Sonntags 20 - Welche Ausgabe, welcher Verlag, welche ISBN?
09/06/2026
Lesedauer: 10 min
Sonntags 20 von Christine Hämmerling auf einen Blick: Buchprofil, Inhalt und zentrale Daten. Nützlich für alle, die gezielt prüfen statt nur überfliegen wollen.
Sonntags 20 - Welche Ausgabe, welcher Verlag, welche ISBN?
Sonntags 20 gehört zur Kategorie Fiction und stammt von Christine Hämmerling - eine Kombination, die den Titel sowohl fachlich als auch bibliografisch interessant macht. 15 Uhr ? »Tatort« - Zu sozialen Positionierungen eines Fernsehpublikums fungiert als präzisierende Ergänzung zu Sonntags 20 und macht die Zielsetzung des Buches schneller erfassbar. Inhaltlich lässt sich Sonntags 20 folgendermaßen zusammenfassen: Watching television plays an important role in our daily lives. Especially serial narratives like the popular German police procedural Tatort (FRG, since 1970) bear great potential to catch and keep their viewer?s interest. Analysing the integration of the long running TV series Tatort into its viewers? weekly routines, this study investigates movements in the realm of what is called ?social positioning?. In online fora, in discussions or while watching the latest episode, television audiences share their impressions. They compare inspectors and crime sites and express their views upon socio-political debates. At the same time watching series for many is a deeply social activity. The series helps its viewers to get together with friends, partners or the family on a regular basis, others enjoy sharing their viewing experience in social networks. Together they laugh or discuss the issues that are brought up by the police investigation. The practice of watching Tatort thereby provides a wide range of possibilities to act upon one?s perspective on how the social world is structured. The ethnographic approach towards practices of social positioning is based upon participant observations in viewing situations over three years, 43 semi-structured narrative interviews, as well as an online ethnography concentrating on Facebook and the fan page Tatort-Fundus. This approach allows for two kinds of findings: Current perspectives on ?the cultural other? as a figure that is bound to situational practices of positioning are enlightened by comparisons to fictional criminals and investigators as well as representations of social, professional and ethnic groups in Tatort. On a more theoretical level, the ethnographic insights on biographies, viewing situations, and practices in between the episodes call for corrections of the still persistent model of taste as a reliable indicator of people?s standing in society. Instead, the study points out the importance of situational and serial acts of positioning. Watching Tatort is a cultural practice with much variation. Still, how its viewers deal with Tatort as a narrative as well as a cultural practice is linked to a set of discursive fields. Describing the practice of watching Tatort as bound to activity/passivity, pleasure/critique, tension/relaxation, real/unreal, entertainment/information, and femininity/masculinity as well as to German/not-German reveals that all of these oppositions are continuously under negotiation. And Tatort viewers are usually positioned in-between
Warum Sonntags 20 relevant sein kann
Gerade wer nach Werken von Christine Hämmerling sucht, sollte Sonntags 20 näher betrachten. Verlagsname und Verlagsort - Universitätsverlag Göttingen und xx - helfen dabei, die Ausgabe eindeutig zu identifizieren. Innerhalb von Fiction bietet Sonntags 20 eine klar erkennbare thematische Zuordnung. Die Ausgabe ist in Deutsch verfügbar und damit gezielt für Leserinnen und Leser mit entsprechender Sprachpräferenz interessant.
Inhalt und thematische Schwerpunkte
Die Beschreibung zeigt, dass Sonntags 20 klar dem Bereich Fiction zugeordnet werden kann: Watching television plays an important role in our daily lives. Especially serial narratives like the popular German police procedural Tatort (FRG, since 1970) bear great potential to catch and keep their viewer?s interest. Analysing the integration of the long running TV series Tatort into its viewers? weekly routines, this study investigates movements in the realm of what is called ?social positioning?. In online fora, in discussions or while watching the latest episode, television audiences share their impressions. They compare inspectors and crime sites and express their views upon socio-political debates. At the same time watching series for many is a deeply social activity. The series helps its viewers to get together with friends, partners or the family on a regular basis, others enjoy sharing their viewing experience in social networks. Together they laugh or discuss the issues that are brought up by the police investigation. The practice of watching Tatort thereby provides a wide range of possibilities to act upon one?s perspective on how the social world is structured. The ethnographic approach towards practices of social positioning is based upon participant observations in viewing situations over three years, 43 semi-structured narrative interviews, as well as an online ethnography concentrating on Facebook and the fan page Tatort-Fundus. This approach allows for two kinds of findings: Current perspectives on ?the cultural other? as a figure that is bound to situational practices of positioning are enlightened by comparisons to fictional criminals and investigators as well as representations of social, professional and ethnic groups in Tatort. On a more theoretical level, the ethnographic insights on biographies, viewing situations, and practices in between the episodes call for corrections of the still persistent model of taste as a reliable indicator of people?s standing in society. Instead, the study points out the importance of situational and serial acts of positioning. Watching Tatort is a cultural practice with much variation. Still, how its viewers deal with Tatort as a narrative as well as a cultural practice is linked to a set of discursive fields. Describing the practice of watching Tatort as bound to activity/passivity, pleasure/critique, tension/relaxation, real/unreal, entertainment/information, and femininity/masculinity as well as to German/not-German reveals that all of these oppositions are continuously under negotiation. And Tatort viewers are usually positioned in-between Für die thematische Suche und semantische Zuordnung sind insbesondere diese Tags relevant: Society & social sciences
Ausgabe, Identifikatoren und Referenzen
Auch externe Referenzen sind vorhanden: Die Work-ID lautet OL20932128W, die zugehörigen Editions-IDs sind OL28359132M.
Kurzbeschreibung: Watching television plays an important role in our daily lives. Especially serial narratives like the popular German police procedural Tatort (FRG, since 1970) bear great potential to catch and keep their viewer?s interest. Analysing the integration of the long running TV series Tatort into its viewers? weekly routines, this study investigates movements in the realm of what is called ?social positioning?. In online fora, in discussions or while watching the latest episode, television audiences share their impressions. They compare inspectors and crime sites and express their views upon socio-political debates. At the same time watching series for many is a deeply social activity. The series helps its viewers to get together with friends, partners or the family on a regular basis, others enjoy sharing their viewing experience in social networks. Together they laugh or discuss the issues that are brought up by the police investigation. The practice of watching Tatort thereby provides a wide range of possibilities to act upon one?s perspective on how the social world is structured. The ethnographic approach towards practices of social positioning is based upon participant observations in viewing situations over three years, 43 semi-structured narrative interviews, as well as an online ethnography concentrating on Facebook and the fan page Tatort-Fundus. This approach allows for two kinds of findings: Current perspectives on ?the cultural other? as a figure that is bound to situational practices of positioning are enlightened by comparisons to fictional criminals and investigators as well as representations of social, professional and ethnic groups in Tatort. On a more theoretical level, the ethnographic insights on biographies, viewing situations, and practices in between the episodes call for corrections of the still persistent model of taste as a reliable indicator of people?s standing in society. Instead, the study points out the importance of situational and serial acts of positioning. Watching Tatort is a cultural practice with much variation. Still, how its viewers deal with Tatort as a narrative as well as a cultural practice is linked to a set of discursive fields. Describing the practice of watching Tatort as bound to activity/passivity, pleasure/critique, tension/relaxation, real/unreal, entertainment/information, and femininity/masculinity as well as to German/not-German reveals that all of these oppositions are continuously under negotiation. And Tatort viewers are usually positioned in-between
Auffindbarkeit und bibliografische Präzision
Sonntags 20 profitiert für die Auffindbarkeit besonders von der Verbindung zwischen Christine Hämmerling, Fiction und den Tags Society & social sciences, weil dadurch eine starke semantische Einordnung entsteht.
Wichtige Fragen zu Inhalt und Ausgabe
Gibt es eine inhaltliche Zusammenfassung?
Ja, die Beschreibung fasst die Ausrichtung des Buches so zusammen: Watching television plays an important role in our daily lives. Especially serial narratives like the popular German police procedural Tatort (FRG, since 1970) bear great potential to catch and keep their viewer?s interest. Analysing the integration of the long running TV series Tatort into its viewers? weekly routines, this study investigates movements in the realm of what is called ?social positioning?. In online fora, in discussions or while watching the latest episode, television audiences share their impressions. They compare inspectors and crime sites and express their views upon socio-political debates. At the same time watching series for many is a deeply social activity. The series helps its viewers to get together with friends, partners or the family on a regular basis, others enjoy sharing their viewing experience in social networks. Together they laugh or discuss the issues that are brought up by the police investigation. The practice of watching Tatort thereby provides a wide range of possibilities to act upon one?s perspective on how the social world is structured. The ethnographic approach towards practices of social positioning is based upon participant observations in viewing situations over three years, 43 semi-structured narrative interviews, as well as an online ethnography concentrating on Facebook and the fan page Tatort-Fundus. This approach allows for two kinds of findings: Current perspectives on ?the cultural other? as a figure that is bound to situational practices of positioning are enlightened by comparisons to fictional criminals and investigators as well as representations of social, professional and ethnic groups in Tatort. On a more theoretical level, the ethnographic insights on biographies, viewing situations, and practices in between the episodes call for corrections of the still persistent model of taste as a reliable indicator of people?s standing in society. Instead, the study points out the importance of situational and serial acts of positioning. Watching Tatort is a cultural practice with much variation. Still, how its viewers deal with Tatort as a narrative as well as a cultural practice is linked to a set of discursive fields. Describing the practice of watching Tatort as bound to activity/passivity, pleasure/critique, tension/relaxation, real/unreal, entertainment/information, and femininity/masculinity as well as to German/not-German reveals that all of these oppositions are continuously under negotiation. And Tatort viewers are usually positioned in-between
Wie lässt sich das Buch sprachlich und thematisch filtern?
Über die Sprache Deutsch und die Schlagwörter Society & social sciences kann die Ausgabe gezielt in Such- und Katalogsystemen eingegrenzt werden.
Wie lässt sich Sonntags 20 thematisch einordnen?
Die Ausgabe wird dem Bereich Fiction zugeordnet und ist damit für thematisch fokussierte Recherchen gut geeignet.
Warum ist der Untertitel 15 Uhr ? »Tatort« - Zu sozialen Positionierungen eines Fernsehpublikums wichtig?
Er hilft dabei, Sonntags 20 inhaltlich schneller zu erfassen und den konkreten Schwerpunkt der Ausgabe besser zu verstehen.
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