Child Audience Research Articles

Achieving The Nutritional Goal Of Burn Patients In A Referral Hospital In The Northern Region Of Brazil

Background: Burns represent a significant health challenge, not only due to the pain and suffering they cause, but also due to metabolic complications. Oral nutritional therapy is a powerful tool in the recovery of these patients, as the burn requires double the energy demands. Therefore, achieving the nutritional goal in burn patients should be considered a priority in clinical management. Materials and Methods: Patients admitted to the Burn Treatment Center at a reference hospital in the North region were evaluated. For nutritional diagnosis, the gold standard tools for nutritional risk analysis were applied, Nutritional Risk Screening (NRS-2002) for adults and Screening Tool for Risk on Nutritional Status and Growth (Strongkids, 2012) for children. These are validated low-cost and non-invasive methods. Monitoring the achievement of VET and protein was carried out through food records and the percentages achieved in accordance with the prescribed calories and proteins were calculated. Results: 22 adult patients were evaluated. Of these, 15 men and 7 women, with an average age of 35.8 years. The assessment revealed 7% malnourished, 67% eutrophic, 33% obese and 13% obese. Adults averaged 2026 cal/day with 112% VET attainment and 90g protein with 125% intake. It is worth highlighting the joint action of nutrition professionals with the prescription of hypercaloric and hyperprotein preparations to adapt to the needs recommended for burn patients, in addition to Oral Nutritional Therapy (ONT), with an increase of 600cal/day and 40g of proteins. The use of hypercaloric and hyperprotein supplementation in burn patients is a strong ally in diet therapy, given the catabolic state and high risk of depletion. Among the children's audience, 7 children were served: 4 boys and 3 girls, an average age of 4.4 years. The nutritional diagnosis showed 85% in eutrophy, and 15% in nutritional risk. The VET of this group was on average 1215 cal and 39g of protein. Children achieved an average of 142% of daily VET and 175% of protein needs. To this end, 85% used TNO, accounting for 300 cal and 7.6 g of additional protein to the oral diet. Conclusion: Achieving the nutritional goals prescribed for burn patients has a significant impact on the meffectiveness of treatment

The Transformation of Animated Character Images: A Perspective on the Shift in Contemporary Chinese Public Aesthetics

As a rising star among various film categories in China, animated films hold a pivotal position. Directly targeting a vast audience of children and teenagers, they enjoy a natural advantage in cultural dissemination and ideological guidance. Since the creation of China’s first animated film, The Big Stir in the Studio in 1926, a distinctive national style has been one of the most prominent hallmarks of domestic animation. With the integration of modern artistic concepts and advanced animation production technologies, Chinese animation has, after a rich developmental journey, ultimately formed its unique creative paradigm and aesthetic philosophy. As a “young” art form, animation employs a wide array of content expression methods, encompassing artistic forms such as ink wash painting, sculpture, watercolor, and oil painting. Its “all-encompassing” nature also determines that animation art possesses a strong “moldability,” making it more susceptible to the influence of various cultural trends during the creation process. This is particularly evident in the evolution of character design influenced by aesthetic preferences in different periods since the founding of New China. This article will delve into the transformation of public aesthetics since the establishment of New China by examining the artistic expression and gender body structures in characters from domestic animated films. It aims to contribute to the development of China’s animation industry and promote outstanding Chinese culture.

What is ‘children’s television’ in the streaming era?: Assessing content discoverability through Australian children’s streaming platform fluencies

In line with international trends, increasing numbers of children in Australia use streaming video platforms to watch television on-demand from extensive catalogues. Child viewers thus tend to negotiate platform interfaces organised by algorithmic curation to select content, rather than accessing content via scheduled linear TV. The deeper implications of this substantial shift in child audience habits around television have yet to be robustly reckoned with across scholarly and national policy approaches. Indeed, policy settings in Australia have not kept pace with these transformations, one result of which has been that 84% less Australian content was aired on free-to-air commercial broadcasters in 2022 compared to 2019. Key producer bodies fear the sector is in serious peril and may not withstand the current instability. Given that local children’s television meets Australian children’s best interests by situating them within their own socio-cultural context, the issue has become a site of significant policy, industry, and cultural concern. At this precarious time for the Australian children’s television sector, this article outlines key findings of a mixed method study with Australian children aged 7–9 ( n = 37) and their adult guardians to illustrate how children understand, identify, and discover ‘local’ and ‘children’s’ content on streaming platforms. This child audience research contributes to current policy and scholarly debates around the ‘routes to content’ audiences develop in the streaming era. A focus of our analysis is how and if children find Australian content. Our aim is to shed light on how ‘discoverability’ issues compound the current state of turmoil for the sector. We elucidate children’s digital fluencies with platform interfaces but highlight their limited cultural literacies with the content itself, which poses significant implications for industry and policy strategy around local content discoverability for child audiences on streaming platforms.

Trends in Children’s Exposure to Food and Beverage Advertising on Television

Reducing children's exposure to advertisements promoting unhealthy foods and beverages has been recognized by the World Health Organization as a key strategy to improve children's diets and reduce childhood obesity. To examine changes in children's exposure to food-related (food, beverage, and restaurant) television advertising, including for products high in nutrients to limit (NTL; ie, saturated fat, trans fat, total sugars, and sodium) based on federal Interagency Working Group guidelines, following changes in the voluntary industry self-regulatory Children's Food and Beverage Advertising Initiative (CFBAI). This repeated cross-sectional study used US television ratings data on advertising exposure from The Nielsen Company for 2013, 2014, 2015, 2018, and 2022. Food and beverage product advertisements were assessed for nutritional content. Participants included 2- to 5-year-old and 6-to 11-year-old children. Data analysis was performed from July 2023 to January 2024. Changes in CFBAI standards in 2014 and 2020. The primary outcome was the number of food-related advertisements seen per year and percentage of food and beverage product advertisements high in NTL, on all programming and children's programming (defined as ≥35% child audience share). From 2013 to 2022, total advertisements seen per year declined by 77.6% (from 4611 to 1035) for 2- to 5-year-olds and by 78.5% (from 4860 to 1046) for 6- to 11-year-olds. Advertisements seen on children's programming decreased by 95.1% (from 1703 to 84 per year) for 2- to 5-year-olds and by 97.0% (from 1745 to 52 per year) for 6- to 11-year-olds. The percentages of advertisements for products high in NTL decreased from 2013 to 2022 but were still high: 68.9% for all programming and 63.9% for children's programming for 2- to 5-year-olds, and 68.4% for all programming and 60.6% for children's programming for 6- to 11-year-olds. The majority (51%-52%) of CFBAI-member food and beverage advertisements on children's programming remained high in NTL. Black children saw more food-related television advertisements than White children (58% more for 2- to 5-year-olds and 72% more for 6- to 11-year-olds); however, the percentage of advertisements for food and beverage products high in NTL seen was similar by race. In this repeated cross-sectional study of children's exposure to food-related television advertisements, exposure via children's programming decreased substantially. However, most advertisements seen were still for unhealthy products, and exposure from all programming remained substantial. Findings of more than 90% of advertising exposure not from children's programming and more than 1000 food-related advertisements seen per year suggest the need for government regulations based on time of day rather than programming.

A Focus Group Study on Participatory Practices in Early Childhood Education and Care Across Four European Countries

ABSTRACT Participation in educational settings is a universal right of every child, consigned by the United Nations Convention on the Rights of the Child. This right encompasses the need to protect and encourage young children´s active participation and decision-making in early childhood education and care. Research Findings: This qualitative study, inspired by the Lundy model (2007), examined ECEC teachers’ (n = 25) and coordinators’ (n = 25) perceptions about participation practices, collected through focus groups conducted in Belgium, Greece, Poland, and Portugal. Participants were previously referred as implementing participatory practices. Results showed that the four dimensions of the Lundy model emerged in teachers’ and coordinators’ group discussions: Participative space, Children’s voice, Audience of children’s perspectives, and Influence. Furthermore, a number of subcategories in each dimension reflected different orientations toward participatory pedagogy. Practice or Policy: This study contributes to informing and inspiring participation practices in ECEC across Europe and to enriching policy discussions regarding children´s participation rights, particularly in the early years. Promising participatory practices were identified in the various dimensions of participation, though some challenges remain, requiring in-depth knowledge about pedagogical practices and the promotion of initiatives to empower professionals to enhance children’s right to participate, particularly at the center-level.

CARTOONS AND THE AUTOCRATIC CREEDS OF THE CULTURE INDUSTRY: VIOLENT AFFECTS AND EFFECTS IN CHILDREN’S ENTERTAINMENT

This paper asserts that operations and patterns of violence are present in Hanna-Barbera’s Tom and Jerry, Butch Hartman’s The Fairly Oddparents, Thomas Edward Warburton’s Codename: Kids Next Door, and John Kricfalusi’s Ren and Stimpy. Cartoons are meant to be enjoyed by children. However, the incorporation of violence in cartoons can leave imprints in the impressionable minds of the children. With the media and reception of the children's audience in the foreground, the notion of false happiness can be deduced as the comedic and entertaining modes of representation in the cartoons do not just make the audience laugh but can also possibly penetrate their attitudes and behaviors. The cartoons and their violent features can be a springboard to engage media effects which can include aggression, agenda-building, and cultivation. As a framework, the discourses on violence and false happiness are supported by the critical claims of Adorno and Horkheimer on the culture industry and offshoots of immersing oneself in television. The analysis of the cartoons presented a typology of violence affirming that organized entertainment becomes synonymous with the displays of organized violence. These include blatant and forceful physical violence, subtle familial violence, violence of structural differences and tensions, and the aestheticization of violence.

Millennial nostalgia, social media with kids and connection via The Wiggles

The Wiggles are often called popular ‘children’s musicians’—yet their music and influence clearly extend beyond child audiences. Examining the period of the first COVID-19 lockdowns in Australia in 2020 and continued disruption into 2021, the article explores the ways The Wiggles used specialist recorded and live content to appeal to diverse groups of audiences, including co-watching/listening family groups, and older fans returning to the group as a form of musical nostalgic comfort. Particularly important during this period was the way The Wiggles used a number of social media outlets to allow for as many of their fans to engage with them as possible. The article includes a cultural history of key media posts and interactions between artists and families made during the time period 2020–21, and how these informed other forms of nostalgic engagement like the The Wiggles’ cover of Tame Impala’s ‘Elephant’, which won the Triple J Hottest 100 in 2021/2. Subsequently they have also been the subject of a 2023 documentary, ‘Hot Potato: The Story of The Wiggles’ (Sally Aitken, dir.). The preservation of fan and artist engagements like this demonstrate the continued importance of popular music during, and beyond, periods of crisis.

Early Acquaintances with Modern Mass Culture in Late Ottoman Istanbul: The Experiences of Child Audiences at Direklerarası

AbstractDireklerarası, the core of Ramadan entertainment in late Ottoman Istanbul, rose to prominence toward the end of the nineteenth century at about the same time as entertainment hubs in Paris, Berlin, Tokyo, and New York. Thanks to the legitimacy provided by the Holy Ramadan, which played a positive role in reducing public suspicion and uneasiness among Muslim families towards the products of early mass culture, Direklerarası seems to draw a larger children's audience compared to Pera and Galata, the epicenter of European‐style entertainment and a location where non‐Muslims were heavily populated. As a result, many children were introduced to emerging modern mass culture at Direklerarası, which offers a large variety of shows and spectacles grouped under the name of lubiyat in the Ottoman world, including theater, musical plays, juggling, circus, concerts, shadow theater and cinema. This article focuses on childhood experiences at Direklerarası using a wide range of primary sources from archival documents and official regulations to Ottoman periodicals and memoirs. It aims to discuss the moral and aesthetic concerns arising from the fact that the spheres of adults and children were not yet clearly separated from each other, as well as how this experience at Direklerarası was remembered later as a childhood memory.

INCLUSION OF THE EXPERIENCE OF THE CHILDREN’S AUDIENCE IN THE CREATION AND DEVELOPMENT OF THE CULTURAL OFFER

In the article, the author examines the element of feedback in the field of cultural consumption by the children's audience, which is specifically characterized by the adult groups involved (parents, teachers, professional creators of cultural offerings). The need and importance of including of experience of children’s audience is justified by the discrepancy between children's and adult knowledges. What are the possibilities there to integrate the feedback elements of the children's audience into a creation if cultural products? The study examines a case study of involving children’s personal experience in the creation of special digital theatre project “TAG” made by the theatre company KVADRIFRONS.

SOME ASPECTS OF VISUAL LITERATURE SYNTAX

Background. The present article deals with general aspects of the problem of definition and concept of graphic novel, its modern version. Illustrative material, the material of investigation is the graphic novel of A. Grecian «Rasputin». An attempt is made to characterize structural units of the concept, clarify some aspects of the definition and unify the term of the kind. The study the syntax of graphic novel is the part of the semiotic study of the genre. Actually, it helps establish certain relation between the significant units of graphic novel. 
 The purpose of this article is to define the significant units of the visual literature in general and graphic novel, in particular, in order to clarify the definition, term and the concept of the graphic novel as a representative of visual literature. To achieve this aim we should solve some objectives, mainly: 1) to describe the types of syntactic units, 2) to illustrate these types with the example of the material of our investigation, 3) to establish the relation «text-image», 4) to sum up the history of the development of genre with different terms accepted by different researchers and understand why and what is more appropriate one for our investigation. 
 Methods. For meeting the aims of this brief analysis we use descriptive methods of investigation. It gives us the possibility to share with the reader oud perception and understanding the material under investigation.
 Results. The transformation of the adult comic to graphic novel may reveal the importance of significant units. The comic-book has been usually considered to be directed to a teenager and children audience, whereas the graphic novel is directly addressed to a mature and adult readers. The development of this genre owes to the development of the society, some extra-language causes which finally resulted in intra-genre changes and the birth of graphic novel. Sometimes, the graphic novel is perceived as an adult comic and precisely this point has been mostly emphasized in recent investigations looking for a way to find the definition. Reading comics is the process motivating readers be involved in the course of decoding the set of messages that are embedded into various codes of languages. These embedded messages could be presented by syntactic units. In particular, syntax of graphic novel presupposes syntactic units’ interrelation and in its turn these units in every individual case could be positioned differently according to focus of author’s ideas.
 Discussion. In our research of Rasputin graphic novel these significant syntactic units are as follows. 1) Contiguous spaces defined as structures that create the illusion of space and time continuity in the action, by showing in successive images. 2) fading or progressive alteration of values of the image in successive images. 3) Text integrated into the cartoon, 4) image of a sound, 5) concentration, 6) analytical montage or meticulous decomposition of the scene into its most significant elements, 7) juxtaposition of graphic novel characters. Тhe perspective of the present study is to explore probable influence of the image to the translation variant chosen, that is the reason why we could be in need of detailed exploration of image part syntax and the text position peculiarities. The final perspective is to analyze translation variants and see the reflection of text-image relation in different languages.

Японське життя в стилі аніме як туристичний ресурс

Nowadays, the business card of Japan, along with high-quality cars and advanced technologies, is such a tourist phenomenon as anime - cartoons, series and computer games in a characteristic Japanese artistic design style, which is distinguished by qualitative differences and, of course, its original drawing. Unlike cartoons from other countries, which are intended mainly for children's audiences (such as, for example, cartoons produced by the company "Walt Disney Productions" (USA), Japanese anime is designed for teenage and adult audiences, which is why it has gained worldwide popularity. Аnime сartoon characters always have cute hairstyles and sport figures, but the main thing that sets them apart is very large eyes, which, according to the Japanese, speaks of the desire of their owner to contact the outside world. Together with the heroes of anime cartoons, goods in the style of " kawaii" with the use of children's accessories were produced and the style of behavior of young people "cosplay" - reincarnation into cartoon characters with appropriate clothes and behavior became fashionable the anime subculture received a concentrated expression in 2010-2020 in the Tokyo district of Akihabara. Such a youth cultural phenomenon, similar to demonstratively careless clothing and the behavior of London hippies in the 1970s and 1980s, turned out to be a powerful tourist magnet, attracting first tens and now hundreds of thousands of visitors. Moreover, a festival called AnimeJapan has been held for ten years, where every year there are more exhibitor companies that produce anime films, series, computer games; "anime" goods, organize viewing of anime film productions in offline and online formats. In 2023, such a festival already attracted hundreds of thousands of "cosplayers" from Japan and abroad and turned into a powerful tourist event.

«Люди в черном»: семантизация понятий сектант и баптист в антирелигиозной кампании 1958—1964 годов

In the post-revolutionary era, the population's adoption of a new political vocabulary demanded the Soviet authorities to play the role of the interpretant. They engaged in the pro­cess of assigning meanings to new concepts through mass media and fiction. Simultaneously, established concepts had to undergo reshaping to align with the new worldview of the 'Soviet citizen’. The transformation of the semantic structure of religious vocabulary, ideologically marked, reflected the shift in the fundamental values of Soviet society. This article, employing component and contextual analyses, explores the target semantization process of key concepts during Khrushchev's 1958—1964 anti-religious campaign, specifically focusing on 'sektant' and 'baptist'. Through mass media and propaganda literature, a set of semantic features for these terms was imposed on the children's audience in ideological contexts. The analysis of linguistic material from numerous sources such as the newspaper Pionerskaya Pravda, Pioner and Koster children's magazines, and selected works of children's literature reveals that the target audience — school children — led to the emergence of semantic primitives. This in­vol­ved significantly narrowing the semantics of the words 'sektant' and 'baptist.' Linguistic tools such as new lexical pairs ('sectarian-Baptist,' 'fanatics and bigots,' 'subversives and villains') and linguistic markers related to colour, sound, appearance, age, and location were employed. These tools helped develop a negative image of a Protestant believer and ultimately transformed the concepts of ‘sectant’ and ‘baptist’ into political labels.

The Khakass language in the context of a museum holiday based on the ritual traditions of the Khakass

The article deals with the issues of popularization and use of the Khakas language within the framework of museum events addressed to multinational and younger children (including those with inclusion) audiences of visitors. The author shares his experience in organizing a museum festival based on national rituals and clearly demonstrates how interesting it is to present folk traditions on a modern museum site. The problematic nature of such a concept is associated with the historical aspect of the formation and development of the Khakass language, which differ from similar processes of most Turkic languages. Nevertheless, the desire for self-identity inherent in the indigenous population of Khakassia dictates its own rules and conditions when presenting the national language, folk rituals and traditional ethical norms to a wide multinational audience of museum visitors. The Khakassian National Museum of Local Lore named after L. R. Kyzlasov much attention is paid to the national aspects of the work. At the same time, the language of the indigenous people and the development of ethnographic tourism complement each other, in which the author sees prospects for the development of the museum, as a republican institution of culture, and for the popularization of the Khakass language. Therefore, many museum projects are aimed at supporting and developing the Khakass language within the framework of diverse museum events. The article discusses in detail two such events — the festival “The Sun in the Sleeve” and the grant project “My Khakassia” — implemented by the Khakassian National Museum of Local Lore named after L. R. Kyzlasov in 2022. In the author’s opinion, these are the most successful developments that can popularize the topic of the Khakass language for a wide audience of residents and guests of Khakassia, regardless of their nationality.

Development of a storytelling communication facilitation tool (SCFT) to facilitate discussion of complex genetic diagnoses between parents and their children: A pilot study using 22q11.2 deletion syndrome as a model condition.

To develop and evaluate a storytelling communication facilitation tool designed to help parents overcome barriers to discussing a complex multisystem genetic diagnosis with their affected children, using 22q11.2 deletion syndrome (22q11DS) as an exemplar condition. A story telling communication facilitation tool (SCFT), entitled 22q and Me, was developed for a target audience of children with 22q11DS aged 9 to 12. The SCFT was evaluated by 14 parents to assess usability and utility by comparing responses to survey questions before and after viewing the SCFT, using a Likert scale. After viewing 22q and Me, parents reported that barriers to discussion were mitigated. Participants indicated they felt more comfortable and better prepared to talk to their children about 22q11DS and worried less that the diagnosis would affect their children's self-esteem. Parents described 22q and Me as engaging and able to address parental concerns. 22q and Me was found to be an effective tool for increasing parental comfort and ability to talk to their children about their diagnosis of 22q11DS. This novel storytelling communication facilitation tool can serve as a model for the development of other educational tools geared at facilitating disclosure and discussion of other genetic conditions.

(Shabbat) Angels in America: Israel Goldfarb, “Shalom Aleichem,” and the Search for Nusach America

Contemporary American synagogue congregations love to sing a flowing melody for the hymn “Shalom Aleichem” to welcome the Sabbath on Friday evenings. The song has entered the Jewish folk tradition, and speaks to singers of home and nostalgia. However, the song’s history and construction reveal both its genesis in an American Jewish community in the midst of a significant transformation of nation and practice and the crucial role that it played in bringing that community together and forming the basis of a truly American style of Jewish worship. I approach this song on two fronts. My primary approach is historical, delving into the immediate circumstances under which Rabbi Israel Goldfarb composed the song in May of 1918, and the broader forces affecting Jewish religious life in the United States in the early years of the twentieth century. I address changes taking place in American Jewish life, generation gaps between American Jews, and the rise of the Jewish education movement, and I demonstrate how Goldfarb’s song reached a significant audience of adults and children alike and helped to address these transitional challenges in Jewish life. My secondary approach is socio-cultural. I ask why this particular one of the many melodies that Goldfarb composed caught the American Jewish imagination and became a foundation of contemporary American synagogue song. Its mode and its structure reveal Goldfarb’s compositional skill at combining both Jewish and Western elements into a flexible song that children could learn and pass on to their children, creating a folk song through generations of use. Taken together, these approaches demonstrate how a four-stanza hymn could pave the way for the development of an American Jewish soundscape.

Inculcative address, commercial worldbuilding, and transmedia economy in the children’s franchise Bamse

ABSTRACTCapitalist enterprises continuously push consumption of commercial products on children, for instance in the form of transmedial worlds in which multiple stories can play out across media and over time. The popular Swedish children’s franchise Bamse has undergone an obvious capitalist expansion over time, with more and more commodities being made available for purchase. At the same time the brand continues to be promoted as a force for spreading good values and thus provides a valuable service to its audience of Swedish children. The present article explores, through a combination of paratextual analysis and political economy, how these inculcative and commercial goals coexist in a tense but seemingly functional configuration.

Parenting in the Digital Age: A Research On Child Audience and Violence on the Screen

Kitle iletişim araçlarının etkilerine karşı daha savunmasız olarak değerlendirilen çocuklar arasında artan internet kullanımı ve ekran süreleri, alana yönelik yeni değerlendirmelerin yapılmasını, bu konudaki farkındalıkların güçlendirilmesini gerektirmiştir. Küresel ölçekte toplumsal alanı yakından etkileyen dijitalleşme süreçleri ve bu paydada oluşan yeni dijital alanlar çeşitli avantajlara sahip olmasına rağmen çocuklar için riskler barındırmaktadır. Günümüzde çocuklar arasında mobil araç kullanımı ve mobil izleme eyleminin yaygınlaşarak gündelik yaşamlarında önemli bir yer kaplaması; sinema, reklam ve sosyal medya içeriklerindeki şiddet unsuruyla daha sık karşılaşmalarına neden olmuştur. Çocuklar ve dijital alandaki eğilimlerini yönetmek için ebeveynlerin sürece dâhil olması ise dijital ebeveynlik kavramını ortaya çıkarmıştır. Sosyal bilimlerin köklü geçmişi içinde dijital ebeveynlik kavramının yeni olması sebebiyle, alan üzerine odaklanan çalışmalarda fikir birliğinin oluşmadığı görülmüştür. Literatür taramasına dayalı betimsel analiz yöntemi kullanılan çalışmada çocukların dijital ekranlarda karşılaştığı şiddet unsurunun etkileri, bu unsurların nasıl engellenebileceği ve dijital ebeveynlerin çocuklarının izleme eylemini yönetme biçimlerini konu edinen araştırmaların bulguları derlenmiştir. Alana yönelik araştırmaların yanı sıra, sosyolojik kuruluşlar ve sağlık otoriteleri önerilerine yer verilmiş, elde edilen tüm veriler ilişkisel perspektif benimsenerek yorumlanmıştır. Çalışmada çocuk izleyicilerin sinema, reklam ve sosyal medya içeriklerindeki şiddet unsuruyla karşılaşmasına bağlı etkilere ve dijital ebeveynlik stratejilerine yönelik bir çerçeve oluşturulması amaçlanmıştır.

Investigating the Impact of Using Computer Games on Aggression in Adolescents

Introduction: One of the factors affecting adolescent aggression is the use of violent computer games. Computer games as a social phenomenon, along with other audio and video media in today's world, are the main audiences of children and adolescents because of their stunning growth and attraction, but the question is whether computer games, especially the type Their violent and combat effects have harmful effects on children and adolescents or have been magnified. Therefore, this study was aimed at determining the impact of using computer games on aggression in adolescents.
 Methods: In this descriptive study, the first high school male students were selected by 100 people by random clustered. The method of gathering field information and the data collection tool was the aggressive and fairy questionnaire. The confidence level of these tests was 95%. The analysis was performed by the 23 SPSS statistical software.
 Results: The average age of students was 0/82 and 13/82 years old and most interest in fighting and violent games. The results showed that there was a significant difference between aggression and students' grade point average (p=0/013), the Anova statistical test found that the relationship between the aggression questionnaire score and the type of games and the birth rate of the meaning is significant. The highest frequency of games was reported in rough fighting games with 45 abundance and the lowest in the creative computer game with 15 abundance.
 Conclusion: The results of the present study showed that the most popular game as well as the highest rate of adolescent aggression in relation to combat games and the lowest aggression in the creative intellectual game group. Students and adolescents with average academic status had the most aggressive impact on computer games.

Children's Musical as a Popular Genre of Ukrainian Stage Art in 1960s-1990s: Formation and Development

The purpose of the article is to identify the peculiarities of formation and the main trends in the development of children's musical as a popular genre of Ukrainian stage art in the 1960s-1990s. Research methodology. The historical and cultural method was used to summarise the factual material related to the time of creation and the logic of development of the children's musical in the Ukrainian stage art of the 1960s-1990s. The methods of art historical and genre-stylistic analysis were applied to help identify specific artistic and aesthetic, genre and stylistic features in the productions of children's musical on the stages of Ukrainian theatres. Scientific novelty. The history of the formation and development of the Ukrainian children's musical in the stage art of the 1960s-1990s is studied; its musical, artistic, staging and performance features are revealed. The chronological sequence of writing the most significant in the context of the development of the genre of the first national children's musicals is presented. The contribution of Ukrainian composers (Zh. Kolodub and L. Kolodub, O. Bilash, I. Poklad, S. Bedusenko) and directors (P. Kolisnyk, M. Lukavetskyi) in the formation of the national musical for children's audiences is revealed. Children's musicals by Ukrainian composers included in the "golden fund" of national stage art are analysed ("Fox Mykyta" (libretto by R. Kudlyk) and "Tom Sawyer" (libretto by M. Petrenko based on Mark Twain's novel) by B.-Yu. Yanivskyi). Conclusions. The process of integrating the musical genre into the Ukrainian stage art of the last third of the 20th century took place in accordance with the peculiarities of the socio-cultural space of that time, socio-political events and artistic trends. The creative rethinking of content and structural features of the Western genre invariant in the 1960s-1990s became the basis for the formation of the national Ukrainian children's musical as a factor in the internationalisation of the world music and stage culture. At the same time, the formation of the Ukrainian children's musical is connected with the process of nationalisation of the genre, as evidenced by the reliance of the libretto on stories from folklore and traditional Ukrainian culture, the introduction of traditional principles and techniques inherent in the stage art of Ukraine. The peculiarities of the formation and further development of children's musicals in Ukraine were conditioned by the creative searches of domestic composers (B.-Yu. Yanovskyi, I. Poklad, S. Bedusenko, Zh. and L. Kolodub, E. Lapeika, O. Kolomiitseva, A. Bondarenko) and theatre directors. The productions of children's musicals from the 1960s-1990s allow us to talk about the rethinking of the Western archetype of the genre and the beginning of the formation of a national Ukrainian musical.
 Key words: children's musical, Ukrainian stage art, children's musical theatre, genre, production and performance features.

The Curious Case of Children's Detective Fiction: Analysing the Adaptation of the Classic Detective Formula for a Child Audience

The popularity of the children's detective genre defies an apparent clash between the nature of the genre, specifically its reliance on readerly ability and capital crime, and children's literature's specific group of readers, and thus invites investigation. It is therefore peculiar that children's detective fiction has not enjoyed much scholarship, particularly in the English language. While the detective genre is usually discussed under the umbrella term of ‘crime literature’ when it enjoys an adult readership, in children's literature scholarship it is usually tucked into the categories of the ‘adventure’ or ‘mystery’ story. This article aims to address the relative lack of scholarship on children's detective fiction by analysing how the classic detective is adapted for child readers. 1