Sunka Simon – författare

Explores contemporary uses of letters and letter writing—including electronic mail—in literature, film, and art.While the advent and structure of electronic mail has been discussed in web caucuses, newspapers, hypertext theory, and communication theory, it has not yet been considered in conjunction with epistolary scenarios in film, art, and literature. To address this gap, Mail-Orders explores the status of the epistolary form at the end of the twentieth century and its connections to feminist criticism, literary theory, and postmodernism. One of the first works to consider electronic mail in relation to the history of epistolary fiction, Mail-Orders concerns itself with individual letters, as well as fiction written in letter form, and widens the debate on the often postulated "death of letters" by considering the epistolary connections between the eighteenth and twentieth centuries' systems of communication and representation.

As colleges and universities in North America increasingly identify "internationalization" as a key component of the institution’s mission and strategic plans, faculty and administrators are charged with finding innovative and cost-effective approaches to meet those goals. This volume provides an overview and concrete examples of globally-networked learning environments across the humanities from the perspective of all of their stakeholders: teachers, instructional designers, administrators and students. By addressing logistical, technical, pedagogical and intercultural aspects of globally-networked teaching, this volume offers a unique perspective on this form of curricular innovation through internationalization. It speaks directly to the ways in which new technologies and pedagogies can promote humanities-based learning for the future and with it the broader essential skills of intercultural sensitivity, communication and collaboration, and critical thinking.

As colleges and universities in North America increasingly identify "internationalization" as a key component of the institution’s mission and strategic plans, faculty and administrators are charged with finding innovative and cost-effective approaches to meet those goals. This volume provides an overview and concrete examples of globally-networked learning environments across the humanities from the perspective of all of their stakeholders: teachers, instructional designers, administrators and students. By addressing logistical, technical, pedagogical and intercultural aspects of globally-networked teaching, this volume offers a unique perspective on this form of curricular innovation through internationalization. It speaks directly to the ways in which new technologies and pedagogies can promote humanities-based learning for the future and with it the broader essential skills of intercultural sensitivity, communication and collaboration, and critical thinking.

German Crime Dramas from Network Television to Netflix approaches German television crime dramas to uncover the intersections between the genre’s media-specific network and post-network formats and how these negotiate with and contribute to concepts of the regional, national, and global. Part I concentrates on the ARD network’s long-running flagship series Tatort (Crime Scene 1970-). Because the domestically produced crime drama succeeded in interacting with and competing against dominant U.S. formats during 3 different mediascapes, it offers strategic lessons for post-network television. Situating 9 Tatort episodes in their televisual moment within the Sunday evening flow over 38 years and 3 different German regions reveals how producers, writers, directors, critics, and audiences interacted not only with the cultural socio-political context, but also responded to the challenges aesthetically, narratively, and media-reflexively. Part II explores how post-2017 German crime dramas (Babylon Berlin, Dark, Perfume, and Dogs of Berlin) rework the genre’s formal and narrative conventions for global circulation on Netflix. Each chapter concentrates on the dynamic interplay between time-shifted viewing, transmedia storytelling, genre hybridity, and how these interact with projections of cultural specificity and continue or depart from established network practices. The results offer crucial information and inspiration for producers and executives, for creative teams, program directors, and television scholars.

German Crime Dramas from Network Television to Netflix approaches German television crime dramas to uncover the intersections between the genre’s media-specific network and post-network formats and how these negotiate with and contribute to concepts of the regional, national, and global. Part I concentrates on the ARD network’s long-running flagship series Tatort (Crime Scene 1970-). Because the domestically produced crime drama succeeded in interacting with and competing against dominant U.S. formats during 3 different mediascapes, it offers strategic lessons for post-network television. Situating 9 Tatort episodes in their televisual moment within the Sunday evening flow over 38 years and 3 different German regions reveals how producers, writers, directors, critics, and audiences interacted not only with the cultural socio-political context, but also responded to the challenges aesthetically, narratively, and media-reflexively. Part II explores how post-2017 German crime dramas (Babylon Berlin, Dark, Perfume, and Dogs of Berlin) rework the genre’s formal and narrative conventions for global circulation on Netflix. Each chapter concentrates on the dynamic interplay between time-shifted viewing, transmedia storytelling, genre hybridity, and how these interact with projections of cultural specificity and continue or depart from established network practices. The results offer crucial information and inspiration for producers and executives, for creative teams, program directors, and television scholars.