Body (Auto)Biographed in Facial Hair Transplants (1972) and Rape Scene (1973): : configurations of meanings for a feminist performative pedagogy
This article presents a discussion about gender based on the notions of performance and performativity, seeking to weave relationships between these terms with art and the educational field. It pursues the idea of a performative feminist pedagogy, performed by the (auto)biographed body, in artistic...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio Grande do Sul (UFRGS) |
| Repositorio: | Revista Brasileira de Estudos da Presença |
| Idioma: | portugués |
| OAI Identifier: | oai:seer.ufrgs.br:article/133253 |
| Acceso en línea: | https://seer.ufrgs.br/index.php/presenca/article/view/133253 |
| Access Level: | acceso abierto |
| Palabra clave: | Performance art Performativity Gender Education Feminism Performatividade Gênero Educação Feminismo Art de la performance Performativité Genre Éducation Féminisme |
| Sumario: | This article presents a discussion about gender based on the notions of performance and performativity, seeking to weave relationships between these terms with art and the educational field. It pursues the idea of a performative feminist pedagogy, performed by the (auto)biographed body, in artistic performances developed by women, involving the issue of gender, more specifically the performances Facial Hair Transplants (1972) and Rape Scene (1973), by the Cuban artist Ana Mendieta. Supported by researchers from multiple areas, this study aims to critically contribute to the area of education, redefining educational practice from an aesthetic and gender principle, offering reflections on the production of difference. |
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