Disgust

Is disgust morally valuable? The answer to that question turns, in large part, on what we can do to shape disgust for the better. But this cultivation question has received surprisingly little attention in philosophical debates. To address this deficiency, this paper examines empirical work on disgust and emotion regulation. This research reveals that while we can exert some control over how we experience disgust, there’s little we can do to substantively change it at a more fundamental level. These empirical (...) insights have revisionary implications both for debates about disgust’s moral value, and for our understanding of agency and moral development more generally. (shrink)

Hume maintains that the boundaries of morality are widely drawn in everyday life. We routinely blame characters for traits that we find disgusting, on this account, as well as those which we perceive as being harmful. Contemporary moral psychology provides further evidence that human beings have a natural tendency to moralize traits that produce feelings of repugnance. But recent work also demonstrates a significant amount of individual variation in our sensitivities to disgust. We have sufficient reason to bracket this emotion, (...) therefore, when adopting the general point of view: if we allow idiosyncratic affective responses to shape our fully considered moral judgments, we could no longer reasonably expect spectators with different sensitivities to agree with us. (shrink)

Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of (...) horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond). (shrink)

Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage our (...) appropriate reactive attitudes, and until we locate a relevant difference between these depictions in gorefests and in other genres, we should assume that the depictions in gorefests do no damage. I consider and reject three candidate differences: in artistic merit, meaningfulness, and audience orientation. Until genre skeptics identify a relevant difference, we should accept the taste for gory fictions as we would any other morally innocuous variation in taste. (shrink)

Nietzsche scholars have developed an interest in his use of “thick” moral psychological concepts such as virtues and emotions. This development coincides with a renewed interest among both philosophers and social scientists in virtues, the emotions, and moral psychology more generally. Contemporary work in empirical moral psychology posits contempt and disgust as both basic emotions and moral foundations of normative codes. While virtues can be individuated in various ways, one attractive principle of individuation is to index them to characteristic emotions (...) and the patterns of behavior those emotions motivate. Despite the surge in attention to Nietzsche’s use of emotions, the literature has tended to lump all emotional states together. In this paper, I argue that what Nietzsche calls the pathos of distance is best understood as the virtue associated with both contempt and disgust. I conclude with a discussion of the bleak prospects for a Nietzschean democratic ethos. (shrink)

The rhetoric of disgust is common in moral discourse and political propaganda. Some believe it's pernicious, for it convinces without evidence. But scientific research now suggests that disgust is typically an effect, not a cause, of moral judgment. At best the emotion on its own only sometimes slightly amplifies a moral belief one already has. Appeals to disgust are thus dialectically unhelpful in discourse that seeks to convince. When opponents of abortion use repulsive images to make their case, they convince (...) few, even if they rally their base. When champions of animal rights show graphic depictions of the torturous conditions of animals in factory farms, they convince only those previously ignorant of the severity of such conditions. Ultimately, disgust may be less pernicious than it is useless. (shrink)

According to the so-called transparency thesis, what is disgusting in nature cannot but be disgusting in art. This paper critically discusses the arguments that have been put forward in favour of the transparency thesis, starting with Korsmeyer's (2011) sensory view of disgust. As an alternative, it offers an account of the relationship between disgust and representation that explains, at least in part, whatever truth there is in the transparency thesis. Such an account appeals to a distinction between object-centric and situation-centric (...) emotions. (shrink)

It has been recently argued, contrary to the received eighteenth-century view, that disgust is compatible with aesthetic pleasure. According to such arguments, what allows this compatibility is the interest that art appreciators sometimes bestow on the cognitive content of disgust. On this view, the most interesting aspect of this cognitive content is identified in meanings connected with human mortality. The aim of this paper is to show that these arguments are unsuccessful.

The transparency thesis for disgust claims that what is disgusting in nature is always also disgusting in art. Versions of the thesis have been endorsed by, among others, Kant, Lessing, Mendelssohn, and, more recently, Arthur Danto, Carolyn Korsmeyer, and Jenefer Robinson. The present paper articulates and discusses different readings of the thesis. It concludes that the transparency thesis is false.

Suppose that disgust can provide evidence of moral wrongdoing. What account of disgust might make sense of this? A recent and promising theory is the social contagion view, proposed by Alexandra Plakias. After criticizing both its descriptive and normative claims, I draw two conclusions. First, we should question the wisdom of drawing so straight a line from biological poisons and pathogens to social counterparts. Second, we don’t need to explain the evidential value of disgust by appealing to what the response (...) tracks. These lessons point toward an alternative: namely, that disgust is a moral heuristic. On the heuristic view, disgust is a trigger for the subconscious use of a particular rule: I show how this view fits with a plausible hypothesis about the social function of disgust, and then apply it to Leon Kass’s famous use of repugnance to criticize cloning. (shrink)

An influential argument in bioethics involves appeal to disgust, calling on us to take it seriously as a moral guide (e.g. Kass, Miller, Kahan). Some argue, for example, that genetic enhancement, especially via human reproductive cloning, is repellant or grotesque. While objectors have argued that repugnance is morally irrelevant (e.g. Nussbaum, Kelly), I argue that the problem is more fundamental: it is psychologically irrelevant. Examining recent empirical data suggests that disgust’s influence on moral judgment may be like fatigue: an exogenous (...) influence, yielding a “performance error” that does not reflect our understanding of moral matters. This conclusion also challenges appeals to repugnance on other topics (such as homosexuality) and generally downplays the importance of disgust in moral discourse. (shrink)

[Selected as EDITOR'S CHOICE] Background: Extant surveys of people’s attitudes toward human reproductive cloning focus on moral judgments alone, not emotional reactions or sentiments. This is especially important given that some (esp. Leon Kass) have argued against such cloning on the grounds that it engenders widespread negative emotions, like disgust, that provide a moral guide. Objective: To provide some data on emotional reactions to human cloning, with a focus on repugnance, given its prominence in the literature. Methods: This brief mixed-method (...) study measures the self-reported attitudes and emotions (positive or negative) toward cloning from a sample of participants in the United States. Results: Most participants condemned cloning as immoral and said it should be illegal. The most commonly reported positive sentiment was by far interest/curiosity. Negative emotions were much more varied, but anxiety was the most common. Only about a third of participants selected disgust or repugnance as something they felt and an even smaller portion had this emotion come to mind prior to seeing a list of options. Conclusions: Participants felt primarily interested and anxious about human reproductive cloning. They did not primarily feel disgust or repugnance. This provides initial empirical evidence that such a reaction is not appropriately widespread. (shrink)

In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.

In his The Meaning of Disgust, Colin McGinn employs elements of the phenomenological theory of disgust advanced by Aurel Kolnai in 1929. Kolnai’s treatment of what he calls “material” disgust and of its primary elicitors—putrefying organic matter, bodily wastes and secretions, sticky contaminants, vermin—anticipates more recent scientific treatments of this emotion as a mode of protective recoil. While Nina Strohminger charges McGinn with neglecting such scientific studies, we here attempt to show how Kolnai goes beyond experimental findings in his careful (...) description of the phenomenological differences between disgust and other emotions of forceful disapproval. (shrink)

Recent empirical research seems to show that emotions play a substantial role in moral judgment. Perhaps the most important line of support for this claim focuses on disgust. A number of philosophers and scientists argue that there is adequate evidence showing that disgust significantly influences various moral judgments. And this has been used to support or undermine a range of philosophical theories, such as sentimentalism and deontology. I argue that the existing evidence does not support such arguments. At best it (...) suggests something rather different: that moral judgment can have a minor emotive function, in addition to a substantially descriptive one. (shrink)

Tom Six’s The Human Centipede (First Sequence) (2009) and The Human Centipede II (Full Sequence) (2011) are based on a disturbing premise: people are abducted and stitched together mouth-to-anus. The consequent combinations of faeces and bloodshed, torture and degradation have been roundly vilified by the critical press. Additionally, the sequel was officially banned or heavily censored in numerous countries. This article argues that these reactive forms of suppression fail to engage with the films themselves, or the concepts (such as disgust (...) and offense) on which those judgements are made. Six’s films are far more sophisticated than has been accounted for. These films wear their generic lineage on their grimy sleeves, contextualising conventional motifs such as the mad scientist archetype against contemporary cultural anxieties regarding the body, sex and violence. Furthermore, Six’s constructed persona exposes the interplay between commercial success, grotesquery and censoriousness as a cyclic system that can be abused. Thus, the series epitomises how repulsion can be strategically utilised. Six anticipates his detractors’ offense, and disarms them of their ability to critique his films without adding to their notoriety. The Human Centipede films demonstrate how controversy can be tactically generated to create meaning. (shrink)

Drawing on the well-established understanding of the zombie as metaphor for the deadening effects of consumer capitalism, this chapter seeks to account for three distinct changes that contextualise 21st century zombie fiction. The first is situational: the global economic crisis has amplified the anxieties that inspired Romero's critique of consumer capitalism in Dawn of the Dead (1978). The second is intellectual: as Chapman and Anderson (2011) note, there has been an “explosion of research on all aspects of disgust” in recent (...) years. The third concerns the subgenre itself: zombies have become increasingly sexualised since the late 1990s. These issues intersect in a numerous recent zombie films - including Zombie Strippers! (2008), Zombies! Zombies! Zombies! (2008), Big Tits Zombie (2010), and Zombies Vs Strippers (2012) - that are centred around or within strip clubs. Stripping epitomises the logic of consumer capitalism, offering tantalising promises but little physical satisfaction. Stripping translates sexual desire into a voyeuristic transaction, evacuated of corporeal messiness. The zombie’s decomposing body epitomises disgust, and its presence in the strip-club disturbs the fantasy typically provided within that context. In the zombie infected strip-club, intimate contact is damaging rather than desirous. In these respects, zombies hypostatize numerous tensions that are usually masked by fantasy and financial exchange. In doing so, these zombies reify the horrors of late capitalism. Their disgusting bodies disrupt the foundational logic of consumerism qua desire. (shrink)

Since 1990, The Simpsons’ annual “Treehouse of Horror” episodes have constituted a production sub-context within the series, having their own conventions and historical trajectory. These specials incorporate horror plots and devices, as well as general references to science fiction, into the series’ base in situation comedy. The Halloween specials disrupt the series usual family-oriented sitcom structure, dissolving the ideological balances that stabilise that society. By depicting the Family and community in extreme circumstances, in seeing the horror of ‘how things could (...) be’, the Treehouse episode leave us with hanging questions about the nature of social being that bleed into the regular sitcom-style episodes. By breaking from the comparatively realistic social-satire that characterizes the series as a whole, the Halloween specials cast a reflexive gaze back onto “The Simpsons” itself. As a result, the “Treehouse” episodes are valuable as a means of examining the strategies and implications of the series as a whole. Bakhtin’s model of the carnivalesque is utilised to underscore these disruptive traits that characterise the Treehouse episodes. (shrink)

Two studies demonstrate that a dispositional proneness to disgust (“disgust sensitivity”) is associated with intuitive disapproval of gay people. Study 1 was based on previous research showing that people are more likely to describe a behavior as intentional when they see it as morally wrong (see Knobe, 2006, for a review). As predicted, the more disgust sensitive participants were, the more likely they were to describe an agent whose behavior had the side effect of causing gay men to kiss in (...) public as having intentionally encouraged gay men to kiss publicly— even though most participants did not explicitly think it wrong to encourage gay men to kiss in public. No such effect occurred when subjects were asked about heterosexual kissing. Study 2 used the Implicit Association Test (IAT; Nosek, Banaji, & Greenwald, 2006) as a dependent measure. The more disgust sensitive participants were, the more they showed.. (shrink)

We consider the current debate between bioconservatives and their opponents—whom we dub bioliberals—about the moral acceptability of human enhancement and the policy implications of moral debates about enhancement. We argue that this debate has reached an impasse, largely because bioconservatives hold that we should honour intuitions about the special value of being human, even if we cannot identify reasons to ground those intuitions. We argue that although intuitions are often a reliable guide to belief and action, there are circumstances in (...) which they are not reliable. Intuitions—including intuitions about enhancement—are subject to various cognitive biases rendering them unreliable in some circumstances. We argue that many bioconservative intuitions about enhancement are examples of such unreliable intuitions. Given this, it is unrealistic of bioconservatives to expect others to rely on their unexamined intuitions. Furthermore, refusing to engage in debates about the reasons and values that underpin their intuitions about enhancement will have the effect of making bioconservative voices less relevant in policy debates about enhancement than they would otherwise be. (shrink)

In 1929 when Aurel Kolnai published his essay “On Disgust” in Husserl's ]ahrbuch he could truly assert that disgust was a "sorely neglected" topic. Now, however, this situation is changing as philosophers, psychologists, and historians of culture are turning their attention not only to emotions in general but more specifically to the large and disturbing set of aversive emotions, including disgust. We here provide an account of Kolnai’s contribution to the study of the phenomenon of disgust, of his general theory (...) of emotions and of the phenomenological methodology he employed in his work. (shrink)