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DWF
donnawomanfemme
Roma, Editrice coop. UTOPIA, 1986-
In the wind, 2003, n. 1
BONO Paola
Editorial note, pp. 2-4
MATERIA
GHITA
Love, pp. 5-9
BONO Paola
Avant-garde, pp. 10-16
GLASSON DESCHAUMES Ghislaine
Caravan, pp. 17-31
GIARDINI Federica
Dynamics, pp. 32-35
MASI Paola
Flexibility, pp. 36-40
CENTI Simona
Gaze, pp. 41-45
FORTINI Laura
Style, pp. 46-50
Vento, pp. 51-52
GIOVANNONI Monica
Journey, pp. 53-61
POLIEDRA
GHIDINELLI Emilia - PANIGHETTI Irene
Dolores Prato: the life-saving word, pp. 62-89
SELECTA
MARINELLI Annalisa
Forum, pp. 90-95
Reviews, pp. 96-107
Abstracts, pp. 108-110
Authors, pp. 111
BONO Paola, Editorial note, pp. 2-4
A presentation
of the nine articles collected in this issue, each a reflection and/or a narration
related to a single word. In fact, the issue - focussed on the multifaceted
idea of "movement": energy, transformation, displacement, imagination
… - took its present form throug the playful identification of these nine
words, associated to that central concept by the members of the editorial board.
GHITA, Love, pp. 5-9
Writing under a pseudonym, the author - herself an Iranian exile - tells the story of a young woman who left the country after being cruelly punished for an innocent ride with a young man she had fallen in love with.
Love as a movement
of the soul carrying serious material consequences in a country where a perverse
interpretation of the Islamic religion is also the law of the state; love as
a cause for displacement and exile, but a cause which is not accepted by a Western
state as Italy - supposedly free and "advanced" - as sufficient to
be granted the state of refugee.
BONO Paola, Avant-garde, pp. 10-16
A reflection on
the military origins of the term - inevitable in a period marked by war - intertwines
on the one hand with considerations on the role of women journalists in reporting
the recent U.S. - Iraq conflict, and on the other with references to innovative
writers such as Woolf, Stein, Richardson; the meaning of the term and the criteria
of its application are also questioned using the example of the British suffrage
movement and of its use of advertisement and spectacular techniques.
GLASSON DESCHAUMES Ghislaine (edited by GIARDINI Federica), Caravan,
pp. 17-31
Two weeks, from
May 25 to June 9 2002 - a caravan of women of different nationalites travelling
through the Balkans, in that composite and difficult area of bitter and often
bloody conflicts that we still define 'former Jugoslavia'. Serbia - Croatia
- Kosovo - Montenegro - Macedonia - Bosnia - Slovenia … meetings with other
women, moments of danger and moments of joy, a voyage of political and experiential
discoveries.
GIARDINI Federica, Dynamics, pp. 32-35
Through an analysis of the interrelated workings of space, movement and tension, the author investigates sexual difference as a/the dynamic element of life, an interval that generates meaning in the always renewed play of inter-subjectivity.
With reference
to Irigaray and to the Italian thinkers of sexual difference (from Lonzi to
Muraro), Giardini's reflections on this cluster of philosophical and experiential
questions open up further areas both of theoretical inquire and of political
practice.
MASI Paola, Flexibility, pp. 36-40
Starting from the
proposal of a "flexible citizenship" for the new Europeans, the author
reflects on the ambiguities of flexibility as a concept and a "value".
She tries to unveil the link between the meaning of flexibility and the rhetoric
of the "female society", a new (the last?) version of the traditional
male view on society for the third millennium.
A passion for the modes of visual expressivity has led the author first to a degree in film studies and now to the practice of photography as a means towards a formalized visual expression of her Desire, surpassing the fragmented reproduction of its many aspects.
Roaming the city
with her 'mechanical eye', looking at people and capturing images of strangers,
she is forced to confront the dynamics called into being by the assumption of
a subjective female gaze.
FORTINI Laura, Style, pp. 46-50
The author retraces and interrogates her motivations in choosing to study some writers, uncovering the roots of her preferences and passions - why Ariosto rather than Tasso, why women novelists of the Twentieth rather than of the Nineteenth century, why the peripheral, non 'canonical' writing of the mystics?
Investigating
a series of positions and movements - physical and mental - she individuates
a possible answer in some stylistic traits (where style is also a vision of
the world and a way of inhabiting it) that call her resonating with both levity
and strength.
GIOVANNONI Monica, Journey, pp. 53-61
Mixing personal memories and general observations and reflections, the author looks at the ways in which her geographical imaginary has changed after her mother's death. She goes on to tell her story as the story of a journey. This, of course, is a frequent metaphor in autobiography, but here the journey is also literal.
In fact, leaving
home is always in some measure both a literal and metaphorical exit from the
constraints of parental and cultural bonds; for her, going overseas meant both
the physical enactment of a need to escape and a metaphorical vehicle for internal
displacements. In a way, the goal of the author's memoir is to produce a narrative
that would tell the story of her coming to writing.
GHIDINELLI Emilia - PANIGHETTI Irene, Dolores Prato: the life-saving word, pp. 62-89
The authors, mother
and daughter, first discover together and then decide to present the work of
an Italian woman writer unjustly disregarded by 'canonical' literary history.
But Dolores Prato deserves a great attention, in particular for her original
relation with the language, better, with words: her books, all autobiographical,
tell us of her passion for the creative power of words, that can be more real
than objects and even than life itself.
MARINELLI Annalisa, Forum, pp. 90-95
The author presents
her book, Etica della cura e progetto (Liguori, Napoli, 2002), and expresses
her view on becoming and being a woman architect.