In this article, I narrate the story of Anfora, a personified art object considered a “witness” of gendered violence and femicide, in a political campaign organized by the feminist group Unione Donne in Italia (UDI) in 2008 and 2009. I argue that this campaign’s use of “prosopopoeia” contributed to the emergence of femicide (femminicidio) as a matter of concern in Italy, to the construction of a “community of sense” around gendered violence, and to a redefinition of women as political subjects. By focusing on the representational, relational, and affective dimensions of Anfora’s personification, I show how the feminists of UDI promoted an understanding of violence beyond trauma and of witnessing beyond victimhood. Both of these understandings speak to broader debates in contemporary feminism. Anfora’s role was more than symbolic, in that her material presence was a form of witness. In this way, I claim, Anfora became a key element in the emergence of a new “woman question” in Italy related to gendered violence and femicide: a political enterprise pursued through what Jacques Rancière would call dissensus.

在本文中，我叙述了女权主义者联盟尤尼·多恩（Italian Donne in Italia）在2008年和2009年组织的政治运动中对Anfora的故事，Anfora是一种被视为性别暴力和杀害女性行为的“见证人”的个性化艺术品。该运动对“ prosopopoeia”的使用助长了杀真菌剂（femminicidio）在意大利引起关注，围绕性别暴力建立“意识共同体”，并重新定义妇女作为政治主体。通过关注Anfora人格化的代表性，关系和情感维度，我展示了UDI的女权主义者如何促进对暴力的理解，不仅仅是对创伤的理解，还是对目击者的超越。这两种理解与当代女性主义的更广泛辩论有关。Anfora的角色不仅仅是象征意义，因为她的物质存在是一种见证。我声称，通过这种方式，安福拉成为了意大利出现与性别暴力和杀害女性有关的新“女性问题”的关键因素：通过雅克·兰契尔（JacquesRancière）称之为异议的政治事业。