issues: g/s/i 7 (2020)

gender/sexuality/italy 7 (2020) – Table of Contents

g/s/i February 21, 2021 Issue: g/s/i 7 (2020) Category: Contents, Editorials, Collaborations, Gender Studies, Themed Section, Invited Perspectives, Open Contributions, Continuing Discussions, Reviews, Videos

Gender/sexuality/Italy, 7 (2020)

Nicoletta Marini-Maio, Journal Editor
Paola Bonifazio, Invited Perspectives Editor
Ellen Nerenberg, Open Contributions and Continuing Discussions Editor
Erica Moretti and Colleen Ryan, Reviews Editors
Victor Xavier Zarour Zarzar and Lisa Dolasinski, Managing Editors
Arianna Avalle, Beatrice Basile, Samantha Gillen, Giorgio Losi, Natura Sant Foster, Katherine Travers, Assistant Editors

Table of Contents

Journal Editorial.
NICOLETTA MARINI-MAIO, Dickinson College,

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Journal Editorial

Nicoletta Marini-Maio, Paola Bonifazio, Ellen Nerenberg December 31, 2020 Issue: g/s/i 7 (2020) Category: Contents, Editorials, Collaborations, Gender Studies, Themed Section, Invited Perspectives, Open Contributions, Continuing Discussions, Reviews, Videos

by Nicoletta Marini-Maio, Paola Bonifazio, Ellen Nerenberg

The editorial includes the Editors’ introductions to their respective areas: Nicoletta Marini-Maio announces the topic and guest editors of the Themed Section: “Beside, Besides, and B-sides: Collaborations as Feminist and Decolonizing Practices.” Paola Bonifazio presents the rationale of the Invited Perspectives. details the contents of the Open Contributions and the section Continuing Discussions, which hosts informed voices on themes developed in previous issues of g/s/i.

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1.Scrivere di Islam: A Collaborative Project

Simone Brioni and Shirin Ramzanali Fazel February 21, 2021 Issue: g/s/i 7 (2020) Category: Collaborations

by Simone Brioni and Shirin Ramzanali Fazel

Simone Brioni and Shirin Ramzanali Fazel discuss their collaboration, with a particular emphasis on the co-written scholarly text Scrivere di Islam: Raccontare la diaspora (Venezia: Cà Foscari Edizioni, 2020).

DOI: https://doi.org/10.15781/ppbq-rj67

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2.Working in the Shadows: Collaboration as Queer Practice

Sole Anatrone & Julia Heim February 21, 2021 Issue: g/s/i 7 (2020) Category: Collaborations

by Sole Anatrone & Julia Heim

With this article we invite the reader to participate in our multimediatic conversation about collaboration as a queer practice. We map out the ways working together can be generative through an elaboration of the queer theoretics of collaboration as a moving, living evolving archive. Through the example of our translation of Smagliature, a book written by several transnational transfeminist groups, we show how collective scholarly work done outside the university calls into question established practices and frameworks of academic legitimacy.

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3.Coming Out/Coming of Age: A Decolonial, Inter-Institutional, Co-Curricular Collaboration

Serena Bassi & Ellen Nerenberg February 21, 2021 Issue: g/s/i 7 (2020) Category: Collaborations

by Serena Bassi & Ellen Nerenberg

This article describes and reflects upon a pedagogical project that depended on collaboration between the two authors, upper-level Italian students at Wesleyan University and the Bologna-based LGBTQ+ center, Il Cassero. The collaboration centered on and unfolded from an undergraduate course entitled “Coming Out/Coming of Age: Narratives of Becoming in Contemporary Italian Culture” taught by Ellen Nerenberg. The course sought to introduce students to a number of Italian coming of age literary and visual texts,

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4.Riding the Stock Car to Sleep in the Stables: Migrant Agricultural Labor and Songs of Rebellion

Diana Garvin February 21, 2021 Issue: g/s/i 7 (2020) Category: Themed Section

by Diana Garvin

Under Mussolini’s dictatorship, both the physical abuses of a misogynist state and the political power of female friendship were written in the sensory details of agricultural workers’ everyday lives. This article uses archival and melodic evidence from the sensorial world of interwar Italy to explore four interlinked case studies, ultimately revealing what is at stake in women’s work songs. First, written testimonials and transcriptions from oral interviews show that, for many mondine,

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5.Addressing Each Other’s Eyes Directly: From Adriana Cavarero’s “Relating Narratives” to Elena Ferrante’s Intersectional Ethics of Narrative Relations

Loredana Di Martino February 21, 2021 Issue: g/s/i 7 (2020) Category: Themed Section

by Loredana Di Martino

Narratives that provide honest portrayals of women’s relationships appear to be very popular at the moment. This may seem as nothing new since feminist authors have recast female friendship as a potential site of subversion at least since the seventies. However, as critics have highlighted, it is particularly since the eighties and nineties that representations of ambivalent female relations have become more prominent, mostly as a result of the influence of intersectional and decolonial theories such as those pioneered,

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6.Rural Italy in Feminist Writing: Dialogism, Polyphony, and Heteroglossia in Armanda Guiducci’s La donna non è gente

Viviana Pezzullo February 21, 2021 Issue: g/s/i 7 (2020) Category: Themed Section

by Viviana Pezzullo

Armanda Guiducci’s La donna non è gente (1977) is a volume collecting related autobiographical narratives in which collaboration is the result of the dialogic, polyphonic, and heteroglot relationship between Guiducci and the women narrators she interviews. Guiducci’s work proves how the notion of singular authorship and language of noi is inadequate to capture the diversity of women’s struggles across Italy. In La donna non è gente, the narrators–women from rural areas of north and of south Italy–embody through the alternance of Standard Italian and regional and local dialects the dialectics between urban and rural spaces.

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7. Side by Side: Female Collaboration in Ferrante’s Fiction and Ferrante Studies

Stiliana Milkova February 21, 2021 Issue: g/s/i 7 (2020) Category: Invited Perspectives

by Stiliana Milkova

This essay proposes that Elena Ferrante’s novels depict female friendship and collaboration as a literal and metaphorical positioning side by side that dislodges the androcentric, vertical hierarchies of intellectual labor, authorship, and (re)production. Further, it argues that the collaborative female practices in Ferrante’s fiction have engendered––or brought to light––collaborative female and feminist projects in Ferrante Studies and outside academia establishing a legacy of creative and authorial women. Thus a double creation of female genealogies is at work within Ferrante’s novels and in the critical field that studies them.

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8.Where Myself Ends and Yourself Begins

Veronica Mognato and Ana Treviño February 21, 2021 Issue: g/s/i 7 (2020) Category: Invited Perspectives

by Veronica Mognato and Ana Treviño

This article is about the shared experience of two visual artists that chose to collaborate on multiple projects. Their individual stories crossed in Austin, Texas, a city that has been hosting them for a few years, and were connected thanks to their similar way of seeing and living certain social mechanisms. Their first project embraces the concept of proxemics and how different cultures manage interpersonal spaces. The two artists come from different geographic zones and together,

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