Denise Ferreira Da Silva, “On Difference Without Separability,” in Incerteza Viva (Bienal São Paulo, 2016). Exhibition catalog.
Chiara Bottici, A Feminist Mythology, trans. Sveva Scaramuzzi and Claudia Corriero (Bloomsbury Publishing, 2001), 17.
Lina Mangiacapre, Cinema al femminile 2 (Female cinema 2) (Le Tre Ghinee/Le Nemesiache, 1994), 1, 2. Unless otherwise specified, all translations are by the author.
Silvana Campese, La Nemesi di Medea: Una Storia Femminista lunga mezzo secolo (Medea’s nemesis: A half-century feminist story) (L’Inedito, 2019), 36.
Giulia Damiani, “Archival Diffractions: A Response to Le Nemesiache’s Call,” in Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory (ICI Berlin Press, 2022), 82.
As Enda Brophy writes, the feminist movement in Italy also “directed its antagonistic critique beyond the role of the State to the male-dominated Italian left, including the radical workerist left … The most symbolic and public moment occurred in Rome on December 6th, 1977, when the male stewards of Lotta Continua and of the Comitato Autonomo di Centocelle attacked a feminist demonstration and its vindication of a woman’s right to separate from a man.” Enda Brophy, preface to Giovanna Franca Dalla Costa, The Work of Love (Autonomedia, 2008), 8.
Maud Anne Bracke, Women and the Reinvention of the Political: Feminism in Italy 1968–83 (Taylor and Francis 2014), 67–68.
“Manifesto delle femministe napoletane: Le Nemesiache, 1970” (Manifesto of Neapolitan feminists: Le Nemesiache, 1970), in Interpreti e protagoniste del movimento femminista napoletano 1970–1990 (Interpreters and protagonists of the Neapolitan feminist movement 1970–1990), ed. Conni Capobianco (Le Tre Ghinee/Le Nemesiache, 1994).
M. Jacqui Alexander, Crossing Pedagogies: Meditations on Feminism, Sexual Politics, Memory, and the Sacred (Duke University Press, 2006), 275.
“Manifesto delle femministe napoletane.”
Feminism and Art in Postwar Italy: The Legacy of Carla Lonzi, ed. Francesco Ventrella and Giovanna Zapperi (Bloomsbury Publishing, 2020).
Statement by Lina Mangiacapre from Nadia Pizzuti’s film Lina Mangiacapre: Artist of Feminism (2015).
Lina Mangiacapre, Cinema al femminile (Female cinema) (Mastrogiacomo Images 70, 1980), 2.
Giada Cipollone, “Nemesi Performativa: Scritture, Corpi e Immagini nella ricerca di Lina Mangicapre e delle Nemesiache” (Performative nemesis: Writings, bodies and images in the research of Lina Mangiacapre and Le Nemesiache), Mimesis Journal 10, no. 2 (2021): 41.
Lina Mangiacapre, interviewed by Nadia Nappo, Napoli Frontale, no. 3 (July 1998).
From an undated interview with Lina Mangiacapre.
Le Nemesiache, “Per una città a dimensione donna” (For a city of female dimensions), Quotidiano Donna 4, no. 2 (1981).
Giulia Damiani, “Feminist Ruptures With No Ends in Sight,” in Ceremony (Burial of An Undead World), ed. Anselm Franke et al. (Spector Books, 2002), 63.
Le Nemesiache, Manifesto metaspaziale (Le Nemesiache, 1973).
Gayatri Spivak, Death of a Discipline (Columbia University Press, 2003).
Lina Mangiacapre, Faust/Fausta (L’autore, 1990), 7.
Mangiacapre, Faust/Fausta, 9.
Mangiacapre, Cinema al femminile, 23.
Brenner Bhandar and Rafeef Ziadah, Revolutionary Feminisms (Verso Books, 2020), 4.
A. Putino and Lina Mangiacapre, “Il Mito della donna guerriera” (The myth of the female warrior), Manifesta, no. 0 (1988).
Mangiacapre, Cinema al femminile 2, 3.
Mangiacapre, Cinema al femminile 2, 1.
Lina Mangiacapre, “Per una Nuova Critica” (For a new criticism), in Non Solo Figura di Donna: Documenti della III e IV Rassegna del Cinema Femminista (Not only the figure of a woman: Documents of the III and IV Festival of Feminist Cinema) (Le Tre Ghinee/Le Nemesiache, 1978–79), 3.
Lee Maracle, Memory Serves: Oratories (NeWest Press, 2016), 31.
Silvia Federici, Re-enchanting the World: Feminism and the Politics of the Commons (PM Press, 2018), 78.
Federica Bueti, Critical Poetics of Feminist Refusals: Voicing Dissent Across Differences (Routledge, 2022), 111.
Lina Mangiacapre, “Lava, vulcani e sangue” (Lava, volcanos and blood), published posthumously in Il Paese delle donne (The country of women) (May 2004).
The research for this article has been supported by the Italian Council. Thanks fo Fausta Base, Silvana Campese (Medea), Conni Capobianco (Nausicaa), and Claudia Aglione (Elena) for speaking with me and sharing intergenerational memories of their participation in Le Nemesiache. Thanks to Andreas Petrossiants for generous and inspiring editorial support.