children’s Seminar” has been held since 2012 once a month. The organizers of the seminar are the staff of the Center for Children’s Literature Research at the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences: Svetlana Maslinskaya, Inna Sergienko, Anna Dimianenko and Olga Luchkina. The seminar sessions discuss a wide range of issues related to modern methods and directions of studying children’s literature (canon studies, propaganda, taboo, gender, etc.), examined on a variety of materials: Soviet children’s literature, children’s cinema, children

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Pereira, Sara. "Quality in children’s television." Comunicar 13, no. 25 (2005): 181–92. http://dx.doi.org/10.3916/c25-2005-025.

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With this presentation we try to reflect upon the concept of quality with regards to television for children. In addition, we aim to identify a set of criteria which can allow us to recognize and evaluate the quality of programming for younger audiences. This analysis is based both on the contribution of different authors that have studied quality in television and on the opinions of professionals who intervene and pay especial attention to programming for children in Portugal. The opinions of these professionals were collected by interview in the frame of a larger study which focused the offe

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Correa, Teresa, Marcela Reyes, Lindsey P. Smith Taillie, and Francesca R. Dillman Carpentier. "The prevalence and audience reach of food and beverage advertising on Chilean television according to marketing tactics and nutritional quality of products." Public Health Nutrition 22, no. 06 (2018): 1113–24. http://dx.doi.org/10.1017/s1368980018003130.

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AbstractObjectiveIn the light of Chile’s comprehensive new restriction on unhealthy food marketing, we analyse food advertising on Chilean television prior to the first and final phases of implementation of the restriction.DesignContent analysis of marketing strategies of 6976 advertisements, based on products’ nutritional quality. Statistical analysis of total and child audience reached using television ratings data.SettingAdvertising from television aired between 06.00 and 00.00 hours during two random composite weeks across April–May 2016 from the four broadcast and four cable channels with

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Zhong, Ying. "A Report on C-E Translation of Children’s Literature: A Case Study of Gen Niao (Excerpts)." Journal of Education and Educational Research 7, no. 3 (2024): 117–21. http://dx.doi.org/10.54097/p4sby241.

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Gen Niao is a short story crafted by Cao Wenxuan, a distinguished contemporary writer in the realm of children’s literature. This story chronicles the maturation journey of a young protagonist named Gen Niao. Currently, there is no published translated edition of this book. This paper takes Gen Niao as an example to primarily explore the English translation of Chinese children’s literature. As international cultural exchanges deepen, English translation of contemporary Chinese children’s literature assumes paramount significance in facilitating cultural outreach. Due to the cultural and lingui

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Gerdemann, Stella C., Jenny Tippmann, Bianca Dietrich, Jan M. Engelmann, and Robert Hepach. "Young children show negative emotions after failing to help others." PLOS ONE 17, no. 4 (2022): e0266539. http://dx.doi.org/10.1371/journal.pone.0266539.

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Self-conscious emotions, such as guilt and shame, motivate the adherence to social norms, including to norms for prosociality. The relevance of an observing audience to the expression of negative self-conscious emotions remains poorly understood. Here, in two studies, we investigated the influence of being observed on 4- to 5-year-old children’s (N = 161) emotional response after failing to help someone in need and after failing to complete their own goal. As an index of children’s emotional response, we recorded the change in children’s upper body posture using a motion depth sensor imaging c

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Leontieva, Tetiana. "Design and development children’s cross-tv." Obraz 33, no. 1 (2020): 64–72. http://dx.doi.org/10.21272/obraz.2020.1(33)-64-72.

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The phenomenon of children’s cross-television is analyzed. It is alleged that cross-television uses Internet platforms to introduce content – in this case, children’s. It is emphasized that the communication capabilities of modern Internet platforms can turn the content of traditional children’s television into the attractive game or educational content that will interest the child primarily because it contains an interesting form of teaching useful content. The essence and features of the presentation of television technologies for children, as well as the positive and negative consequences o

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Hai-Nyzhnyk, Pavlo. "Vikidia as a universal multilingual online encyclopedia for children." Entsyklopedychnyi visnyk Ukrainy [The Encyclopedia Herald of Ukraine] 14 (December 15, 2022): 81–87. http://dx.doi.org/10.37068/evu.14.9.

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The article informs the community of Ukraine about the children’s universal multilingual online encyclopedia titled Vikidia and draw attention to the fact that it lacks a Ukrainian-language section. We emphasize the Ukrainian children’s audience does not yet have a high-quality digital encyclopedia and, obviously, Vikidia could fill this gap. At the same time, it is important that Ukrainian children’s encyclopedias or the Ukrainian-language segments of international projects such as Vikidia provide contents aimed specifically at Ukrainian children (currently, the vast majority of published in

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Karimi, Zeinab, and Bahee Hadaegh. "A Psychoanalytic Reading of Selected Persian Children’s Plays." Libri et liberi 9, no. 2 (2020): 293–312. http://dx.doi.org/10.21066/carcl.libri.9.2.3.

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Once theatre aims at children, who are the citizens and decision makers of the future, it can influence the course of society through the values and worldviews that it promotes. The exceptional capacity of this medium in engaging the audience, along with children’s receptiveness, necessitates a meticulous study of the ideologies embedded in plays. This study unravels how these ideological factors can hamper the theatre’s main purpose which is to encourage the audience to form individual fantasies. Accordingly, Žižek’s theories are drawn upon for their hints on ideology, fantasy, reality, and s

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Sørenssen, Ingvild Kvale. "Disney’s High School Musical and the construction of the tween audience." Global Studies of Childhood 8, no. 3 (2018): 213–24. http://dx.doi.org/10.1177/2043610618796722.

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This article explores how the Disney Company scripts what it is to be a tween through the High School Musical trilogy. While children’s perspective is of pivotal concern within childhood studies, it has traditionally left out the material aspects and rather focused too narrowly on the subject and the social. I found that the trilogy was watched several times by tweens, thus in addition to exploring children’s voices and perspectives on media content, we also need to examine what the audience is served. The High School Musical trilogy is about teenagers as they attend high school, while it is t

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Rebrova, A. D. "Integration of Blogging and Children’s Television: Issues and Perspectives." Nauchnyi dialog 13, no. 7 (2024): 217–35. http://dx.doi.org/10.24224/2227-1295-2024-13-7-217-235.

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The issue of integrating blogging practices into children’s television programs is considered as one of the factors for popularizing the latter among the younger generation. It is noted that children prefer entertaining online resources. It is shown that parents are concerned about their children’s immersion in the virtual sphere, the difficulty of controlling the information received, and the influence of popular bloggers on shaping children’s worldview. It is pointed out that resources for children under 13 are widely available on the Internet and television, while there are no such speciali

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MATEI, Cosmin. "The Intersection of Theatre, Motion Capture, and Digital Avatars Exploring New Horizons in Children's Theatre." Theatrical Colloquia 14, no. 2 (2024): 36–67. https://doi.org/10.35218/tco.2024.14.2.04.

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The integration of Motion Capture (MoCap) technology and digital avatars into children’s theatre offers transformative potential for both artistic innovation and educational development. These technologies enable immersive, dynamic performances that captivate young audiences while introducing new forms of storytelling. However, they also present challenges regarding emotional manipulation and the erosion of authentic human connection. MoCap complicates the traditional actor-audience relationship, as digital avatars assume increasingly active roles in shaping the narrative. This article critica

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Kibbee, Douglas A. "When Children’s Literature Transcends its Genre." Meta 48, no. 1-2 (2003): 307–21. http://dx.doi.org/10.7202/006977ar.

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Abstract A book such as Alice in Wonderland, written for a girl, but nowadays understandable only by adults, the translation of proper nouns can reveal the audience for which translators have addressed their works. This article looks at the translation of proper nouns. These cultural traits are first names, historical references, place names and names of languages: should these be changed to facilitate comprehension by children? This study is then used to evaluate some aspects of theories proposed by Shavit and Oittinen concerning adaptation and translation.

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Kovanen, Marjo. "Horror in Finnish children’s cinema and film literacy: A case study of Iris." Journal of Scandinavian Cinema 14, no. 3 (2024): 235–53. https://doi.org/10.1386/jsca_00122_1.

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This article focuses on the cultural and aesthetic meanings of horror elements in Finnish children’s cinema, situating it within a Nordic context. Combining close reading and intertextual analysis of Ulrika Bengts’ Iris (2011), the investigation demonstrates that the horror elements are tonal, aesthetic and thematic, making the film representative of an arthouse-oriented Nordic children’s horror genre that differs in significant respects from Anglo-American children’s horror. The article also discusses the pedagogical potential of children’s films influenced by horror aesthetics and proposes a

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Borzendowski, Stephanie, Michael Vredenburgh, Catherine Darlson, Michael Hersh, Alison Vredenburgh, and Ilene Zackowitz. "Children’s Safety Workshop: A Demonstration of Human Factors Professionals’ Preparaton with Practicing Attorneys." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 63, no. 1 (2019): 557. http://dx.doi.org/10.1177/1071181319631511.

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This special joint session with shared interest from multiple technical groups (Forensics professional, Children’s issues, and Safety) presents an interactive demonstration of human factors preparation with “client” attorneys. Actual attorneys, exhibits and experts from a matter that took place in South Florida will work with the audience to “prepare” the case and give example cross-examination testimony. The attorneys and experts will then form a panel to respond to audience questions.

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Burkitt, Esther, and Dawn Watling. "The impact of audience age and familiarity on children’s drawings of themselves in contrasting affective states." International Journal of Behavioral Development 37, no. 3 (2013): 222–34. http://dx.doi.org/10.1177/0165025413478257.

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The present study was designed to investigate the impact of familiarity and audience age on children’s self-presentation in self-drawings of happy, sad and neutral figures. Two hundred children (100 girls and 100 boys) with the average age of 8 years 2 months, ranging from 6 years 3 months to 10 years 1 month, formed two age groups and five conditions ( n = 20). All children completed two counterbalanced sessions. Session 1 consisted of drawing a neutral figure followed by a sad and happy figure in counterbalanced order. The drawing instructions specified the age of the audience (adult vs. chi

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Barbieri, Maureen. "Holding Memories, Shaping Dreams: Chinese Children’s Writers’ Notebooks." Voices from the Middle 6, no. 1 (1998): 41–48. http://dx.doi.org/10.58680/vm19982243.

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Describes how the author used writers’ notebooks with her students (grades 6-8), all Chinese immigrants, to find and express their memories and dreams, to find meaning in their experiences of change and loss; develop voice and a sense of audience; develop fluency in English; and find a growing sense of control over their new language and their new lives.

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Bittencourt, Marina Nolli, Raissa dos Santos Flexa, Ingrid de Souza Reis Santos, Larissa Duarte Ferreira, Camila Rodrigues Barbosa Nemer, and José Luiz da Cunha Pena. "Validation of content and appearance of an educational manual to promote children’s mental health." Rev Rene 21 (June 18, 2020): e43694. http://dx.doi.org/10.15253/2175-6783.20202143694.

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Objective: to validate the content and appearance of an educational manual to promote children’s mental health. Methods: this is a methodological study, in which 16 specialists (health and education professionals) and six of the target audience (nurses) participated. The Content Validity Index and the Agreement Index were calculated according to the response to the instrument, which assessed the objectives, appearance, structure, organization, relevance and didactics of the manual. Results: the Content Validity Index was 0.984 for the target audience, and the Agreement Index was 100.0%. The ma

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Rusyda, Rizka Kamilatu. "Communicative Translation Strategy in the Children's Story Bint Al-Ṣabbāgh by Kamil Kailani". Litteratura: Jurnal Bahasa dan Sastra 3, № 2 (2024): 121–36. https://doi.org/10.15408/ltr.v3i2.25736.

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The limited number of Arabic-to-Indonesian children's storybooks that apply communicative translation strategies poses a challenge in developing children’s literacy rich in moral values. This article aims to analyze communicative translation strategies in the children's story Bint al-Ṣabbāgh by Kamil Kailani, emphasizing acceptability and readability for young readers. This study employed a descriptive qualitative method by classifying and analyzing data based on communicative translation strategies. Ten core data segments were selected from the source text as they represent the narrative’s ma

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Smyr, Daria, and Ekaterina Ulianova. "Legal Issues of Children’s Personal Data Protection." Open Journal for Legal Studies 5, no. 1 (2022): 1–10. http://dx.doi.org/10.32591/coas.ojls.0501.01001s.

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The article deals with the problems of protecting the information privacy of minors in the online gaming sector. The authors analyze core approaches and methods of collection and processing of minors’ personal data, special regulation of data processing of children’s audience in light of some private company’s experience, current liability practices, and also offers a set of legislative measures to improve the effectiveness of children’s data protection both at the international and national level, measures for implementation of data subject rights.

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Gubanova, Alexandra Yu. "THE STUDY OF CHILDREN’S AND TEENAGE AUDIENCE ON THE INTERNET. ONLINE SURVEY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2018): 128–33. http://dx.doi.org/10.28995/2073-6401-2018-4-128-133.

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Kharytonova, S. V. "Children’s newspaper in the digital media environment: features and strategies for promoting content." Neophilology 11, no. 2 (2025): 418–27. https://doi.org/10.20310/2587-6953-2025-11-2-418-427.

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INTRODUCTION. Taking into account the positive dynamics in the annual measurement of the number of Internet users and the number of social media subscribers, the study aims to identify the features and most effective approaches to promoting media content on the official web platforms of the oldest Belarusian children’s newspaper “Zorka”.MATERIALS AND METHODS. The research material are publications of the children’s newspaper “Zorka” on the website, in social networks and in the Telegram account of the publication in the period from January 8 to February 4, 2025. The work uses methods of theore

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Rybak, Krzysztof. "To Traumatize or to Put under a Taboo? Holocaust Narratives in Children’s Literature." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 6 (September 22, 2021): 251–64. http://dx.doi.org/10.17951/en.2021.6.251-264.

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The article investigates the ways of representing the Holocaust in children’s literature published in Poland in the 21st century (e.g. Joanna Rudniańska’s Kotka Brygidy and Smoke by Antón Fortes and Joanna Concejo). Phenomena such as anti-Semitism or death of the main character, called by researchers and critics inappropriate for a young audience, are analyzed with the use of the research on taboo in children’s literature (Bogusława Sochańska and Justyna Czechowska) as well as confronted with the threat of “traumatization” of the young reader (Małgorzata Wójcik-Dudek). The analysis proves that

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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 (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

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Banu M. S., Benasir, and Evangeline Priscilla B. "Anne of Green Gables by Lucy Maud Montgomery as a Coming-of-age Novel." World Journal of English Language 13, no. 8 (2023): 275. http://dx.doi.org/10.5430/wjel.v13n8p275.

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Anne of Green Gables by Lucy Maud Montgomery is a Canadian Classic children’s fiction published in 1908. It revolves around an eleven-year-old orphan girl named Anne Shirley who is vibrant, witty, has a vivid imagination and a positive outlook on life. This coming-of-age story begins as Anne Shirley arrives at the Green Gables house on Prince Edward Island, Canada, to assist the upper-middle-aged siblings Marilla and Gilbert Cuthbert on their farm. The Cuthbert siblings were disappointed to see a girl as they were expecting to foster a boy to assist with the field labor. Anne Shirley landed in

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Fuenzalida, Valerio. "Public TV and digital change: TV technology – audience – formats." Matrizes 9, no. 1 (2015): 103. http://dx.doi.org/10.11606/issn.1982-8160.v9i1p103-126.

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This article is a review about some changes provided by digital technology in television for a public channel. A public television is different from a television in favour of the current government. The authentic public television works for the public interest, and not for the government, neither for political parties or economic groups. It is maintained the necessity of improving the quality of information, using the possibility of a 24/7 informative channel. The article also supports a children’s channel, especially those made for kindergartens, since there are new TV programs that improve t

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Achieng’, Rachel, Emmah Wakoli, and Michelle Rodrot. "Africa’s Ed-Tech Platforms: Protecting Children’s Right to Privacy." Journal of Intellectual Property and Information Technology Law (JIPIT) 2, no. 1 (2022): 189–200. http://dx.doi.org/10.52907/jipit.v2i1.210.

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Ed-tech platforms are used to create a more engaging, inclusive, and individualized learning experience. A number of these platforms utilize Artificial Intelligence (AI). AI-enabled learning tools and approaches have revolutionized the global education sector (Pedro et al., 2019). They have been recognized for their contributions to enhancing the quality of learning and teaching. AI aids teachers and students in their lessons (Pedro et al., 2019). Additionally, AI has been lauded for its potential to boost students' knowledge and learning habits, while also creating a more personalized approac

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Volkova, Diāna, Jeļena Volkova, and Daina Znotiņa. "ANALYSIS OF LEGO BRAND COMMUNICATION FOR THE AUDIENCE OF CHILDREN IN SOCIAL MEDIA." Journal of Regional Economic and Social Development 1, no. 12 (2020): 192. http://dx.doi.org/10.17770/jresd2020vol1.12.5394.

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Social media have become not only a platform for contacts among individuals but also a channel through which companies can maintain constant two-way feedback with consumers. Companies around the world become increasingly aware of the potential of children in the market and increase their communication with the children's audience. The ability to influence a child’s choices through communication via social media could give companies an opportunity to increase their sales. The aim of the research is to assess the elements of social media communication for the LEGO brand and their influence on ch

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Lundberg, Anna. "Jobbiga känslor på jobbet." Tidskrift för genusvetenskap 38, no. 1-2 (2022): 55–76. http://dx.doi.org/10.55870/tgv.v38i1-2.2956.

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This article is based on a research project carried out at a theatre for children and youth. The project focus was interactive children’s theatre, a format that allows the audience to interact with the actors in improvised stage art. This format is highly interesting from an artistic point of view: it gives the young audience opportunities to influence the theatrical flow and to experience a mixture of fiction and reality, thus enabling audience members to reflect over issues and ideas through acting and participation. However, from the actors’ point of view improvised interaction with differe

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

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Abstract This article investigates how children’s recipes are adapted structurally and linguistically for their young readership. It is based on comparative data, using 24 children’s and 24 adults’ versions of the same recipes, and additional online and printed children’s recipes as reference. Even though recipes have been researched extensively, research on recipes for children in particular is rare. Based on general research on facilitation methods in recipe writing, the article analyzes how children, as the target readership, are accommodated in the analyzed recipes and how they differ from

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Thornton, Jackie. "Book Review: Animal Shenanigans: 24 Creative, Interactive Story Programs for Preschoolers." Reference & User Services Quarterly 55, no. 1 (2015): 65. http://dx.doi.org/10.5860/rusq.55n1.65a.

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If your storytimes are feeling a bit stale and in need of some inspiration, get ready to walk on the wild side with Rob Reid’s Animal Shenanigans: 24 Creative, Interactive Story Programs for Preschoolers. Reid uses his experience as a professor of children’s literature and an author of beloved books on children’s programming to craft this guide to animal-themed story programs. As the title indicates, the book features two dozen thirty-minute storytime plans for a preschool audience, although the plans could also be adapted for an older group.

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Iliescu-Gheorghiu, Catalina. "Translating humour in children’s theatre for (unintended) diasporic audiences." European Journal of Humour Research 11, no. 2 (2023): 142–58. http://dx.doi.org/10.7592/ejhr.2023.11.2.742.

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This article delves into children’s literature, more specifically, children’s theatre containing humour, and its double process of translation and/or adaptation, both “page to stage” and “stage to stage”, when a different language is involved, and the play is to be performed for an audience belonging to the target culture and an unintended diasporic one. The research perspective is descriptive (of the translational process) and comparative (of the source and target products). On the one hand, it analyses the cognitive and social mechanisms which create humour of different types (literary-styli

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Bonus, James Alex, Judy Watts, and Daniel Stemen. "Won’t somebody think of the parents? Reevaluating the audience for children’s educational media." Journal of Children and Media 16, no. 1 (2022): 144–47. http://dx.doi.org/10.1080/17482798.2021.2022943.

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