Punk is one of the most fiercely debated post-war subcultures. Despite the attention surrounding the movement's origins, analyses of punk have been drawn predominantly from a now well-trodden historical narrative. The Aesthetic of Our Anger explores the development of the anarcho-punk scene from the late 1970s, raising questions over the origins of the scene, its form, structure and cultural significance examining how anarcho-punk moved away from using 'anarchy' as mere connotation and shock value towards an approach that served to make punk a threat again

Grasso explores the ways in which black and white 19th-century women writers define, express, and dramatize anger. Offering close readings of works by Lydia Maria Child, Maria W. Stewart, Fanny Fern, and Harriet Wilson, she shows how women used an aesthetic of discontent to address such complex social and political issues as slavery, industrialization, imperialism, and race relations.

Envy, irritation, paranoia—in contrast to powerful and dynamic negative emotions like anger, these non-cathartic states of feeling are associated with situations in which action is blocked or suspended. In her examination of the cultural forms to which these affects give rise, Sianne Ngai suggests that these minor and more politically ambiguous feelings become all the more suited for diagnosing the character of late modernity. Along with her inquiry into the aesthetics of unprestigious negative affects such as irritation, envy, and disgust, Ngai examines a racialized affect called “animatedness,” and a paradoxical synthesis of shock and boredom called “stuplimity.” She explores the politically equivocal work of these affective concepts in the cultural contexts where they seem most at stake, from academic feminist debates to the Harlem Renaissance, from late-twentieth-century American poetry to Hollywood film and network television. Through readings of Herman Melville, Nella Larsen, Sigmund Freud, Alfred Hitchcock, Gertrude Stein, Ralph Ellison, John Yau, and Bruce Andrews, among others, Ngai shows how art turns to ugly feelings as a site for interrogating its own suspended agency in the affirmative culture of a market society, where art is tolerated as essentially unthreatening. Ngai mobilizes the aesthetics of ugly feelings to investigate not only ideological and representational dilemmas in literature—with a particular focus on those inflected by gender and race—but also blind spots in contemporary literary and cultural criticism. Her work maps a major intersection of literary studies, media and cultural studies, feminist studies, and aesthetic theory.

Theatre of Anger examines contemporary transnational theatre in Berlin through the political scope of anger, and its trajectory from Aristotle all the way to Audre Lorde and bell hooks.

Journalist Rebecca Traister’s New York Times bestselling exploration of the transformative power of female anger and its ability to transcend into a political movement is “a hopeful, maddening compendium of righteous feminine anger, and the good it can do when wielded efficiently—and collectively” (Vanity Fair). Long before Pantsuit Nation, before the Women’s March, and before the #MeToo movement, women’s anger was not only politically catalytic—but politically problematic. The story of female fury and its cultural significance demonstrates its crucial role in women’s slow rise to political power in America, as well as the ways that anger is received when it comes from women as opposed to when it comes from men. “Urgent, enlightened…realistic and compelling…Traister eloquently highlights the challenge of blaming not just forces and systems, but individuals” (The Washington Post). In Good and Mad, Traister tracks the history of female anger as political fuel—from suffragettes marching on the White House to office workers vacating their buildings after Clarence Thomas was confirmed to the Supreme Court. Traister explores women’s anger at both men and other women; anger between ideological allies and foes; the varied ways anger is received based on who’s expressing it; and the way women’s collective fury has become transformative political fuel. She deconstructs society’s (and the media’s) condemnation of female emotion (especially rage) and the impact of their resulting repercussions. Highlighting a double standard perpetuated against women by all sexes, and its disastrous, stultifying effect, Good and Mad is “perfectly timed and inspiring” (People, Book of the Week). This “admirably rousing narrative” (The Atlantic) offers a glimpse into the galvanizing force of women’s collective anger, which, when harnessed, can change history.

An undergraduate monograph of essays originally written in the mid 1990s. The central theme sets up and critically examines the need to examine the work of the anarchist punk band Crass in light of a poverty of discussion of their activities in previous cultural studies writings on punk. Equally, notions of endpoints in underground cultures are put to the question. The broad thesis of the monograph interrogates links between critical theory and Frankfurt school perspectives on art and subversive culture and Neo Marxist accounts of their phylogeny. There is critical discussion of the tension and similarities between Crass and Neo Marxist accounts of the role of dominant ideology (traditional notions of false consciousness/media effect) in contrast to the cultural monopoly of survival needs as the central motor of social reproduction in capitalist culture. The monograph concludes with a discussion of the importance of the legacy of Crass and the need for future research. This monograph was written before the groundswell of punk scholarship in its wake and serves as vindication of its obscure and early importance. It's principle importance lies in the fact that most accounts beyond this work have focussed not on critical theory but instead on historical contextual salience, aesthetic value and biographical detail. This new edition comprises a new extensive introduction assessing methodological approaches in punk scholarship and examines the stormy DiY publication and contextual history of the original monograph. Moreover expanded versions of an original chapter is included in addition to essays on subversive culture, the 1982 Falklands conflict and an examination of philosophical approaches to repressive technologies.

Gerald C. Cupchik builds a bridge between science and the humanities, arguing that interactions between mind and body in everyday life are analogous to relations between subject matter and style in art. According to emotional phase theory, emotional reactions emerge in a 'perfect storm' whereby meaningful situations evoke bodily memories that unconsciously shape and unify the experience. Similarly, in expressionist or impressionist painting, an evocative visual style can spontaneously colour the experience and interpretation of subject matter. Three basic situational themes encompass complementary pairs of primary emotions: attachment (happiness - sadness), assertion (fear - anger), and absorption (interest - disgust). Action episodes, in which a person adapts to challenges or seeks to realize goals, benefit from energizing bodily responses which focus attention on the situation while providing feedback, in the form of pleasure or pain, regarding success or failure. In high representational paintings, style is transparent, making it easier to fluently identify subject matter.