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Author(s) Piscitelli, Alfonsocc Fasanelli, Robertocc CUOMO, Elenacc Galli, Idacc Language English Show full item record In recent years, a remarkable number of studies have investigated sensory characteristics, such as flavor and texture, of edible insect and insect-based foods, their contribution to consumers' attitudes toward edible insects are important in consumer appeal and their willingness to try eating insects in the future. This paper addresses the problem of describing the sensory characteristics aof edible insect and insect-based foods in terms of preferences. To this end, we conducted a study to explore the representations of sensory experiences related to an insect-based dish involving a voluntary sample of 154 consumers. The quasi-experiment, which we have called projective sensory experience (PSE), follows a two-step procedure. In the first step, we asked the participants to imagine tasting an insect-based dish and then to rate, from 1 (imperceptible) up to 10 (very perceptible), the following taste-olfactory sensations: Sapidity, Bitter tendency, Acidity, Sweet, Spiciness, Aroma, Greasiness-Unctuosity, Succulence, Sweet, Fatness, Persistence. In the second step, we asked our interviewees to indicate, through a specific check-list, which was the most disturbing and least disturbing taste-olfactory sensation imagined. We collected data from May to July 2020 by using an anonymous on-line questionnaire. Results could help understand the sensory characteristics of "insects as food" that should be used or avoided, for example, in communication aimed at promoting familiarity with edible insects and improving the acceptability of insects as a novel food.
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Author(s) Piscitelli, Alfonsocc Fasanelli, Robertocc CUOMO, Elenacc Galli, Idacc Language English Show full item record In recent years, a remarkable number of studies have investigated sensory characteristics, such as flavor and texture, of edible insect and insect-based foods, their contribution to consumers' attitudes toward edible insects are important in consumer appeal and their willingness to try eating insects in the future. This paper addresses the problem of describing the sensory characteristics aof edible insect and insect-based foods in terms of preferences. To this end, we conducted a study to explore the representations of sensory experiences related to an insect-based dish involving a voluntary sample of 154 consumers. The quasi-experiment, which we have called projective sensory experience (PSE), follows a two-step procedure. In the first step, we asked the participants to imagine tasting an insect-based dish and then to rate, from 1 (imperceptible) up to 10 (very perceptible), the following taste-olfactory sensations: Sapidity, Bitter tendency, Acidity, Sweet, Spiciness, Aroma, Greasiness-Unctuosity, Succulence, Sweet, Fatness, Persistence. In the second step, we asked our interviewees to indicate, through a specific check-list, which was the most disturbing and least disturbing taste-olfactory sensation imagined. We collected data from May to July 2020 by using an anonymous on-line questionnaire. Results could help understand the sensory characteristics of "insects as food" that should be used or avoided, for example, in communication aimed at promoting familiarity with edible insects and improving the acceptability of insects as a novel food.
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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."" Mill
Aversion. --- Abhorrence --- Antipathy --- Disgust --- Dislike --- Disrelish --- Distaste --- Loathing --- Repugnance --- Emotions
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This edited volume traces cultural appearances of disgust and investigates the varied forms and functions disgust takes and is given in both established and vernacular cultural practices. Contributors focus on the socio-cultural creation, consumption, reception, and experience of disgust, a visceral emotion whose cultural situatedness and circulation has historically been overlooked in academic scholarship. Chapters challenge and supplement the biological understanding of disgust as a danger reaction and as a base emotion evoked by the lower senses, touch, taste and smell, through a wealth of original case studies in which disgust is analyzed in its aesthetic qualities, and in its cultural and artistic appearances and uses, featuring visual and aural media. Because it is interdisciplinary, the book will be of interest to scholars in a wide range of fields, including visual studies, philosophy, aesthetics, sociology, history, literature, and musicology.
Aversion. --- Abhorrence --- Antipathy --- Disgust --- Dislike --- Disrelish --- Distaste --- Loathing --- Repugnance --- Emotions
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This essay examines the figures of botanical and fungal beings in John Wyndham's The Day of the Triffids (1951) and Brian Aldiss' Hothouse (1962). It focuses on the disgusting and abject elements, and discusses the effects of ascribing such qualities to the botanical in the novels.
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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.
Drama; Aesthetic Theory; Disgust; Abjection; Sarah Kane; Aesthetics; History of Theatre; Literary Studies; Literature; Theatre; Theatre Studies --- Abjection. --- Aesthetic Theory. --- Aesthetics. --- Disgust. --- History of Theatre. --- Literary Studies. --- Literature. --- Sarah Kane. --- Theatre Studies. --- Theatre.
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Disgust has a strong claim to be a distinctively human emotion. But what is it to be disgusting? What unifies the class of disgusting things? Colin McGinn sets out to analyze the content of disgust, arguing that life and death are implicit in its meaning. Disgust is a kind of philosophical emotion, reflecting the human attitude to the biological world. Yet it is an emotion we strive to repress. It may have initially arisen as a method of curbing voracious human desire, which itself results from our powerful imagination. Because we feel disgust towards ourselves as a species, we are placed in a fraught emotional predicament: we admire ourselves for our achievements, but we also experience revulsion at our necessary organic nature. We are subject to an affective split. Death involves the disgusting, in the shape of the rotting corpse, and our complex attitudes towards death feed into our feelings of disgust. We are beings with a <"disgust consciousness>", unlike animals and gods-and we cannot shake our self-ambivalence. Existentialism and psychoanalysis sought a general theory of human emotion; this book seeks to replace them with a theory in which our primary mode of feeling centers around disgust. The Meaning of Disgust is an original study of a fascinating but neglected subject, which attempts to tell the disturbing truth about the human condition.
Philosophical anthropology --- Aversion --- Taste --- Goût --- Philosophy --- Philosophie --- Aversion. --- Goût --- Abhorrence --- Antipathy --- Disgust --- Dislike --- Disrelish --- Distaste --- Loathing --- Repugnance --- Emotions
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Aversion --- Aesthetics, Modern --- Esthétique --- Abhorrence --- Antipathy --- Disgust --- Dislike --- Disrelish --- Distaste --- Loathing --- Repugnance --- Emotions --- Modern aesthetics --- Esthétique. --- Aversion.
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Grene, Marjorie --- Aversion --- Abhorrence --- Antipathy --- Disgust --- Dislike --- Disrelish --- Distaste --- Loathing --- Repugnance --- Emotions --- Philosophy. --- Grene, Marjorie, --- Philosophy --- Mental philosophy --- Humanities --- Grene, Marjorie Glicksman --- Glicksman, Marjorie,
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Aversion. --- #A0503W --- Aversion --- Abhorrence --- Antipathy --- Disgust --- Dislike --- Disrelish --- Distaste --- Loathing --- Repugnance --- Emotions --- Émotions (philosophie) --- Esprit et corps --- Philosophie de l'homme
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