There is no area in publishing today more transformed by
Digital than Romance.
Not exact matches
With the benefit of significant research on this topic (much of it by the authors of these guidelines) and sobered, like them, by the «hype cycles and the techno -
romance of emerging technologies» (Hicks et al., 2014, para. 5), social studies scholars today have a better informed and more theoretically sophisticated perspective concerning the affordances and challenges of
digital technologies in social studies teacher preparation
than once was the case.
Harlequin, a mainstay of
romance publisher, launched its Carina Press imprint to put high - quality
romance ebooks on the market at an astounding rate of between four and ten titles per week, back at a time when some critics were still arguing the ebooks and
digital reading were nothing more
than a fad.
As I've written before,
digital disruption is usually kinder to entertainment
than to art, but blink, blink, blink: this alignment of commercial forces — a sea of self - produced
romance - dominated content, publishers on the prowl for just such material, and commoditized concepts of fast - churn output — might actually present a much more toxic landscape to more serious work
than we've seen in the past.