Examining the racial underpinnings of food, microbial medicine, and disgust in America American Disgust shows how perceptions of disgust and fears of contamination are rooted in the country’s history of colonialism and racism. Drawing on colonial, corporate, and medical archives, Matthew J. Wolf-Meyer argues that microbial medicine is closely entwined with changing cultural experiences of digestion, excrement, and disgust that are inextricably tied to the creation of whiteness. Ranging from nineteenth-century colonial encounters with Native people to John Harvey Kellogg’s ideas around civilization and bowel movements to mid-twentieth-century diet and parenting advice books, Wolf-Meyer analyzes how embedded racist histories of digestion and disgust permeate contemporary debates around fecal microbial transplants and other bacteriotherapeutic treatments for gastrointestinal disease. At its core, American Disgust wrestles with how changing cultural notions of digestion—what goes into the body and what comes out of it—create and impose racial categories motivated by feelings of disgust rooted in American settler-colonial racism. It shows how disgust is a changing, yet fundamental, aspect of American subjectivity and that engaging with it—personally, politically, and theoretically—opens up possibilities for conceptualizing health at the individual, societal, and planetary levels.

Hancock argues that beliefs about poor African American mothers were the foundation for the contentious 1996 welfare reform debate that effectively 'ended welfare as we know it.' She shows how stereotypes and misperceptions about race, class and gender were used to instigate a politics of disgust.

Should laws about sex and pornography be based on social conventions about what is disgusting? Should felons be required to display bumper stickers or wear T-shirts that announce their crimes? This powerful and elegantly written book, by one of America's most influential philosophers, presents a critique of the role that shame and disgust play in our individual and social lives and, in particular, in the law. Martha Nussbaum argues that we should be wary of these emotions because they are associated in troubling ways with a desire to hide from our humanity, embodying an unrealistic and sometimes pathological wish to be invulnerable. Nussbaum argues that the thought-content of disgust embodies "magical ideas of contamination, and impossible aspirations to purity that are just not in line with human life as we know it." She argues that disgust should never be the basis for criminalizing an act, or play either the aggravating or the mitigating role in criminal law it currently does. She writes that we should be similarly suspicious of what she calls "primitive shame," a shame "at the very fact of human imperfection," and she is harshly critical of the role that such shame plays in certain punishments. Drawing on an extraordinarily rich variety of philosophical, psychological, and historical references--from Aristotle and Freud to Nazi ideas about purity--and on legal examples as diverse as the trials of Oscar Wilde and the Martha Stewart insider trading case, this is a major work of legal and moral philosophy.

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 and Its Disorders: Theory, Assessment, and Treatment Implications thoughtfully examines the role of disgust in psychopathology by highlighting important theoretical and methodological developments and discussing recent research on behavioral patterns that can be provoked by disgust. Contributors demonstrate that disgust plays an important role in a wide range of psychopathology, including sexual dysfunction, eating disorders, animal phobias, and obsessive - compulsive disorder. Disgust is shown to be a multidimensional construct that centers on the unifying theme of potential contamination of the body, soul, and broad social order. Editors Bunmi O. Olatunji and Dean McKay thoroughly review the available research on disgust and shed light on how its interpretation will, in turn, facilitate the development of better treatment of disgust-related avoidance."--BOOK JACKET.

"When, in my twenties, I came out to my parents as a lesbian, I became an object of their disgust." In this hybrid memoir, novelist Stephanie Grant works to make sense of three generations of female self-disgust in her family while considering how it challenges both the American ideal of equality and our real-life experiences of intimacy. Disgust: A Memoir is funny, tender, and rigorous in its exploration of how the most difficult emotion functions both in our private lives and our collective imaginations.

Aesthetic disgust is a key component of most classic works of drama because it has much more potential than to simply shock the audience. This first extensive study on dramatic disgust places this sensation among pity and fear as one of the core emotions that can achieve katharsis in drama. The book sets out in antiquity and traces the history of dramatic disgust through Kant, Freud, and Kristeva to Sarah Kane's in-yer-face theatre. It establishes a framework to analyze forms and functions of disgust in drama by investigating its different cognates (miasma, abjection, etc.). Providing a concise argument against critics who have discredited aesthetic disgust as juvenile attention-grabbing, Sarah J. Ablett explains how this repulsive emotion allows theatre to dig deeper into what it means to be human.

NATIONAL BESTSELLER To get ahead today, you have to be a jerk, right? Divisive politicians. Screaming heads on television. Angry campus activists. Twitter trolls. Today in America, there is an “outrage industrial complex” that prospers by setting American against American, creating a “culture of contempt”—the habit of seeing people who disagree with us not as merely incorrect, but as worthless and defective. Maybe, like more than nine out of ten Americans, you dislike it. But hey, either you play along, or you’ll be left behind, right? Wrong. In Love Your Enemies, social scientist and author of the #1 New York Times bestseller From Strength to Strength Arthur C. Brooks shows that abuse and outrage are not the right formula for lasting success. Brooks blends cutting-edge behavioral research, ancient wisdom, and a decade of experience leading one of America’s top policy think tanks in a work that offers a better way to lead based on bridging divides and mending relationships. Brooks’ prescriptions are unconventional. To bring America together, we shouldn’t try to agree more. There is no need for mushy moderation, because disagreement is the secret to excellence. Civility and tolerance shouldn’t be our goals, because they are hopelessly low standards. And our feelings toward our foes are irrelevant; what matters is how we choose to act. Love Your Enemies offers a clear strategy for victory for a new generation of leaders. It is a rallying cry for people hoping for a new era of American progress. Most of all, it is a roadmap to arrive at the happiness that comes when we choose to love one another, despite our differences.

Disgust originated to prevent humans from eating poisonous food, but this simple safety mechanism has since evolved into a uniquely human emotion that dictates how people treat others, shapes cultural norms, and even has implications for mental and physical health. This book illuminates the science behind disgust, tackling such colorful topics as cannibalism, humor, and pornography to address larger questions including why sources of disgust vary among people and societies and how disgust influences individual personalities, daily lives, and values. It turns out that disgust underlies more than we realize, from political ideologies to the lure of horror movies.

Envy, irritation, paranoia—in contrast to powerful and dynamic negative emotions like anger, these non-cathartic states of feeling are associated with situations in which action is blocked or suspended. In her examination of the cultural forms to which these affects give rise, Sianne Ngai suggests that these minor and more politically ambiguous feelings become all the more suited for diagnosing the character of late modernity. Along with her inquiry into the aesthetics of unprestigious negative affects such as irritation, envy, and disgust, Ngai examines a racialized affect called “animatedness,” and a paradoxical synthesis of shock and boredom called “stuplimity.” She explores the politically equivocal work of these affective concepts in the cultural contexts where they seem most at stake, from academic feminist debates to the Harlem Renaissance, from late-twentieth-century American poetry to Hollywood film and network television. Through readings of Herman Melville, Nella Larsen, Sigmund Freud, Alfred Hitchcock, Gertrude Stein, Ralph Ellison, John Yau, and Bruce Andrews, among others, Ngai shows how art turns to ugly feelings as a site for interrogating its own suspended agency in the affirmative culture of a market society, where art is tolerated as essentially unthreatening. Ngai mobilizes the aesthetics of ugly feelings to investigate not only ideological and representational dilemmas in literature—with a particular focus on those inflected by gender and race—but also blind spots in contemporary literary and cultural criticism. Her work maps a major intersection of literary studies, media and cultural studies, feminist studies, and aesthetic theory.