Titlebook: Narrative Strategies in Television Series; Gaby Allrath,Marion Gymnich (Coordinator) Book 2005 Palgrave Macmillan, a division of Macmillan

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ering transferable approaches and a new theoretical model of wellbeing as flourishing to support the design of innovative learning environments, this book is of interest to researchers, tertiary educators and s978-981-13-6092-3

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Janine Mattheesools and reviewing ideas in the core technology of schooling: curriculum, instruction, and assessment. As well as exploring problems associated with the leadership and management of schools to see where improve978-3-030-01434-6Series ISSN 2364-835X Series E-ISSN 2364-8368

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re explored in depth, demonstrating how series such as 24, Buffy, Twin Peaks, Star Trek, Blackadder, and Sex and the City make use of innovative audiovisual means of storytelling. Transgressing the traditional confines of narrative theory, the chapter authors address the question of how form, conten

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Exploring Inner Spaces: Authoritative Narratives and Subjective Worlds in , and ies (1973), numerous . novels, internet fan fiction, and a vast range of merchandise. The prominent status . has among TV series is attested to by its ‘continuity, longevity, and the academic interest it has generated’ (Rey 2001: 139), but also by intramedial references that turn up in countless TV series (ranging from . to .).

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Life in Doppelgangland: Innovative Character Conception and Alternate Worlds in , and orted by her friends Willow and Xander as well as by her Watcher Giles, a mentor character who not only trains the slayer in fighting but also continuously provides her with information about supernatural occurrences and possible ways of defeating them.

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History: The Sitcom, England: The Theme Park — , Retrovisions as Historiographic Meta-TV some extent being shaped by a television sitcom, which has been largely neglected in accounts of how national history has been conceived of in audiovisual media. In this chapter, I shall outline how the serial narrative of the television sitcom has contributed to a postmodernist, metahistoric social construction of history.

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Introduction: Towards a Narratology of TV Seriesvie’ (..: 68) that clearly show narrative traits. Even types of programmes which appear to be far less likely as narratives — such as advertisements, music videos or nature documentaries — often tell a story, though these stories admittedly vary considerably in terms of how elaborate they are:

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