<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-1284</journal-id>
<journal-title><![CDATA[Vista. Revista de Cultura Visual]]></journal-title>
<abbrev-journal-title><![CDATA[Vista]]></abbrev-journal-title>
<issn>2184-1284</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-12842022000200003</article-id>
<article-id pub-id-type="doi">10.21814/vista.4424</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Lucia Marcucci: Visual Poetry Against Social Violence]]></article-title>
<article-title xml:lang="pt"><![CDATA[Lucia Marcucci: Poesia Visual Contra a Violência Social]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[D'Amico]]></surname>
<given-names><![CDATA[Marzia]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade de Lisboa Faculdade de Letras Centro de Estudos Comparatistas]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>12</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>12</month>
<year>2022</year>
</pub-date>
<numero>10</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-12842022000200003&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-12842022000200003&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-12842022000200003&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The article offers an original close reading of some of Marcucci's most famous works between the early 60s and late 70s, chosen as examples of a situated gendered specificity of the artist's poetics. Despite the self-declared distance from neo-feminist stances, Marcucci shines for originality and controversy in the themes and practices of creation in her contemporary landscape, mostly dominated by male artists. On the one hand, we observe Marcucci&#8217;s artistic and cultural operation in Italy amid an economic boom but still suffered from the retrograde nature of the still deviously dominant fascist thinking, in conjunction with the bigotry of the catholic church, concerning women&#8217;s emancipation. On the other hand, we also observe Marcucci&#8217;s productive singularity in the context of her contemporary counterculture, which had not freed itself at all &#8212; although preaching it &#8212; from sexist power dynamics. The article aims to present a feminist lens (from male gaze to self-objectification) not as the absolute and only way of interpreting Marcucci&#8217;s verbal-visual poems, but as useful in highlighting the specific qualities of Marcucci&#8217;s research and poetics. Through the analysis of &#8220;Il Fidanzato in Fuga&#8221; (The Runaway Bride; 1964), &#8220;Noxin&#8221; (1970), &#8220;AH!&#8221; (1972), &#8220;Aa Bb Cc&#8221; (1977), and &#8220;Culturae&#8221; (1978), an attempt will be made to offer a viable course of inquiry that does not isolate Marcucci&#8217;s work from that of her male contemporaries but considers its situated specificity as a necessary stand.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo: O artigo oferece uma leitura original de algumas das obras mais famosas de Marcucci entre o início dos anos 60 e o final dos anos 70, escolhidas como exemplos de uma especificidade de género situada da poética da artista. Apesar do distanciamento autodeclarado das posições neofeministas, Marcucci brilha pela originalidade e polémica nos temas e práticas de criação no seu panorama contemporâneo, maioritariamente dominado por artistas masculinos. Por um lado, observamos a atuação artística e cultural de Marcucci numa Itália no meio de um boom económico, mas que ainda sofria com a natureza retrógrada do pensamento fascista ainda desviadamente dominante, em conjunto com o fanatismo da igreja católica, relativamente à emancipação da mulher. Por outro lado, também observamos a singularidade produtiva de Marcucci no contexto da contracultura sua contemporânea, que não se tinha libertado &#8212; embora o pregasse &#8212; das dinâmicas sexistas de poder. O artigo visa apresentar uma lente feminista (do olhar masculino à auto-objetificação) não como a única e absoluta forma de interpretar os poemas verbo-visuais de Marcucci, mas como útil para destacar as qualidades específicas da investigação e poética de Marcucci. Através da análise de "Il Fidanzato in Fuga" (O Noivo em Fuga; 1964), "Noxin" (1970), "AH!" (1972), "Aa Bb Cc" (1977) e "Culturae" (1978), será feita uma tentativa de oferecer um percurso de investigação viável que não isole a obra de Marcucci da dos seus contemporâneos masculinos, mas que considere a sua especificidade situada como uma posição necessária.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Lucia Marcucci]]></kwd>
<kwd lng="en"><![CDATA[visual poetry]]></kwd>
<kwd lng="en"><![CDATA[Italian literature]]></kwd>
<kwd lng="en"><![CDATA[mass media]]></kwd>
<kwd lng="en"><![CDATA[collage]]></kwd>
<kwd lng="pt"><![CDATA[Lucia Marcucci]]></kwd>
<kwd lng="pt"><![CDATA[poesia visual]]></kwd>
<kwd lng="pt"><![CDATA[literatura italiana]]></kwd>
<kwd lng="pt"><![CDATA[meios de comunicação de massa]]></kwd>
<kwd lng="pt"><![CDATA[colagem]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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