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All the Feels (Futurity of Emotions (. (1*4KwvaSYR0kP_NJWDJ0YgQA (The…

- - - - The Aptness of Anger: In her excerpt, Srinvisaan is sympathetic with the productivity of anger claim. She takes it a step further to focus on the intrinsic reasons for justifying anger. She uses the counterproductively claim to examine anger that is both counterproductive, yet apt. She distinguishes between revenge and recognition. The desire for revenge or recognition dwells in the future. She claims that anger is a violation of what should be and may provoke future conflict as a way to assuage injustice. Anger allows individuals to appreciate injustices, but if it turns violent, it may worsen the situation. She recognizes that anger may be more damaging for already marginalized or stereotyped groups. She recognizes that in these situations, the responsibility of fixing the injustices that produce anger lies with the victim, not the perpetrator. These groups have to chose between making the world as it should be or leaving it as it is, and this emotional negotiation is what she calls affective injustice.
        "Suppose my friend betrays me, and I am angry...[I might] want the friend to recognize the pain she has caused me, the wrong she has done to me. It might be that sort of recognition that involves suffering" (129).
        "It is historically naive to think that white America would have been willing to embrace King's vision of a unified, post-racial nation, if not for the threat of Malcolm X's angry defiance" (126).
        "It is possibly that getting aptly angry about some first-order injustice would actually improve one's situation. But that is likelier to be true for someone whose anger is not generally seen as a sufficient reason to dismiss her from the public sphere- likelier, for the sort of person who is not already stereotyped as pageful, violent, or shrill" (136).
        "Anger is also a form of communication, a way of publicly marking moral disvalue, calling for the shared negative appreciation of others" (132).
        "Being angry might be perfectly permissible on some occasions, precisely because it is sometimes apt" (136).
        "Getting angry is a means of affectively registering or appreciating the injustice of the world" (132). #
- - - - Moving Politics: Emotion and ACT UP's Fight Against AIDs: Gould discusses the how ACT UP gained its support by transforming once hindering emotions into productive emotions that were then used to promote self-love and strength in communities. ACT UP transformed the way the LGBT community thought about themselves when they were being blamed for the AIDs crisis. By transforming their shame into anger, it produced an emotional response that was used to maintain the social movement and promote confrontational activism. Gould addresses the way emotions were used to reassign responsibility and recognizes that without this transforming shame into a productive emotion, there would not have been support from the LGBT community and the movement would have ceased to exist.
        "ACT UP also transformed the subject and object of shame. ACT UP inverted gay shame by asserting that the (in)actions of the government and other institutions responsible for the AIDs crisis were shameful... The alteration of shame was connected to ACT UP's other emotional work: lesbians and gay men angrily fighting back were righteous and responsible, and rather than feeling ashamed, they should feel proud of both their sexual practices and their confrontational activism" (250).
        "ACT UP's leaflets and other agit-prop that used rhetoric of murder and government sponsored genocide similarly challenged conventional emotional and political norms and justified deviant activism" (254).
        "Direct-action AIDs activists addressed lesbian and gay grief by naming it as anger and tying it to confrontational activism" (255). #
- - - - Twilight Los Angeles: Taking place within the three days after the Rodney King verdict, Anna Deveare Smith uses identity as a performative measure in her one woman play about the LA Riots. She draws from interviews she conducted about the riots and performs people's feelings and reactions towards what occurred. As she recaptures the setting and mood, she begins to distinguish between identity and identification. Identity raises the issue of a label and categorization. Identification deals Smith's relationship to the character as she tries to perform his/her actions and responses. She uses cultural identifications of voice and gesture to ground the identity in which she is trying to perform. By using various identifications (voice, gesture), Smith consolidates identity through performance.
        Identification also concerns the audience's relationship to the performer/character. As the audience begins to notice how they are similar to the characters, they begin to sympathize with, or identify with them. As Smith transitions between characters, she performs racial differences through voice and gesture and forges a sense sameness and stability by creating these identities.
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      - "Mourning and Melancholia" Freud explains how melancholia is a pathological form of mourning that is hard to both identify and cure. He explains that in melancholia, people direct the libido inwards and as a result, the person identifies with the loss object, resulting in internal tension. They fail to realize that even though they may still identify with it (identification), they have lost part of their identity. Even as melancholia proceeds, Freud claims that people may be able to eventually identify the loss object but will still remain unable to identify what has been lost from their own identity. Melancholia leaves the ego fully inhibited and empty, which results in loss of interest, and people lose a part of their identity.
        "The distinguishing futures of melancholia are a profoundly painful dejection, cessation of interest in the outside world, loss of capacity to love, inhibition of all activity, and utterance in self-reproaches and self-revilings" (244).
        
        “In yet other cases [of melancholia] one feels justified in maintaining the belief that a loss of this kind has occurred, but one cannot see clearly what it is that has been lost...This, indeed, might be so even if the patient is aware of the loss which has given rise to his melancholia, but only in the sense that he knows whom he has lost but not what he has lost in him. This would suggest that melancholia is in some way related to an object-loss which is withdrawn from consciousness, in contradistinction to mourning, in which there is nothing about the loss that is unconscious” (Freud 245).
        "The free libido was not displaced on to another object...It served to establish an identification of the ego with the abandoned object" (249).
        
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