MIGRATION: Changez has to contend with moving to a new country with hopes of achieving the "American Dream," even as 9/11 causes many to be prejudiced against him.

CULTURAL EXPECTATIONS: Oscar doesn't fit into the mold of Dominican masculinity because he is obese and a self-proclaimed "ghetto nerd." This results in him being alienated and shamed by his peers, both Dominican and non-Dominican.

INTERGENERATIONAL TRAUMA: The novel goes through multiple family members' stories, starting from Oscar, to Lola, to Beli, to La Inca, and finally Abelard. Each story deals with the ramifications of toxic Dominican masculinity, passed down through each generation.

CONFORMITY: Pecola Breedlove desperately wants blue eyes in order to fit into a society that tells her she's not deserving of respect because she's black and ugly

This was placed by Get Out because the film touches on how white people are viewed from the perspective of white people. This concept is focused on heavily in hooks's piece.

INTERGENERATIONAL TRAUMA: hooks draws a connection between black stereotypes of white people and the trauma from centuries of oppression. This history of racism resulted in a survival instinct, where whiteness is seen as "terrorizing."

CULTURAL EXPECTATIONS: Throughout the movie, Chris has to deal with his white girlfriend's family's preconceived notions of black people. For example, Dean Armitage says he would've "voted for Obama for a third term" because he doesn't know how else to relate to Chris.

Baldwin explores the death of his father, who was haunted by the past traumas of racism. Baldwin had previously not understood his father and thought him insane, until he experienced the same racism his father had, making him realize why his father was both fearful and aggressive towards white people.

Nussbaum argues that anger is rarely ever a productive emotion because it implies that one would want to see harm done to the person who angered them, but that would not undo the past. Therefore, there is very little use for anger. This was placed here because the other examples (like ACT UP) use anger politically, but this work says to avoid this.

Srinivasan tweaks Nussbaum's argument, which is the counterproductivity principle, and notes that while anger is not always productive, there is still a time and place where it is apt.

The idea of shame and self-contempt, and how they manifest, are the main focuses of these piece. Pecola's need to conform comes from a deep feeling of shame because of her skin color, external beauty, and toxic household. On top of that, Cholly's self-contempt, which Tomkins describes as a complete rejection of the self, stems from trauma endured in childhood and leads him down a destructive path because he doesn't care what happens to himself.

Anzaldua goes into the prejudices that come with speaking another language, and how even those who speak the same language judge each other for speaking certain dialects. Anzaldua details her own experience having to drop her accent to conform, and the divides that form due to the different dialects.

MIGRATION: The protagonist's mother left her old life in China to try to find a better life in America. She tries to hold onto her traditional values and instill those in her children, despite their reluctance.

CONFORMITY: The protagonist's main struggle throughout the novel is trying to conform to American standards while she is haunted by the "ghosts" of China through her mother.

Since melancholia is the loss of something intangible, like an ideal, racial melancholia is the loss of one's connection to one's culture, often felt by immigrants or children of immigrants, much like the protagonist of Woman Warrior

Ahmed presents a hypothesis that says that emotions, like fear, are caused by culture, not psychology. This results in the "othering" (or the marginalization) of certain groups, centering on a particular interaction between a fearful, young, white boy and a black person

A one-woman play chronicling the LA riots that occurred as a result of the pent-up racial tensions, and was exacerbated by the beating of Rodney King. All dialogue used are taken straight from over 300 interviews that Smith conducted in the area during that time.

Both "Beyond Anger" and "The Aptness of Anger" are attached to this work because while Rodney King received justice, much destruction to LA was done, and tensions between the black community and other minorities like Hispanics and Koreans were worsened, therefore, it somewhat follows Nussbaum's argument. Despite this, this level of anger could be considered apt, similar to Srinivasan's argument.

Freud clarifies the difference between mourning, which is a natural part of living and is attached to a specific entity, and melancholia, which is characterized as a disease and the melancholic person is experiencing the loss of something intangible, such as an ideal. The understanding of the concept of melancholia is necessary in understanding the concept of racial melancholia.

There's a section of Munoz's argument which talks about the "anticipatory illumination of art...helping us see the not-yet-conscious," similar to how Lorde focuses on art helping bring to life intangible thoughts and emotions

This work details ACT UP's protests against the government and other large industries due to negligence towards the AIDS crisis because it affected minority populations to a greater degree. The organization turned grief felt towards the death of loved ones into anger towards those who neglected the issue, thereby weaponizing emotion into a political force.

Gran Fury was one of the groups that was an offshoot of ACT UP, and was a large contributor to the political art that came out of the crisis.