In the text, homophobia and heterosexism connect to systemic oppression & “how the world works” — Sedgwick defines paranoia as “an inescapable interpretive doubling of presence” (Sedgwick, 126). It states “you can never be paranoid enough” (Sedgwick, 127). Among the reparative methods is love (Sedgwick, 128).
Paranoia is anticipatory, reflexive & mimetic, a strong theory, a theory of negative affects, and places its faith in exposure.
– Paranoia is anticipatory : It seeks to eliminate surprise.
– Paranoia is reflexive & mimetic: The love that demands the least from its object.
– Sedgwick quotes Butler in regard to all genders and drag as performances (Sedgwick, 139).
Fragmentos: the video talks about the refusal to erect a phallic patriarchal obelisk monument celebrating violence; it goes on to talk about how rape “utterly destroys” body and spirit — in the reparative sense, these can be restored.
– the use of the hammer in crafting the sculpture
– time “reclaims a memory that is in permanent state of transformation”
Shooting victim: somehow going to be more deserving of being murdered if he tried to resist — ties back to the performance of the group demonstration “Hands up, Don’t Shoot” and the policeman’s critique. (Shreya, Week 10)
Sedgwick, Eve Kosofsky. "Paranoid Reading and Reparative Reading, or, You're so Paranoid, You Probably Think This Essay Is About You" Touch Feeling: Affect, Pedagogy, Performativity. 123-151. United States: Duke University Press, 2003.