Gliding through: poetics of cohabitation
This article has its origin in the feeling of being interpellated, touched by an artistic narrative called Saved Images, about women’s prison in Ezeiza. This material was produced given the prohibition of taking photographs in the prison. The purpose of this work is to criticize the hegemonic repres...
| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades. Escuela de Letras
2020
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| Materias: | |
| Acceso en línea: | https://revistas.unc.edu.ar/index.php/heterotopias/article/view/29078 |
| Aporte de: |
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I10-R333-article-29078 |
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Universidad Nacional de Córdoba |
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I-10 |
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Heterotopías |
| language |
Español |
| format |
Artículo revista |
| topic |
cohabitation affects representations vulnerability cohabitación afectos representaciones vulnerabilidad |
| spellingShingle |
cohabitation affects representations vulnerability cohabitación afectos representaciones vulnerabilidad Moretti Basso, Ianina Hilas, Sofía Gliding through: poetics of cohabitation |
| topic_facet |
cohabitation affects representations vulnerability cohabitación afectos representaciones vulnerabilidad |
| author |
Moretti Basso, Ianina Hilas, Sofía |
| author_facet |
Moretti Basso, Ianina Hilas, Sofía |
| author_sort |
Moretti Basso, Ianina |
| title |
Gliding through: poetics of cohabitation |
| title_short |
Gliding through: poetics of cohabitation |
| title_full |
Gliding through: poetics of cohabitation |
| title_fullStr |
Gliding through: poetics of cohabitation |
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Gliding through: poetics of cohabitation |
| title_sort |
gliding through: poetics of cohabitation |
| description |
This article has its origin in the feeling of being interpellated, touched by an artistic narrative called Saved Images, about women’s prison in Ezeiza. This material was produced given the prohibition of taking photographs in the prison. The purpose of this work is to criticize the hegemonic representations of prisoners, and to question which new recognition horizons the critique might enable. In a dialogue with Butler and Levinas, we ask for the ways in which singular narratives of vulnerability spread out. The aims of this work are, first, to analyze Saved Images as a material that enables to interrogate a series of assumptions of hegemonic representations of prisoners, even in some feminist trends. Second, based on a butlerian analysis, we seek to discuss the concepts of precarity and frame of recognition, when interpellating our affective responsiveness before other’s vulnerability. Third, with Levinas, our purpose is to analyze the concept of the face, which evidences our existential and inexorable bond with one another. And, finally, we intend to suggest other ethical horizons we might be able to imagine throughout this critique. The methodology is to work with the narratives in Saved Images, as a cultural material and production, and not directly with prison as an object, as we recognize the mediations. We believe that this research might contribute to a critique of our affective responsiveness and, in this sense, we reflect: who do we feel responsible for? How is our responsiveness performed? We hope our work is an outline about feminist ways of enabling ethics of cohabitation, that challenge the predictable. |
| publisher |
Facultad de Filosofía y Humanidades. Escuela de Letras |
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2020 |
| url |
https://revistas.unc.edu.ar/index.php/heterotopias/article/view/29078 |
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2024-09-03T21:09:24Z |
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I10-R333-article-290782020-12-06T16:11:39Z Gliding through: poetics of cohabitation Deslizarse entre rejas. Poéticas de la cohabitación Moretti Basso, Ianina Hilas, Sofía cohabitation affects representations vulnerability cohabitación afectos representaciones vulnerabilidad This article has its origin in the feeling of being interpellated, touched by an artistic narrative called Saved Images, about women’s prison in Ezeiza. This material was produced given the prohibition of taking photographs in the prison. The purpose of this work is to criticize the hegemonic representations of prisoners, and to question which new recognition horizons the critique might enable. In a dialogue with Butler and Levinas, we ask for the ways in which singular narratives of vulnerability spread out. The aims of this work are, first, to analyze Saved Images as a material that enables to interrogate a series of assumptions of hegemonic representations of prisoners, even in some feminist trends. Second, based on a butlerian analysis, we seek to discuss the concepts of precarity and frame of recognition, when interpellating our affective responsiveness before other’s vulnerability. Third, with Levinas, our purpose is to analyze the concept of the face, which evidences our existential and inexorable bond with one another. And, finally, we intend to suggest other ethical horizons we might be able to imagine throughout this critique. The methodology is to work with the narratives in Saved Images, as a cultural material and production, and not directly with prison as an object, as we recognize the mediations. We believe that this research might contribute to a critique of our affective responsiveness and, in this sense, we reflect: who do we feel responsible for? How is our responsiveness performed? We hope our work is an outline about feminist ways of enabling ethics of cohabitation, that challenge the predictable. El siguiente artículo parte de sentirnos interpeladxs por un registro poético creado en la cárcel de mujeres de Ezeiza, llamado Imágenes Guardadas, a partir de la prohibición de tomar cualquier tipo de fotografías en el interior del penal. El problema que nos proponemos tratar aquí versa sobre una crítica a las representaciones hegemónicas de las privadas de su libertad, cómo interrogarlas y qué nuevos horizontes de reconocimiento se abren a partir de la crítica. En diálogo con Judith Butler y Emmanuel Levinas, preguntamos por los modos en que nos hacen llegar sus rostros a través de este registro y por las maneras en que circulan los relatos singulares de la vulnerabilidad. Nuestros objetivos son, primero, analizar Imágenes Guardadas como material que permite interrogar una serie de supuestos tanto dentro de algunas corrientes feministas como de algunas representaciones más hegemónicas de la privada de su libertad. En segundo lugar, traer a la discusión, a partir de una lectura butleriana del registro, las nociones de precariedad y de marco de reconocimiento, a la hora de tensionar e interpelar nuestras respuestas afectivas ante la vulnerabilidad de otrx. En tercer lugar, de la mano de Levinas, sumar a las dos nociones antes mencionadas la de rostro, que pone de manifiesto nuestro vínculo existencial e ineludible con lxs demás. Y, por último, sugerir qué otros horizontes éticos podemos entrever a través de esta crítica. En términos metodológicos, trabajaremos con narrativas, a través de Imágenes Guardadas como material de la cultura, y no sobre la cárcel como objeto, reconociendo las mediaciones. Entendemos que este acotado estudio puede contribuir a una crítica de nuestras respuestas afectivas y en este sentido, reflexionamos: ¿por quiénes nos sentimos responsables? ¿Cómo se performa nuestra capacidad de respuesta? Proponemos el siguiente texto como una suerte de apunte sobre modulaciones feministas de una ética de la cohabitación, que impugnan lo predecible. Facultad de Filosofía y Humanidades. Escuela de Letras 2020-06-24 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/heterotopias/article/view/29078 Heterotopías; Vol. 3 No. 5 (2020): "Affective Turn and Social Discourses: Criticisms, Representations and Policies" ; 1-19 Heterotopías; Vol. 3 Núm. 5 (2020): “Giro afectivo y discursos sociales: críticas, representaciones y políticas” ; 1-19 2618-2726 spa https://revistas.unc.edu.ar/index.php/heterotopias/article/view/29078/29916 https://creativecommons.org/licenses/by-nc-sa/4.0 |