Abstract:
This article scrutinizes the mocking elections conducted by suffragists in terms of affective performances. Through the analysis of the simulations carried out in Argentina in March and November 1920, I claim that the demolition of the patriarchal structure of feelings executed by feminism altered the understanding of reality through gestures typical of the artistic avant-gardes such as these acts of pre-enactment. Indeed, this article argues that such performances incarnated both a shift in the emancipatory language as linked to affect and -most importantly -, due to the performative order of such affect, an alteration of the understanding of reality.
Keywords:
Suffragism; Affect; Performance; Simulacrum