A volume in the SUNY series, Intersections: Philosophy and Critical Theory Rodolphe Gasche, editor

William Miller details our anxious relation to basic life processes; eating, excreting, fornicating, decaying, and dying. But disgust pushes beyond the flesh to vivify the larger social order with the idiom it commandeers from the sights, smells, tastes, feels, and sounds of fleshly physicality. Disgust and contempt, Miller argues, play crucial political roles in creating and maintaining social hierarchy. Democracy depends less on respect for persons than on an equal distribution of contempt. Disgust, however, signals dangerous division.

Disgust is among the strongest of aversions, characterized by involuntary physical recoil and even nausea. Yet paradoxically, disgusting objects can sometimes exert a grisly allure, and this emotion can constitute a positive, appreciative aesthetic response when exploited by works of art -- a phenomenon labelled here "aesthetic disgust." While the reactive, visceral quality of disgust contributes to its misleading reputation as a relatively "primitive" response mechanism, it is this feature that also gives it a particular aesthetic power when manifest in art. Most treatments of disgust mistakenly interpret it as only an extreme response, thereby neglecting the many subtle ways that it operates aesthetically. This study calls attention to the diversity and depth of its uses, analyzing the emotion in detail and considering the enormous variety of aesthetic forms it can assume in works of art and --unexpectedly-- even in foods. In the process of articulating a positive role for disgust, this book examines the nature of aesthetic apprehension and argues for the distinctive mode of cognition that disgust affords -- an intimate apprehension of physical mortality. Despite some commonalities attached to the meaning of disgust, this emotion assumes many aesthetic forms: it can be funny, profound, witty, ironic, unsettling, sorrowful, or gross. To demonstrate this diversity, several chapters review examples of disgust as it is aroused by art. The book ends by investigating to what extent disgust can be discovered in art that is also considered beautiful.

A distinguished professor of law and philosophy at the University of Chicago, a prolific writer and award-winning thinker, Martha Nussbaum stands as one of our foremost authorities on law, justice, freedom, morality, and emotion. In From Disgust to Humanity, Nussbaum aims her considerable intellectual firepower at the bulwark of opposition to gay equality: the politics of disgust. Nussbaum argues that disgust has long been among the fundamental motivations of those who are fighting for legal discrimination against lesbian and gay citizens. When confronted with same-sex acts and relationships, she writes, they experience "a deep aversion akin to that inspired by bodily wastes, slimy insects, and spoiled food--and then cite that very reaction to justify a range of legal restrictions, from sodomy laws to bans on same-sex marriage." Leon Kass, former head of President Bush's President's Council on Bioethics, even argues that this repugnance has an inherent "wisdom," steering us away from destructive choices. Nussbaum believes that the politics of disgust must be confronted directly, for it contradicts the basic principle of the equality of all citizens under the law. "It says that the mere fact that you happen to make me want to vomit is reason enough for me to treat you as a social pariah, denying you some of your most basic entitlements as a citizen." In its place she offers a "politics of humanity," based not merely on respect, but something akin to love, an uplifting imaginative engagement with others, an active effort to see the world from their perspectives, as fellow human beings. Combining rigorous analysis of the leading constitutional cases with philosophical reflection about underlying concepts of privacy, respect, discrimination, and liberty, Nussbaum discusses issues ranging from non-discrimination and same-sex marriage to "public sex." Recent landmark decisions suggest that the views of state and federal courts are shifting toward a humanity-centered vision, and Nussbaum's powerful arguments will undoubtedly advance that cause. Incisive, rigorous, and deeply humane, From Disgust to Humanity is a stunning contribution to Oxford's distinguished Inalienable Rights series.

This volume brings together the world's leading experts on disgust to fully explore this understudied behavior. Disgust is unique among emotions. It is, at once, perhaps the most “basic” and visceral of feelings while also being profoundly shaped by learning and culture. Evident from the earliest months of life, disgust influences individual behavior and shapes societies across political, social, economic, legal, ecological, and health contexts. As an emotion that evolved to prevent our eating contaminated foods, disgust is now known to motivate wider behaviors, social processes, and customs. On a global scale, disgust finds a place in population health initiatives, from hand hygiene to tobacco warning labels, and may underlie aversions to globalization and other progressive agendas, such as those regarding sustainable consumption and gay marriage. This comprehensive work provides cutting‐edge, timely, and succinct theoretical and empirical contributions illustrating the breadth, rigor, relevance, and increasing maturity of disgust research to modern life. It is relevant to a wide range of psychological research and is particularly important to behavior viewed through an evolutionary lens, As such, it will stimulate further research and clinical applications that allow for a broader conceptualization of human behavior. The reader will find: Succinct and accessible summaries of key perspectives Highlights of new scientific developments A rich blend of theoretical and empirical chapters

Drawing on both historical analysis and theories from the modern affective sciences, Shakespeare and Disgust argues that the experience of revulsion is one of Shakespeare's central dramatic concerns. Known as the 'gatekeeper emotion', disgust is the affective process through which humans protect the boundaries of their physical bodies from material contaminants and their social bodies from moral contaminants. Accordingly, the emotion provided Shakespeare with a master category of compositional tools – poetic images, thematic considerations and narrative possibilities – to interrogate the violation and preservation of such boundaries, whether in the form of compromised bodies, compromised moral actors or compromised social orders. Designed to offer both focused readings and birds-eye coverage, this volume alternates between chapters devoted to the sustained analysis of revulsion in specific plays (Titus Andronicus, Timon of Athens, Coriolanus, Othello and Hamlet) and chapters presenting a general overview of Shakespeare's engagement with certain kinds of prototypical disgust elicitors, including food, disease, bodily violation, race and sex disgust. Disgust, the book argues, is one of the central engines of human behaviour – and, somewhat surprisingly, it must be seen as a centrepiece of Shakespeare's affective universe.