"A lively look at all things revolting." —New York Times Book Review Why do we watch horror movies? What is the best way to persuade someone to quit smoking? And what on earth is the appeal of competitive eating? In this lively, colorful book, Rachel Herz answers these questions and more, shedding light on an incredible range of human traits—from food preferences and sexual attraction to moral codes and political ideology—by examining them through the lens of a fascinating subject: disgust. Combining lucid scientific explanations and fascinating research with a healthy dose of humor, That’s Disgusting illuminates issues that are central to our lives: love, hate, fear, empathy, prejudice, humor, and happiness.

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.

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.

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.

What is the role of disgust or revulsion in early modern English literature? How did early modern English subjects experience revulsion and how did writers represent it in poetry, plays, and prose? What does it mean when literature instructs, delights, and disgusts? This collection of essays looks at the treatment of disgust in texts by Spenser, Shakespeare, Donne, Jonson, Herrick, and others to demonstrate how disgust, perhaps more than other affects, gives us a more complex understanding of early modern culture. Dealing with descriptions of coagulated eye drainage, stinky leeks, and blood-filled fleas, among other sensational things, the essays focus on three kinds of disgusting encounters: sexual, cultural, and textual. Early modern English writers used disgust to explore sexual mores, describe encounters with foreign cultures, and manipulate their readers' responses. The essays in this collection show how writers deployed disgust to draw, and sometimes to upset, the boundaries that had previously defined acceptable and unacceptable behaviors, people, and literatures. Together they present the compelling argument that a critical understanding of early modern cultural perspectives requires careful attention to disgust.

This book explores the intersubjective nature of disgust, the fascination that often accompanies it—along with repulsion—and the ethical implications of the experience. With attention to what emotions do rather than what they necessarily are, it examines the ways in which disgust works to create structures of meaning about selfhood, interpersonal relationships, and the worlds we inhabit. Offering a critique of existing approaches to disgust, the author advances a feminist intersubjective perspective, drawing on the work of Jessica Benjamin to understand the relational aspects of disgust encounters. Thus, the focus is not on defining disgust definitively, nor debating what objects invoke disgust, nor on whether it is a universal experience, but on the effects of disgust once invoked, what the experience does and the impact it has. Through a case study of incarceration and death by self-inflicted strangulation—a death that was later ruled a homicide—this volume sheds light on the nature of the ethical demands of disgust and its nature as an active struggle for recognition. As such, A Politics of Disgust will appeal to scholars of gender studies, social theory and philosophy with interests in the emotions and intersubjectivity.

Debates about obesity are really about the meaning of responsibility. The trend toward local foods reflects the changing nature of space due to new communication technologies. Vegetarian theory capitalizes on biotechnology’s challenge to the meaning of species. And food politics, as this book makes powerfully clear, is actually about the political anxieties surrounding globalization. In Eating Anxiety, Chad Lavin argues that our culture’s obsession with diet, obesity, meat, and local foods enacts ideological and biopolitical responses to perceived threats to both individual and national sovereignty. Using the occasion of eating to examine assumptions about identity, objectivity, and sovereignty that underwrite so much political order, Lavin explains how food functions to help structure popular and philosophical understandings of the world and the place of humans within it. He introduces the concept of digestive subjectivity and shows how this offers valuable resources for rethinking cherished political ideals surrounding knowledge, democracy, and power. Exploring discourses of food politics, Eating Anxiety links the concerns of food—especially issues of sustainability, public health, and inequality—to the evolution of the world order and the possibilities for democratic rule. It forces us to question the significance of consumerist politics and—simultaneously—the relationship between politics and ethics, public and private.

Explores the history and psychology of the fear of insects.

Does disgust guide moral behavior, or does it hamper it? Does disgust play a critical role in ordinary moral judgments, or almost no role at all? In this volume, experts in the field come together to explore fundamental questions about the role that disgust plays (and ought to play) in our moral lives. This book features twelve new essays, nestled comfortably at the intersection of psychology and philosophy. The Moral Psychology of Disgust brings together leading scholars—ethical theorists, cognitive scientists, developmental psychologists, legal scholars, cognitive neuroscientists, anthropologists—each answering questions that arise at the intersection of morality and disgust. The book introduces readers to the most pressing issues facing the field, and gives a perspective that is representative of the range of views and concerns that reflect the current research terrain.The book addresses three main themes: the origins of moral disgust, exploring the evolutionary function of disgust and its role in sustaining group dynamics; the psychological mechanisms underlying disgust responses and the way in which disgust influences reasoning about agency, violence, sex, and meaning; and the ethical challenges posed by disgust. The contributors explore whether we are justified in using disgust to form beliefs about right and wrong and how disgust sheds light on the very nature of morality.

This Element turns to the stage to ask a simple question about gender and affect: what causes the shame of the early modern rape victim? Beneath honour codes and problematic assumptions about consent, the answer lies in affect, disgust. It explores both the textual "performance" of affect, how literary language works to evoke emotions and the ways disgust can work in theatrical performance. Here Shakespeare's poem The Rape of Lucrece is the classic paradigm of sexual pollution and shame, where disgust's irrational logic of contamination leaves the raped wife in a permanent state of uncleanness that spreads from body to soul. Staging Disgust offers alternatives to this depressing trajectory: Middleton's Women Beware Women and Shakespeare's Titus Andronicus perform disgust with a difference, deploying the audience's revulsion to challenge the assumption that a raped woman should "naturally" feel intolerable shame.