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 (...) under the influence of psychoanalysis (1925), in his dissertation Der ethische Wert und die Wirklichkeit (Ethical Value and Reality) (1927), which is his first phenomenological writing, and in later papers “On the Concept of the Interesting” (1964) and “The Concept of Hierarchy” (1971). This chapter is divided into four sections. The first reconstructs Kolnai’s general approach to the emotions as embedded within the larger context of early phenomenology. Sections 2–4 present Kolnai’s analyses of hostile emotions by focusing on disgust, haughty pride, and hatred. (shrink)

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 (...) focalizing character and object that encourages both character and reader to contemplate the ignoble aspect of human mortality. (shrink)

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 (...) history and intentional structure of hate, I obtain two variables: the replaceability/irreplaceability of the target and the determinacy/indeterminacy of the focus of concern. The combination of these variables generates the four-types model of hate, according to which hate comes in the following kinds: normative, ideological, retributive, and malicious. (shrink)

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 (...) element for its development. In order to justify my claim, first, I will comment on Nussbaum’s criticism of disgust. Second, I will analyse Paul Rozin and April E. Fallon’s seminal study on disgust, which Nussbaum’s own research fully presupposes. Third, I will outline a slightly different, indeed “holistic” view on disgust, and bring forward some arguments for the use of disgust in order to construct a just society. (shrink)

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.

Disgust, the emotion of rotting carcasses and slimy animalitos, finds itself at the center of several critical questions about human culture and cognition. This article summarizes recent developments, identify active points of debate, and provide an account of where the field is heading next.

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.

Specific phobias of natural objects, such as moths, spiders and snakes, are both common and socially significant, but they have received relatively little sociological attention. Studies of specific phobias have noted that embodied experiences of disgust are intimately associated with phobic reactions, but generally explain this in terms of objective qualities of the object concerned and/or evolutionary models. We draw on the work of Kolnai, Douglas and Kristeva to provide an alternative phenomenological and culturally informed account of the complex links (...) between pervasive social categories and their emotional embodiment and expression in phobic individuals. (shrink)

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 (...) the paradigmatic cases of this attitude. The paper puts forward a “singularist” view of hatred, the core idea of which is that, in its simpler form, hatred is to aversively target the other qua this individual person, where the adverb “aversively” expresses the subject’s desire for the target to be annihilated. The conclusion develops some general considerations on the distinction between paradigmatic and marginal instances of an attitude by highlighting its importance for the study of affective phenomena. (shrink)

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 (...) of death over the perpetuity of life processes. For an alternative I turn to bio-semiotics and cross-species scholarship around the question of the animal. Specifically, the paper asks what theories of waste would look like if instead of taking ‘dirt’ as their starting point, they began with trans-species encounters with animal scat. Following bio-semiotics and efforts to deconstruct the animal/human binary, it is suggested that the objectual forms commonly referred to as ‘waste’ are not arbitrarily classified but purposefully expended, and thus symptomatic of life’s spatio-temporal continuation. Waste matter, therefore, is best construed not as anthropocentric but as semi-biotic: a sign of the form of life to which it once belonged. This alternative perspective has implications for how approaches to industrial forms of mass waste can be reconceived. (shrink)

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 (...) critically investigates how queer contemporary anglophone Indian fiction reworks dominant attitudes towards abjection through consumption, queering the approach to disgust as a stable marker of unbelonging in the contexts of postcoloniality and the transnational. Specifically, I examine approaches to abjection through food and discuss transgression through food as a postcolonial re-reading of disgust-based politics and aesthetics in two novels: The Boyfriend (2003) by author and gay-activist R. Raj Rao, and A Life Apart (2010) by writer-reviewer Neel Mukherjee—both of whom are part of an emerging group of authors writing in English and explicitly dealing with male same-sex desire in the subcontinent and the diaspora. Using a transnational and intersectional queer feminist lens on disgust and queering through food, I discuss how by challenging the hidden codes of a disgust-based gastro-politics and aesthetics in culture, The Boyfriend and A Life Apart reveal new spaces of sovereignty and self-expression in the everyday. In the process, I show how they provide fresh positions of resistance and subjectivity that complicate narrow ideas of belonging—national, diasporic and bodily—the production of which becomes crucial in the context of carving out a transnational queer (gastro) aesthetics and politics. (shrink)

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 (...) whether such disgust is moral in nature. These empirical cases provide us with reasons to reconsider the normative features of disgust. Inspired by the conceptualization of disgust in Immanuel Kant and Aurel Kolnai, and as an alternative to both the disgust advocates and the skeptics, this article argues that the analogy of a stop sign can better help us define disgust responses. (shrink)

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.

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 (...) this essay, I discuss this state of ‘being done by disgust-horror through Roman Polanski’s Repulsion (1965). In my reading, Repulsion is about ultrasensitivity to the world and the subsequent, insane fear of intimacy that the film itself directly induces in its spectator. The spectator is threatened with possession in a fashion analogous to the way in which Carole’s apartment (her own mind) keeps her captive in her own disgust. This disgust that Carole feels is not merely disgust towards men, but disgust towards the world in general. The effect of this is the devastating, disgusting, schizophrenic terror of being unable to trust one’s own senses. (shrink)

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)

Introduction for Special Issue on Disgust.

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...

“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 (...) with interjectional meaning, and to start a discussion about an interdisciplinary research agenda for the study of emotive interjections. Examples are drawn from English, Polish, and Cantonese. (shrink)

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 (...) happen by means of honor codes helps to clarify not only viewer sympathy and solidarity for this film’s African-American protagonist, but also viewer moral disgust at another important white character’s racism. In particular, the film encourages its more thoughtful white viewers to reconsider as well as potentially change their affective responses, ideological predispositions, and habits of perception and attention regarding race, thereby facilitating fundamental moral change and even the possibility of moral revolution. (shrink)

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 (...) food items. In this paper, we draw on a phenomenological perspective on disgust to highlight that food-related disgust is connected to the character and behavior of a perceived individual even in the context of promoting healthy food items. We argue that the focus on “making the healthy food choice the easy choice” might be an important step towards the de-stigmatization of people that are affected by obesity. However, so we suggest, this focus threatens to bring back an image of individuals affected by obesity as disgusting “through the backdoor”. It does so not by portraying bodies with overweight as disgusting, but instead by implying that lifestyle choices, character and habits of people that are affected by obesity are markers of a lack of control. We argue that the close relationship between disgust and the perception of self-control in the context of obesity should be taken into consideration in the context of assessing the implications of new health promotion strategies to minimize the risk of stigmatizing people. (shrink)

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 (...) would be repulsive to themselves. I argue, with reference to killing in combat and in self-defense, that those who have done no wrong should not be in such a state. (shrink)