4.Translating Spanish Transfeminist Activism into Italian. Performativity, DIY, and Affective Contaminations.

Michela Baldo August 31, 2019 Issue: g/s/i 6 (2019) Category: Themed Section

by Michela Baldo

This article examines the translations into Italian of four post-porn and transfeminist Spanish texts, written by the writers and performers Diana Torres and Itziar Ziga: Pornoterrorismo/Porn terrorism (2014), Fica Potens/ Powerful Cunt (2015), Vomitorium/Vomitorium (2017), and Diventare Cagna/Becoming a Bitch (2015). The texts were translated by a group of Italian transfeminist translators. The presentations of these translations, between the years 2014 and 2017,

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5.Fabio Mollo’s Il padre d’Italia /There is a Light: A Visual Journey through Queer Ecology, EcoMasculinity, and Fatherhood

Danila Cannamela August 31, 2019 Issue: g/s/i 6 (2019) Category: Themed Section

by Danila Cannamela

The movie Il padre d’Italia/ There is a Light (2017, dir. Fabio Mollo) tells the story of a road trip across Italy: Paolo and Mia, a gay man and a pregnant woman, meet by chance and travel from the north to the south. The Italian landscape becomes the setting of a narrative of displacement that challenges dominant gender-nature associations in contemporary Italy. The journey allows Mia to “move away” from her “natural” maternal role and Paolo to become the father of Mia’s daughter,

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6.Teenage “Somatechnics”: Classed, Gendered, and Racialised Subjectivities in Luca Guadagnino’s Call Me by Your Name and Gianfranco Rosi’s Fuocoammare

Samuele Grassi August 31, 2019 Issue: g/s/i 6 (2019) Category: Themed Section

by Samuele Grassi

In this paper I examine presences-absences and dis-allowed mobilities in neoliberal Italy through a comparative reading of two apparently unrelated films: Luca Guadagnino’s Call Me by Your Name (2018) and Gianfranco Rosi’s Fuocoammare (Fire At Sea, 2016). My comparative approach is informed by new materialist feminist critiques, drawing primarily from queer feminist, post-colonial, and de-colonial thinkers whose work aims to dismantle the naturalisation of differences to make new worlds and unmake existing ones.

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7.Metastasio per trans

Egon Botteghi August 31, 2019 Issue: g/s/i 6 (2019) Category: Invited Perspectives

by Egon Botteghi

The “musicians” (euphemism used for the castrated singers) appear in Italy by the end of the sixteenth century, following a Papal Decree that forbade women to sing in church and consequently in theatres. Throughout the following three centuries, musicians ruled the European music scene, becoming one of the most important exported “goods” from Italy. Created by other men for artistic as well as political and devotional purposes, these men are described in the literature of the time as “chimeric beings,” halfway between a man and a woman,

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8.Valerie Solanas’s Trilogia SCUM: A feminist translation project of care. Interview/dialogue with Stefania Arcara and Deborah Ardilli.

Stefania Arcara, Deborah Ardilli, Michela Baldo August 31, 2019 Issue: g/s/i 6 (2019) Category: Invited Perspectives

by Stefania Arcara, Deborah Ardilli, Michela Baldo

This interview focuses on the recent publication of Trilogia SCUM (2017), the Italian translation and retranslation of the complete works by radical lesbian feminist Valerie Solanas (editors Stefania Arcara and Deborah Ardilli). Solanas’s publication is discussed as a feminist translation project of care: through the use of abundant paratextual material, and through the restoration of Solanas’s uncensored SCUM Manifesto (1967), Arcara and Ardilli have joined efforts in reconstituting the legitimacy of Solanas as a feminist writer,

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9.Feminism Makes History in Verona: The Response to the World Congress of Families

Alessandra Montalbano August 31, 2019 Issue: g/s/i 6 (2019) Category: Invited Perspectives, Videos

by Alessandra Montalbano

The last weekend of March 2019, Verona was at the center of media attention for having hosted the XIII World Congress of Families (WCF). However, the feminist response to this ultra-conservative and religious event became the true news. The transnational feminist movement Non Una Di Meno (NUDM) organized a three-day mobilization that included the biggest march in the history of Verona and had a strong impact on public opinion.

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10.Maternità, relazione, vulnerabilità: Una prospettiva filosofica

Anna Argirò August 31, 2019 Issue: g/s/i 6 (2019) Category: Invited Perspectives

by Anna Argirò

This article focuses on motherhood as a point of arrival for the biological and social spheres, as well as the public and private, the physical and psychic. Feminist philosophies of our age converge and confront each other around this topic. The article proposes that we emancipate motherhood from its biological status by elevating it into a philosophical category which allows us to reflect on the complexity of the human condition and initiate a dialogue between the varying philosophical perspectives of contemporary feminism.

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11.Raccontare una maternità diversa

Rossella Schillaci August 31, 2019 Issue: g/s/i 6 (2019) Category: Invited Perspectives

by Rosella Schillaci

In this article, Schillaci writes about the making of the documentary film Ninna nanna prigioniera (2016), filmed inside a special block within Turin, Italy’s jail, where convicted mothers can choose to have their children living with them in a cell until they are three years old. The filmmaker retraces the various stages of the project, from conception to pre-production and filming. She describes research questions, themes at the heart of the film’s story,

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12.Fare Fotoromanzi: Un’intervista con Francesca Giombini

Paola Bonifazio and Francesca Giombini August 31, 2019 Issue: g/s/i 6 (2019) Category: Invited Perspectives

by Paola Bonifazio and Francesca Giombini

Also known as fotoromanzi (in Italian), roman-photos (in French), and fotonovelas (in Spanish), “photoromances” are illustrated stories composed of photographs and written texts (captions and balloons) and published serially in magazines. Born in Italy in 1947 and then exported all over the world, selling millions of copies per week,photoromances are demeaned and chastised in public opinion, and rarely studied by scholars,

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13. Italian Office Workers from Comedy Italian Style to Ugo Fantozzi: A Gendered Perspective

Paola D'Amora August 31, 2019 Issue: g/s/i 6 (2019) Category: Open Contributions

Represented as a male-dominated space, the office is a privileged site of production of masculine identities in comedy Italian style. The high-ranking male clerical worker is therein depicted as a paradigm of successful masculinity in the Italian economy’s boom years. A trademark of successful masculinity, office design and its filmic representations has evolved throughout the decades, to reflect status and rank, and also a muted aesthetic taste. Comedy Italian style was not the first to represent office interior space as much as to appropriate it (alongside the restaurant,

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