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Disgust is a part of medical education. Whether in the anatomy lab, the operating room, or the hospital wards, medical school is often the first time that future doctors see human suffering manifested in bodies that elicit embarrassment, disgust and fear. Over the course of training, seeing such bodies goes from exceptional to commonplace as doctors learn to witness and empathize with suffering without becoming overwhelmed by it. In this thesis, I examine students’ first encounters with abject bodies in the anatomy lab, their later encounters with such bodies in their clinical years, and the educational programming shapes students’ gaze towards these bodies as they develop from laypeople into professionals. I argue that while medical humanities curricula implemented into gross anatomy help students manage challenging personal feelings elicited by the corpse, taboos and silences during the clinical years prevent students from thinking deeply about how patients experience having bodies that elicit disgust. The dearth of reflection on feelings of disgust during clinical training leaves doctors in training ill-equipped to promote and maintain patient dignity during medical care, particularly at the end of life. / Urban Bioethics

It is well-known that Kafka had a great fascination with the possibilities and transience of the physical body, as evidenced in his various literary works. Using the theory of "the uncanny", The essay interprets and investigates how and what Kafka writes about others' bodies, as well as his own. It turns out that women's appearances are observed and commented on by Kafka to a greater extent than men. Primarily, these descriptions take on grotesque and absurd characteristics, sometimes with an element of fascination. Regarding Kafka's own body, it primarily evokes a sense of disgust in what the author sees. Linked to the essay's theory of "the uncanny”, it becomes evident throughout (clearly, in) his observations that Kafka experiences a feeling of the aforementioned "uncanny". As a conclusion to the essay, the potential of diaries used in an educational context (the classroom) is highlighted, as well as how students can benefit from reading and working with diaries to acquire skills and abilities. / <p>Slutgiltigt godkännandedatum: 2023-05-31</p>

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Existing models of female sexual dysfunction (FSD) are broad and do not provide information about how to improve existing interventions. The purpose of the current study is to extend the empirical application of a disgust model of FSD (de Jong, van Overveld, & Borg, 2013) to a population of young women reporting difficulties with sexual desire and/or arousal and related distress. Sixty college-aged females participated in the study and were placed into two groups based upon their reports of sexual functioning and sexual distress: a control group (i.e., no sexual difficulties or distress) and a clinical group (i.e., difficulties with sexual desire and/or arousal and accompanying distress). Participants were attached to physiological equipment and shown images displaying neutral, positive, disgusting, and erotic content. It was hypothesized that the clinical group would show more evidence of disgust (via affective and autonomic responses) than the control group. Consistent with hypotheses, no group differences were found in any of the affective or autonomic measures during presentation of the neutral, positive, or disgust images. Group differences during presentation of the erotic images (i.e., in facial EMG, heart rate, and self-report affective ratings) and follow-up analyses provided preliminary evidence for generalizing the disgust model of female sexual dysfunction beyond disorders of sexual pain, at least among some women. Exploratory analyses implicated a relationship between a history of sexual victimization and self-report disgust ratings of erotic images. Future research should further explore these relationships in order to shed more light on how disgust-based mechanisms impact the onset and maintenance of female sexual dysfunction.

Yes / Meat eaters and meat abstainers differ in their beliefs and moral emotions related to meat consumption alongside gender differences. Few studies have investigated beliefs and moral emotions in pescatarians and vegans. Little is known about differences in moral emotions and beliefs regarding dairy, eggs, and fish or about speciesist beliefs within and between specific dietary groups. To address this gap, we investigated moral emotions (consumption-related disgust and guilt), attitudes towards animals (Animal Attitudes Scale) and justifying beliefs related to meat (Carnism Inventory), dairy, egg, and fish consumption in omnivores (n = 167), pescatarians (n = 110), vegetarians (n = 116), and vegans (n = 149). Results showed that people who consumed animal-derived products reported lower disgust and guilt and held stronger justifying beliefs about consumption of these products, than those who did not consume animal products. All dietary groups significantly differed from each other in their attitudes about using animals for human benefit, with omnivores showing the least positive attitudes towards animals, followed by pescatarians and vegetarians, and with vegans showing the most positive attitudes towards animals. Women experienced greater moral emotions and held fewer justifying beliefs than men within groups where animal products were consumed and this was related to the animal-based products they consume (i.e., fish for pescatarians and eggs/dairy for vegetarians). These findings emphasise the importance of considering a wider range of animal products, and dietary groups in order to obtain a comprehensive understanding of the psychological underpinnings of animal product consumption. The results highlight differences between dietary groups in attitudes and moral concern towards animals, which may be important to consider when designing interventions to reduce animal product consumption.

Le corps du spectateur est au centre d’une antinomie récurrente dans les théories de l’art, l’œuvre doit d’abord émouvoir l’esprit et, dans la relation qu’elle établit avec son observateur, le corps n’est qu’un intermédiaire qui ne doit pas être trop sollicité. Cependant, certaines œuvres semblent remettre en cause cette relation et altérer le statut du spectateur en cherchant à surprendre l’esprit pour émouvoir le corps. Définir le cinéma comme paradigme d’un dispositif d’immersion fictionnel s’inscrivant dans une chronologie en dehors de toute spécificité historique, permet alors de considérer autrement la position de face à face entre l’œuvre projetée et son spectateur en les incluant dans la structure même du dispositif. L’œuvre projetée apparaît comme variable d’un système clos, lui-même laboratoire de l’exercice de la perception humaine dont les conditions sensationnelles expérimentales rejoignent les conditions réelles dans certains cas particuliers. L’étude de trois sensations distinctes isole certains cas spécifiques et conduit à l’établissement et à l’observation des différentes altérations que subit le statut du spectateur dont le corps est également partie prenante de la réception de l’œuvre.De l’analyse du vertige, défini comme sensation complexe, émerge la filiation du paradigme exploré ainsi que la possibilité de contourner cette dichotomie cartésienne. Les larmes et leur dualité, le rire et la tristesse, redéfinies comme symbole d’un complexe de sensations, attirent l’attention sur la possibilité d’une double appréhension d’une œuvre d’art, l’une psychologique, l’autre physiologique. Enfin le dégoût, une sensation simple, pose le cas limite dans lequel l’esprit du spectateur est piégé et où seul son corps lui permet d’appréhender ce monde qui le submerge. / The spectator’s body is at the centre of a recurring antinomy in the theories of Art, the work must first move the mind and, in its relation with its observer,the body which is a mere medium not to be too much appealed to.However,some works of Art seem to challenge this relation and alter the spectator’s status by trying to surprise the mind to move the body. Defining cinema as the paradigm of a fictional immersion device, inscribed in a chronology outside any historical specificity,makes it possible to consider differently the face to face position between the projected work and its spectator by including them within the structure of the same device. The projected work looks like the variable of a closed system which is itself a laboratory for the exercise of human perception whose experimental conditions come close to real-life conditions in some particular cases. The study of three distinct sensations isolates some specific cases and leads to establish and observe different alterations undergone by the spectator’s status whose body is also part and parcel of the reception of the work.From the analysis of vertigo,defined as a complex sensation , the relation of the explored paradigm rises as well as the ability to get round that cartesian dichotomy.Tears and their duality,laughter and sadness,redefined as a symbol of complex sensations draw attention to a potential double apprehension of a work of Art, both psychologically physiologically.Lastly, disgust, a simple sensation,sets a borderline case in which the spectator’s mind is trapped and where only his body enables him to grasp the world he is submerged in.

This essay argues that Sara Ahmed’s methodology for reading the emotionality of texts, through its focus on the relationships between emotions, language and bodies, can be applied to the emotional responses of Australians to refugees and asylum seekers. This essay specifically focuses on the emotions of disgust and pain in the participants of Go Back To Where You Came From, a three-part Australian documentary/realia TV series, because these two emotions’ preoccupation with surface and proximity provide a useful metaphor for what can be observed in the participants’ emotionality. Sensuous proximity in the form of sight, taste, smell, touch and hearing underlies the disgust experienced by the Go Back participants, while shared surfaces enable the participants to feel the pain of others. The essay concludes that Ahmed’s methodology is indeed an effective tool for analysing the emotions of people “affected” by the transnational movements of others.

哥德研究創建了自我的世界。批評與理論努力地透過客製化的方法與術語去捕捉與檢視哥德文學中不同的黑暗與恐怪模式。哥德不只是虛構的故事；它形塑與發聲了某些人類的經驗，並且探索了社會與文化的場境。關於哥德美學研究，大多是關於艾德蒙．伯克與伊曼紐．康德的壯美概念，闡釋人類主觀經驗的黑暗性，其中多著重於壯美與恐怖的力量，特別是其「壓倒性」效果的特色。這些方面，雖經研究開發，但仍未盡察其暗黑藝術。在哥德研究方面，厭噁曾被提及其影響的價值，但卻缺乏有系統地檢視與理論化。除了關於恐怖在哥德小說方面廣泛的研究，另一個原始的情動，厭噁，被指出其影響的價值，扮演重要的角色在於捕捉愉悅的厭噁與厭噁的愉悅於哥德黑暗美學的模稜性，如此重要但仍缺乏闡釋與理論化。此論文目標在於，透過重新解讀在《夜訪吸血鬼》、《沉默的羔羊》與《美國殺人魔》中有名/惡名的哥德怪物，多面檢視研究厭噁美學特性。 / Gothic studies have developed a world of its own. Criticisms and theories struggle to capture and examine various patterns of darkness and eeriness in Gothic literature through employing customized methods and jargons. The Gothic is not just about fictional stories; it shapes and articulates certain human experiences, and explores the societal and cultural circumstances. The studies of the Gothic aesthetics are mostly related to Edmund Burke’s and Immanuel Kant’s concepts of the sublime, elaborating the darkness of human subjective experience, in which the force of the sublime and terror is emphasized, especially the feature of “overwhelming” effect. Gothic aesthetics, in facets of sublime, terror, and horror, has been elaborated but not exhausted its art of darkness. Apart from extensively studied terror in Gothic novels, another primitive affect, disgust, which cannot be denied its affecting value but still lacks elaboration and theorization, plays a significant roles in the grasp of the ambivalence of pleasurable aversion and aversive pleasure of Gothic aesthetics of darkness. This dissertation aims at interrogating the multifaceted aesthetics of disgust via re-examinations of in/famous Gothic monsters in Interview with the Vampire, The Silence of the Lambs, and American Psycho.

Fosfor är ett nödvändigt näringsämne inom jordbruket, trots detta är vi på väg att använda upp den fosfor vi har tillgång till i marken. Denna studie har därför valt att fokusera på en stor källa till fosfor som inte tas till vara på i många av dagens samhällen: mänsklig avföring. Många samhällen har genom historien använt mänsklig avföring som en resurs, bland annat som gödsel vid matodling, vilket återför en stor del av fosforn till marken. I dagens samhällen ses mänsklig avföring som någonting oönskat och äckligt. Vad är det som skapat denna ovilja att använda denna källa till fosfor? Varför slutade samhällen använda mänsklig avföring som gödsel vid matodling? Syftet med denna studie är att belysa de anledningar som ligger bakom att människor slutar att använda mänsklig avföring vid odling av mat. En tematisk analys, och utvalda delar av en komparativ analys, har använts för att analysera lämpligt publicerat material. Denna analys har skapat resultatet som sedan har ställts mot studiens teoretiska ramverk vilket inkluderar: människans syn på sin egen avföring, smuts och renhet, och mänsklig avföring som resurs. Studiens resultat tyder på att det främst är en accelererad urbanisering och en modernisering av samhället som leder till att människor slutar att använda mänsklig avföring som gödsel inom matodling. Människans syn på renhet ställs mot synen av mänsklig avföring som en resurs. Valet att använda mänsklig avföring eller ej styrs av den kulturella uppfattningen om vad som är rent och smutsigt. När de negativa associationerna kring mänsklig avföring överväger de positiva så leder det till att människor tar avstånd från mänsklig avföring trots att exkrementer fortfarande skulle kunna användas som en resurs. / Phosphorus is an essential nutrient in agriculture, despite this fact we are well on our way to using up the phosphorus we have access to in the ground. This study has therefore focused on a major source of phosphorus that is not taken into consideration in a vast majority of today’s societies: human excrement. Many countries have used human excreta as a resource throughout history, including as a fertilizer when producing food, which ensured that a major part of the phosphorus was returned to the soil. In societies today human excrement is viewed as something unwanted and disgusting. What is it that makes humans hesitant to use this source of phosphorus? Why did societies stop using human excrement as a fertilizer when growing food? The purpose of this study is to examine the underlying causes for why people stop using human excrement as a fertilizer when producing food. A thematic analysis, combined with selected parts of a comparative analysis, has been used to analyze apt publicized material. This analysis has resulted in the study’s result, which has then been pitted against the theoretical framework for this study. The theoretical framework includes: people’s view of their own excreta, dirt and cleanliness, and human excreta as a resource. The result suggests that it primarily is an increased urbanization and a modernization of society that leads people to stop using human excrement as a fertilizer when producing food. Human perception of purity is pitched against the view of human excrement as a resource. The choice of using human excrement or not is governed by the cultural perception of what is clean and what is dirty. When the negative associations connected to human excrement outweigh the positive, then humans distance themselves from it, even though the excrement could still be used as a resource.