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.
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... Disgust, and Korsmeyer, Savoring Disgust. 74 On the motives behind watching horror films, see G. Neil Martin, '(Why) Do You Like Scary Movies? A Review of the Empirical Research on Psychological Responses to Horror Films', Frontiers in ...
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 ...
it, gore the line we cross when we watch real, as opposed to fictional, victimization on camera.5 Gore fans live over on the other side of that line. For gore fans, the Holy Grail is snuff: that is, real-life murderous violence on ...
On the other hand, it is hard to generalize about it given the wide range of practices and cuisines, and the even wider range of tastes. This book is an introduction to the philosophical dimensions of food.
... perceiving what others perceive. According to Gibson, perceiving an affordance is also to perceive what other animals or humans may perceive. To perceive something as a possible hiding place involves perceiving that the other person ...
... disgust.” In Savoring Disgust (2011), Korsmeyer argues that disgust feeds curiosity, and thus, provides pleasure. In Kors-meyer's words, disgust draws us close and holds our a ention, creating absorption and fascination despite the ...
operable in the courtroom with respect to victims, as elsewhere (Nemeroff and Rozin 1994; Rozin and Fallon 1987; ... These results align with increased permissibility of self-harm in highly self-disgusted individuals (Brake et al.
Fictionality also involves relaxation of normal standards of fidelity to truth in communication: the audience is ... 38 Philp F. Gura, Truth's Ragged Edge: The Rise of the American Novel (New York: Farrar, Straus and Giroux, 2013), 143.
... Savoring Disgust, Oxford: Oxford University Press, 2011: 45. David Hume ... “Of Tragedy,” Essays Moral, Political ... Disgust, edited and with an introduction by B. Smith and C. Korsmeyer, Peru, IL: Carus Publishing Company, 2004; and C ...