The Global Sentimentality series conceives of the sentimental as a distinctive code to be examined in literature, popular culture, political rhetoric, and cultural practices of all kinds. The book series offers a platform for reflection on the sentimental -both in terms of its cultural specificity and its transcultural adaptations on a global scale. Located in cultural studies, the series simultaneously invites an interdisciplinary engagement with the sentimental at the intersection of literary, cultural, and social studies. The series will include volumes of essays and survey works on the sentimental as well as monographs. The series is edited by Heike Paul.Heike Paul (Prof. Dr. phil.) is chair of American studies at Friedrich-Alexander-Universität Erlangen-Nürnberg and directs the Global Sentimentality Project. Research stays and visiting professorships have taken her to Cambridge (MA), Toronto, Hanover (NH), and Los Angeles, among other places. In 2018, she was recipient of the Leibniz Prize. Sarah Marak (M.A.) is a doctoral researcher in American studies at Friedrich-Alexander-Universität Erlangen-Nürnberg. Her research interests include popular culture, discourses on terrorism, U.S.-American myths and ecocriticism. Her dissertation project focuses on representations of radical environmental activism in U.S. literature and culture. Katharina Gerund (Dr. phil.) teaches American studies at Friedrich-Alexander-Universität Erlangen-Nürnberg. Her research interests include transatlantic cultural mobility, popular culture as well as gender and critical race studies. Current projects focus on the U.S. re-education policies of the postwar years and the figure of the military spouse in the cultural imaginary of the U.S. Marius Henderson (M.A.) is a postdoctoral researcher in American studies at Friedrich-Alexander-Universität Erlangen-Nürnberg. His research interests include critical theory (especially affect and Afro-diasporic theory), North American poetry, and gen-to a sacred system of things no longer obtain« (200-01). Beyond that, melodrama-in many ways a utopian project that aims at perfection-»refuses to content itself with the repressions, the tonings-down, the half-articulations, the accommodations, and the disappointments of the real« (Brooks ix). Genealogies of melodrama have often traced it back to traditions and precursors in literature and on stage-most resonant, perhaps, is Thomas Elsaesser's link between Hollywood melodrama and the bürgerliche Trauerspiel. Elsaesser's work still looms large in the archive of melodrama scholarship, and he has further elaborated on the increasing ubiquity of the melodrama in politics and the public sphere (2008). Quite similar arguments have been offered by Elisabeth Anker and the late Lauren Berlant. Berlant has specifically addressed the interdependence of national sentimentality as it appears in film and is orchestrated in political culture with the creation of an »intimate public sphere« (4). This diagnosis is further corroborated in Anker's work on the »political m...