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Grand unified theories of messy topics like emotion tend to fail at capturing all the important dimensions of their subject. Why is this? I take on this question while responding to commentaries. |
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Recently, McGinn has proposed a new theory of disgust. This theory makes empirical claims as to the history and function of disgust, yet does not take into account contemporary scientific research on the subject. This essay evaluates his theory for its merits as an account of disgust, and as a piece of scholarship more generally, and finds it lacking. |
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Most contemporary research on disgust can be divided into “disgust advocates” and “disgust skeptics.” The so-called advocates argue that disgust can have a positive influence on our moral judgment; skeptics warn that it can mislead us toward prejudice and discrimination. This article compares this disagreement to a structurally similar debate in the field of genocide studies concerning the phenomenon of “perpetrator abhorrence.” While some soldiers report having felt strong disgust in the moment of committing or witnessing atrocity, scholars disagree on (...) |
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Aurel Kolnai (1900–1973) is best known for his political and moral writings, but he also chiefly contributed to the phenomenology of the emotions. In a series of papers devoted to hostile and aversive emotions and, in particular, to disgust, haughty pride, fear, and hatred (Kolnai 1929, 1931, 1935 and 1998) Kolnai presents his most comprehensive views on the affective life and its ethical significance. Scattered discussions on the emotions can also be found in an early paper written on Scheler and (...) |
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Noël Carroll has suggested that scary films scare because our emotions are structured by the disgusting and dangerous properties of the films’ monsters. By contrast, this essay argues that some scary films scare through more direct means than can be explained by entertaining in thought, say, the impure properties of Count Dracula. It is the film itself that disgusts and frightens, by ‘taking over’ the spectator so that their consciousness of the film is ‘contaminated’ by the ‘spirit’ of horror. In (...) |
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This paper explores how individuals experiencing hostile affective states such as envy, jealousy, hate, contempt, and Ressentiment tend to deceive themselves about their own mental states. More precisely, it examines how the feeling of being diminished in worth experienced by the subject of these hostile affective states motivates a series of self-deceptive maneuvers that generate a fictitious upliftment of the subject’s sense of self. After introducing the topic (section 1), the paper explores the main arguments that explain why several hostile (...) |
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This article uses Carl Plantinga’s and Noël Carroll’s theorizations regarding cinematic disgust to analyze Carl Franklin’s 1995 film noir, Devil in a Blue Dress. Plantinga argues for a link between disgust and ideology that helps to reveal deeper cultural significance in film, which Carroll’s work likewise supports. Plantinga further argues that disgust in art may be strangely attractive as well as repulsive, thereby eliciting reflection. I argue that combining these elements with philosopher Kwame Anthony Appiah’s explanation of how moral revolutions (...) |
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Obesity has been pointed out as one of the main current health risks leading to calls for a so-called “war on obesity”. As we show in this paper, activities that attempt to counter obesity by persuading people to adjust a specific behavior often employ a pedagogy of regret and disgust. Nowadays, however, public healthcare campaigns that aim to tackle obesity have often replaced or augmented the explicit negative depictions of obesity and/or excessive food intake with the positive promotion of healthy (...) |
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Drawing on insights found in both philosophy and psychology, this paper offers an analysis of hate and distinguishes between its main types. I argue that hate is a sentiment, i.e., a form to regard the other as evil which on certain occasions can be acutely felt. On the basis of this definition, I develop a typology which, unlike the main typologies in philosophy and psychology, does not explain hate in terms of patterns of other affective states. By examining the developmental (...) |
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In a recent paper, Thomas Szanto develops an account of hatred, according to which the target of this attitude, paradigmatically, is a representative of a group or a class. On this account, hatred overgeneralises its target, has a blurred affective focus, is co-constituted by an outgroup/ingroup distinction, and is accompanied by a commitment for the subject to stick to the hostile attitude. While this description captures an important form of hatred, this paper claims that it does not do justice to (...) |
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This article offers some general criticisms of the idea that any political theory can legitimate public health interventions, and then some particular criticisms of Civic Republicanism as a political theory for public health. Civic Republicanism, I argue, legitimizes liberty-infringing public health interventions by demanding high levels of civic engagement in framing and reviewing them; to demand such engagement in pursuit of such a baseline value as health will leave insufficient civic energy for the pursuit of higher values. |
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At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) |
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Moral horror is an extreme emotional response to that which violates things we regard as sacred. In Robert Merrihew Adams's view, horror is a response to badness and not to wrongness, and so one could properly regard some actions as horrible but not wrong. In contrast, I argue that horror, when directed toward actions, is only appropriate for wrong actions. The reason is that horror involves moral disgust, and agents who committed a horrible action would have self-disgust, that is, they (...) |
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This article explores how historians of emotions and historians of the senses can collaborate to write a history of emotional experience that takes seriously the corporeality of emotions. It invest... |
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In this paper, I consider the relationship that obtains between disgust and the idea of a just society. _Contra_ Martha C. Nussbaum, who argues that disgust poses dangers to a just society, I contend that disgust can either damage or promote the construction of a just society. In fact, I largely agree with Nussbaum’s perspective on disgust, except for this point: disgust, I think, is not necessarily dangerous for a just society, but can also be useful and constitute an important (...) |
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Introduction for Special Issue on Disgust. |
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“All languages have ‘emotive interjections’ ” —and yet emotion researchers have invested only a tiny research effort into interjections, as compared with the huge body of research into facial expressions and words for emotion categories. This article provides an overview of the functions, meanings, and cross-linguistic variability of interjections, concentrating on non-word-based ones such as Wow!, Yuck!, and Ugh! The aims are to introduce an area that will be unfamiliar to most readers, to illustrate how one leading linguistic approach deals (...) |
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The ideology of ‘purity’, normalcy and hierarchy through food and its relations is a postcolonial, feminist, queer issue. In an increasingly intolerant Hindutva political climate in India, a politics of enforced vegetarianism-based-purity as a mark of authenticity and ideal national identity intersects with liberalisation of the economy and globalisation of tastes to produce complex hierarchies of taste and ideas of culinary belonging. Given that literary and other cultural products can play an influential role in issues of social change, my paper (...) |
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This paper offers a counterpoint to the prevailing account of waste in the human sciences. This account identifies waste, firstly, as the anomalous product of arbitrary social categorizations, or ‘matter out of place’, and, secondly, as a distinctly human way of leaving behind and interpreting traces, or a mirror of culture. Together, these positions reflect a more or less constructivist and anthropocentric approach. Most commonly, waste is placed within a framework that privileges considerations of meaning over materiality and the threat (...) |
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This article contends that we can learn much about how Coetzee tells stories by examining how he treats the subject of disgust. Coetzee represents disgust so often in his fiction, I argue, because disgust figures the subject’s relation to the object as both embodied and contemplative. Staging scenes of disgust enables Coetzee to do two apparently contradictory things at once: (1) represent the immediacy of a focalizing character’s physical reaction to the world and (2) establish a reflective distance between the (...) |
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