134 products were found matching your search for disgust in 4 shops:

Book is in NEW condition. 0.95

Show off your favorite emotion this Halloween in this officially licensed Adult Disgust Costume! Featuring a striking green wig, a chic belted dress, and a playful neck scarf, this eye-catching ensemble will make you the center of attention at any event. Get ready to turn heads and express yourself in true Disgust fashion! Officially licensed Includes: Dress Scarf Wig Belt Material: Polyester, polyurethane, metallic Care: Spot clean Imported Note: Shoes and leggings sold separately

Disgust against Women deals with a wide range of Japan topics, some of which are on literature, and more of which about society. Intellectual readers will have strong resonance from the discussions and get theoretical guidance. The book is actually about sex and develops itself based on the topic. It is believed that many readers will be greatly intrigued by this topic, such as sexual abuse and erotic pictures mentioned by the writer.

Ship within 24hrs. Satisfaction 100% guaranteed. APO/FPO addresses supported

Susan Miller, author of two foundational works on shame (The Shame Experience [TAP, 1985/1993pbk]; Shame in Context [TAP, 1996]), now turns to disgust, an intriguing emotion that has received little attention in the professional literature.  For Miller, the psychological study of disgust revolves around boundary issues: We tend to feel disgusted about things (from bodily processes to decaying organic matter to ethnic attributes of "foreign" people) that lie on the border between our sense of self and nonself or between our sense of "good self" and "bad self."  Miller's clinical and everyday examples of disgust lead her to explore the developmental grounding of the capacity to disgust, and this topic opens to consideration of the relation of the various sensory modalities to disgust reactions.  Why, Miller asks, do we see disgusting images and smell disgusting smells but not hear disgusting sounds?  And further, what makes sensory impressions or objects "disgusting" to certain people but not to others? Why do the images and smells of disease so frequently elicit disgust?  And what is the relation of disgust to sex, procreation, and human intimacy? Laced with developmental insights and vivid illustrations of disgust-related syndromes, Disgust: The Gatekeeper Emotion incorporates cultural analysis that links disgust to images of illness and health, to family life, to group identity, and to artistic and scientific creativity.  For Miller, the central disgust dialectic - the self's need to safeguard itself against noxious intrusions from without and simultaneously to nourish itself through contact with "otherness"  - obtains whether the discourse concerns nature, nations, or noses. With her typically graceful and gracious prose, Miller puts disgust on the psychological map and thereby adds a chapter to our understanding of the role of emotion in therapy and in everyday life. 

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.

Limited double vinyl LP pressing. Fresh off the heels of compiling a musically diverse compilation for GTAV's - Welcome To Los Santos, The Alchemist and Oh No are back, bringing their Gangrene noise on a whole other level with the release of their long-awaited third full length record You Disgust Me. You Disgust Me begins where Vodka & Ayahuasca left off, with Al and Oh lyrically vandalizing the minds of the masses over gritty, psychedelic jazz, rock and fusion-tinged beats. The double LP vinyl

From floating barges of urban refuse to dung-encrusted works of art, from toxic landfills to dirty movies, filth has become a major presence and a point of volatile contention in modern life. This book explores the question of what filth has to do with culture: what critical role the lost, the rejected, the abject, and the dirty play in social management and identity formation. It suggests the ongoing power of culturally mandated categories of exclusion and repression.Focusing on filth in literary and cultural materials from London, Paris, and their colonial outposts in the nineteenth and early twentieth centuries, the essays in Filth, all but one previously unpublished, range over topics as diverse as the building of sewers in nineteenth-century European metropolises, the link between interior design and bourgeois sanitary phobias, fictional representations of laboring women and foreigners as polluting, and relations among disease, disorder, and sexual-racial disharmony. Filth provides the first sustained consideration, both theoretical and historical, of a subject whose power to horrify, fascinate, and repel is as old as civilization itself.Contributors: David S. Barnes, U of Pennsylvania; Neil Blackadder, Knox College; Joseph Bristow, U of California, Los Angeles; Joseph W. Childers, U of California, Riverside; Eileen Cleere, Southwestern U; Natalka Freeland, U of California, Irvine; Pamela K. Gilbert, U of Florida; Christopher Hamlin, U of Notre Dame; William Kupinse, U of Puget Sound; Benjamin Lazier, U of Chicago; David L. Pike, American U; David Trotter, U of Cambridge.William A. Cohen is associate professor of English at the University of Maryland and the author of Sex Scandal: The Private Parts of Victorian Fiction.Ryan Johnson is completing his Ph.D. in the Department of English at Stanford University, where he has served as general editor of the Stanford Humanities Review.

Why do we consider incest wrong, even when it occurs between consenting adults unable to have children? Why are words that gross us out more likely to be deemed "obscene" and denied the protection of the First Amendment? In a world where a gruesome photograph can decisively influence a jury and homosexual behavior is still condemned by some as "unnatural," it is worth asking: is our legal system really governed by the power of reason? Or do we allow a primitive human emotion, disgust, to guide us in our lawmaking?In Objection, psychologists Debra Lieberman and Carlton Patrick examine disgust and its impact on the legal system to show why the things that we find stomach-turning so often become the things that we render unlawful. Shedding light on the evolutionary and psychological origins of disgust, the authors reveal how ancient human intuitions about what is safe to eat or touch, or who would make an advantageous mate, have become co-opted by moral systems designed to condemn behavior and identify groups of people ripe for marginalization. Over time these moral stances have made their way into legal codes, and disgust has thereby served as the impetus for laws against behaviors almost universally held to be "disgusting" (corpse desecration, bestiality) - and as the implicit justification for more controversial prohibitions (homosexuality, use of pornography). Written with a critical eye on current events, Lieberman and Patrick build a case for a more reasoned approach to lawmaking in a system that often confuses "gross" with "wrong."

William Miller embarks on an alluring journey into the world of disgust, showing how it brings order and meaning to our lives even as it horrifies and revolts us. Our notion of the self, intimately dependent as it is on our response to the excretions and secretions of our bodies, depends on it. Cultural identities have frequent recourse to its boundary-policing powers. Love depends on overcoming it, while the pleasure of sex comes in large measure from the titillating violation of disgust prohibitions. Imagine aesthetics without disgust for tastelessness and vulgarity; imagine morality without disgust for evil, hypocrisy, stupidity, and cruelty. 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. The high's belief that the low actually smell bad, or are sources of pollution, seriously threatens democracy. Miller argues that disgust is deeply grounded in our ambivalence to life: it distresses us that the fair is so fragile, so easily reduced to foulness, and that the foul may seem more than passing fair in certain slants of light. When we are disgusted, we are attempting to set bounds, to keep chaos at bay. Of course we fail. But, as Miller points out, our failure is hardly an occasion for despair, for disgust also helps to animate the world, and to make it a dangerous, magical, and exciting place.

Winner of the 2006 Race, Ethnicity, and Politics Organized Section Best First Book Award from the American Political Science Association Winner of the 2006 W.E.B. DuBois Book Award from the National Conference of Black Political Scientists Ange-Marie Hancock argues that longstanding beliefs about poor African American mothers were the foundation for the contentious 1996 welfare reform debate that effectively "ended welfare as we know it." By examining the public identity of the so-called welfare queen and its role in hindering democratic deliberation, The Politics of Disgust shows how stereotypes and politically motivated misperceptions about race, class and gender were effectively used to instigate a politics of disgust. The ongoing role of the politics of disgust in welfare policy is revealed here by using content analyses of the news media, the 1996 congressional floor debates, historical evidence and interviews with welfare recipients themselves. Hancock's incisive analysis is both compelling and disturbing, suggesting the great limits of today's democracy in guaranteeing not just fair and equitable policy outcomes, but even a fair chance for marginalized citizens to participate in the process.

William Miller embarks on an alluring journey into the world of disgust, showing how it brings order and meaning to our lives even as it horrifies and revolts us. Our notion of the self, intimately dependent as it is on our response to the excretions and secretions of our bodies, depends on it. Cultural identities have frequent recourse to its boundary-policing powers. Love depends on overcoming it, while the pleasure of sex comes in large measure from the titillating violation of disgust prohibitions. Imagine aesthetics without disgust for tastelessness and vulgarity; imagine morality without disgust for evil, hypocrisy, stupidity, and cruelty.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. The high's belief that the low actually smell bad, or are sources of pollution, seriously threatens democracy.Miller argues that disgust is deeply grounded in our ambivalence to life: it distresses us that the fair is so fragile, so easily reduced to foulness, and that the foul may seem more than passing fair in certain slants of light. When we are disgusted, we are attempting to set bounds, to keep chaos at bay. Of course we fail. But, as Miller points out, our failure is hardly an occasion for despair, for disgust also helps to animate the world, and to make it a dangerous, magical, and exciting place.

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.

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.

Cerebral Fix - English thrash/death metal band formed in Birmingham in 1986, the band signed a deal with Vinyl Solution. The band entered the Loco Studio in South Wales to record their first album "Life Sucks... And Then You Die!" released in 1988. To announce a new record deal, Roadrunner Records set up a supporting slot for the band with Sepultura at The Marquee Club in London. In 1990, the second album "Tower of Spite" was released. Celebral Fix's third album "Bastards" was released in 1991 b

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.

In this fresh and authoritative account John Macarthur presents the eighteenth century idea of the picturesque – when it was a risky term concerned with a refined taste for everyday things, such as the hovels of the labouring poor – in the light of its reception and effects in modern culture. In a series of linked essays Macarthur shows: what the concept of picture does in the picturesque and how this relates to modern theories of the image how the distaste that might be felt today at the sentimentality of the picturesque was already at play in the eighteenth century how visual values such as ‘irregularity’ become the basis of modern architectural planning; how the concept of appropriating a view moves from landscape design into urban design why movement is fundamental to picturing the stillness of buildings, cities and landscapes. Drawing on examples from architecture, art and broader culture, John Macarthur's account of this key topic in cultural history, makes engaging reading for all those studying architecture, art history, cultural history or visual studies.

In this fresh and authoritative account John Macarthur presents the eighteenth century idea of the picturesque – when it was a risky term concerned with a refined taste for everyday things, such as the hovels of the labouring poor – in the light of its reception and effects in modern culture. In a series of linked essays Macarthur shows: what the concept of picture does in the picturesque and how this relates to modern theories of the image how the distaste that might be felt today at the sentimentality of the picturesque was already at play in the eighteenth century how visual values such as ‘irregularity’ become the basis of modern architectural planning; how the concept of appropriating a view moves from landscape design into urban design why movement is fundamental to picturing the stillness of buildings, cities and landscapes. Drawing on examples from architecture, art and broader culture, John Macarthur's account of this key topic in cultural history, makes engaging reading for all those studying architecture, art history, cultural history or visual studies.

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.

An exploration of the character and evolution of disgust and the role this emotion plays in our social and moral lives.People can be disgusted by the concrete and by the abstract―by an object they find physically repellent or by an ideology or value system they find morally abhorrent. Different things will disgust different people, depending on individual sensibilities or cultural backgrounds. In Yuck!, Daniel Kelly investigates the character and evolution of disgust, with an emphasis on understanding the role this emotion has come to play in our social and moral lives.Disgust has recently been riding a swell of scholarly attention, especially from those in the cognitive sciences and those in the humanities in the midst of the "affective turn." Kelly proposes a cognitive model that can accommodate what we now know about disgust. He offers a new account of the evolution of disgust that builds on the model and argues that expressions of disgust are part of a sophisticated but largely automatic signaling system that humans use to transmit information about what to avoid in the local environment. He shows that many of the puzzling features of moral repugnance tinged with disgust are by-products of the imperfect fit between a cognitive system that evolved to protect against poisons and parasites and the social and moral issues on which it has been brought to bear. Kelly's account of this emotion provides a powerful argument against invoking disgust in the service of moral justification.