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Journal Editorial

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

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

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

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

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

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

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

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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9.Collective Writing Projects as Sustainable Ecologies of Collaboration

by Paolo Saporito

What does it mean to engage in collaborative practices? How do these practices ensure the sustainable management of diversity we need in order to counter contemporary forms of discrimination? This paper reflects on these issues and proposes answers to these questions by analysing two case studies: the Italian writing collectives Wu Ming and Joana Karda. The two groups enact collaborative practices that deconstruct conceptual dualisms (i.e. subject/object; self/other) and question hyper-individualised conceptions of subjectivity characterising contemporary neoliberal society.

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