Leonorana 2: famílias

Sónia Neves (Editor), Tânia Espinoza (Editor)

Research output: Book/ReportEdited book


When we chose the theme of “family” we had no idea it would make our editorial job even more complex and tricky, because, to some extent, as editors we also have to form some kind of temporary, goal-oriented family. In this issue, more invitations were declined, more essays failed to be delivered and even the waiting time was longer than in the previous one. Thus, “family” became a matter for editorial discussion. Is the theme so outdated that it has lost the power or appeal it once had? Or, on the contrary, is this a sensitive subject, too emotionally di cult to deal with in today’s shifting and precarious world? Experts would certainly present coherent and well-structured commentaries that might explain the anxiety around this highly charged subject. However, the purpose of this magazine is not specialization. (…) The essays published in this issue concern themselves with the following aspects: Claes Tellvid’s poetic essay addresses David Cooper’s book The Death of the Family (1970); Luísa Malato and Helder Mendes Baião’s essays explore eighteenth-century conceptions of family in the literary works of Manuel de Figueiredo’s Uma Grifaria and Samuel de Constant’s Laure ou lettres de quelques femmes de Suisse, respectively; Irene Lusztig presents a longer version of a text already published online (www.canopycanopycanopy.com), which discusses the archive she has built on representations of maternity; Mafalda Santos’s draws a web of names and ties of affection, survival and meaning, crossing elements that identify her family members with references to the community created during the time she organized and participated in the literary and artistic residency Moinho da Fonte Santa, in Alandroal; Isabel de Carvalho takes as a starting point an illustrated screen by Aurélia de Sousa to approach the ethics of caring; Anton Yarush’s reflects on the representations of family in a specific cultural milieu (the North Caucasus), exploring its stereotypes and detours, through the screenplay he wrote for the film Closeness (Tesnota, 2017); Ana Carvalho presents a group of drawings inspired by Ursula Le Guin’s speculative methodology addressed in Dancing at the Edge of the Worl; Ana Matilde explores Japanese comics and anime, a genre that disrupts the expectations regarding the roles of fathers and mothers in the family unit; Eduardo Batarda uses texts from the painting series Image Descriptions, which originally resulted from short fragments of reviews and essays on art, art history or art criticism, and are now fictionally projected to explore the idealization of family; Tania Espinoza discusses gender and aging by analysing two documentary films by Leyla Assaf-Tengroth; Laura Sequeira Falé writes about André Tecedeiro’s stapling work entitled Famílias [Families] (of which two images are reproduced here); finally, the visual essay by Clara Batalha captures family as a species in mutation throughout successive integrated transgressions, with examples taken from ordinary vegetation.
Original languagePortuguese
Publication statusPublished - 2018

Cite this