Abstract The essay explores the afterlife of Elisabeth Bronfen’s feminist insights in Over Her Dead Body (1992) by crossmapping it with the photographic archives of two women, Italian artist Linda Fregni Nagler’s installation Hidden Mothers (2006–2013), and Turkish photographer Maryam Shahinynan’s photocollection from the 1940s. Today that feminism is often consigned to history, we probe the political force of archives in keeping its ghost alive from the past and still operative in the future, working along the lines of Mieke Bal’s preposterous form of historical reading. At issue in the article is the question of the (female/feminist) ghost as both an uncanny return from the past and as a virtuality still to be accomplished in the future. Both chosen archives perform this issue self-reflexively. Fregni Nagler’s collection brings back to life the previously unknown nineteenth-century genre of ‘hidden mothers’, where women’s erasure and self-ghosting was displayed in the photographic image. As Nagler’s archival gesture reanimates these dead bodies from the past, their haunting calls for our affective and ethical reading in the present, soliciting our responsibility to take on the debt of the ghost. Shahinyan’s images of gender performances archive instead a future still to come: produced as a series, the photographer’s heterotopic scenarios perform a proleptic feminist gesture, enacting ghost stories of virtual identities not yet accomplished. Much like Shakespeare’s virtual sister in Virginia Woolf’s A Room of One’s Own, they show the force of ghosts as figments of a political imagination to be enfleshed in the future.

中文翻译：

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幽灵她的尸体

摘要 本文通过将其与两位女性、意大利艺术家 Linda Fregni Nagler 的装置 Hidden Mothers (2006–2013) 和土耳其摄影师 Maryam Shahinynan 的摄影档案交叉映射，探讨了 Elisabeth Bronfen 在 Over Her Dead Body (1992) 中的女权主义见解的来世从 1940 年代开始。今天，女权主义经常被赋予历史，我们沿着 Mieke Bal 荒谬的历史阅读形式探索档案的政治力量，以保持其幽灵在过去和未来仍然有效。文章中的问题是（女性/女权主义者）鬼魂既是过去的不可思议的回归，也是未来仍有待完成的虚拟性的问题。两个选定的档案都会自我反射地执行这个问题。弗雷尼·纳格勒 (Fregni Nagler) 的系列让 19 世纪以前不为人知的“隐藏的母亲”流派重现生机，在这种流派中，女性的抹去和自我重影在摄影图像中得以展现。当纳格勒的档案姿态使这些过去的尸体复活时，它们令人难以忘怀的呼唤我们对当下的情感和道德阅读，寻求我们承担鬼魂债务的责任。Shahinyan 的性别表演图像归档了未来的未来：作为一个系列制作，摄影师的异位场景表现出女性主义的女性主义姿态，演绎尚未完成的虚拟身份的鬼故事。就像弗吉尼亚伍尔夫的《一个人的房间》中莎士比亚的虚拟妹妹一样，它们将鬼魂的力量展示为未来将充实的政治想象的虚构物。