Feministas Unidas Inc.

February 2017 Newsletter
 Estimada membresía,

No olviden renovar las cuotas para el nuevo año en http://membership.feministas-unidas.org
En breve les enviaremos el CFP para la próxima convención del MLA en NYC.
Y aquí envío dos cfp de interés para la membresía.
1. Book on Gender and Violence
2. Feminismo/s nº 30 Título: Dramaturgia femenina actual. De 1986 a 2016.

Saludos cordiales.

1. CFP Book on Gender and Violence in Iberian and Latin American Cinemas

Eds.: M. J. Gámez Fuentes, R. Maseda García and B. Zecchi.

This edited volume is interested in essays that make important contributions to the fight against gender-based violence via the analysis of Latin American and Iberian films of any genre. Our objective is to critically analyze the ways cinema mediates gender-based violence against subjects and, more particularly, the ways cinema practitioners are succeeding in transforming established hegemonic narratives that mainly capitalize on women’s victimization. Gender and Violence in Iberian and Latin American Cinemas aims, thus, at advancing on the international debate on the representation of violence sustained on the gender regime.

Rather than merely presenting another compilation of the state of things, our purpose is to bring to the forefront state of the art initiatives that break away from the heteronormative framework that informs canonical modes of representation according to which heterosexual women are placed as the usual victims devoid of agency before a male aggressor. In order to do that, firstly, we aim at detecting signifying film practices that succeed in fissuring established modes of representation; secondly, we want to study possibilities of innovation that arise from “ethical witnessing” (which assigns responsibility to the act of spectatorship –Oliver, Witnessing beyond Recognition, 2001; Kaplan, Trauma Culture, 2005) so that the transformation of hegemonic narratives is enabled. Finally, our intention is to open the scope to discuss the approach towards gender violence by putting into dialogue different feminist perspectives including those coming from LGTBIQ positions in Latin America and the Iberian Peninsula.

Specialized literature coincides in signalling that female identity is defined in terms of its "injurability", using Butler & Athanasiou’s term (Dispossession: The performative in the political, 2013); that is, in contexts of violence, women’s subjectivity is associated with being vulnerable to death and injury. Moreover, on occasions violence does not seem to have a specific executor (someone known to the women), the aggressive exploit appears to be hazardous, and the victim’s responsibility is heightened. When representations focus on the assailant they endeavour to look for a cause for the aggression –discussions, separation, jealousy…– making evident the lack of accountability, to use Butler’s nomenclature (Giving Account of Oneself, 2005) and, in the worst cases, they assign part of the blame on the women for her chosen lifestyle, actions, or inactions. The patriarchal discourse found in these representations concentrate on particular stories, of particular women and men, in particular situations. This factor eliminates any possibility of a general social and political elucidation and condemnation of the conventional registers that produce trauma/violence/loss.
However, in this unequal distribution of vulnerability, women are not the only ones targeted as injurable (with impunity) or disposable (without reparation). In this sense the same could be argued about gender-based violence committed against LGTBIQ subjects. Homophobia and transphobia remain a form of structural violence even in the so-called most progressive countries.
Therefore we are interested in the analysis of films (and/or cinematographic techniques) that overcome representations of victims of gender-based violence as passive elements and introduce a vision of them as active subjects endowed with agency and capacity to transform the contexts where violence is exercised.

From this perspective, we invite theoretical, qualitative, and quantitative approaches to the subject from researchers working on film from different disciplines, traditions, and theoretical perspectives. Possible topics might include, but are not limited to:

- Film texts (style, genre, forms, aesthetics…) that seek to transform established hegemonic narratives on women’s victimization
- Film representations questioning the public sphere’s response to violence against women and trauma
- Films representing women at war; women in wars from a non-conventional perspective
- Gender and resistances in the aftermath of dictatorships, genocide, wars, massacres, and forced migrations in cinema
- The matrix of gendered violence: The intersections of sexuality, race, ability, religion, age, class, and/or geography and the relationship to gender-based violence and trauma in film
- Case studies documenting, critiquing, and analyzing violence against women in film
- Feminist film practices and female trauma
- Ethical witnessing and healing female trauma in cinema
- Social impact of films that propose an active and engaged form of consumption from viewers (ethical)
- The ethics of empathy in film portrayals of violence and female trauma
- Film representations of gendered violence in relation to the political role of the community or civil society and/or to the defence of human rights.
- Memory and commemoration (testimonies) of women’s traumatic experiences in film
- Ageing and violence: Films that transform established narratives on elder women’s abuse and neglect, and seek to reverse the traditional absence and/or stereotyping of older female characters in contexts of violence.

We will market the book for an international audience (the volume will be in English language). Routledge has indicated interest as part of the Gender & Sexuality series and we will continue to consider other reputable academic publishers. Please circulate the CFP widely with graduate students, faculty, and independent scholars who work on any aspect of film, gender and violence.

Should you be interested, please send a 600 word abstract (in English) with a working title that gives an overview of your proposed essay and a two pages CV to Drs. María José Gámez Fuentes (Universitat Jaume I, Castellón, Spain) at gamezf@uji.es, Rebeca Maseda García (University of Alaska Anchorage, USA) at rmasedagarcia@alaska.edu, and Barbara Zecchi (University of Massachusetts Amherst, USA) at bzecchi@umass.edu by April 24th, 2017. If accepted, the final draft version of your chapter, approximately 8,000 words, would most likely be due by December 1st 2017. Decisions about the final shape of the project will be made once the publisher has reviewed and agreed upon accepted full chapter proposals. Feel free to write to us with any questions you might have. We look forward to reading your submissions.

2. Call for papers Feminismo/s nº 30
Título: Dramaturgia femenina actual. De 1986 a 2016.
Los discursos dramáticos que se dan simultáneamente en un período corresponden a las diferencias ideológicas que emanan de la vida de un país; por ende, incluyen la escritura de las mujeres. ¿Qué distingue al discurso dramático escrito por las mujeres desde finales del siglo pasado hasta nuestros días? ¿En qué medida sigue el canon masculino y en cuál lo subvierte o lo cambia? El monográfico que proponemos pretende ofrecer respuestas sólidas a estas y otras muchas preguntas.
La emancipación del teatro del reino literario diversifica la atención investigadora entre los muy variados elementos que intervienen en el hecho escénico; por ello, este número de Feminismo/s aspira a atender al hecho teatral en este sentido. Los textos dramáticos de las autoras constituirán uno de los ejes principales del número, pero sin relegar a un segundo plano aspectos como las dramaturgias realizadas por mujeres y la doble e incluso triple faceta de muchas de ellas como autoras y actrices o autoras, directoras y productoras. No es excepcional que todos estos cometidos se superpongan en una misma mujer de teatro.
Las posibles propuestas podrían centrarse en temas como:
• Análisis acerca de textos dramáticos de autoras españolas contemporáneas.
• Casos de asunción de distintas facetas teatrales.
• Estudios centrados en asociaciones y agrupaciones de mujeres relacionadas con la autoría teatral desde los años ochenta a la actualidad.
• Investigaciones sobre la especificidad de la escritura femenina en el teatro actual.

• Apertura del call for papers: 5 de diciembre de 2016
• Recepción de los artículos: hasta el 1 de junio de 2017
• Notificación de la aceptación: hasta el 15 de julio de 2017
• Recepción de los artículos definitivos: hasta el 9 de septiembre de 2017
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