Bücher der Reihe Elements in Histories of Emotions and the Senses

This Element brings together the history of emotions and temporalities, offering a new perspective on both. Time was often imagined as a movement from the past to the future: the past is gone and the future not yet here. Only present-day subjects could establish relations to other times, recovering history as well as imagining and anticipating the future. In a movement paralleling the emphasis on the porous self, constituted by emotions situated not inside but between subjects, this Element argues for a porous present, which is open to the intervention of ghosts coming from the past and from the future. What needs investigating is the flow between times as much as the creation of boundaries between them, which first banishes the ghosts and then denies their existence. Emotions are the most important way through which subjects situate and understand themselves in time.

This Element examines the problem of hospital noise, a problem that has repeatedly been discovered anew, with each new era bringing its own efforts to control and abate unwanted sound in healthcare settings. Why, then, has hospital noise never been resolved? This question is at the heart of Making Noise in the Modern Hospital, which brings together histories of the senses, space, technology, society, medicine and architecture to understand the changing cacophony of the late twentieth-century hospital. This Element is fundamentally interdisciplinary - despite being historical, it comes up to the present day and brings in scholarship on space, place, atmosphere and the senses that will have relevance to scholars working outside of historical research. The intersection between medical and sensory histories also puts interdisciplinary research at the Element's core.

Wiiliam Molyneux's question to John Locke about whether a blind man restored to sight could name the difference between a cube and a sphere without touching them shaped fundamental conflicts in philosophy, theology and science between empirical and idealist answers that are radically alien to current ways of seeing and feeling, but were born of colonizing ambitions whose devastating genocidal and ecocidal consequences intensify today. This Element demonstrates how landscape paintings of unfamiliar terrains required historical and geological subject matter to supply tactile associations for empirical recognition of space, whereas idealism conferred unmediated but no less coercive sensory access. Close visual and verbal analysis using photographs of pictorial sites trace vividly different responses to the Question from William Hazlitt and John Ruskin in Britain to nineteenth-century authors and artists in the United States and Australia, including Ralph Waldo Emerson, Thomas Cole, William Haseltine, Fitz Henry Lane and Eugene von Guerard.

This Element outlines the environments of loving in contemporary technoculture and explains the changes in the manner of feelings (including the experience of senses, spaces, and temporalities) in technologically mediated relationships.

Drawing on a rich array of writing about the modern academy by contemporary academics, this Element explores the emotional dynamics of the academy as a disciplining institution, the production of the academic self, and the role of emotion in negotiating power in the ivory tower.

This Element presents original research into how young people interact with violent extremist material, including terrorist propaganda, when online. It explores a series of emotional and behavioural responses that challenge assumptions that terror or trauma are the primary emotional responses to these online environments.

Designed for scholars thinking about affect and emotion in the humanities and social sciences, this Element also draws on the life sciences to reveal how affect theory can be used to analyse systems of power.