Autotheory as Feminist Practice in Art, Writing and Criticism, Lauren Fournier

2021 ◽  
Vol 10 (2) ◽  
pp. 289-291
Author(s):  
Margaryta Golovchenko
Keyword(s):  
Art Writing ◽  
Feminist Practice

Review of: Autotheory as Feminist Practice in Art, Writing and Criticism, Lauren FournierCambridge, MA and London: MIT Press (2021), 320 pp., h/bk,ISBN: 978-0-26204-556-8, US $35.00

Collaborative Modernisms, Digital Humanities, and Feminist Practice

2018 ◽  
Vol 3 (2) ◽  
Author(s):  
Claire Battershill ◽  
Alice Staveley ◽  
Helen Southworth ◽  
Elizabeth Willson Gordon
Keyword(s):  
Digital Humanities ◽  
Feminist Practice

Regarding Intimacy, Regard, and Transformative Feminist Practice in the Art of Pamela Longobardi

2016 ◽  
Vol 42 (3) ◽  
pp. 649-688
Author(s):  
Jennifer A. Wagner-Lawlor
Keyword(s):  
Feminist Practice

Reciprocal narratives in Que bom te ver viva (Lúcia Murat, 1989)

2021 ◽  
Vol 21 (2) ◽  
pp. 165-183
Author(s):  
Patrícia Sequeira Brás
Keyword(s):  
Historical Narrative ◽  
Political Prisoners ◽  
Fictional Character ◽  
Consciousness Raising ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Military ◽  
Feminist Practice

Directed by Brazilian filmmaker Lúcia Murat, Que bom te ver viva [How nice to see you alive] (1989) interlaces the testimonies of eight female political prisoners with a monologue voiced by an anonymous female fictional character. All allude to the experience of torture under the military dictatorial regime in Brazil. Given that Murat was a militant student imprisoned and tortured during the dictatorship, the film appears to have an autobiographical motivation. I argue, however, that the interlacing of fictional monologue and ‘real’ testimonies effaces this motivation. Rather, the intersection between fictional and testimonial accounts offers a reciprocal recognition between interviewees and filmmaker, allowing for the inscription of these individual stories into the historical narrative. I also argue that this reciprocal recognition is anchored in the feminist practice of storytelling, practised in consciousness-raising feminist groups in the 1960s and 1970s. Adriana Cavarero’s philosophy of narration underpins my analysis.

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