What are emotions, where do they originate and how are they brought into being? While from antiquity to early modernity, affects or passions were mostly conceived of as external physiological forces which act upon a passive subject, modern conceptions generally locate emotions within the subject. Drawing on the dichotomy of "interiority / exteriority" as a complex interdependent relationship, they mostly envision emotions as interior processes. Contemporary conceptions of emotion from such different fields as human geography, art history and cognitive sciences recently started to challenge this notion of internal emotions by developing alternative descriptions of externalized emotion. This book reevaluates premodern, modern and contemporary conceptions of affects, passions and emotion by analyzing various historical manifestations of the discourse on emotion. Unlike most previous research, which - especially in the German tradition - often focused exclusively on the rise of the modern (Romantic) interiority without paying attention to the underlying dichotomy of "interiority / exteriority", this study aims to explore the historical preconditions, the internal logic and the possible shortcomings that inform our thinking on emotion.

Against the grain of the growing literature on screens, Screen Genealogies argues that the present excess of screens cannot be understood as an expansion and multiplication of the movie screen nor of the video display. Rather, screens continually exceed the optical histories in which they are most commonly inscribed. As contemporary screens become increasingly decomposed into a distributed field of technologically interconnected surfaces and interfaces, we more readily recognize the deeper spatial and environmental interventions that have long been a property of screens. For most of its history, a screen was a filter, a divide, a shelter, or a camouflage. A genealogy stressing transformation and descent rather than origins and roots emphasizes a deeper set of intersecting and competing definitions of the screen, enabling new thinking about what the screen might yet become.

There exist literary histories of probability and scientific histories of probability, but it has generally been thought that the two did not meet. Campe begs to differ. Mathematical probability, he argues, took over the role of the old probability of poets, orators, and logicians, albeit in scientific terms. Indeed, mathematical probability would not even have been possible without the other probability, whose roots lay in classical antiquity.
"The Game of Probability" revisits the seventeenth and eighteenth-century probabilistic revolution, providing a history of the relations between mathematical and rhetorical techniques, between the scientific and the aesthetic. This was a revolution that overthrew the order of things, notably the way that science and art positioned themselves with respect to reality, and its participants included a wide variety of people from as many walks of life. Campe devotes chapters to them in turn. Focusing on the interpretation of games of chance as the model for probability and on the reinterpretation of aesthetic form as verisimilitude (a critical question for theoreticians of that new literary genre, the novel), the scope alone of Campe's book argues for probability's crucial role in the constitution of modernity.

There exist literary histories of probability and scientific histories of probability, but it has generally been thought that the two did not meet. Campe begs to differ. Mathematical probability, he argues, took over the role of the old probability of poets, orators, and logicians, albeit in scientific terms. Indeed, mathematical probability would not even have been possible without the other probability, whose roots lay in classical antiquity.
"The Game of Probability" revisits the seventeenth and eighteenth-century "probabilistic revolution," providing a history of the relations between mathematical and rhetorical techniques, between the scientific and the aesthetic. This was a revolution that overthrew the "order of things," notably the way that science and art positioned themselves with respect to reality, and its participants included a wide variety of people from as many walks of life. Campe devotes chapters to them in turn. Focusing on the interpretation of games of chance as the model for probability and on the reinterpretation of aesthetic form as verisimilitude (a critical question for theoreticians of that new literary genre, the novel), the scope alone of Campe's book argues for probability's crucial role in the constitution of modernity.